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Doctor of Musical Arts RICE UNIVERSITY A Study of Hindemith 's Violin Concerto By Likai He A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Musical Arts APPROVED, THESIS COMMITTEE Arthur Gottschalk (Chair) Professor of Composition and Theory Peter Loewen (Apr 28, 2021 11:58 CDT) Peter Loewen Associate Professor of Musicology Klaus Weissenberger Weissenberger (Apr 28, 2021 13:05 CDT) Klaus Weissenberger Professor of Classical and European Studies HOUSTON, TEXAS April 2021 ii Abstract One of the most influential composers of the twentieth century, Paul Hindemith composed only one violin concerto with full orchestra. Completed in 1939, it was widely performed during his lifetime but has since lost much of its popularity. This document will look at the biographical and historical influences surrounding this concerto, as well as stylistic characteristics that often help define Hindemith’s music. An analysis of the concerto will explore the formal and harmonic characteristics of the work. In addition, the document will explore how Hindemith’s theoretical concepts manifest themselves in the piece. Lastly, a discussion of the more practical challenges of the concerto will be included. iii Acknowledgments Throughout my collegiate career, I have been blessed with the advice and care of many individuals. I am forever indebted to their selflessness and generosity. Below are some of the most significant. Dr. Gottschalk, your patience and expertise was a constant source of motivation. Thank you for addressing all my concerns and pushing me to the finish. Prof. Cho-Liang Lin, your guidance, wisdom, and encouragement have left an indelible mark on my life. The past six years have been an incredible journey and thank you for inspiring me as an artist. My parents, thank you for your unwavering support and belief in me as a musician. iv Table of Contents Abstract............................................................................................................................................ii Acknowledgments..........................................................................................................................iii Table of Contents............................................................................................................................iv List of Figures..................................................................................................................................v Introduction......................................................................................................................................1 Chapter One: Biographical and Stylistic Information.....................................................................3 Part I: Biography..................................................................................................................3 Part II: Musical Style.........................................................................................................11 Part III: Hindemith’s Violin Concerto...............................................................................19 Chapter Two: Analysis..................................................................................................................22 Part I: First Movement.......................................................................................................22 Part II: Second Movement.................................................................................................42 Part III: Third Movement...................................................................................................52 Part IV: Orchestration........................................................................................................75 Chapter Three: Practical Observations..........................................................................................79 Part I: Technical Considerations and Challenges................................................................79 Part II: Application of Findings.........................................................................................86 Conclusion.....................................................................................................................................92 Appendix: Table of Chord-Groups................................................................................................94 Bibliography..................................................................................................................................95 v List of Figures Figure 1.1: Series 1........................................................................................................................15 Figure 1.2: Series 2........................................................................................................................15 Figure 1.3: Harmonic Fluctuation..................................................................................................18 Figure 2.1: First movement (sonata form)...............................................................................22, 23 Figure 2.2: First movement, Theme 1A, mm. 1-18.......................................................................24 Figure 2.3: First movement, Theme 1B, mm. 18-25.....................................................................24 Figure 2.4: First movement, Theme 2A, mm. 92-103...................................................................25 Figure 2.5: First movement, string accompaniment mm. 90-97...................................................26 Figure 2.6: First movement, Theme 2B, mm. 137-138….............................................................27 Figure 2.7: First movement, Theme 2B, mm. 332-333….............................................................27 Figure 2.8: First movement, elongated Theme 1A in development, mm. 184-187.......................28 Figure 2.9: First movement, Theme 1B in recapitulation, mm. 225-245......................................30 Figure 2.10: Ending of first movement, mm. 405-409..............................................................…32 Figure 2.11: First movement, orchestral accompaniment, mm. 1-6…..........................................33 Figure 2.12: First movement, successive tritone chords mm. 37-38…........................................34 Figure 2.13: First movement, harmonic fluctuation in Theme 1A, mm. 1-15.........................34, 35 Figure 2.14: First movement, root degree-progression of theme 1A, mm. 3-14….......................37 Figure 2.15: First movement, mm. 121-124..................................................................................39 Figure 2.16: First movement, m. 191.........................................................................................…40 Figure 2.17: First movement, prevailing sub-group IV harmony, mm. 204-217..........................41 Figure 2.18: Second movement (compound ternary form)............................................................42 Figure 2.19: Opening of second movement, mm. 1-9…...............................................................43 Figure 2.20: Second movement, Theme B, mm. 14-27................................................................44 Figure 2.21: Second movement, Theme C, mm. 42-45................................................................45 vi Figure 2.22: Second movement, Theme D, mm. 56-62................................................................46 Figure 2.23: Tritone harmonies, opening of second movement, mm. 1-9....................................49 Figure 2.24: Second movement, mm. 21-23.................................................................................50 Figure 2.25: Second movement, root degree-progression, mm. 79-88.........................................51 Figure 2.26: Second movement, harmonic progression, mm. 111-114........................................52 Figure 2.27: Third movement (sonata form)...........................................................................52, 53 Figure 2.28: Opening of third movement, mm. 1-11....................................................................54 Figure 2.29a: Third movement, primary theme, mm. 12-17........................................................54 Figure 2.29b: Third movement, orchestral accompaniment, mm. 12-16......................................55 Figure 2.30: Third movement, rhythmic figure, mm. 40-41….....................................................56 Figure 2.31: Third movement, secondary theme, mm. 77-92...................................................…57 Figure 2.32: Third movement, Codetta, first idea, mm. 129-137.................................................58 Figure 2.33: Third movement, Codetta, second idea, mm. 144-147............................................59 Figure 2.34: Third movement, Codetta, third idea, mm. 157-164................................................60 Figure 2.35: Third movement, beginning of development, mm. 173-180................................…61 Figure 2.36: Third movement, new theme and connection with Theme 2A from first movement.......................................................................................................................................63 Figure 2.37: Third movement, variation of second theme in recapitulation, mm. 467-476.........66 Figure 2.38: Third movement, ending of second theme in recapitulation, mm. 495-519........…67 Figure 2.39: Third movement, mm. 12-25................................................................................…70 Figure 2.40:
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