i AN ANALYSIS OF THE FIRST TWO SONATAS, FOR THE ORGAN BY Pag? HINDEMITH Presented by John Stuart MeIntosh To fulfill the thesis requirement for the degree of Master of Arts Department of Theory Thesis Director: Dr, Robert Sutton astman School of Music of the University of Rochester June 1961ACKNOWLEDGMENT The author wishes to express his grateful appreciation to Dr. Robert Sutton, faculty advisor, for his guidance in the course of analysis and for nis very helpful suggestions in the organization of material and preparation of this thesis. The author also expresses appreciation to Mr. David Craighead, head of the organ department of the Eastman School of Music, for his invaluable assistance in working out the registration scheme which 1s found in the appendix. aaPREFACE, Paul Hindemith was born November 16, 2995, in Hannau, Germany. He began the study of music at a very early age with violin and viola lessons and showed a marked musical talent even as a young child. Rather than comply with his parents' wishes that he give up the seroius study of music he left home while still in his early "teens." He supported himself by playing in small orchestras, dance bands, cafes, etc. but did not neglect his own study, He gained a compre- hensive training in harmony, counterpoint and composition as well as violin and viola at the Hoch Conservatory at Frank~ fort under Arnold Mendelssohn and Bernhard Sekles, winning several prizes -- for performance as well as composition From 1915 to 1923 he was first concertmaster, then con- ductor of the orchestra of the Frankfort opera house. In 1923 Hindemith married the daughter of Ludwig Rottenberg, who had been the conductor of this orchestra when he joined it, During this period his significance as a musician in- creased greatly and he was soon making his musical influence Amar felt in several different directions. He founded th String Quartet and with it performed much contemporary cham- ber music throughout Germany. By the early 1920's he had begun to attract considerable attention as a composer. Hindewith says himself that as a student he imitated aiialmost every composer of note and admits that his early works were particularly influenced by Wagner, Strauss, Debussy and to a lesser degree Max Reger. ‘These late romantic and impres- sionistic influences caused him to experiment extensively with the harmonic element of music but soon he began to place in- creased emphasis on the rhythmic element. Polyphonic part writing played a role of ever increasing mportance in his music, until he was able to express himself in his own per- sonal style which might be termed a combination of Bach's polyphonic principles with the harmonic, rhythmic and mel~ odic innovations of the twentieth century, His music is ", . . erisp in idiom, strong-fibred in architecture . . yet it derives from Bach its sense of perpetual movement, clarity of construction and inextricable unity... ." During the 1930's Hindemith was a member of the Congress for Arabian Music at Cairo which was his first contact with oriental music. During this period he taught composition in Berlin at the Staatliche Akademische Hochschule fir Musik, and theory at the Volksmusikschule. He also devoted himself to the study of music history and voice. In 1935 and 1936 he visited Paris and London where he performed as a violist and in 1937 made his first visit to the United States at the invitation of the Elizabeth Sprague ‘philip J. Laspina, “An Analysis of the Sonata, Opus 11, No. 4 for Violin and Piano by Paul Hindemith" (Unpublished Master's Thesis, Eastman School of Husic, 1950), Po 2. avce ET Coolidge Foundation. During 1938 and 1939 he traveled widely in the U.S. conducting and appearing as soloist in concerts of symphonic as well as chamber music. In 1940 he settled in the U.S., teaching at the University of Buffalo, Cornell, Vells College, the Berkshire Music Centre and finally joining the music faculty of Yale University. He became Battell Professor of Music Theory in 1947. While living in the United States Hindemith exerted considerable influence here as a theorist and pedagogue, and as well, continued his work of composing, conducting and per- forming. He left the United States in June 1953 to return to Europe. At present he is teaching at the University of Zurich in Switzerland. In the early Spring of 1960 he paid a visit to the United States during which he conducted performances of his own works in New York and at Yale. He has written many sonatas for a wide variety of instru- ments, including violin, viola, viola d'amore, cello, flute clarinet, oboe, English horn, bassoon, trumpet, French horn’ piano and harp as well as others. Far from the least among this list of sonatas cone the three sonatas for organ, all of which were written while Hindemith was a resident of the Uni- ted States. The first two were published in 1937 and the third in 1940. There is