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.
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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
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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: Third movement, root degree-progression of episode, mm. 223-250...... 72
Figure 2.41: Third movement, harmonic scheme of ending, mm. 596-600…...... 74
Figure 2.42: Timpani solo at beginning of first movement, mm. 1-3...... …77
Figure 2.43: Retransition of third movement, mm. 388-405...... 78
Figure 3.1: Third movement cadenza, mm. 341-385…...... 81
Figure 3.2: First movement, mm. 152-157...... …82 vii
Figure 3.3: First movement, mm. 29-69...... …83
Figure 3.4: First movement mm. 362-387, coda begins at m. 375 (mf)…...... 88
Figure 3.5: Second movement, m. 48…...... 90
1
Introduction
Paul Hindemith is an enigmatic figure of sorts. As one of the most well-known composers of the twentieth century, he was wary of letting the public in on his personal life.
With the abundance of research pertaining to Hindemith and his works, his most comprehensive
English biography is still that of 1975, by Geoffrey Skelton.1 Likewise, the performance and recognition of his compositions can be perplexing as well. Some of his works are staples of concert programs, while others are, for some reason, overlooked. The violin concerto finds itself leaning more towards the latter camp.
Revealed in the process of researching Hindemith’s violin concerto, the lack of any real scholarship on the work was astonishing. Given that Hindemith only composed one violin concerto with full orchestra, as well as the importance of the genre, it would be natural to assume that there would be a significant amount of information on the work. However, the concerto is only briefly mentioned in a few books and articles. Even in Skelton’s thorough biography of
Hindemith, the work is vaguely mentioned, without offering any substantial details. Though surprising, a deficit of interest about this work may not be entirely without reason.
The scarcity of research might be attributed to the work’s fading popularity. The concerto enjoyed a considerable amount of success after its completion, receiving performances throughout Europe and the United States. One of the most legendary recordings of the piece was by David Oistrakh and the London Symphony in 1962, with Hindemith conducting. Though prominent violinists have recorded the concerto since then, that number pales in comparison to
1 Stephen Luttmann, Paul Hindemith: A Guide to Research (London: Routledge, 2009), 14. 2 violin concertos by composers of the same era, such as those of Stravinsky and Bartók. In addition, the piece is rarely approached by young violinists. This apparent indifference towards the concerto in an academic setting most certainly contributes to the dwindling recognition of the work. I chose this concerto as a topic for research precisely because I do not believe it is receiving the appreciation it deserves.
The violin concerto is emblematic of Hindemith’s mature style. His unique musical language may be found throughout the concerto, combining with craftsman-like precision. The piece contains plenty of formal and harmonic intrigue, enough to engage anyone who cares to explore it. Indeed, much of the concerto’s allure comes from the wide range of expression exhibited throughout the piece. The music is never stale and offers a compelling experience for both the performer and listener.
This document serves to inspire more interest in this concerto. It will provide integral information on formal structure and harmonic characteristics of the work. In addition, a succinct discussion of the challenges within this concerto will be presented. These challenges, both technical and cerebral, should provide an opportunity for a violinist to demonstrate both virtuosity and intellect in its performance.
3
Chapter One - Biographical and Stylistic Information
Part I: Biography
Paul Hindemith was born on November 16, 1895, in the industrial town of Hanau along the banks of the Main River. Though he was not born to a musical family, his parents shared a love for music. Due to his father’s work as a housepainter, the family moved quite often during
Hindemith’s early years. In 1898, the family moved to the nearby village of Niederrodenburg and in 1900, the family moved to Mühlheim. It is in Mühlheim that Hindemith began studies in music.2
Hindemith began studying violin in 1904. He was a gifted student and after a few years of study, he started lessons with Anna Hegner in the nearby city of Frankfurt. Little is known of
Hindemith’s early studies on violin, but he clearly possessed immense talent. After only two years of study with Hegner, Hindemith was introduced to study with Adolf Rebner, concertmaster of the Frankfurt Opera and professor of violin at the Hoch Conservatory.3
During his studies at the Hoch Conservatory, Hindemith began experimenting with composition. At first, he composed as a hobby since his studies were primarily focused on the violin. Though he never overtly expressed his desire to compose, Rebner, his violin professor at the time, recognized that his pupil had a passion and talent for composition. Through Rebner’s encouragement, Hindemith began taking composition lessons with Arnold Mendelssohn (a relative of Felix Mendelssohn-Bartholdy) in 1913.4 Though Hindemith only studied with
2 Geoffrey Skelton, Paul Hindemith: The Man behind the Music: A Biography (London: Gollancz, 1975), 31. 3 Ibid., 32. 4 Ibid., 34. 4
Mendelssohn for less than a year, he left an indelible mark on Hindemith’s career. After
Mendelssohn’s departure from the Hoch Conservatory, Hindemith began composition lessons with Bernhard Sekles. Sekles’ strict pedagogical style focused on the technical aspects of music composition.5 His lasting influence on Hindemith can be observed in his mastery of contrapuntal texture and pedagogical treatises. Hindemith’s final composition teacher at the Hoch
Conservatory was Fritz Bassermann.6
Though Hindemith is now remembered as a great composer, his earliest professional jobs were as a violinist. Beginning in 1913 when he was still a student at Hoch Conservatory,
Hindemith began playing in professional orchestras during breaks in his studies. In 1915,
Hindemith accepted a first violin position in the Frankfurt Opera. In September of the same year, Hindemith was promoted to concertmaster of the opera. Along with his orchestral position,
Hindemith also played second violin in Rebner’s string quartet, all while being a full-time student at the conservatory.7
Like many other Germans at the time, the First World War impacted Hindemith’s life immensely. Military service was required for all young Germans, and Hindemith was no exception. Though he was still concertmaster of the Frankfurt Opera in 1917, Hindemith was called up for military duty. Luckily, he was able to join the military band, and when he left for
5 Ibid., 35. 6 Ibid., 36. 7 Giselher Schubert, “Hindemith, Paul,” Grove Music Online. Accessed December 22, 2020. https://doi- org.ezproxy.rice.edu/10.1093/gmo/9781561592630.article.13053. 5
France, he was able to avoid direct battle. Instead, he played percussion in the band and formed a string quartet.8 In early 1919, Hindemith was released from the army and returned to Frankfurt.9
After the war, Hindemith’s composition career began to take off. In 1919, some of his early works were published by Schott und Sohn, beginning a lifelong partnership. By 1923,
Hindemith was receiving a substantial salary from the publisher, enabling him to resign from his duties at the Frankfurt Opera and pursue his career as a composer.10 Of course, the publisher’s generous offer to Hindemith was prompted by his rising popularity as a composer. In 1921,
Hindemith’s works were performed at the Donaueschingen festival – a festival dedicated to showcasing works by promising young composers. The following year, some of his music was performed at the inaugural International Society for Contemporary Music in Salzburg which exposed his music to an international audience. In 1923, Hindemith organized the
Donaueschingen festival and was actively programming works by Schoenberg and Webern.11
By the mid-1920s, Hindemith’s reputation as a composer was firmly established.
During this same time, Hindemith began a switch from violinist to violist. After the war,
Hindemith started playing viola in the Rebner Quartet. When he founded the Amar Quartet in
1922, he was its full-time violist.12 His recitals featured standard viola repertoire, as well as multiple sonatas that he composed for viola. Hindemith also became enamored with the viola d’amore and early music in general. His Kammermusik No. 6 incorporates the viola d’amore, as well as a sonata for it with piano, written in 1922.
8 Skelton, 49. 9 Paul Hindemith and Geoffrey Skelton, Selected Letters of Paul Hindemith (New Haven: Yale University Press, 1995), 24. 10 Skelton, 58. 11 Ibid., 73. 12 Hindemith and Skelton, 29. 6
In 1927, Hindemith accepted a position as Professor of Composition at the Staatliche
Hochschule fur Musik in Berlin.13 The pedagogical atmosphere helped him focus on the teaching of younger musicians. Hindemith felt that many students were lacking in basic compositional training, and the Hochschule provided the perfect opportunity for him to mentor the younger generation of composers.
Hindemith composed a considerable amount of Gebrauchsmusik while at the
Hochschule. Defined as music that serves a social or political purpose, Hindemith believed much of modern music was too academic, describing it as “music for music festivals.” There was also a lack of emphasis on engaging and educating the younger generation. His
Gebrauchsmusik was not too difficult, making it possible for amateur musicians to play and appreciate compositions by a modern composer. His music in this vein also served an educational purpose. The music used precise counterpoint and many of the stylistic characteristics of Hindemith’s other works, despite being easier in technical difficulty. This helped younger musicians recognize, learn, and develop skills in composition, as well as performance, that Hindemith felt was missing from their standard studies.
During his time in Berlin, Hindemith became known on the international stage as well.
He achieved this first through his compositions and performances as a violist. In 1929, he premiered William Walton’s Viola Concerto in London, endearing him to the British public.14 In
1930, his Concert Music for Piano, Brass, and Two Harps was performed in America and the following year, his Concert Music for String Instruments and Brass Orchestra, commissioned by
Serge Koussevitzky, was premiered by the Boston Symphony Orchestra for the ensemble’s
13 Schubert, “Hindemith, Paul,” Grove Music Online. 14 Ibid. 7 fiftieth anniversary.15 The performances were wildly successful and cemented Hindemith’s place in the international scene.
As Hindemith experienced rising international fame, his situation in Germany was becoming increasingly complicated. With the rise of the Nazis, Hindemith’s music and reputation became entangled with the politics of the time. His marriage to Gertrud Rottenberg, who was Jewish, certainly did not make things easier.16 Hindemith managed to avoid trouble in the early 1930s, but the tide began to turn against him when his Symphony: Mathis der Maler was performed in 1934 by Furtwängler and the Berlin Philharmonic Orchestra.17 Though the reception was positive at first, the piece was refused performance on the radio in the following months. Subsequently, the Nazi press attacked Hindemith’s music as degenerate.18 In
November of 1934, Furtwängler attempted to help Hindemith’s predicament by publishing an article known as “The Hindemith Case.”19 It unfortunately achieved the opposite effect, and
Hindemith was denounced by Goebbels himself. Seeing no solution in sight, Hindemith asked for an extended leave from the Hochschule and moved to Lenzkirch in southern Germany.20
The latter half of the 1930s saw Hindemith turn towards international engagements as his reputation in Germany deteriorated. Beginning in 1935, Hindemith engaged with the Turkish government to create a music school in Ankara. That same year, his Der Schwanendreher viola concerto received a wildly successful premiere in Amsterdam by the Concertgebouw
15 Skelton, 99. 16 Ibid., 78. 17 Hindemith and Skelton, 77. 18 Skelton, 117. 19 Simon Desbruslais, The Music and Music Theory of Paul Hindemith (Woodbridge, Suffolk: The Boydell Press, 2018), 124. 20 Skelton, 124. 8
Orchestra.21 The majority of works composed by Hindemith during this period were performed outside of Germany. Though the Nazis did not outright ban Hindemith’s music in Germany, the political environment made it virtually impossible to perform his works without receiving backlash from the government. Thus, when he made a brief return to Berlin in 1937, he found that no one showed any interest in his music.22 It was clear to him that his time in Germany was up.
1937 also saw the publishing of Hindemith’s The Craft of Musical Composition.23
Though it was printed with no fanfare in Germany, the book has become one of the most important musical treatises of the twentieth century. Nonetheless, at the end of the year,
Hindemith’s employment with the Hochschule officially came to an end, forcing him to move to
Switzerland. He continued to experience international success, highlighted by the premiere of his opera Mathis der Maler in Zurich.24 His ballet, Nobilissima Visione, was performed in
London, and his Violin Concerto was premiered in Amsterdam in 1939.25 Hindemith also maintained an active performing schedule, touring throughout the United States in the late 1930s.
This strengthened his connection with musicians in the United States, and after the war broke out in Europe in 1939, many of his American friends patched together a variety of engagements in order to bring him to the United States.26
Hindemith began teaching composition at the University of Buffalo in 1940.27 Only a month after arriving in Buffalo, Yale University expressed interest in him, and he began to give a
21 Ibid., 129. 22 Ibid., 130. 23 Schubert, “Hindemith, Paul,” Grove Music Online. 24 Ibid. 25 Hindemith and Skelton, 118. 26 Skelton, 167. 27 Ibid., 174. 9 series of lectures there. In September of that year, he accepted a position at Yale as Visiting
Professor of the Theory of Music, which quickly became a permanent job.28 Meanwhile, he had commissions from a variety of sources, including prominent orchestras. It was clear that
Hindemith’s permanent base would now be the United States.
Hindemith stayed in the United States until 1953. His time in America was relatively stable, and it allowed him ample time and opportunity to pursue a variety of endeavors. At Yale,
Hindemith taught a total of around 250 graduate students. During this time, Hindemith wrote A
Concentrated Course in Traditional Harmony to help students strengthen their foundation.
