UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirement for the degree of Doctor of Musical Arts By YANG-MING SUN Norman, Oklahoma 2007 UMI Number: 3263429 UMI Microform 3263429 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, chair Dr. Jane Magrath Dr. Eugene Enrico Dr. Sarah Reichardt Dr. Fred Lee © Copyright by YANG-MING SUN 2007 All Rights Reserved. ACKNOWLEDGMENTS This paper is dedicated to my beloved parents and my brother for their endless love and support throughout the years it took me to complete this degree. Without their financial sacrifice and constant encouragement, my desire for further musical education would have been impossible to be fulfilled. I wish also to express gratitude and sincere appreciation to my advisor, Dr. Edward Gates, for his constructive guidance and constant support during the writing of this project. Appreciation is extended to my committee members, Professors Jane Magrath, Eugene Enrico, Sarah Reichardt and Fred Lee, for their time and contributions to this document. Without the participation of the writing consultant, this study would not have been possible. I am grateful to Ms. Anna Holloway for her expertise and gracious assistance. Finally I would like to thank several individuals for their wonderful friendships and hospitalities. To Ms. Lien, I want to express my sincere gratitude for your ceaseless love and encouragement during my graduate studies. To Sheau-Kang and Melissa, and Hui-Chun and Chien-Kuang, thank you for sharing your cozy homes with me when I needed a place to stay, and for helping me when I had computer problems. To David, thank you for being always supportive and generous to me. All musical examples are reprinted by kind permission from European American Music Distributors LLC, sole U.S. and Canadian agent for Schott Music. iv CONTENTS ACKNOWLEDGMENTS ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ iv LIST OF TABLES ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ vii LIST OF MUSICAL EXAMPLES ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ix ABSTRACT ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ xiii Chapter I. INTRODUCTION Overview ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 1 Purpose of the Study ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 3 Need for the Study ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 3 Limitation of the Study‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 4 Related Literature ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 5 Design and Procedure‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 15 II. BIOGRAPHY AND OVERVIEW OF HINDEMITH’S COMPOSITIONAL STYLE Biography ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 18 Overview of Hindemith’s Compositional Style ‧‧‧‧‧‧‧‧25 III. KAMMERMUSIK NO. 2, OP. 36 NO. 1 (1924) General Information ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 43 First Movement‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 44 Second Movement ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧58 Third Movement ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 74 Fourth Movement ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 85 IV. PIANO CONCERTO (1945) General Information ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 101 First Movement ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧103 Second Movement ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧128 Third Movement ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧143 V. CONCLUSION AND RECOMMENDATIONS Conclusion ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 164 Recommendations for Further Study ‧‧‧‧‧‧‧‧‧‧‧ 181 v SELECTED BIBLIOGRAPHY Books ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧182 Journal