only one edition of the Organ Sonatas Nos, 1 and 2, published by B. Schott's Sohne, Mainz, Germany in 1937 and vce ogued (Ed, Schott) Nos. 2557 and 2558. A Third Organ Sonata, based on old folksongs (Ed. Schott 3736) was published in 1940, Hindemith’s only other works for the organ are the Concerto for Organ and Orchestra, Opus 46, No. 2, composed in 1928 and a tiny piece, Felix the Cat, for mechanical organ, Opus 42, composed in 1927. This thesis contains an analysis of Hindenith's first two sonatas for the organ. Tt is an attempt to give a clear insight into these works by analyzing their formal construc- tion, their melodic and rhythmic elements, and the harmonic vocabulary which the composer has employed in them, As well, because Hindemith is not an organist, a dis- cussion is given of those facets of the construction of the sonatas which especially relate to their performance on the organ. Because the composer gives almost no instructions concernin, registration, a suggested scheme, suitable for & mogerate sized three-manual organ, is given in the appendix. It is the author's wish in preparing this thesis to present a study of these two sonatas which will be of prac- tical assistance to the performer.ABSTRACT This thesis contains an analysis of the First and Second Sonatas for the Organ by Paul Hindemith, written in 1937. Its purpose is to provide a description of the formal, harmonic, melodic and rhythmic elements of these works which are important additions to the contemporary repertoire of the instrument. Large forms which Hindemith has used in these works include sonata, three part form, fugue, and variations over a pedal motive, There is a predominance of modal scales, having a crucial effect in the determining of tonality. "The harmonies which ere a mixture of tertian and quintal structures combined with non-traditional root movement represent what is probably the most strikingly personal aspect of the sonatas. Melodies are smooth, Fragments used in developments are short. The writing is linear in style but generally there is oné principal melody in the top voice with supporting material below. ‘Tempos are conservative. Rhythmic complexities are few. Written for performance on a "Classic" style instrument these sonatas lack the breadth and grandure of organ "symphonies" written earlier in the century by composers such as Vierne, Widor and Rheinberger. They represent a return to classic principles and contain a musical expression which is terse, direct and personal. Because Hindemith is not an organist and gives almost no instructions concerning registration, a suggested scheme, suitable for a moderate sized three-manual organ, is given in the appendix. whiPREFACE + ee eee ee ABSTRACT 2. ee eee LIST OF CHARTS . ~~. CHAPTER I FORM Sonata Sonata CHAPTER II SCALES. . 1 Ir OF CONTENTS CHAPTER III HARMONIC MATERIAL ... CHAPTER IV MELODY . - CHAPTER V CHAPTER VI ORGAN TECHNIQUE SUMMARY + ee ee eee APPENDIX BIBLIOGRAPHY ... ee REGISTRATION « TEMPO, METER AND RHYTHM . vib ail vil ix 29 50 62 7 m1 101 109 15 125ee nce EET ORT TH Chart Page fle: | Formlotyiconate Vice tee ie tee ed 2. Development Section, First Movement, Sonata I +. 13 3. Form of First Novement, Sonatal......... 15 4. Form of Second Movement, Sonatal . +... 22. 28 5. Form of First Hovement, Sonata II... 2. ... 4O 6. Form of Second Movement, Sonata IT... 2222 43 7. Form of Third Movement, Sonata IT...) 20. 48 8. Melodic Movement... eee eee ee eee eee 82 9. Melodic Movement by Leap... ee ee ee 8CHAPTER 1 FORM SONATA I Hindemith makes use of two classical forms in this sonata, The first movement is in a fairly strict sonata form preceded by a rather lengthy introduction. The second movement is divided into three sections of which the first is in ternary form, the second being in the form of a free fantasia end the last in ternary form, The first movement is quite long and complex, the second movement is consider- ably shorter: 200 measures as compared with 372 measures in the first movement. As the second movement is divided into three such distinct sections the sonata as a whole gives the listener the impression of being in four movements--one long one followed by three brief ones, Chart 1 Sonata I I. MAssig schnell, 3/2 (Introduction) Meas, 1-52 Lebhaft, 3/8 Meas. 53-372 TI, Sehr lengsam, 4/8 Meas. 1-34 Phantasie, frei, 4/4 Hees. 35-88 Ruhig bewegt, 3/4 89-202Eirst Moverent The main portion of the first movement is constructed in sonata form. This is preceded by a fairly long and im- portant introduction, important enough so that the main themes of this introduction appear later in the development section of the movement. This movement has four main divisions: Introduction Meas. 1-52 Exposition Meas. 53-133 Development, Meas, 134-287 Recapitulation & Coda Meas. 288-372 Introduction (Meas. 1-52) The introductory section, fifty-two measures in length, is itself easily divisible into three distinct short units, (Yeas. 1-5, 5-18, 19-52), each based on a different musical idea. These three ideas all reappear later on in the develop- ment section of the movement. The movement begins with a statement of the first subject of the introduction (MMssig schnell 3/2). This consists of three large chords separated from each other by a quarter~ note triplet figure. The upper note in each of the three chords remains the same (e flat) while the bass moves down- wards by step from the root of the first chord--the tonicE-flat minor triad--to the root of the C-flat sonority in measure three. Ex. 1. Meas. 1-3 (Intro. 