Many of his pupils became influential composers themselves.29 Yale also afforded Hindemith the opportunity to create the Collegium Musicum to study and present works of composers before Bach. Hindemith’s fascination with early music dated to the 1920s and, through the Yale project, he became one of the most important figures in the movement of historically informed performance practice.30
Since Hindemith virtually stopped all performance engagements when he began his tenure at Yale, he had plenty of time to compose when not teaching. What is perhaps his most well-known piece, Symphonic Metamorphosis of Themes by Carl Maria von Weber, was completed in 1943, and premiered by the New York Philharmonic that same year.31 As one of the most influential composers alive at that time, his works were constantly performed by orchestras throughout United States. Just about anything he composed would receive an opportunity to be performed.
28 Hindemith and Skelton, 162. 29 Skelton, 193. 30 Ibid., 207. 31 Ibid., 208. 10
By 1947, Hindemith’s music was, once again, regularly performed in Germany.
Hindemith visited Frankfurt in 1947 which further increased his popularity in Germany.32 In
1949, Hindemith was invited back to the Hochschule for a lecture, restoring the relationship between the composer and his motherland. At this time, Hindemith also toured throughout
Europe, primarily giving lectures but also appearing at performances of his music. Though he still taught full time at Yale, Hindemith grew fond of the idea of returning to Europe and so in
1950, he accepted a position to teach at the University of Zurich.33 Not wanting to give up his
Yale job, Hindemith arranged a deal that enabled him to spend one year at Yale, followed by a year in Zurich. However, the heavy teaching load interfered with his composing. Thus, in 1953, fueled by his nostalgia for Europe, Hindemith gave up the Yale position and moved to Zurich.34
After moving to Switzerland, Hindemith pursued more conducting opportunities, in addition to his composing and teaching. He was always interested in conducting but did not have many opportunities for it in the United States. Europe offered Hindemith a platform where he could easily freelance as a conductor. In 1956, Hindemith gave up his teaching position at
Zurich to focus solely on composing and conducting.35 His royalties from his works, and fees from his conducting engagements, were enough for him to maintain a comfortable lifestyle. He was also awarded the prestigious Sibelius Prize in 1955, equivalent to three years salary from his university job.36
32 Ibid., 232. 33 Ibid., 241. 34 Hindemith and Skelton, 216. 35 Ibid., 236. 36 Skelton, 271. 11
During his final years, Hindemith gave multiple tours in America as a conductor, leading such prominent ensembles as the New York Philharmonic. His composition output slowed down considerably when his attention turned towards conducting. The extensive travel throughout
Europe and the United States also took a toll on his health. In 1963, Hindemith composed his last work, a Mass for unaccompanied mixed choir. He conducted the first performance in
Vienna but became very sick the next day. Hindemith returned to Frankfurt for treatment, but his condition never improved. He passed away on December 29, 1963, at the age of 68.37
Part II: Musical Style
Two terms are often associated with Hindemith’s music: Neoclassical and The New
Objectivity (Neue Sachlichkeit). These words may describe his style but do not capture the unique characteristics of his music. Among the multitude of early twentieth century composers that adhered to the Neue Sachlichkeit or composed in the neoclassical style, Hindemith’s music boasts a distinct and idiomatic language. This uniqueness makes his music both recognizable and memorable.
Hindemith’s earliest works were inspired by a variety of sources and aesthetics. This wide range of influence includes expressionism, impressionism, and even jazz. Many of his early works show a mixture of different styles within a single composition, leading some to describe it as a “pluralist” style.38 During this period, Hindemith seemed to be influenced by the music of two composers more than others – Stravinsky and Schoenberg. In Stravinsky,
37 Ibid., 293. 38 Desbruslais, 89. 12
Hindemith was inspired by his neoclassical works, particularly in terms of rhythm and meter.
Hindemith’s early works also showed a significant use of whole-tone and octatonic scales, something also prevalent in Stravinsky’s music.39 Schoenberg’s music inspired Hindemith to create compositions exhibiting expressionist characteristics, including experiments with atonality and polytonality.40 It is interesting to note that Hindemith never embraced the twelve-tone techniques developed by Schoenberg. Instead, Schoenberg’s influence on Hindemith was primarily restricted to his embrace of expressionism.
By the late 1920s, Hindemith’s compositions evolved into the style that is now most commonly associated with his music. This period onwards might be described as his “mature” style. In general, his mature works abandoned the pluralist – and often convoluted - nature of his earlier style. He also rejected atonality and polytonality.41 Though many reasons are up for debate in this change of aesthetics, two seem to be irrefutable. First, Hindemith wanted to distance himself from earlier compositions, many of which he composed while still a student.
His appointment at the Hochschule intensified his wish to develop a more mature style.42 The second reason was his attempt to distance himself from the “degenerate” compositional techniques labeled by the Nazi government, which included the atonal and polytonal practices that Hindemith worked with as a young composer. Though Hindemith had stopped composing atonal works before the Nazis came to power, he nonetheless denounced atonality and polytonality in the 1930s.43 Notably, this did not save his music from being labeled “degenerate” by the Nazis.
39 Ibid., 129. 40 Ibid., 122. 41 Ibid. 42 Ibid., 124. 43 Ibid. 13
As mentioned earlier, when discussing Hindemith’s style, it is often described as being part of the Neue Sachlichkeit. Occurring mainly during the 1920s and early 1930s, much of the art produced by this movement was also later denounced by the Nazis. It began as a reaction against the more lurid manifestations of the expressionism movement and advocated for a more cool and objective approach.44 Unlike neoclassical composers of the time who were profoundly influenced by music from the Classical period, Hindemith borrowed more from Baroque and pre-
Baroque models and techniques.45 In particular, his affinity towards intricate, yet clear, contrapuntal writing demonstrates the impact of this music on Hindemith’s mature works. His
Kammermusik, a group of works for various smaller instrument ensembles written during the
1920s, epitomize this aesthetic. This is not to say that Hindemith did not borrow ideas from the
Classical period. Many of his instrumental works exhibit formal structures that were codified during the Classical period. All of this helped to make Hindemith’s brand of neoclassicism highly individualistic.
By the mid-1930s, though, Hindemith had moved away from the Neue Sachlichkeit. The music from this period onwards is considered his “mature” style. Part of the allure of
Hindemith’s music is what many musicians have come to call the “Hindemith sound.” Though it would be ridiculous to believe a few words could describe the scope of Hindemith’s sound, it would nevertheless be useful to consider a few broad generalizations. First, his music combines traditional triadic harmonies with the use of vertical fourths and fifths. This incorporation of quartal harmonies may be the main contributor to the Hindemith sound.46 In addition, Hindemith
44 Dennis Crockett, German Post-Expressionism: The Art of the Great Disorder, 1918-1924 (University Park, PA: Pennsylvania State University Press, 1999), 1. 45 David Neumeyer, The Music of Paul Hindemith (New Haven: Yale University Press, 1986), 7. 46 Desbrulais, 61. 14 uses chromaticism quite liberally in his music, allowing for a versatile palette of musical resources. Hindemith’s music rarely uses overtly complex rhythms. This is not to say that his rhythms are easy but compared to many of his contemporaries, his use of rhythm is characterized by clarity and accessibility.47 These factors all contribute to the distinct sound of Hindemith’s music.
For a better understanding of Hindemith’s style, it is important to look at his theoretical work, The Craft of Musical Composition. Written in 1937, this book lays out the foundation of
Hindemith’s music theory, and is an important tool towards analyzing his mature compositions.
Three books make up The Craft of Musical Composition but for the purpose of this document, the first book, “Theory”, is the most relevant.
Book 1 is divided into five chapters. It would be cumbersome and unnecessary to articulate the array of concepts introduced in The Craft of Musical Composition, so only ideas that are essential to a general understanding of Hindemith’s mature compositions will be presented.
The scale system that Hindemith considers to be the groundwork of his theory is the chromatic scale. Commonly, the chromatic scale uses tempered tuning, meaning that half steps are of equal distance to one another. Hindemith, however, devised a new form of tuning for the chromatic scale which he believed to be superior. He arrives at this conclusion through a series of precise calculations of overtones. Beginning with the pitch C at 64 vibrations per second (or
Hertz), Hindemith uses the following rule to derive subsequent pitches within an octave:
47 Ibid. 15
“To arrive at each new tone of the scale, divide the vibration-number of each overtone
successively by the order-numbers of the preceding tones in the series.”48
The resulting twelve pitches of the chromatic scale, and their ordering, is called Series 1.
Figure 1.1: Series 1
A note closer to the original pitch (in the order that it appears) has a stronger relationship than a further note. Thus, the tone which is a fifth higher (in this case, G) has the strongest relationship to C, followed by the pitch a fourth higher, then major sixth, etc. Hindemith proclaims that a single tone cannot be considered music. Instead, music arises from “the combined effect of at least two tones.” Therefore, the interval is the most basic unit of musical construction. Like the relationship between the pitches of Series 1, intervals also have a hierarchy. Hindemith introduces this hierarchy as Series 2.
Figure 1.2: Series 2
Overtones were used to achieve Series 1 but combination tones are used to create Series
2. Combination tones are pitches that are produced when two or more notes are sounded simultaneously. For the purpose of Series 2, Hindemith only deals with dyads, or two notes
48 Paul Hindemith, The Craft of Musical Composition (New York: Schott, 1980), 34. 16 sounded simultaneously. The following principle shows the basic relationship between a combination tone and the dyad producing it:
“The frequency of the combination tone is always equal to the difference between the
frequencies of the directly produced tones of the interval.”49
For example, an interval of the perfect fifth between C 128 and G 192 produces a combination tone of C 64 (192 - 128 = 64). Intervals are grouped in pairs that share similar combination tones. Therefore, the intervals are paired as such: fifth and fourth, major third and minor sixth, minor third and major sixth, major second and minor seventh, minor second and major seventh, and tritone. Hindemith considers these interval pairs to be invertible; the first interval of every pair is considered “root position” and the second interval is the inversion (root on top).
Hindemith justifies this because the root position interval has combination tones that either reinforce the lowest note or fulfills a triad.
Series 2 forms the basis of chordal analysis in Hindemith’s system. For him, the traditional construction of chords using a triadic model is outdated. Instead, he proposes a system where any chord – defined as “a group of at least three different tones sounding simultaneously” – can be analyzed (see Appendix).50
The chords in the Appendix are listed in two large groups: A and B. Chords in Group A do not have a tritone while group B chords contain at least one tritone. The roman numeral sub- groups within each group further delineate chord types; I, III, and V belong to group A and II,
IV, VI belong to group B. Chords that belong to sub-group I are major and minor triads. In sub-
49 Hindemith, 61. 50 Ibid., 105. 17 group II, chords do not contain a minor second or major seventh. Sub-group II is further divided into two sections – a and b. The “a” section consists of chords with only a minor seventh while the “b” section encompasses chords with major seconds, minor sevenths, or both. Sub-group III chords contain either a second, seventh, or both. Sub-group IV chords contain minor seconds, major sevenths or both. Sub-group V and VI chords are Indeterminate, meaning roots cannot be determined or they do not follow the rules of the previous sub-groups. Further divisions within each sub-group refer mainly to the position of the root in a chord. For example, sub-group I consists of two different types of chords: chords that have identical root and bass tones (i.e. root is on the bottom) and chords that have the root above the bass tone. To determine the root of a chord, all intervals need to be examined and the best interval – as determined by Series 2 – dictates the root. If multiple best intervals occur, the lowest best interval dictates the root of the chord.
This division of chords establishes two crucial tenets of Hindemith’s theory: the ability to analyze all chords and a hierarchy of all chords. In general, Group A chords are higher in rank than Group B chords, due to Group B chords containing a tritone. However, the sub-groups affect this hierarchy. Between sub-group I and II, I is of the higher rank. However, sub-group II is considered higher than sub-group III. This is because the higher the number of sub-group, the less tonal value a chord has. For example, sub-group I chords are only major and minor triads, the strongest indicators of tonality. Compare to sub-groups V and VI where the chords have almost no indication of tonality. It may be important to point out that Hindemith’s theory does not aim to refute traditional tonality. Hindemith does not advocate for atonality or polytonality, viewing them as fads and unnatural. His theory is aimed towards providing a new viewpoint of tonality that is more versatile and all-encompassing. 18
With these systems established, Hindemith applied them to actual music. Two ideas form the crux of his harmonic theory – harmonic fluctuation and root degree-progression.
Harmonic fluctuation can be defined as the changes in tension between chords.51 Since harmony arises out of the connection of at least two chords, any harmonic progression leads to harmonic fluctuation. Chords in sub-group I are considered to have the least harmonic tension. Each subsequent sub-group increases in harmonic tension from I to IV. Below is an illustration of this fluctuation:
Figure 1.3: Harmonic Fluctuation52
The distinctions within each sub-group also provide different shades of harmonic tension.