Articles ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 184 Dictionaries ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 185 Recordings‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧185 Dissertations and Theses ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 186 Musical Scores‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 187 Appendices A. A Chronological Listing of Hindemith’s Piano Works ‧‧‧188 B. A Selective Listing of Hindemith’s Orchestral and Chamber Works that Use the Piano ‧‧‧‧‧‧‧‧‧‧‧‧‧‧190 C. A Chronological Listing Other Theses Examining Hindemith’s Piano Works ‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 192 vi LIST OF TABLES Table Page 1.1 Formal structure of the first movement, Kammermusik No. 2, Op. 36 No. 1‧‧‧‧‧‧‧‧‧‧‧‧‧45 1.2 Overall tonal scheme of the first movement‧‧‧‧‧‧‧‧‧‧‧ 46 1.3 Three subsections of Section B1 and characteristics‧‧‧‧‧‧‧‧ 48 1.4 A comparison between Sections B1 and B2‧‧‧‧‧‧‧‧‧‧‧ 51 2.1 Overall structure of the second movement, Kammermusik No. 2, Op. 36 No. 1 ‧‧‧‧‧‧‧‧‧‧‧‧ 59 2.2 Three subsections of Section A1‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧60 2.3 Recurrences of the Ending Flourish ‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 62 2.4 Three subsections of Section B‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 64 2.5 Three subsections of Section C‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 68 3.1 Formal structure of the third movement, Kammermusik No. 2, Op. 36 No. 1 ‧‧‧‧‧‧‧‧‧‧‧‧ 74 3.2 Recurring (c) motive in the A sections and B1‧‧‧‧‧‧‧‧‧‧ 77 4.1 Formal structure of the Finale, Kammermusik No. 2, Op. 36 No. 1 ‧‧‧‧‧‧‧‧‧‧‧‧ 87 5.1 Formal structure of the first movement, Piano Concerto (1945) ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 104 5.2 Three subsections of the Development‧‧‧‧‧‧‧‧‧‧‧‧‧112 5.3 Overall tonalities are shown in a palindrome-like design within the Development ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 116 5.4 Three subsections of the Second Cadenza ‧‧‧‧‧‧‧‧‧‧‧ 118 5.5 The third subsection of the Second Cadenza ‧‧‧‧‧‧‧‧‧‧ 123 6.1 Overall structure of the second movement, Piano Concerto (1945) ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 128 6.2 Three subsections of Section B ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧134 7.1 Tonal scheme in the Prima Pars of Tre Fontane ‧‧‧‧‧‧‧‧‧145 vii 7.2 Structural outline of the third movement, Piano Concerto (1945) ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧145 7.3 Subsections of the Canzona‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 146 7.4 Subsections of the March ‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧150 7.5 Subsections of Valse lente‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧154 7.6 Subsections of the Caprice‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧158 7.7 Subsections of “Tre Fontane,” medieval dance ‧‧‧‧‧‧‧‧‧161 8.1 Overall tonal scheme of Kammermusik No. 2‧‧‧‧‧‧‧‧‧‧‧164 8.2 Overall tonal scheme of the Piano Concerto‧‧‧‧‧‧‧‧‧‧‧ 165 8.3 Symmetrical structure reveals in the two piano concertos‧‧‧‧‧‧167 8.4 Some principal sections of a movement can be further divided into three subsections‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧ 168 8.5 The three principal thematic materials employed within the movement‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧169 viii MUSICAL EXAMPLES Example Page 1.1 Hindemith: Kammermusik No. 2, 1st movement, mm. 1-3．．．．．． 47 1.2 Hindemith: Kammermusik No. 2, 1st movement, mm. 1-6 ．．．．．．47 1.3 Hindemith: Kammermusik No. 2, 1st movement, mm. 39-51．．．．． 49 1.4 Hindemith: Kammermusik No. 2, 1st movement, mm. 65-74．．．．． 50 1.5 Hindemith: Kammermusik No. 2, 1st movement, mm. 88-99．．．．． 