1) Following the third chord, the triplet figure is used again and extended in an octave passage which ends in measure five with a cadence on an A-flat sonority. EX. 2. Meas. 3-5 This cadence marks the end of the first section of the introduction and is immediately followed by the state- ment of the subject of the second section of the intro- duction. It is a short seven-note melody ending with anA-flat cadence which is identical with the cadence in measure five that marked the end of the first section of the intro- duction. It is this cadence which acts as a unifying factor between these two sections. Ex. 3. Meas. 5-6 (Intro. 2) This second section extends from measure five to measure eighteen, In measure six a second statement of the subject (Intro. 2) is begun, a fifth higher than the first one, but it is extended to measure eleven. This extension makes con- siderable use of thed. rhythm and the falling half step which are both characteristics of the second subject, This extension, like the subject, also ends in a falling perfect fifth which is approached by half step from above, in this case making a cadence on an F-minor triad. (Meas. 11). Measures eleven through fifteen commence as a sequential treatment of measures five to eleven a major sixth higher, but end differently with a C#-minor cadence. The three chords in measures fourteen and fifteen are related to the three chords which open the movement, because of the repeatednote in the upper voice and the downwards stepwise moving bass line with parallel thirds. Measure fifteen gives us a new development of the subject (Intro. 2). In this case the J & becomes a dotted quarter note trill followed by two sixteenth notes. Bx. 4. Meas. 15 The third section of the introduction occupies measures nineteen through fifty-two. Ex. 5. Meas, 19-22 (Intro. 3)This section, like the first one, begins with a three- chord progression which has a repeated note in the top voice and a downward step-wise progression in the bass. However, the triplets are absent, The remainder of the introduction is taken up with the development of this four-bar theme (Intro. 3), either in its entirety or just its first half. There are two interludes (Meas. 22-25 and Meas. 44-47) based on a rising five-note scale passage followed by a downwards leap of a seventh, in unharmonized open octaves. Ex. 6, Meas. 22—— The introduction ends with a pedal note G, held for five measures, over which the first half of this theme (Intro. 3) is stated three times. Exposition (Meas. 53-133) The main portion of the first movement (Meas. 53, 3/8, Lebheft) opens with a simple statement of the first theme in the uppermost voice (Meas. 53-67). It is accompanied by a tonic pedal E flat in the bottom voice, and a middle voice of other chord tones. There are no notes for the pedal organ until the final three chords of the statement. Ex. 7. Meas. 53-67 (Theme A) rebhaftThe first half of this theme is repeated with new har- monies in Meas. 68-75 and continues with material based on the theme which concludes with a cadence on an unharmonized B at Meas. 86. Theme B is stated unharmonized in measures eighty- seven to ninety-two. Ex. 8. Meas. 67-92 (Theme B) It is repeated an octave lower in the tenor (Meas. 92-97) and again another fifth lower (Meas. 98-103). Measures 104~ 110 constitute an interlude based on the opening six notes of Theme B. EX. 9. Meas. 104-108Then there are four more statements of Theme B-~ Meas. 111-115 in the tenor, leas. 116-121 in the soprano, Meas. 121-125 in the tenor and again, Meas. 126-129 in the tenor, ‘This last statement is incomplete and leads directly into the cadence (Meas. 133) which is a chromatic cadence ending on a B-flat major sonority. Next there is a bridge passage leading to the develop- ment section of the movement. This bridge passage consists of new material. Ex. 10. Neas. 134-143 (Bridge 1) po eedThe entire subject is first stated in open octaves, then repeated over a B-flat pedal note, being harmonized-~ the first half with e B-flat minor triad, the second half with an A-flat major triad. The first half is then repeated two more times, still over the B-flat pedal, this time har- monized with a B-flat major triad. Development, (Meas. 165-269) ‘The Development section is an extremely important part of the movement. In it Hindemith makes use of all three subjects from the Introduction plus both of the subjects from the Exposition. There is a considerable use made of contra- Puntal devices, including imitation and canon. In several instances Hindemith combines two themes in a single statement. For instance, from Meas. 233 to 238 he has the third subject of the Introduction (Intro. 