For example, the root position triads in sub-group I are considered more stable – and thus, invoke less harmonic tension – than the chords in inversion. The indeterminate chords of sub-groups V and VI are unique in that they do not provide definite indications towards tonality. They are often used to heighten harmonic tension but can affect a harmonic passage to the extent that the entire progression becomes unstable. Harmonic fluctuation can be gradual between harmonies – meaning chords move from sub-group to neighboring sub-group – or could be sudden, such as a jump from sub-group I to sub-group IV.
51 Ibid., 115. 52 Ibid. 120. 19
The concept of root degree-progressions is another crucial component of Hindemith’s harmonic theory. In essence, the progression of chordal roots gives context to the tonal sphere of harmonies. Stronger degree progressions, such as movement by fifths and fourths, or by outlining triadic contours, are necessary for a strong tonal framework. Through the manipulation of chordal roots, tonality can either be reinforced or modulate. This allows much freedom in the tonal direction of a composition.
Melodic construction is also discussed in The Craft of Musical Composition. Degree- progression can also be applied to melodies as groups of notes can create a larger harmonic context. Another concept is step-progression of melodic material. According to Hindemith, step-progression is a crucial component of melodies. It can be defined as main/important tones of a melody moving in stepwise (by seconds) motion. Though melodic construction is integral for a composer, it is not a focus of this study.
A discussion of Hindemith’s style and music cannot be complete without considering The
Craft of Musical Composition. Much of the composer’s theoretical and analytical viewpoints towards music is contained within this work. Hindemith’s mature works demonstrate the concepts in The Craft of Musical Composition, and the violin concerto is no different.
Part III: Hindemith’s Violin Concerto
Between 1921 and 1927, Hindemith composed a set of eight, chamber-styled works called Kammermusik (chamber music). Kammermusik No. 4, Op. 36 No. 3, composed in 1925, was perhaps his first attempt at a violin concerto. Like the other works in the Kammermusik 20 series, the piece features a smaller ensemble. Notably, there is no use of violin in the orchestra and only four players each on viola, cello, and double bass. The form of the work is unusual, featuring five movements, one of which the solo violin does not play at all. Though labeled a concerto, Kammermusik No. 4 is unconventional, and so, Hindemith would write a more traditional violin concerto in 1939.
Hindemith began composing his violin concerto after he had finished a tour of the United
States and returned to Switzerland. The work was commissioned by Willem Mengelberg, conductor of the Amsterdam Concertgebouw Orchestra.53 Hindemith’s relationship with
Mengelberg began when he was still a violinist in the Frankfurt Opera. The opera, with young
Hindemith as concertmaster, frequently performed in a series of concerts in Frankfurt called the
Museum Concerts. Mengelberg was the permanent conductor of the series, and the two musicians developed a strong relationship from their collaborations.54 The conductor was a huge supporter of Hindemith’s music, especially when the Nazis came to power. This was evident both by the premiere of Der Schwanendreher in Amsterdam (1935), with Hindemith as soloist, and the commission of the violin concerto.55
The violin concerto is a model of Hindemith’s style and maturity. By 1939, Hindemith had already finished writing The Craft of Musical Composition. The violin concerto reflects many of the ideas articulated in the book. In fact, compositions between 1937 and 1941 adhere fairly strictly to Hindemith’s theoretical principles. Hindemith’s compositional output and influence were also blossoming, despite his trouble with the Nazis. His Symphony: Mathis der
53 Hindemith and Skelton, 136. 54 Skelton, 41. 55 Ibid., 130. 21
Maler, considered to be his masterwork, was being performed throughout Europe, as well as Der
Schwanendreher. In 1938, his opera Mathis der Maler was finally performed on stage. One could say that the violin concerto was composed during a golden period in Hindemith’s career, despite his political troubles at home.
Hindemith completed the concerto by fall of 1939, and the premiere was scheduled for
November of 1939 in Amsterdam. Originally, Mengelberg had invited Hindemith to conduct the
Concertgebouw Orchestra at the premiere.56 Hindemith was excited about the proposition and was eager to travel to Amsterdam for the first performance. However, to make the trip to
Amsterdam, Hindemith would have had to pass through Nazi Germany. Given his situation with the Nazis, it was decided that the trip would be too risky. This uncertainty resulted in the premiere being delayed until March of 1940; but even then, Hindemith could not make the trip to
Amsterdam. Thus, the first performance was given by Mengelberg and the Concertgebouw, with concertmaster Ferdinand Helmann as the soloist.57
From Hindemith’s correspondence with friends, it is clear that he was pleased with the concerto. He described the work as, “respectable and can be introduced everywhere with a clear conscience.”58 Musicians of the time clearly agreed with this assessment. The piece was given its United States premiere in April 1940 by Serge Koussevitzky and the Boston Symphony
Orchestra.59 It was subsequently performed throughout the States by prominent orchestras and soloists.
56 Hindemith and Skelton, 137. 57 Hindemith Foundation, “Concerto for Violin and Orchestra,” Catalogue of Works: Paul Hindemith, accessed 15 January, 2021, https://www.hindemith.info/en/life-work/catalogue-of- works/?tx_cagtables_pi2%5Bdetail%5D=45. 58 Ibid., 138. 59 Ibid., 161. 22
Chapter Two: Analysis
Hindemith’s Violin Concerto consists of three movements:
I: Mäßig bewegte Halbe (In moderately fast half-notes)
II: Langsam (Slow)
III: Lebhaft (Lively)
Part I: First Movement
The first movement of Hindemith’s Violin Concerto offers an intriguing formal design.
There are a few different interpretations of the form that could be argued and supported. In my
view, a traditional sonata form is the most convincing design. Hindemith treats the form in a
more flexible manner, pushing the boundaries of what one might consider sonata form.
However, the tonal and thematic considerations of the first movement support a sonata form.
Figure 2.1: First movement (sonata form) Exposition
Primary Theme Transition Secondary Theme Theme 1A Theme 1B (Fragment of Theme 1A) Theme 2A Bridge Theme 2B
Moderately fast Moderately fast faster C# (minor) C# (C#→D) D (A) Bb m. 1-18 18-57 57-91 92-126 126-137 137-181 23
Development Recapitulation
(Primarily on Theme 1A) Primary Theme Transition Secondary Theme Theme 1B (Fragment of theme 1A) Theme 2A Theme 2B
Moderately fast Moderately fast faster (Ab→C#→A) G (Ab→C) C C#/Db m. 181-225 m. 225-264 265-280 281-332 332-375
Coda
(Combination of Theme 1A, Theme 1B, and Theme 2B)
C# (Major)
m. 375-409
Figure 2.1: Continued
The piece begins with a two-measure introduction played by the timpani on the pitch C-
sharp, establishing this pitch as the tonal center. In m. 3, the solo violin presents the primary
theme, referred to as 1A. This theme is fifteen measures long and confirms the tonality of C-
sharp.
24
Figure 2.2: First movement, Theme 1A, mm. 1-18
In m. 18, a different theme is presented, this time by the orchestra. This theme is much shorter than the first theme, lasting only four measures, but is constantly repeated. Because of its difference from Theme 1A and the importance of this theme later in the movement, it should be considered as a separate theme – Theme 1B.
Figure 2.3: First movement, Theme 1B, mm. 18-22
25
M. 57 marks the transition to the secondary theme. It begins with an orchestral version of the main theme, played in the original key of C-sharp. When the violin joins in m. 70, E-flat has become the tonal center. Beneath the triplet figures in the solo violin part, the orchestra repeats a fragment of Theme 1A. The entrances of the fragment are two measures apart but is shortened to one measure in m. 85, providing a stretto-like effect. While this is happening, the transition is constantly modulating until m. 91 where the secondary theme begins, and the tonality of D is established. This modulation is achieved primarily through a downwards chromatic slide of the solo violin’s triplet pattern.
Compared to what has happened earlier in the movement, the second theme – Theme 2A
– offers a contrasting character. Hindemith gives the marking of Ruhig, indicating a change to a calmer mood. The lyrical melody, played by the violin, creates a more serene atmosphere.
Figure 2.4: First movement, Theme 2A, mm. 92-103 26
Like the solo violin, the orchestra also helps create a sense of tranquility. Instead of the more intricate texture seen earlier, the orchestra during the opening eight measures of the second theme hold a single chord, played by the strings.
Figure 2.5: First movement, string accompaniment mm. 90-97
This chord also helps confirm the tonality of D because the root of the chord is D and the interval of a fifth in the bottom voices (D-A) reinforce the key. Towards the end of the theme, the music modulates to the key area of A.
Here, Hindemith pushes the boundaries of sonata form. At first, m. 126 seems to be the beginning of a development. The key area is now in A and the material, while different from earlier themes, is not substantial enough to be a theme on its own. Instead, the fragmented nature of the music starting in m. 126 indicates the beginning of a development. Quickly though, a wrench is thrown in this design. Eleven measures later in m. 137, a completely new section emerges. The material again is clearly distinct from earlier themes and the music is now in the key area of B-flat. Also, this section is quite long, lasting for forty-four measures (mm. 137-
181). The entire section shares a common and unique eighth note motive.
27
Figure 2.6: First movement, Theme 2B, mm. 137-138
Because of the unity of material and overall character, this section can be described as a separate theme – Theme 2B.
In order to understand why this is a new theme instead of development, it is imperative to jump ahead to the end of the movement. After the ending of Theme 2A in the recapitulation at m.
331, conventional sonata form calls for a coda. Hindemith does provide a section of music but instead of typical coda writing, which generally would either blend elements of earlier themes or combine to make something new, a repeat of material from mm. 137-181 occurs. Here, the section is in D-flat, enharmonic to the original tonic of C-sharp.
Figure 2.7: First movement, Theme 2B, mm. 332-333
28
This section is once again over forty measures long with a unity of material almost identical to its earlier counterpart. It would be impossible, then, to classify this section of music as development (mm. 137-181) or coda (mm. 332-387). Instead, it should be treated as an independent thematic idea. Though the key areas of these themes in the exposition do not necessarily conform with what is expected in sonata form, the recapitulation delivers a more traditional tonal design since Theme 2B is in the tonic of C-sharp (D-flat).
Now that Theme 2B is established, it is possible to look back and consider where the development may be in this movement. Starting in m. 181 the primary theme – Theme 1A – is played by the brass and woodwinds. The clarity of the theme combined with the orchestral forces gives the impression of a recapitulation. However, the tonal area is not quite right since the music is in A-flat. In addition, some notes in the melody, such as in m. 186, are elongated when compared to the original theme.
Figure 2.8: First movement, elongated Theme 1A in development, mm. 184-187
Furthermore, the theme is not presented in its entirety as the last four measures of the theme are absent. In m. 192, the theme is repeated but only as short fragments of the melody. Here, the music seems to have modulated to C-sharp, but the ending of the fragmented theme does not follow the contour of the original melody. Finally, the characteristic accompaniment rhythm of 29
Theme 1A is missing during this section. Instead, accompaniment material is generally in the form of consistent eighth or quarter notes.
Considering mm. 181-225 to be the development of the first movement would be the strongest interpretation of this section. Even though Theme 1A is being presented, the music is still undergoing transformations that is typical of a development. Also, from m. 204, the theme stops playing and the music hovers around a tritone harmony. The solo violin line in m. 215 is gestural and can be categorized as the retransition to the recapitulation due to its arpeggiated nature. All of these elements support this section as the development. It is interesting to note that most of the development, barring the retransition, features the orchestra exclusively. This becomes an intriguing technique that Hindemith uses in later movements.
M. 225 marks the beginning of the recapitulation. The string section features the original accompaniment rhythm encountered during Theme 1A and 1B of the exposition. In m. 226, the solo violin joins with Theme 1B since Theme 1A served as the development of the movement.
In the recapitulation, 1B becomes a “finished” theme. During the exposition, theme 1B was only four measures long and constantly repeated. However, in the recapitulation, the theme continues after the first four measures. The solo violin extends the theme to nineteen measures long. This again displays Hindemith’s unique approach in this concerto by allowing a theme to be completed in the recapitulation. 30
Figure 2.9: First movement, Theme 1B in recapitulation, mm. 225-245
The tonal area of the recapitulation is not what is expected from a typical sonata form.
Normally, the recapitulation should bring the music back to the original key, C-sharp. However, the recapitulation is in the key of G. This difference in tonal area can be understood as another way of Hindemith breaking away from tradition. For Hindemith, the tonality of sections within sonata form are rather flexible. Even though a recapitulation in a different key is startling, it would not be too radical for Hindemith.
The transition to the second theme group seemingly begins in m. 245 when the solo violin changes to an eighth note pattern reminiscent of earlier bridge material. However, the orchestra is still playing Theme 1B in the key of G major. Instead, the actual transition passage begins in m. 265. Here, the tonal area has modulated to A-flat but through the transition, the music ends up modulating to the key of C where Theme 2A is presented. During the transition, the orchestra presents three measure fragments of Theme 1A while the violin plays continuous eighth notes. A sudden change in rhythm to triplet quarter notes leads into the calmer atmosphere of the second theme. 31
Similar to the exposition, Theme 2A is marked by change to a more serene character.