53 1.6 Hindemith: Kammermusik No. 2, 1st movement, mm. 100-103．．．． 54 1.7 Hindemith: Kammermusik No. 2, 1st movement, mm. 104-116．．．． 55 1.8 Hindemith: Kammermusik No. 2, 1st movement, mm. 112-114．．．． 56 1.9 Hindemith: Kammermusik No. 2, 1st movement, mm. 122-126．．．． 56 2.1 Hindemith: Kammermusik No. 2, 2nd movement, mm. 1-7．．．．．． 60 2.2 Hindemith: Kammermusik No. 2, 2nd movement, mm. 1-6．．．．．． 61 2.3 Hindemith: Kammermusik No. 2, 2nd movement, mm. 7-10．．．．．．61 2.4 Hindemith: Kammermusik No. 2, 2nd movement, mm. 17-19．．．．． 63 2.5 Hindemith: Kammermusik No. 2, 2nd movement, mm. 21-24．．．．． 63 2.6 Hindemith: Kammermusik No. 2, 2nd movement, mm. 25-29．．．．． 65 2.7 Hindemith: Kammermusik No. 2, 2nd movement, mm. 32-34．．．．． 65 2.8 Hindemith: Kammermusik No. 2, 2nd movement, mm. 42-44．．．．． 66 2.9 Hindemith: Kammermusik No. 2, 2nd movement, mm. 45-48．．．．． 67 2.10 Hindemith: Kammermusik No. 2, 2nd movement, mm. 50-51．．．．． 69 2.11 Hindemith: Kammermusik No. 2, 2nd movement, mm. 55-56．．．．． 70 2.12 Hindemith: Kammermusik No. 2, 2nd movement, mm. 60-61．．．．． 72 2.13 Hindemith: Kammermusik No. 2, 2nd movement, mm. 67-69．．．．． 73 2.14 Hindemith: Kammermusik No. 2, 2nd movement, mm. 70-71．．．．． 73 3.1 Hindemith: Kammermusik No. 2, 3rd movement, mm. 1-5．．．．．． 76 3.2 Hindemith: Kammermusik No. 2, 3rd movement, mm. 7-8．．．．．． 77 3.3 Hindemith: Kammermusik No. 2, 3rd movement, mm. 8-10 ．．．．．． 78 3.4 Hindemith: Kammermusik No. 2, 3rd movement, mm. 14-16．．．．． 79 3.5 Hindemith: Kammermusik No. 2, 3rd movement, mm. 20-22．．．．． 80 3.6 Hindemith: Kammermusik No. 2, 3rd movement, mm. 28-30．．．．． 81 3.7 Hindemith: Kammermusik No. 2, 3rd movement, mm. 33-38．．．．． 82 3.8 Hindemith: Kammermusik No. 2, 3rd movement, mm. 39-41．．．．． 83 3.9 Hindemith: Kammermusik No. 2, 3rd movement, mm. 51-54．．．．． 84 ix 4.1 Hindemith: Kammermusik No. 2, 4th movement, mm. 1-7．．．．．． 88 4.2 Hindemith: Kammermusik No. 2, 4th movement, mm. 7-11 ．．．．． 88 4.3 Hindemith: Kammermusik No. 2, 4th movement, mm. 16-22．．．．． 89 4.4 Hindemith: Kammermusik No. 2, 4th movement, mm. 23-26．．．．． 90 4.5 Hindemith: Kammermusik No. 2, 4th movement, mm. 30-35．．．．． 91 4.6 Hindemith: Kammermusik No. 2, 4th movement, mm. 35-39．．．．． 91 4.7 Hindemith: Kammermusik No. 2, 4th movement, mm. 50-52．．．．． 92 4.8 Hindemith: Kammermusik No. 2, 4th movement, mm. 62-72．．．．． 93 4.9 Hindemith: Kammermusik No. 2, 4th movement, mm. 73-75．．．．． 94 4.10 Hindemith: Kammermusik No. 2, 4th movement, mm. 73-78．．．．． 94 4.11 Hindemith: Kammermusik No. 2, 4th movement, mm. 86-90．．．．． 95 4.12 Hindemith: Kammermusik No. 2, 4th movement, mm. 94-96．．．．． 95 4.13 Hindemith: Kammermusik No. 2, 4th movement, mm. 102-108．．．． 96 4.14 Hindemith: Kammermusik No. 2, 4th movement, mm. 115-118．．．． 97 4.15 Hindemith: Kammermusik No. 2, 4th movement, mm. 121-127．．．． 97 4.16. Hindemith: Kammermusik No. 2, 4th movement, mm. 157-159．．．．100 4.17 Hindemith: Kammermusik No. 2, 4th movement, mm. 165-171．．．．100 5.1 Hindemith: Piano Concerto, 1st movement, mm. 1-9．．．．．．．． 106 5.2 Hindemith: Piano Concerto, 1st movement, mm. 47-48．．．．．．．106 5.3 Hindemith: Piano Concerto, 1st movement, mm. 13-17．．．．．．．107 5.4 Hindemith: Piano Concerto, 1st movement, mm. 19-21．．．．．．．107 5.5 Hindemith: Piano Concerto, 1st movement, mm. 22-25．．．．．．．108 5.6 Hindemith: Piano Concerto, 1st movement, mm. 27-34．．．．．．．108 5.7 Hindemith: Piano Concerto, 1st movement, mm. 38-40．．．．．．．110 5.8 Hindemith: Piano Concerto, 1st movement, mm. 44-46．．．．．．．111 5.9 Hindemith: Piano Concerto, 1st movement, mm. 47-54．．．．．．．111 5.10 Hindemith: Piano Concerto, 1st movement, mm. 55-60．．．．．．．113 5.11 Hindemith: Piano Concerto, 1st movement, mm. 64-66．．．．．．．114 5.12 Hindemith: Piano Concerto, 1st movement, mm. 72-74．．．．．．．115 5.13 Hindemith: Piano Concerto, 1st movement, mm.