3) appearing in the top voice coupled with the second subject (Theme B) from the Exposition which is found in the tenor. The development ends with a strong cadence on an E-major triad. This is followed by a second bridge--like the first, mostly in open octaves~-which serves as a modulatory link back to the E~flat minor tonality of the recapitulation and also as a period of relaxation after the tension which was built up throughout the development section, This bridge is based on a new figure:which is related to the interlude figure of the Intro- duction. EX. 12, Meas, 22-23 They both consist of stepwise motion up to the highest note, followed by the downwards leap of a seventh, with the downwards leap in longer valued notes than the rising figure. In this Second Bridge the figure is used six times, with the leap in the last three statements becoming more and more consonant--from a major seventh (Meas, 280) to a minor seventh (Meas. 282) to a major sixth (Meas. 286), and finally coming to rest on a D-flat minor sonority.12 The following chart shows, measure by measure, the source of the material used in the development section of this movement. The musical component which is employed in the development is stated and the manner in which it is developed is also given, It is notable that the appearance of Theme A in the development is scant, as it was also in the Exposition, but it appears importantly in the Recapitu- lation and again in the Coda.Chart 2 SONATA I MOVEMENT I DEVELOPMENT SECTION Musical Component Meas. No. Derivation Musical Source Used 165-173 53-55 Theme A Melody, Rhythm 174-176 87-88 Theme B Melody, Rhythm 177-187 1-5 Intro. (1) Melody, Texture 188-191 5-6 Intro. (2) Melody 192-197 13-14 Intro. (2) Melody 197-203 6-7 Intro. (2) Melody 203-209 12-14 Intro. (2) Melody, Chord structure 209-215 15-17 Intro. (2) Melody, Texture 216-231 87-92 Theme B Melody 232-251 19-20 Intro. (3) Melodies and and 87-90 ‘Theme B 252-258 19-20 Intro. (3) Melody 259-264 87-90 Theme B Melody 265-269 87-90 Theme B Melody Imitative entries of theme head Harmonized, theme in inner voice Harmonic and rhythmic alteration Harmonic and rhythmic alteration Theme used in canon at Sve between bass and treble. Rhythm changed Theme is extended--rhythm altered Rhythm is altered Rhythm is altered Eee, *PoRot aha bags ‘ies ‘The two melodies are stated simultane- ously: Intro.(3) in the treble and Theme B in the tenor Rhythm altered--texture filled out Canon at octave between bass and tenor Imitative entries of theme head14 Recapitulation (Meas. 283-328) In the Recapitulation Theme A from the Exposition is the only material used. It is first stated in the original E-flat tonality (Neas, 288-302) exactly as it was the first time that it appeared in the Exposition (Meas. 53-67). It is next repeated in a form which is based on measures 68-86 of the Exposition, but which has a different extension that leads--through an octave passage which is based on Theme B-- ' to the Coda. The Coda (Neas. 329-372) is built entirely over an ' B-flat pedal note. Measures 329-350 are made up of two statements of a melody which is a combination of Theme A and Theme B from the Exposition. Ex. 13. Meas. 329-339tha This is found first in the treble and then an octave lower in the tenor, In measures 351-361 there are three statements of a figure based on the opening measure of Theme A, beginning on E-flat, G# and Gf respectively and ending with an inverted pedal B-flat in the upper two voices (Yeas. 362-372). Under this inverted pedal the tenor voice concludes the movement with a final statement of Theme B. This ends with an E-flat minor triad which is held for two measures and then changed to an E-flat major triad which is held for the last two measures of the movement.Chart 3 Introduction Intro. (1) Intro. (2) Intro. (3) Exposition Theme A ‘Theme B Episode Theme B Bridge Passage (1) Development Bridge Passage (2) Recapitulation ‘Theme A Coda Sonate I cy Form of First Movement Meas. Meas. Meas. Meas. Meas, Meas, Meas. Meas. Meas. Reas. Meas. Meas. 1- 5 5- 18 19- 52 53- 86 87-103 Lo#-110 111-133 154-161 165-269 270-287 288-328 329-372 Four statements with episodes between the first and second, and between the third and fourth ‘Two statements Three statements Four statements Four statements of Bridge Theme Intro. (1), Intro. (2), Intro. (3), Theme A, and Theme B are all present Six statements Two statements Theme A and Theme B both present,Second Mover In a recent article concerning Hindemith's chamber music, Colin Mason said ", . . another formal pattern that Hindemith favours--a two movement form in which each movement is subdivided into separate sections, sometimes themati- cally quite independent."