The accompaniment again holds a long chord while the violin presents the melody. Unlike the first iteration of the theme, an intriguing interjection of Theme 1A occurs in m. 294 and m. 303.
This gives the music a more unsettling character compared to the corresponding passage in the exposition. The ending of this section is also altered so that instead of leading to a bridge section like the exposition, the music transitions directly into Theme 2B.
Since Theme 2B starting in m. 332 has already been examined earlier, it is necessary to skip forward to where the section ends. M. 387 marks the ending of Theme 2B and also the beginning of the coda. Here, the home key of C-sharp is clearly established, with the orchestra and solo violin all briefly playing a C-sharp on the downbeat. The coda combines elements of
Themes 1A, 1B, and 2B. From mm. 387-390 and 392-395, the solo violin plays fragments of
Theme 1A. While the violin is resting, the orchestra plays a rhythmic figure closely resembling
Theme 2B in mm. 390-392, as well as 395-398. From m. 400-403, the solo violin plays a fragment of Theme 1B in octaves which leads to a brilliant ending that affirms the tonality of C- sharp. Interestingly, Hindemith uses C-sharp major triads at the end, invoking a Picardy third since the opening uses primarily C-sharp minor triads. Even though there is no distinction between major and minor tonality in Hindemith’s music, the obvious use of a Picardy third recalls tradition from earlier eras.
32
Figure 2.10: Ending of first movement, mm. 405-409
It would be worthwhile to analyze some of the harmonic treatments in this movement.
Like many of Hindemith’s mature works, quartal harmonies provide the foundation of the concerto’s tonal structure. Within this harmonic framework, Hindemith incorporates harmonic fluctuation to increase the interest of the music. An intriguing characteristic of the first movement is a tendency to avoid using Group B chords. The lack of tritone chords contributes to a more harmonious sound that is prevalent throughout the movement. The noticeable avoidance of Group B chords indicates a tendency towards sweeter harmonies, especially since chords from sub-group V are used sparingly. Because of this, much of the harmonic fluctuation in this movement is realized by Group A chords. An examination of certain themes and harmonic moments in each movement will help demonstrate Hindemith’s unique harmonic vocabulary. 33
The prominence of quartal harmonies is evident from the beginning of the movement.
Hindemith establishes the tonal center of C-sharp by layering C-sharp and G-sharp on top of each other in the orchestra. Throughout Theme 1A, every measure with violin and orchestra features an interval of a fourth or fifth. In fact, the majority of the orchestral accompaniment during Theme 1A features a planing of quartal harmonies in the strings.
Figure 2.11: First movement, orchestral accompaniment, mm. 1-6
Hindemith’s use of tritone harmonies, or lack thereof, is also highlighted during the opening of the piece. Group B chords are sparingly used and when they do appear, it is almost always in passing motion from another chord. Only three measures contain tritone harmonies that are structural. The scarcity of tritone harmonies during the theme is quite noticeable, given that chords from Group A are liberally used. During Theme 1B, the same avoidance of tritones can also be seen. Through much of the theme, tritone harmonies are used only in passing motion. Mm. 35-38 is the climax of both Theme 1A and 1B, accentuated by the use of a fortissimo dynamic for the first time. Coincidentally, Hindemith increases the use of tritone chords during these measures. Successive Group B chords not in a passing motion are heard for the first time in mm. 37 and 38. Though this instance is short, it demonstrates Hindemith’s use of Group B chords in climatic moments. 34
(IIa) IIa IIa
Figure 2.12: First movement, successive tritone chords mm. 37-38
It is beneficial to take a closer look at the harmonic fluctuation within Theme 1A. The harmonic design exhibited during Theme 1A serves as a good representation of the general characteristics throughout the movement.
I1 III2 III2
III2 III2 III1 III2 IV2 III2 35
IV2 III2 III2 III1 III2 IIb2
I1 III2 …..…..to I1
Figure 2.13: First movement, harmonic fluctuation in Theme 1A, mm. 1-15
Looking at the harmonies used during Theme 1A, the overwhelming majority of chords come from sub-group III. When an occasional tritone chord is used, it serves to change the tension from the relatively placid nature of the harmonies. Much of the harmonic fluctuation occurs between chords within sub-group III. The use of a sub-group II chord in m. 12 presents the “climax” of Theme 1A. By saving the chord, Hindemith maximizes the harmonic drama of the moment. 36
The abundance of sub-group III chords also draw attention to the lack of sub-group I chords in this section. For Hindemith, sub-group I chords (triads) are tonal pillars and help guide the harmonic development of a section.60 Using a large amount of sub-group III chords could cloud the tonal stability of the music. To create a stable tonal center, Hindemith incorporates a
C-sharp in the bass until m. 11. Even though the chords themselves are from sub-group III, the almost drone-like quality of C-sharp is a constant reminder of the tonal center. The sub-group I triad Hindemith uses at m. 13 is also crucial to the tonal structure. The chord – G-sharp, C, and
D-sharp – is enharmonic to an A-flat major triad, the dominant harmony in C-sharp. By choosing to use a triad in this instance, Hindemith reinforces the tonal center and creates more stability.
An examination of the root degree progression of chords also illuminates how Hindemith creates tonal stability during the theme. Virtually all of the roots belong and reinforce the tonality of C-sharp. Only for two measures do the harmonies emphasize G. Coincidentally, these two measures are also the climax of theme 1A. By straying somewhat from the tonal center of C-sharp, Hindemith adds another layer of tension to build the highpoint. However, the degree progression quickly returns to the home key through a strong fifth relationship between
G-sharp and C-sharp.
60 Hindemith, 150. 37
Degree-progression of roots
Tonal center
Figure 2.14: First movement, root degree-progression of Theme 1A, mm. 3-14
Mm. 8, 9, 12, and 13 also display the principle of guide-tones in progressions involving tritone chords. Guide-tones indicate the pitch of the tritone interval that is in the best relationship (according to Series 2) with the root of the chord. Hindemith posits that Group B harmonies require the finding of guide-tones since the tritone is the most important constituent of the chord.61 If the Group B chord is followed by a Group A chord, the guide-tone must leave by a “good” interval to the root of the next chord. The best resolution is by step, followed by the hierarchy of Series 1.62 Theme 1A is a perfect example of the system's implementation. The guide-tone G encountered in m. 8 resolves by a step to the root of the next chord (the note in parentheses). In the next measure, the guide-tone C-sharp resolves by a strong interval of a fourth to the root. Similarly, the guide-tone in m. 12 resolves by a fourth to the root in the next measure. These chords and their subsequent guide-tones are perfect examples of ideal resolutions of tritone harmonies.
61 Hindemith, 104. 62 Ibid., 127. 38
The beginning of Theme 2A presents a harmony that typifies Hindemith’s sound. In the strings, a quartal pitch collection of D, E, G, and A is held for seven measures as the violin plays the melody (the chord is stacked as D, A, E, G in the orchestra, refer to figure 2.5). This harmony is interesting because of the strong quartal characteristics. Though it might not be obvious at first glance, the chord contains two robust intervals of a fourth – between D and G as well as E and A. On top of that, the fifth between D and A further strengthens the quartal relationships of the harmony. In this instance, the melody also aides the quartal harmony. The first three notes of the theme, D, E, and A, all belong to the chord in the orchestra. Both the D and E lead to A, highlighting the strong quartal nature of the music. This harmony at the start of the Theme 2A epitomizes the harmonic backbone of this concerto and much of Hindemith’s harmonic vocabulary.
Hindemith’s use of Group B chords in the second theme is similar to the beginning. The lyrical and peaceful beginning of the melody sees virtually no tritone chords. In fact, the first integral tritone harmony encountered during the second theme is in m. 121, five measures from the end of the section. Towards the end of Theme 2A, Hindemith sets up the music to transition to something completely different. It is no surprise then that more tritone chords are utilized at the end of Theme 2A. Mm. 121-124 all contain a Group B chord, creating more suspense heading into the bridge material.
39
IV1 IV1 IV1 IV1
Figure 2.15: First movement, mm. 121-124
The most exciting and climactic moment of the first movement is during the development. This section showcases the force of the entire orchestral section through continuous fortissimo dynamics. Hindemith’s choice of chords in this section is particularly fascinating. Because it is the highpoint of the movement, higher tension chords are used more frequently than in other passages. For example, Hindemith uses consecutive sub-group V harmonies in m. 191.
40
Figure 2.16: First movement, m. 191
Perhaps more significant is the fact that the latter half of the development is dominated by a chord consisting of a tritone. This Group B chord is first played in full force by the brass in m. 204. The pitches of the harmony are E, A-flat, A, C, and E-flat, making it a sub-group IV chord. When presented by the orchestra, the tritone between E-flat and A is striking (it is also noteworthy to point out that the timpani joins with a trill on F-sharp while the chord is being played, adding another tritone relationship within the chord, this time between F-sharp and C).
Though the use of a Group B chord is notable, the intrigue of this harmony, however, comes from its domination of the harmonic framework. The harmony from mm. 204-219 consists primarily of a back and forth between this chord and a unison D. Only three brief measures of melodic material break up this alternation. Between the chord and unison D, the tritone chord is supreme since the longer durations are always on this chord. The harmony of this section revolves around this tritone chord and is dictated by it. Hindemith’s usage of a Group B chord at this crucial moment displays his selectiveness towards tritone harmonies. By limiting Group B chords throughout the movement, the full unleashing of the tritone chord makes the moment much more dramatic and effective. 41
IV2
Figure 2.17: First movement, prevailing sub-group IV harmony, mm. 204-217
The ending of the first movement unsurprisingly provides the most tonal closure. There is no doubt about the tonality at the end because the final six measures are all based on the C- sharp major triad in root position. Because most of the movement had a scarcity of sub-group I chords, the profuse use at the end reaffirms the tonal center of the music.
42
Part II: Second Movement
The second movement is in a modified compound ternary form. Though the beginning of the movement is fairly straightforward, the form becomes more fluid towards the end of the middle section.
AA BB
A B C D
Slow Slow
A A F# F# m. 1-14 15-41 42-55 56-63
AA’ Coda
A’ A’ B’ (D’)
Slow Faster Slow Slow
F# Bb→Eb→C# A A
64-73 74-88 89-102 103-114
Figure 2.18: Second movement (compound ternary form)
43
There are two distinct sub-sections within the first AA section. The opening six measure theme – Theme A – is presented by the woodwinds. Following the theme, a rhythmic motive of sixteenth note triplets followed by dotted rhythms appears.
Figure 2.19: Opening of second movement, mm. 1-9
In m. 15, the solo violin joins and presents a new melody, Theme B (figure 2.18), marking the beginning of the second sub-section. In m. 27, the solo violin transitions into a florid, ornamental passage. While the violin is playing a secondary melody, the oboe repeats the solo violin theme. It is interrupted in m. 30 by the rhythmic figure encountered in m. 7. Three measures later, the theme is picked back up by the low strings and bassoon. The AA section concludes at m. 40 when the theme is finished by the orchestra.
44
Figure 2.20: Second movement, Theme B, mm. 14-27
Tonally, the first section – and the movement as a whole – revolves around the key area of A, the submediant of the first movement. The A major triad at the beginning of the movement clearly defines the tonality of A. Like the first movement, Hindemith’s use of chromaticism quickly blurs the clear tonality established at the beginning. However, throughout Theme A, the music never meanders too far from the key area of A. There are brief moments when harmonies point to different tonal areas but the larger phrase always returns to a harmony that suggests the key of A. When Theme B is presented, the music is clearly in A as well. The subsequent thematic material presented by the orchestra in the first section all revolve around the tonal center of A as well. 45
One measure of solo violin, marked with the expression einleiten (“to lead into”), acts as a bridge to the BB section. In the beginning of the middle section, the characteristic of the orchestra changes dramatically. Instead of the contrapuntally intricate and active character, the accompaniment becomes more placid, moving together by eighth notes (Figure 2.19). The solo violin line soars above this texture, playing in an ornate fashion that resembles the accompaniment-like passage played earlier by the violin. Instead of the more song-like theme from the A section, this new melody – Theme C – uses triplet figures extensively in a higher register.
