The German Romantic Style of Paul Hindemith's Piano Sonata no. 1 "Der Main" Item Type text; Electronic Dissertation Authors Burn, Douglas-Jayd Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 11/10/2021 10:14:24 Link to Item http://hdl.handle.net/10150/631332 1 THE GERMAN ROMANTIC STYLE OF PAUL HINDEMITH’S PIANO SONATA NO. 1 “DER MAIN” by Douglas-Jayd Burn __________________________ Copyright © Douglas-Jayd Burn 2018 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2018 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Douglas-Jayd Burn 4 ACKNOWLEDGEMENTS A document like this takes a village to prepare and it is not possible to thank everyone who has been a part of the process, but I would like to express my thanks to the following: I am sincerely grateful to my major professor Dr. John Milbauer. Throughout my doctoral studies, he has always inspired and guided me to a higher level of understanding and making music. I am also grateful to Dr. Lisa Zdechlik who has forever enhanced the way that I understand what it means to teach others as well as myself. Her guidance and support through the writing process of this document has been extensive and always pedagogical. A very special thanks to the rest of my committee for helping shape me as a pianist, conductor, and scholar: Professor Tannis Gibson, Dr. Thomas Cockrell, and Dr. Matthew Mugmon. This document would not have been possible without the help of Joshua Nichols who typeset most of the incipits and saved me countless hours as well as my sanity. Many thanks to Ms. Julie Johnson at the University of Arizona Poetry Center for her help in finding the anthologies of Hölderlin’s poetry. Many thanks to Dr. Heinz-Jürgen Winkler and the Hindemith Foundation for their gracious help with my research and for their permission to use the front page of the autograph copy of Piano Sonata no. 1 “Der Main.” I have been fortunate to have friends and colleagues that have been pillars and beacons in my life and my musical studies, and I am so appreciative for the lessons I have learned from them. Finally, it is to my parents I give the greatest thanks. They have been my greatest supporters, my greatest teachers, and my greatest inspiration. I cannot express enough thanks for all they have done to encourage and foster my music and my person, all with love. 5 DEDICATION For my Mother and Father. "Time judges fairly and without envy, and I put my trust in it and in my good intentions." ~Paul Hindemith 6 TABLE OF CONTENTS LIST OF FIGURES ......................................................................................................... 7 LIST OF MUSICAL EXAMPLES .................................................................................. 8 ABSTRACT .................................................................................................................. 11 INTRODUCTION ......................................................................................................... 12 CHAPTER 1: INTRODUCTION TO PAUL HINDEMITH AND THE PIANO WORKS ...................................................................................................................................... 13 1.1 Overview of Primary Contributions to Piano Literature ...................................... 13 1.2 Poetic Context: Social/Artistic Milieu ................................................................ 20 CHAPTER 2: NEO-CLASSICISM AND HINDEMITH’S PIANO SONATAS ............. 24 2.1. Defining Attributes of Neo-Classicism .............................................................. 24 2.2. Form and Texture: Piano Sonata no. 2 ............................................................... 25 2.3. Form and Texture: Piano Sonata no. 3 ............................................................... 28 CHAPTER 3: SIGNIFICANT TRAITS OF GERMAN ROMANTICISM IN PIANO COMPOSITION ........................................................................................................... 32 3.1 Literary Inspiration ............................................................................................ 33 3.2 Travel and Landscape as Inspiration .................................................................. 37 3.3 Revolution: Deviation from Conventional Form................................................. 39 CHAPTER 4: ANALYSIS OF PIANO SONATA NO. 1 “DER MAIN”........................ 43 4.1 German Romantic Traits Relative to Piano Sonata no. 1 “Der Main” ................. 43 4.2 Other Significant Thematic Connections ............................................................ 49 4.3 Parallels: Brahms’ Piano Sonata in F minor, op. 5 .............................................. 54 CHAPTER 5: CONCLUSION....................................................................................... 55 APPENDIX: FRIEDRICH HÖLDERLIN’S “DER MAIN” ........................................... 58 REFERENCES .............................................................................................................. 61 7 LIST OF FIGURES Figure 1. Suite 1922, fifth movement, Direction for Use!! “Direction for Use. Pay no attention to what you’ve learnt at piano lessons. Don’t spend a long time considering whether you should play D sharp with the fourth or the sixth finger. Play this piece wildly, but with very strict rhythm. Regard the piano here as an interesting form of percussion and act accordingly.” .......................................... 15 Figure 2. Paul Hindemith’s Series 1, the base of Ludus Tonalis tonal sequence for fugue key centers. ........................................................................................................ 16 Figure 3. Front Page Autograph score of Piano Sonata no. 1 “Der Main” with Hindemith’s subtitle. .......................................................................................... 23 Figure 4. Paul Hindemith, Piano Sonata no. 2, Formal Structure. ................................... 26 Figure 5. Paul Hindemith, Piano Sonata no. 3, Formal Structure. ................................... 29 8 LIST OF MUSICAL EXAMPLES Musical Example 1. Paul Hindemith, Suite 1922, second movement, mm. 78–80. ......... 14 Musical Example 2. Paul Hindemith, Piano Sonata no. 1 “Der Main,” third movement, mm. 308–312. .................................................................................................... 14 Musical Example 3. Paul Hindemith, Suite 1922, fifth movement, mm. 1-4. .................. 15 Musical Example 4. Paul Hindemith, Ludus Tonalis, Praeludium, mm. 1–4. Example of improvisatory figures. ........................................................................................ 17 Musical Example 5. Paul Hindemith, Ludus Tonalis, Praeludium, mm. 15–17. Example of lyrical contrapuntal writing. ........................................................................... 17 Musical Example 6. Paul Hindemith, Ludus Tonalis, Postludium, mm.16–19. ............... 18 Musical Example 7. Paul Hindemith, Ludus Tonalis, Postludium, mm. 36–37. .............. 18 Musical Example 8. Paul Hindemith, Piano Sonata no. 2, first movement, mm. 1–4. ..... 19 Musical Example 9. Wolfgang Amadeus Mozart, Piano Sonata K. 283, first movement, mm. 1–4. ............................................................................................................ 28 Musical Example 10. Paul Hindemith, Piano Sonata no. 2, first movement, mm. 1–4. ... 28 Musical Example 11. Paul Hindemith, Piano Sonata no. 3, first movement, mm. 64–69.31 Musical Example 12. Ludwig van Beethoven, Piano Sonata in A major, op. 101, first movement, mm. 48–50. ...................................................................................... 31 Musical Example 13. Franz Liszt, Etude d’exécution transcendente IV. Mazeppa, mm. 7– 10. ..................................................................................................................... 34 Musical Example 14. Franz Liszt, Etude d’exécution transcendente IV. Mazeppa, mm. 63–66. ................................................................................................................ 35 Musical Example 15. Franz Liszt, Etude d’exécution transcendente IV. Mazeppa, mm. 200–203 and Hugo quote. .................................................................................. 35 Musical Example 16. Johannes Brahms, Ballade, op. 10 no. 1 “Edward,” reference to poem above mm. 1–4. ........................................................................................ 36 Musical Example 17. Robert Schumann, Phantasie in C major, op.17, Motto and mm. 1– 3. ......................................................................................................................