! This is certainly the case in the second movement of this sonata for it is divided into three distinct sections: Sehr langsam Meas, 1-34 Phantasie, frei Meas. 35-88 Runig bewegt Meas. 89-202 The second movement of this sonata consists, actually, of three short movements in one. The first section, Sehr langsam, (Meas. 1-34) constitutes a short movement in Binary Form, complete in itself and of a song-like character. The second section, Phantasie, frei, (Meas. 35-88) is, as the heading suggests, in the style of a free fantasy. It also has some of the aspects of a ground bass, being built on a four-note figure which is repeated many times in the bass. Like the first section of the movement, it is @ complete unit within itself. The third and final section of the move~ ment, Ruhig bewegt (Meas. 89-202) is in a modified Teraary sections, could stand by itself Form and, like the other ti as a complete, although short, movement. IGolin Mason, "Some Aspects of Hindemith's Chamber Music," Music and Letters, Vol. 41, No. 2, April 1960, p. 159.17 Sehr Langsam (Meas, 1-34) This first section of the second movement is song-like, both in form and in general style. The melody remains in the uppermost voice throughout while the lower parts provide the harmonic support. ‘Throughout this section of the movement the vertical sonorities remain fairly simple, for the most part triadic and rarely more complicated than @ seventh chord. The rhythm in this portion of the second_movement is rather Jagged with much use being made of the FA pattern; this is also altered frequently by letting the thirty-second become two sixty-fourths. Although the tempo is very slow, the melody, with its almost constant use of sixteenth notes, has a good deal of "flow". In fact, the entire section of the movement might well have been written with all time values doubled and the signature 4/4 rather than 4/8 for greater ease of playing. Unlike the remainder of the sonata, the number of beats per measure (four) remains constant through- out this section of the second movement. The Langsam (first) section of the movement is essentia- lly Binary in form, being divided: A BAC C, with the second appearance of the 'C' portion taking the place of a coda. The first eight measures constitute the 'A' theme. It is Through Composed and leads directly into the 'B' theme which begins on the second beat in measure eight. This second theme is somewhat more complex formally, being a two-measure unit which is then repeated a whole step lower and extended18 another four measures. From measure seventeen to measure twenty, there is a second statement of the opening four measures of theme 'A' exactly the same as the opening of the movement. The ‘Ct theme, starting on a rising figure of thirty-second notes, ocoupies measures twenty (beginning on the third beat) to twenty-six and is immediately repeated (Meas. 26-32) with a two-measure extension added to bring this section of the movement to a satisfactory close. The tonality at the beginning and the ending of the Sehr langsam is E, with the E-major triad being the final chord. ‘There is a strong cadence on B in measure fifteen at the climactic point and a definite modulation to E-flat minor at the be- ginning of the 'C' theme. Phantasie, Frei (Meas. 35-88) This Phantasie, while being "Free" in so far as rhythm is concerned, is formally unified by the use of a recurring, four-note motive in the pedals. Ex. 14, Meas. 35-36This motive begins with three eighth notes and, at each statement, ends with a long-valued note which is held vari- ously for from three beats to five measures as a pedal tone. The motive is first stated beginning on E, with each succeed- ing statement beginning a perfect fourth lower (or perfect fifth higher) than the preceding one until at the fifth state- ment (Meas. 76) it begins on G sharp. It remains at this pitch until the end of this section of the movement, being repeated six more times. Because of the many repetitions, this motive may be considered a ground bass with free variations being built on it. The first statement of the pedal motive is unharmonized, with the final note being held for two measures plus one sixteenth, Beginning over this long note, manual passage work of a toccata-like nature is found (Meas. 36-43), ‘There is an increasing number of notes per beat found throughout this variation, adding to the sense of freedom and alco giving the variation an ever increasing velocity. Hindemith begins with a chord held for the length of a half note, then uses eighth notes, then sixteenths, then triplet sixteenths and finally thirty-seconds., These measures are all based on a four-note unit found in the upper voice in measure 36.