Figure 2.21: Second movement, Theme C, mm. 42-45
After fourteen measures of this nervous quality, the melody shifts to a more relaxed character. A new theme – Theme D – beginning in m. 56, shares a semblance to the solo violin theme in the A section. In m. 61, the flute joins with the first two measures of the theme. 46
Figure 2.22: Second movement, Theme D, mm. 56-62
The tonal area of the B section is less clear than the first section. At the beginning of the section, there is still a strong sense of A being the tonal center. The short einleiten measure highlight the pitch A and the music feels like it cadences in the next measure on A since that is the first and most prominent note played by the violin. However, the orchestral accompaniment paints a different picture. When the middle section begins, the orchestra clearly presents an F- sharp minor harmony. This suggests that the A played by the violin has become the third of an
F-sharp minor triad. The constant reiteration of F-sharp by the orchestra also supports the idea that F-sharp has become the tonal center of the piece. Again, the music meanders through different harmonies, clouding the tonality of the section. However, in m. 56, the F-sharp harmony prevails. Here, the theme, as well as the orchestral harmony, strongly indicates F- sharp.
Theme A is presented again in m. 64 which signals a return to the AA section, thus fulfilling a ternary form. The opening orchestral melody is repeated, this time by the strings with pizzicato. Six measures later, the rhythmic figure of triplets and dotted rhythms appear as well.
On top of this, the solo violin provides ornamental figures again, indicating some variation to the 47 original Theme A section which is typical of ternary form. All of this is happening in the key area of F-sharp, which is a continuation of the middle section’s tonal area. Subsequently, this entire passage is repeated eleven measures later in the key area of B-flat, played by full orchestra in a more triumphant character. Though mm. 64-88 are not in the original key area, the return of thematic material from Theme A marks the beginning of AA’. The presentation of Theme A is too obvious to discount and by developing the theme, Hindemith brings more variety and freshness into the recapitulation.
The music finally returns to the key area of A in m. 89. Also, the expression Im
Anfangszeitmaß (in the initial time) brings back the character from the beginning. Theme B is presented, this time by solo clarinet. Similar to the first AA section, the violin plays an ornamental countermelody above the theme in the clarinet. In m. 103, the brief melody encountered at the end of the B section, theme D, appears again in the solo violin line. This melody persists until the final measures of the movement. The final figure by the violin recalls the dotted rhythm figure that is pervasive throughout the movement.
The final section shares the same tonal characteristics of the first section. In general, the music in this section is clearly in A. Like the beginning, there are some modulations to different key areas, but the music always returns and reinforces the harmony of A. Theme D in m. 103 confirms the tonality of A. When this melody appeared in the B section, the tonality of F-sharp was reinforced. Similarly, this melody fortifies the tonality again in the final section, this time in
A. At the end of the movement the solo violin interestingly ends on the pitch E – the fifth of the final A major triad. Hindemith’s choice of ending on the fifth gives the movement a less robust conclusion. Instead, the music seems to finish with a more searching characteristic unlike what was heard in the first movement. 48
In some ways, the second movement shares the most similarities with other traditional concertos in terms of form. Overall, the compound ternary form of the movement can be found in numerous middle movements of other violin concertos. In addition, the orchestra’s relationship to thematic material is also comparable. For example, the orchestral presentation of the first theme can be found in violin concertos by Beethoven and Brahms. Like Sibelius’ violin concerto, the return of the theme is only played by the orchestra. These similarities in the second movement should not be ignored since they clearly represent a connection with past works.
Compared with the rest of the concerto, the second movement is more dissonant in nature. The key reason that contributes to this phenomenon is the more abundant use of Group B chords. Though the harmonies are still generally dominated by Group A chords, tritone harmonies are utilized to a greater extent than either the first or third movement. This is evident from the opening few measures. Within the first beat, a sub-group IV chord is encountered.
Though it is in passing motion, the slower tempo makes the harmony carry more weight.
Subsequently, the next two measures all feature structural chords Group B. Also, in m. 7, the tritone interval is highlighted within the rhythmic motive. From the opening seven measures, it is clear that Hindemith is utilizing more tritone harmonies.
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(IV2) IV2 IIb2
TRITONE
Figure 2.23: Tritone harmonies, opening of second movement, mm. 1-9
Another contributing factor to the more dissonant atmosphere of the second movement is more harmonic fluctuation. Using more Group B chords naturally increases the amount of fluctuation in a certain passage. However, Hindemith also shifts more between Group A chords in the second movement. Sub-group I and III chords fluctuate more often than in the first movement, aiding in a more constant increase (or decrease) of tension. This is again demonstrated in the opening measures of the second movement.
The more generous use of tritone chords is on full display when Theme B is presented by the violin. Prominent Group B chords are heard in m. 18 and m. 20. Unlike many of the tritone harmonies in the first movement, the tritone chords are more integral to the harmonic fabric.
This is most evident in mm. 21-23. Here, the dominant chords all contain at least one tritone. In 50 m. 21, each of the moving eighth note harmonies produce a Group B chord. Similarly, every beat in m. 22 offers a Group B chord. Successive tritone harmonies are heard in m. 23 as well.
This mass of Group B chords highlight how Hindemith treats tritone harmonies differently in this movement since they are more critical to the overall harmonic structure.
Figure 2.24: Second movement, mm. 21-23
Interestingly, one of the sections that feature the least tritone harmonies happens to be the climax of the movement. M. 74 features the heroic return of the opening Theme A. This section from mm. 74-88 represents the most grandiose moment of the movement. When the theme is played from mm. 74-78, the harmonies are similar to the opening. However, from m. 79 onwards, no tritone harmonies are present. Instead, only sub-group I and III chords are used. 51
The last four measures of the section use only one sub-group I chord – a C-sharp major triad.
This design is quite interesting given that climaxes usually involve more tension in the harmony.
Instead, Hindemith achieves the climactic effect by heavy orchestration and a clear proclamation of the C-sharp tonality.
Mm. 79-88 is also a prime example of how degree progressions facilitate modulation.
During this section, the music moves from E-flat to C-sharp. In between, there is a brief transitionary period in A. By looking at the degree progression of the roots, there is overlap between the tonal centers, creating a smoother modulation between key areas. This section exhibits an ideal degree progression that enables graceful movement between tonal centers.
Degree-progression of roots
Tonal Center
Figure 2.25: Second movement, root degree-progression, mm. 79-88
Unlike the first movement, the ending of the second movement is less vigorous in its declaration of tonality. Only at the very last chord does an A major triad appear. The two measures before feature a chain of alternating sub-group III and IV chords. This choice of ending is fitting for the more pensive ethos of the second movement.
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III1 IV2 III1 IV2 III2 III1 I1
Figure 2.26: Second movement, harmonic progression, mm. 111-114
Part III: Third Movement
Similar to the first movement, the third movement can be analyzed as a sonata form.
Hindemith again treats the form flexibly but compared to the first movement, the sonata form of the third movement is closer to a typical layout.
Introduction Exposition
Introduction Primary Theme Transition Secondary Theme Codetta
Fast Fast Fast Fast
(Db) Db (Db→G#) G# (A→Ab→Eb→A) m. 1-11 12-40 40-77 77-129 130-174
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Development Episode
(Introduction material) New theme Cadenza Retransition
Fast Slower Fast
(E→G#→C) C →Ab (Ab→E) (E→Db)
174-224 223-307 307-388 388-408
Recapitulation Coda
Primary Theme Transition Secondary Theme (combination of materials Fast Fast from transition and episode)
Db (C→Eb) Eb Fast
409-438 438-451 451-519 Db
520-600
Figure 2.27: Third movement (sonata form)
The movement begins with an eleven-measure introduction. At first, only the orchestra
plays until the violin joins with a triplet passage in m. 7.
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Figure 2.28: Opening of third movement, mm. 1-11
The jaunty primary theme is presented by the violin. While the violin is playing the theme, the orchestra provides an eighth note accompaniment that, somewhat incongruously, displaces the beat by an eighth note. Starting in m. 32, the orchestra plays the beginning of the theme but never presents the full version. The opening section ends in m. 40 which marks the beginning of the transition.
Figure 2.29a: Third movement, primary theme, mm. 12-17 55
Figure 2.29b: Third movement, orchestral accompaniment, mm. 12-16
During the introduction, the tonal area is unclear. Though the unison half note D-flat in the first measure seems to suggest that pitch as the tonal center, the next measure presents an equally long unison G-flat. The fifth relationship to G-flat almost makes G-flat appear as the tonic, due to the strong V-I relationship. Following this uncertainty, D-flat is prominently heard in the next few measures but the tonality is never clearly defined. The appearance of the solo violin does not offer any clarity in terms of tonality. Only in m. 12 where Theme 1 begins is the tonality established through a held D-flat in the solo violin and the pitch being the root of the chord. Though there is a brief foray into the tonality of A around m. 32, the cadence into the transition at m. 40 undeniably brings us back to D-flat.
It is noteworthy to consider that D-flat is enharmonic to the tonality of the first movement, C-sharp. There is not a clear reason as to why Hindemith chose to use enharmonic keys rather than the same pitch. My interpretation is that the first movement is more in the realm of minor while the final movement is in major. If Hindemith were to use C-sharp again as the tonal center, that would result in seven sharps. D-flat is more concise, using only five flats.
Thus, for the sake of convenience Hindemith chooses D-flat instead of C-sharp for the final movement. 56
The transition occurs from mm. 40-76 and primarily serves to modulate from the key of
D-flat to G-sharp. Though the main purpose of the music is transitionary, the short rhythmic figure in mm. 40 and 41 occur again later in the movement at a crucial juncture. Also, the transition helps shift the movement from a spritely opening to a more relaxed state.
Figure 2.30: Third movement, rhythmic figure, mm. 40-41
When the secondary theme begins in m. 77, the temperament of the music is completely different from earlier. The theme, presented again by the solo violin, features longer rhythms and a more legato character. Though the melody cannot be necessarily described as lyrical due to an abundance of large leaps, the music still possesses a more expressive quality. The orchestral accompaniment is also drastically different from earlier. Similar to Theme 2A in the first movement, the first four measures of the third movement’s secondary theme also features a single, drone-like chord. As the theme progresses, however, the accompaniment becomes more complex. In m. 85, the clarinet begins playing the second theme while the solo violin is still presenting it, producing a semi-canonic relationship between the soloist and orchestra (the clarinet never finishes the theme). Beginning in m. 93, the melody in the violin becomes more active, featuring prominent eighth note rhythms as well as even larger leaps. Like earlier, the 57 clarinet again presents this portion of the melody, starting in m. 111. The section draws to a close as the clarinet finishes playing the line in m. 129.
Figure 2.31: Third movement, secondary theme, mm. 77-92
The secondary theme of the third movement is primarily in the tonal area of G-sharp.
The prominent chord in the orchestra at the beginning of the theme proves this since G-sharp is the root of the chord. During the middle portion of this section around m. 102, the music briefly explores the key area of F-sharp. However, when the clarinet finishes the theme at m. 129, the cadence is in the realm of G-sharp. 58
M. 129 also marks the beginning of the exposition’s codetta. Rather than one distinct closing theme, Hindemith chooses to use three different musical ideas to construct the passage.
Mm. 129-144 represent the first idea. The violin introduces a melody that resembles the jocular character of the primary theme. Meanwhile, the orchestra plays a rhythm that closely resembles the accompaniment from the primary theme. In m. 137, the flute takes over the theme from the violin as the strings continue the accompaniment figure.
Figure 2.32: Third movement, Codetta, first idea, mm. 129-137 59
The second musical idea of the codetta starts in m. 144. It begins with a short brass chord, but the main element is a two and a half measure long, descending sixteenth note figure played by the violin from m. 145-147. This is repeated two more times by the soloist. During the second iteration, the orchestra plays a brief countermelody while the third iteration features a homogenous rhythmic motive resembling mm. 40 and 41 from the transition. After the violin presents this idea three times, the orchestra plays three chords, each progressively softer, which leads to the third idea.
Figure 2.33: Third movement, Codetta, second idea, mm. 144-147
The third musical element starts from m. 157 and ends in m. 174. This passage is characterized by rapid sixteenth notes in the solo violin. It is the first musical idea in the entire concerto featuring primarily continuous sixteenth notes. The virtuosic display is evident here and provides and pushes the exposition to an exciting finish. While the solo violin is displaying technical brilliance, the orchestra provides only a sparse texture which makes the virtuosity of the violinist stand out even more.
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Figure 2.34: Third movement, Codetta, third idea, mm. 157-164
While the second theme ends with a cadence in G-sharp, the beginning of the codetta quickly transitions and establishes the tonal center of A. Both iterations of the first idea (mm.
129-144) are firmly in the key area of A. When the second idea begins, the tonality becomes more muddled. Because there is no strong triadic harmony during this segment of the codetta, it is difficult to distinguish where the music is centered. In m. 157, E-flat becomes the clear tonal center given the strong fifth of E-flat and B-flat on the downbeat. This tonality is short-lived, however, as the music begins to explore different key areas a few measures later. Only at the very end of the section does the music achieve a clear cadence in E.
This cadence also signifies the beginning of the development. There are many similarities between this development and the development in the first movement. First, the development is presented entirely by the orchestra. This development also only uses one musical idea from the opening of the movement. Finally, the main method of development is through constant modulation. All of these characteristics are exhibited in the development of the first movement. 61
In the third movement’s development, the material is not from either Theme 1 or Theme
2. Instead, the music comes from the fanfare-like introduction. More precisely, the development only uses the opening five measures of the introduction. This fragment is repeated numerous times throughout the development, beginning with the trumpets in m. 174.
Figure 2.35: Third movement, beginning of development, mm. 173-180
Because of the cadence in E, the fragment is consequently in the tonal area of E.
However, two measures later, the trombones enter with the material while the trumpet is still completing the “theme.” Even though the trumpet tune emphasizes E, the trombone entrance is more in the tonal area of G-sharp. This cycle of alternating entrances continues for the next twenty measures. Beginning in m. 188, Hindemith alters the pattern slightly. Instead of the fragment being five measures long, the melody becomes only four measures in length for the next four iterations. Also, instead of having entrances of the melody two measures apart, there is only one measure of separation between them. 62
M. 196 signifies a few changes to the pattern exhibited earlier in the development. The length of the fragment is now shortened to three measures. This condensing of the melody – five measures to four and then three – increases the anxiety and pace of the music. Also, the fragment entrances stop changing pitches. There are still two separate imitative entrances – m.
196 in C and m. 197 in A – but each subsequent entrance remains on the same pitch. Finally, the third measure of each fragment is slightly altered when compared to the earlier version in both the development and introduction. Instead of starting with the “original” pitch like earlier, the third measure is shifted down by a half step. This creates more tension in terms of tonality, even though the entrances are more unified in terms of key area. These techniques add tension and excitement to the music while propelling it towards the climax.
All the buildup of tension culminates with m. 205. Here, the theme is played in unison and a clear sense of tonality is achieved. The melody is distinctly in C and the entire five measure fragment is presented. A clear cadence in m. 215 reinforces the tonal area of C. From mm. 214 until 223, the material from earlier disappears and the music hovers around the tonality of C. This tonality blends into the next section of the movement.
Beginning in m. 223, Hindemith introduces a new section. Typically, one would expect some sort of return to opening material, marking the recapitulation, or continue the development further. However, Hindemith presents a section based on a new theme. This theme, first played by the violin in m. 225, is derived from Theme 2A in the first movement but exhibits a noble character different from previous themes.
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Figure 2.36: Third movement, new theme and connection with Theme 2A from first movement
The first four notes of the theme are emphasized within the theme and throughout the section, forming a motive of sorts. In m. 247, the orchestra, which featured tremolo strings up until this point, presents the theme through the horns while the solo violin plays a countermelody above the orchestra. When the solo violin stops playing in m. 268, the orchestra continues to build tension by playing the opening fragments of the theme in succession. This pushes the music to the climax of the piece in m. 287 where the dynamic of fff is seen for the first, and only, time in the entire piece. A sudden drop to pianissimo in m. 290 sees a return to string tremolo while the solo violin again plays the theme in m. 292. This leads to a cadenza from mm. 308-
388 which is predominantly built on the theme of this section.
Because of the importance and unity of material in this section, I would categorize mm.
223-388 as an episode. This is not typical in a sonata form. However, a cadenza at the end of the development would not be so unusual in sonata form. Many concertos, such as the first movements of Mendelssohn’s Violin Concerto in E minor, Sibelius’ Violin Concerto in D minor, 64 and Tchaikovsky’s Violin Concerto in D major, all have their cadenzas at this juncture. Thus, this entire section could be viewed as a massive cadenza area that involves both the violin and orchestra. Because of the homogenous material, it is not a preposterous proposition, but a compelling one.
At m. 223 when the episode begins, the tonal center of the music is C. This is supported by the pitch C being the root of the constant tremolo in the strings. Throughout the section, the music modulates constantly but there are a few key areas that stand out. M. 247 is important because the orchestra presents the episode’s theme for the first time. Here, the music has clearly shifted to a tonal center of D, evidenced by the constant repetition of the pitch in the violin as well as the prominence of D in the orchestra. When the violin stops playing and orchestra completely takes over in m. 268, the key area has shifted to D-flat. This orchestral passage culminates with a cadence in A-flat in m. 289. The tonality of A-flat continues a measure later when the strings revert to tremolos. Here, the tonality may seem confusing since the lower note of the tremolos between E-flat and A-flat is E-flat, suggesting that E-flat may be the tonal center.
However, in Hindemith’s system of invertible intervals, the root of the chord is actually A-flat.
This would support A-flat as the tonal area. Also, when the violin enters again in m. 292 with the theme, it is in the key area of A-flat. This tonality continues when the cadenza begins in m.
308.
Towards the end of the cadenza in mm. 384-387, the violin plays a passage of triplets resembling mm. 7-9 in the introduction that leads into the recapitulation. However, when the cadenza ends in m. 338, the trill on B in the violin, coupled with the orchestral entrance of a primary theme fragment in m. 389 also in B, does not bring the music back to the original key of
D-flat. Only in m. 409 is the full primary theme played in the original key of D-flat by the 65 clarinet. Mm. 388-408 can be labeled as a retransition since m. 409 marks the true beginning of the recapitulation.
The clarinet finishes playing the theme in m. 422. Here, the solo violin takes over and repeats the primary theme again. However, the music has modulated to the key area of F-sharp, indicated by the prominence of F-sharp in the melody and repetition in the orchestra. Two measures after the violin starts the theme, the oboe joins in with the primary theme as well.
Again, a semi-canonic relationship occurs between the two lines.
In m. 438, the transition to the secondary theme begins. The music is different from the transition in the first movement. Hindemith uses music from the codetta of the exposition as transition material. More specifically, only the second musical idea from the codetta is used.
Three iterations of the sixteenth note passage – twice by the solo violin and once by the flutes – make up the short transition as the secondary theme begins in m. 451. Through this brief transition, the tonal area has shifted from F-sharp to E-flat.
Similar to the exposition, Hindemith begins the secondary theme with the solo violin presenting the melody. As the violin is playing, other instruments also join with fragments of the theme, beginning with the cellos in m. 459 and then violas in m. 463. Something different, however, occurs at m. 467. Here, the violin plays a variation of the theme in triplets new to the recapitulation. The flowing triplets follow and outline the contour of the secondary theme while providing a more active character. This variation ends in m. 476 as the violin returns to the original theme. 66
Figure 2.37: Third movement, variation of secondary theme in recapitulation, mm. 467-476
The biggest difference between the exposition and recapitulation begins in m. 494.
While still part of the second theme group, the melody does not continue in the violin or orchestra. Instead, the violin line plays around the pitch E-flat until it begins holding the note from mm. 499-519. During this time, the orchestra plays fragments of the second theme, first in the key of E-flat but eventually modulating to different tonal areas while the violin holds E-flat. 67
This peculiar section will be explored in more detail later. Eventually, the music returns to the tonality of E-flat around m. 514, resulting in a dramatic fermata at m. 519.
Figure 2.38: Third movement, ending of second theme in recapitulation, mm. 495-519
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The tension is released in the m. 520, marking the start of the coda. The coda features a mixture of material found throughout the movement. Hindemith begins with the rhythmic figure from mm. 40 and 41 in the exposition’s transition. In m. 532, the solo violin joins with rapid sixteenth notes reminiscent of the beginning of the development. Though the melodic contour is different, the rhythm of constant sixteenth notes conjure the feeling of the development. While the solo violin is playing the virtuosic passage, the orchestra plays the first eight bars of the theme from the episode, repeating it again in m. 540. Beginning in m. 548, an even shorter fragment of the episode theme is repeated in the orchestra. Later in m. 558, the orchestra recalls the opening five measures of the movement which is interrupted by double stops in the solo violin. Starting in m. 568, the orchestra plays and repeats a rhythmic figure similar to the beginning of the coda. Finally, in m. 584, the orchestra plays the opening five measures of the movement again, marking the last time material from earlier is heard. A flurry of sixteenth notes played by the solo violin from mm. 590-596 pushes the coda to an exciting finish where the orchestra and violin trade outbursts for four measures before joining in unison for the final chord of the concerto.
The coda serves to reinforce the key area of D-flat. Like earlier sections, however,
Hindemith takes liberty in exploring and modulating to different key areas. The opening of the coda remains slightly ambiguous, as E-flat seems to be the predominant tonality. However, the entrance of the violin at m. 532 clearly defines the tonal area as D-flat. After D-flat is established, the music then begins to move towards other key areas. In m. 548, Hindemith muddles the tonal area by modulating to E-flat. Afterwards, the music seemingly moves to A in m. 558 until it returns to E-flat in m. 568. The widespread chromaticism makes the key area somewhat uncertain, as the tonality hovers somewhere between E-flat and F. However, a strong 69 declaration of the tonality is achieved in m. 585 when a powerful E-flat chord is presented by the orchestra. A cadenza like passage from mm. 590 to 596 in the violin helps guide the music back to the original key of D-flat. The chords in the final five measures of the movement firmly reinforces the key of D-flat.
Harmonically, the third movement resembles the first movement more than the second movement. Hindemith is more selective in his use of Group B chords and overall, the considerable use of Group A chords contributes to a more harmonious sound. Generally, the use of tritone chords is increased during more dramatic or climactic moments, similar to the first movement.
The opening theme of the third movement shows an even greater avoidance of tritone chords than the first movement. From m. 12 where the violin presents the theme to m. 40 when it ends, only one tritone chord can be analyzed as a concrete harmony (m. 19). Four other measures only fleetingly create a tritone moment between the violin and orchestra. Because the motion in the melody suggests the tritone harmonies only occur as a result of non-harmonic tones, they cannot be recognized as structural chords. It is quite remarkable that Hindemith creates an entire primary theme and only utilizes one tritone chord. Through the primary theme of the third movement, it is undeniable that Hindemith consciously avoids Group B chords.
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III1 III2
III2 III2 IIb2 III2 III1
III1 III1 III1
Figure 2.39: Third movement, mm. 12-25
Another interesting characteristic of the primary theme is a limited amount of harmonic fluctuation. Two factors contribute to this phenomenon. First, the harmonic changes during the 71 theme generally happen at a slower pace. For example, the D-flat harmony at the beginning of the theme is held for four measures. The next chord, occurring at the end of m. 15, lasts for almost two measures. This occurs multiple times throughout the theme, such as mm. 26-29, 32-
33, and 34-36. Rarely does one measure contain multiple chords during the primary theme. The chords Hindemith’s chooses to use are the second contributing factor to the lack of harmonic fluctuation. Much like the primary theme of the first movement, Hindemith uses predominantly sub-group III chords. However, the primary theme in the third movement is more blatant in its affinity towards sub-group III chords. The entire theme – with the exception of m. 19, the tritone harmony – uses only sub-group III chords. Not a single sub-group I chord is heard, much less sub-group V. Thus, the only harmonic fluctuation happening is between sub-group III chords
(again, barring m. 19).
Due to the small amount of harmonic fluctuation, the primary theme of the third movement has a more carefree quality than the previous two movements. Because harmonic fluctuation translates to a change in tension, the lack of fluctuation means that the tension is never really increased or decreased. Instead, it stays in a more placid state which allows the music to take on a more light-hearted character. Also, the faster pace of Theme 1 naturally requires a slower change in harmonies. In order to remain legible, harmonies cannot change at a similar frequency as the previous two movements.
Similar to the primary theme, the second theme also shows avoidance of Group B chords and tendency towards sub-group III chords. From mm. 77-93, only sub-group III harmonies are used (a sub-group I chord briefly occurs in m. 83 but due to its passing nature, it is more appropriate to analyze it as part of a sub-group III chord involving the entire measure). This is remarkable since during these measures, the first portion of the theme is played by both the solo 72 violin and clarinet. Through two iterations of the theme, Hindemith manages to avoid using any chords outside of sub-group III. The homogenous harmony creates the ideal background for a tranquil second theme.
Mm. 77 to 129, which encompasses the entire second theme area, only utilizes a Group B chord seven times structurally. Again, the lack of tritone harmonies is noticeable and creates a more homogenous atmosphere. Much of the tension during the second theme comes from the use of chromaticism. Even though some passages are highly chromatic, the underlying harmonies do not necessarily exhibit more fluctuation in harmonic tension.
The episode offers a distinct form of modulation that is equally effective as the overlapping degree progression examined in the second movement. In this case, the roots of the harmonies from mm. 223-246 unequivocally belong to the tonality of C. Beginning in m. 247, a chain of chords with the root D establish that pitch as the tonal center. This section is an example of a sudden shift to a new tonality. The establishment of the tonality is not by surrounding roots, but rather the repetition of the new tonal pitch. Because this is an infrequent modulation method in this work, the effect is even more jarring for a listener.
Degree-progression of Roots
Tonal Center
Figure 2.40: Third movement, root degree-progression of episode, mm. 223-250 73
One of the most captivating moments of the concerto occurs at the end of the recapitulation (figure 2.36). From m. 499 until the coda (m. 520), the solo violin simply holds an
E-flat. Below, the orchestra repeats fragments of the second theme. However, the entrances of the orchestra are not in the same tonal area. By the time the violin begins holding the E-flat, the tonal center of E-flat is already established. The orchestral entrances of the theme starting from m. 494 all conform to the key area of E-flat. The clarinet entrance of the theme at the end of m.
500 also confirms the tonality of E-flat. However, the piccolo entrance a measure later is in the key of B. These two lines continue in two distinctly different keys until m. 507. Because the displacement is a measure apart, the different tonalities become clearer. The bassoon then plays the theme in E-flat from the pickup into m. 508 while the clarinet joins in G a measure later, continuing until the end of the recapitulation at m. 519.
This section exhibits characteristics similar to polytonality. In The Craft of Musical
Composition, Hindemith took a strong stance against atonal and polytonal music. However, in this moment, the magnitude of the section constitutes using something that creates maximum tension and suspense. In this case, Hindemith felt that an almost polytonal approach was most effective. Given the majority of the movement has been on the more harmonious side, this section certainly heightens the tension and creates an atmosphere of unease.
As a side effect of the different entrances, more tritone intervals and harmonies are heard in this section. Again, this creates more harmonic contrast to the rest of the movement. This difference is especially effective since the music follows the second theme which uses a large amount of sub-group III chords. At first, tritone moments occur mostly as intervals between the two different iterations of the theme in the orchestra, such as m. 502 and so on. Later, tritone intervals begin to exist between the themes and solo violin E-flat due to the presence of an A- 74 natural in the theme in G. This added element turns into full tritone harmonies by m. 516 since the chord formed – E-flat, A, G, and B – feature the tritone interval between E-flat and A. This harmony is repeated and becomes the last chord of the section in m. 519. The fermata on this sub-group IIb1 chord stresses the harmony and creates intense suspense due to the prolonged holding of this chord.
Like the first movement, the third movement finishes with a strong declaration of tonality. The D-flat major triads create a strong impression of the tonal area. Unlike the first movement, Hindemith decorates the triads with a short sub-group III chord. In the last five measures, each D-flat major harmony is immediately preceded by a sub-group III chord. This adds a unique flavor to the tonal declarations by creating tension up until the final harmony of the movement.
III1 (I1) III1 (I1) III1 (I1) III1 I1
Figure 2.41: Third movement, harmonic scheme of ending, mm. 596-600
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Part IV: Orchestration
The violin concerto is a brilliant reflection of Hindemith’s mastery of orchestration. His array of textures, attention to detail, and precise usage of instruments can be seen throughout this concerto. Also, the orchestration in the violin concerto demonstrates Hindemith’s awareness of masterworks from the past. Certain moments in the concerto are clearly influenced by earlier violin concertos.
In terms of instrumentation, Hindemith chooses to use a relatively smaller ensemble. The work calls for two flutes (2nd also plays piccolo), two oboes, two clarinets in Bb, one bass clarinet, two bassoons, four horns, two trumpets, three trombones, one tuba, timpani, percussion
(bass drum snare drum, cymbal, triangle, tambourine, and gong), and strings. Compared with violin concertos written around the same time, Hindemith’s instrumentation leans towards the smaller side. In fact, this concerto uses a smaller orchestra than Stravinsky’s quintessentially neoclassical violin concerto. Though the use of less instruments does not necessarily indicate a conscious emulation of the past, the texture often does suggest a more classical approach.
In this concerto, Hindemith generally chooses to use woodwind and brass instruments when presenting thematic material in the orchestra. The strings rarely play themes, especially if the character is more lyrical and expressive. Instead, they primarily provide textural and harmonic support for the violin line. When strings do play the theme, it is usually in the lower strings. By doing this, Hindemith avoids the solo violin color blending with the strings. Since most of the themes are given to the woodwinds and brass, there is more contrast between the forces. This conscious decision to emphasize the soloist through orchestration is not foreign for
Hindemith. In his famous Der Schwanendreher concerto for viola, the entire violin and viola 76 sections are eliminated in order for the solo viola to stand out. Though not quite as drastic in the violin concerto, the careful usage of strings follows the same principle.
Even from listening to the concerto, it is obvious that the brass section is crucial to the work. They provide some of the most climactic and intense moments in the work. For example, the development sections of the first and third movement are essentially based on material played by the brass section. Giving the spotlight to the brass for an entire section, particularly at crucial junctures, show the importance of the brass instruments. This significance translates to the concerto taking on a heroic character. The bold character provided by the brass permeates the character of the concerto.
The woodwind section is heavily featured in thematic material. Virtually all of the themes in the concerto are presented by a member of the woodwind family. The importance is clear from the beginning of the work. The first thematic material played by orchestra is given to the woodwinds – Theme 1B in m. 18. This theme is not played by the solo violin at the beginning, highlighting the importance of woodwinds. At the end of the second movement, the final iteration of a theme is given to the clarinet and in the third movement, the clarinet again introduces the primary theme during the recapitulation. In transitional sections, the woodwinds also frequently present thematic fragments that aid the shift to a new theme. The best examples of this are during the first movement’s transitions in the exposition and recapitulation. Finally, the woodwinds often echo the theme after the violin presents it, acting as a sort of extension of the solo violin.
There are multiple instances throughout the concerto that invoke violin concertos of the past. For example, the very beginning of the work is a reference to Beethoven’s violin concerto. 77
One of the hallmarks of Beethoven’s work is the use of solo timpani to begin the concerto. The four quarter notes of the timpani were a groundbreaking feature. In Hindemith’s concerto, the opening two measures are played by solo timpani. Much like in the Beethoven, the timpani here is the source of a rhythmic motive that is encountered throughout the movement.
Figure 2.42: Timpani solo at beginning of first movement, mm. 1-3
Another correlation with previous concerti occurs in the third movement. After the cadenza, the violin continues with prolonged trills. Beneath this ornamentation, clarinets and bassoons play a fragment of the primary theme. Due to the range of the instruments, the more prominent line belongs to the clarinet. This moment is reminiscent of the third movement in
Mendelssohn’s Violin Concerto in E minor. In Mendelssohn’s work, fragments of the primary theme are played by the clarinet while the violin holds a trill. The similarities are undeniable as even the thematic fragments are similar, featuring an exuberant flourish of sixteenth notes.
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Figure 2.43: Retransition of third movement, mm. 388-405
Throughout the work, Hindemith often uses perfect fifths in the lower strings or brass.
There are two reasons for this. First, using fifths in the lower voices clarifies the tonality of the music since the root of the harmony is on the bottom. Second, fifths in the lower voices creates a clear and luminous sound that is integral to the concerto. The fifth spacing between lower voices allows a more harmonious sound to permeate the texture of the concerto.
The treatment of the orchestra in this concerto displays a precise and conscious design.
Each instrument and family serve a unique function throughout the work. Additionally,
Hindemith pays an homage to masterworks in the violin concerto genre through the orchestration. Though the parodies are often minute, they nonetheless provide a clear tribute to past concertos.
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Chapter Three: Practical Observations
Part I: Technical Considerations and Challenges
Hindemith’s violin concerto presents a multitude of challenges for the performer. As a composer, Hindemith was opposed to the idea of virtuosity for virtuosity’s sake. Brilliant technical displays must always serve a higher purpose rather than simply showing off.63
However, when the music calls for virtuosity, Hindemith does not hold back. Whether from a technical or musical standpoint, the concerto poses many difficulties for a violinist. The plethora of challenges is impossible to thoroughly address in this document. Nevertheless, general considerations will be provided in hopes of illuminating some of the obstacles encountered in this work.
Perhaps the biggest challenge for a violinist when approaching this work – and frankly, most of Hindemith’s music – is the abundance of quartal harmonies. The prolific use of fourths and fifths can be a weakness for many string players. For a violinist, most of the technical training is based on triads and triadic harmonies. This is especially evident in the practice of double stop scales. The most common and thorough training of double-stops for a violinist are scales in thirds, sixths, octaves, and tenths. Many traditional scale books only provide those four options and thus, violinists tend to only practice those double stops. This creates an obvious deficiency when it comes to fourths and fifths. Because of the lack of training, many passages in this concerto that use quartal harmonies present a unique technical challenge.
63 Joanna Ksieska-Koszalka, “Paul Hindemith and the Idea of Progress, Tradition and Neoclassicism,” Kwartalnik Młodych Muzykologów UJ 35 (April 2017): pp. 112-124, https://doi.org/10.4467/23537094kmmuj.17.041.7870, 122. 80
Another aspect of quartal harmonies that is extremely difficult for violinists and string players in general is the tuning of fifths. On string instruments (except double bass), double stop fifths are played by the same finger on both strings. This leads to complications in intonation since the slightest angle difference of the finger will cause the double stop (or chord) to be out of tune. For a violinist, the fingers are generally pointed towards the head, causing a natural angle that could be detrimental to the intonation. The player must find the right position to cover both strings and the angle could be different for each finger. On top of that, the perfect quality of the fifth makes obvious the slightest error in tuning.
Passages with quartal harmonies appear throughout the concerto but a few sections highlight the issues particularly well. The cadenza of the third movement shows some of the challenges posed by quartal harmonies. From m. 345, the cadenza moves into a section that features an abundance of fourths and fifths. Oftentimes, a chain of double-stop fourths is present, such as mm. 348-350. This would be rather awkward for a violinist not used to playing consecutive fourths. Mm. 353-360 is especially difficult, given the number of double stops and chords that utilize fourths and fifths. On top of that, numerous non-quartal chords and double stops also make this section difficult to navigate in terms of fingerings and intonation.
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Figure 3.1: Third movement cadenza, mm. 341-385
Another passage that is dominated by quartal harmonies is Theme 2B in the first movement. The entire section is based on a quartal motive that is varied and repeated. In this passage, there is a mixture of both single notes and double stops/chords that feature quartal harmonies. Mm. 151-157 in particular features a large amount of quartal chords mixed with melodic materials in fourths. This combination is difficult to maneuver and creates problematic intonation issues. 82
Figure 3.2: First movement, mm. 152-157
Another technically challenging characteristic of this concerto is the propensity towards using higher registers. A large portion of the violin line in this concerto occurs on the upper two strings. In particular, the usage of high register on the E string is unusually concentrated in certain sections. Entire passages and even themes are presented only on the E string.
Playing constantly in the higher register poses significant challenges for the violinist.
One difficulty is maintaining the integrity of intonation. As the notes get higher, the spacing between fingers on the fingerboard become narrower and intonation mistakes are amplified.
Staying in the upper register requires the left hand to be extremely precise in order to play in tune. Also, sustaining expressivity in the higher register is difficult for a violinist. Oftentimes, the sound can become shrill and lose color. Since Hindemith commonly uses high registers for thematic material, the demand for expressivity is always present, creating a tricky conundrum for the performer.
The opening of the concerto offers a fantastic example of this issue (figure 2.2). For the majority of Theme 1A, the violin melody stays in the upper range of the instrument. The music reaches the A string only twice – the opening note and final measure. The expressive quality of the theme requires the violinist to navigate the higher register with great sensitivity. On top of that, the range in the orchestral accompaniment is on the lower side, creating a wide separation 83 between the soloist and orchestra. This demands more warmth from the solo violin sound in order to achieve a better blend, even though it is primarily played in a high register. Given that this passage begins the entire concerto, the opening theme becomes even more difficult to master and perform convincingly.
In addition to Theme 1A in the first movement, the entire first theme area leans towards the higher register in the violin line. When the violin reenters in m. 39, the solo line begins an upwards trajectory. The violin stays on the E string and continuously pushes the register towards the upper limit. Even when the music makes a sudden drop to the G string in m. 51, a quick upwards arpeggio brings the music back to the high register. Three repetitions of the arpeggio culminate in a high E-flat that comes close to the upper extremities of the instrument.
Figure 3.3: First movement, mm. 29-69 84
This tendency towards higher registers is displayed throughout the concerto. In the second movement, the violin line again focuses on the E string. In fact, the theme is played entirely on the E string. Much of the theme is played upwards of fifth position. Similar to the first movement, the orchestral accompaniment is in a much lower register relative to the solo violin line. This contrast between the two forces results in much of the same complications encountered during the opening theme of the first movement. In the case of the second movement, the difficulties are perhaps more pronounced given the slower tempo of the movement. Because the music moves slower, the challenge of creating a rich and sustained tone becomes even more difficult in higher registers. However, this is crucial towards creating the lyrical character demanded by the music.
As with much of the music from the twentieth century, incessant chromaticism creates many problems for a violinist. Intonation is one of the largest issues when dealing with highly chromatic music. Oftentimes, the pitch center becomes unstable due to the sense of an unclear tonal center. In the case of this concerto, the mixture of chromaticism with quartal harmonies make the issue even more pronounced. Because of the perfect quality of fourths and fifths, the intonation discrepancies are amplified. Also, many of the most chromatic passages in this concerto happen to be in moments where the music is moving at a faster pace. This makes dissecting intonation much more difficult. Thus, it is critical to treat the chromaticism in this concerto with great care given the added complications associated with it.
The use of chromaticism also presents problems in terms of fingering. Chromatic scales are considered a core component of a violinists’ training, but in this concerto, chromatic passages do not follow a specific pattern. It is quite common to see skips of fourths or fifths within a chromatic passage. These factors result in fingering issues that are quite difficult to resolve. 85
Finding an appropriate fingering is tough in this concerto, but necessary to ensure the quality of the performance.
Rampant chromaticism is highlighted in the second movement. Though chromaticism is a common occurrence throughout the concerto, the middle movement is more concentrated in its use. The more dissonant harmonies, and mysterious atmosphere, are the main factors of this heightened use of chromaticism. In general, when the solo violin plays quicker rhythms, the passage becomes more chromatic. This often correlates with the violin playing more secondary or ornamental material. An example is when the oboe begins playing the theme starting in measure 27. The violin begins playing sixteenth notes and sixteenth-note triplets that ornament the theme in a highly chromatic fashion. This chromaticism is further intensified later in the section from mm. 34-40. Similarly, during the return of this material from m. 89, the solo violin again plays a more chromatic passage that is secondary to the theme. The quicker rhythms amplify the effect and difficulty of chromaticism.
Likewise, the quicker rhythms at the beginning of the B section are also saturated with chromaticism. Unlike the previous examples, the violin here presents the main thematic material. This highly chromatic passage from mm. 42-55 is tricky to maneuver (figure 2.19).
Like much of the music in this movement, the majority of this theme is played high on the E string. Combined with the chromatic material, problems in intonation are magnified. The constant shifting and stretching required makes the passage even more complex. These challenges make this section one of the most difficult in the concerto.
Another passage that perfectly showcases the combination of chromaticism and quartal harmonies is the coda of the third movement. As mentioned earlier, the coda is an extremely 86 virtuosic section that features a constant stream of sixteenth notes. It is also one of the most chromatic passages in the entire concerto. Like the other chromatic passages, Hindemith chooses to skip certain intervals, making a pattern difficult to decipher. This increases the difficulty in navigating the chromaticism, especially when played at a rapid tempo. Later in the coda, double stop and arpeggiated quartal harmonies are employed, making for one exceedingly virtuosic, and difficult, ending to the concerto.
Hindemith’s violin concerto offers a distinct array of technical challenges for a violinist.
Given his philosophy of aversion towards overt virtuosity, the difficulties in this work are more hidden than in other concertos. In general, this concerto presents a more flowing and expressive character without many chances for brilliant technical display. However, hidden behind this façade is a complicated labyrinth of obstacles a violinist must overcome in order to deliver a convincing interpretation. Indeed, the most daunting task is to convey the effect of coolness and objectivity, without being hindered by the multitude of technical challenges.
Part II: Application of Findings
Understanding the formal and harmonic designs of the concerto is crucial towards an informed interpretation and performance of the work. Though this concerto uses traditional forms as a framework, the flexibility often obscures the formal design. A clear insight about the form is important for a coherent performance of the work. Likewise, understanding how
Hindemith uses harmonies in the concerto is a critical component of making informed musical decisions. A few examples will demonstrate the importance of applying formal and harmonic knowledge to performance. 87
In many instances throughout the work, beginnings and endings of sections may blend together. Because the concept of continuous development is a large element of Hindemith’s work, the more fluid connection between sections is a natural effect. A good example of this is the coda of the first movement. Before the coda, the solo violin is playing theme 2B, characterized by consistent eighth notes. By looking at the violin line, this texture of eighth notes continues all the way until m. 387 when theme 1A is played by the violin. A forte in the score here might indicate to a performer that this is the beginning of the coda. However, the coda actually starts twelve measures earlier in m. 375 when theme 1A begins in the orchestra.
By understanding m. 375 as the proper start of the coda, a violinist should be inclined to emphasize the moment. Even though the dynamic is mezzo forte, it should be presented with more conviction, given that this is a crucial juncture in the form of the movement. A violinist would be able to make this decision only through careful analysis of the movement’s form.
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Figure 3.4: First movement mm. 362-388, coda begins at m. 375 (mf)
In the third movement, treating mm. 223-388 as an episode rather than a continuation of the development will also alter how a violinist approaches the section. By treating the episode as something new, the violinist could choose to magnify the novelty of the passage. Furthermore, by recognizing that the melody here shares a connection with theme 2A from the first movement, the violinist could emphasize the contour to better invoke the earlier theme (figure 2.34). 89
Considering Hindemith’s use of harmonies can also aid in making informed performance decisions. In particular, understanding the harmonic fluctuation of a passage will contribute to a more convincing interpretation. Sometimes, the harmonic intricacies are not obvious and require a more detailed analysis. An example is theme 2A in the first movement. By examining all the harmonies used, it becomes clear that most of the theme utilizes chords without tritones.
However, a chain of sub-group IV chords occurs at end of the section (mm. 121-125, figure
2.15), representing the moment with the most harmonic tension. Recognizing this, a violinist would be wise to sustain the musical tension in the melody, even though the lengthy phrase makes it quite difficult. Without knowing the significance of the harmonies in those measures, a performer might arbitrarily emphasize certain notes over others. By applying harmonic knowledge, the importance of the moment can be recognized, and the performance adjusted accordingly.
One passage where harmonic understanding is crucial occurs during the “B” section of the second movement. From mm. 42-52 (most of the “c” theme), the violin plays a delicate melody solely on the E string. The orchestra provides a tranquil texture of constant eighth notes.
It is difficult to phrase this passage, given the high range and often ambiguous tonal direction.
Combined with minimal expression markings, it is easy to make the music sound aimless or, worse, random. However, examining the chords and subsequent harmonic fluctuation can help tremendously in shaping the melody. The first few measures mostly use sub-group I and III chords but starting from m. 46, more and more tritone harmonies are used, creating more harmonic tension. M. 48 is particularly fascinating to look at. In this measure, the violin repeats a pattern three times (the third time with slightly altered pitches).
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I2 IV2 IIb2 IV2 III2
Figure 3.5: Second movement, m. 48
Without harmonic context, this would likely be a difficult measure to phrase but by looking at the harmonies provided by the orchestra, it becomes clear how the music should be shaped. The tension of the measure should lean towards the second and third beats, given the more intense harmonies. As a result, the repeated figuration in the violin melody should also follow the contour of the harmony.
Understanding the formal and harmonic construction of this concerto is essential for performing this piece. They provide clues that aide a violinist in their interpretation of the work.
Without understanding the formal and harmonic framework, a performer runs the risk of producing gibberish. In addition to being expressive, Hindemith’s music is highly logical and 91 requires an acknowledgment of the intellectual aspects of the work. Part of the attraction of exploring this concerto lies in the discovery of Hindemith’s compositional ingenuity.
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Conclusion
Hindemith’s violin concerto is a twentieth century masterwork that deserves a high level of appreciation. Formally, Hindemith reveals a design that is intriguing and imaginative without losing its integrity. By pushing the boundaries of conventional forms, Hindemith offers something fresh while nodding toward tradition. Subtle elements inspired by previous violin concertos exist throughout the work and show Hindemith’s respect towards the canon. The details of this work can be riveting, and demonstrate Hindemith’s musical originality and intellectual brilliance.
Hindemith’s theoretical ideas are applied without becoming pedantic. The harmonic construction displays Hindemith’s concepts of tonality and fluctuation. Traditional music theory would encounter difficulties in analyzing the harmony of this work. It may even lead toward tonality being questioned. However, Hindemith’s system provides an explanation and its tonal background. The strong tonal pillars within the piece offer the necessary support for a texture that is dominated by seventh chords (sub-group III). This balance between stability and flexibility delivers a fascinating realization of Hindemith’s harmonic ideas.
Hindemith’s violin concerto also offers unique challenges for the violinist. The combination of quartal passages with heavy chromaticism create patterns that are rather unfamiliar for a violinist. In addition, the prolific use of the high register requires constant attention towards intonation and sound quality. Finally, a rational approach to the work is needed in order to convincingly convey the intricacies of this concerto. 93
Though the sophisticated details and challenges of this piece are bountiful, they are not the only reasons for its appreciation. This concerto deserves more recognition primarily because of its expressive qualities. Of course, the intellectual design is something to marvel at, but it is the employment of technique in the service of expression that makes this work so captivating.
Never does the music become dull or tedious. A charming quality persists throughout the concerto, creating an alluring experience for the performer and listener alike.
It is not a trivial matter for a composer of Hindemith’s stature to write a concerto for the violin. His musical ideas, style, and genius all have a voice in this masterwork. The diminishing popularity of this work since his death is rather inexplicable and perhaps it is time to reevaluate one of the most compelling violin concertos of the twentieth century.
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Appendix Table of Chord-Groups64
64 Hindemith, 224-225. 95
Bibliography
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Allen, Roger. Wilhelm Furtwängler: Art and the Politics of the Unpolitical. Woodbridge: Boydell & Brewer, 2018.
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Desbruslais, Simon. The Music and Music Theory of Paul Hindemith. Woodbridge, Suffolk: The Boydell Press, 2018. Hansen, Finn Egeland. Harbingers of Twentieth-Century Neo-Classicism. Aarhus: Aarhus University Press, 2019. Hindemith, Paul. The Craft of Musical Composition. Translated by Arthur Mendel. New York: Schott, 1980.
Hindemith, Paul, and Geoffrey Skelton. Selected Letters of Paul Hindemith. New Haven: Yale University Press, 1995.
Hinton, Stephen. The Idea of Gebrauchsmusik: A Study of Musical Aesthetics in the Weimar Republic (1919-1933) with Particular Reference to the Works of Paul Hindemith. New York: Garland Pub., 1989.
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Noss, Luther. Paul Hindemith in the United States. Urbana, Ill.: University of Illinois Press, 1989. 96
Skelton, Geoffrey. Paul Hindemith: The Man behind the Music: A Biography. London: Gollancz, 1975.
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Dissertations Bedell, Melody Joy, "The Craft of Musical Composition Applied to Hindemith's Clarinet Concerto. " University of Tennessee, 1985. https://trace.tennessee.edu/utk_gradthes/2676
Hensel, Herman Richard. “On Paul Hindemith's Harmonic Fluctuation Theory.” University of Illinois, 1964.
Lamm, Matthew Robert. “Paul Hindemith's Philosophy of Tonality and Form,” University of Houston, 2017.
Watt, William James. “A Comparison of Certain Aspects of the Theories of Paul Hindemith and Franz Alfons Wolpert.” University of British Columbia, 1967.
Online Sources Boatwright, Howard. "Paul Hindemith as a Teacher." The Musical Quarterly 50, no. 3 (1964): 279-89. Accessed January 10, 2021. http://www.jstor.org/stable/741016. Forte, Allen, and Paul Hindemith. "Paul Hindemith's Contribution to Music Theory in the United States." Journal of Music Theory 42, no. 1 (1998): 1-14. Accessed January 21, 2021. http://www.jstor.org/stable/843851. Hindemith Foundation. “Concerto for Violin and Orchestra.” Catalogue of Works: Paul Hindemith, 2021. https://www.hindemith.info/en/life-work/catalogue-of- works/?tx_cagtables_pi2%5Bdetail%5D=45.
Ksieska-Koszalka, Joanna. “Paul Hindemith and the Idea of Progress, Tradition and Neoclassicism.” Kwartalnik Młodych Muzykologów UJ 35 (April 2017): 112–24. https://doi.org/10.4467/23537094kmmuj.17.041.7870.
O’connell, Kevin. "Hindemith's Voices." The Musical Times 152, no. 1915 (2011): 3-18. Accessed February 22, 2021. http://www.jstor.org/stable/23039710.
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Recordings Kavakos, Leonidas, violinist, Yan Pascal Tortelier, conductor, and BBC Philharmonic. Hindemith: Symphonic Metamorphoses on Themes of Carl Maria von Weber/Violin Concerto/Concert Music for Strings and Bass. Chandos CHAN9903. Released April 2001, compact disc. Oistrakh, David, violinist, Paul Hindemith, conductor, Jascha Horenstein, conductor, and London Symphony Orchestra. Bruch Scottish Fantasy/Hindemith Violin Concerto. Decca SXL 6035. Re-Released 2013, compact disc.
Zimmermann, Frank Peter, violinist, Enrico Pace, pianist, Paavo Järvi, conductor, and Frankfurt Radio Symphony Orchestra. Hindemith: Violin Concerto/Violin Sonatas. BIS BIS-2024. Released May 28, 2013, compact disc. Scores Hindemith, Paul. Kammermusik Nr. 4. Mainz: Schott, 1925. Hindemith, Paul. Violin Concerto. Mainz: Schott, 1967.