Hindemith provides a transitional device between the
Langsam and the
Marsch. The speed of eighth-note
triplets (150) in the last measure of the
Langsam are almost exactly the speed of the quarter notes (144) in the
Marsch. My suggestion is to play the
eighth note triplets exactly the same speed as the
Marsch tempo. This allows for an easy
start to the Marsch.
[piano music—introduction to the Marsch]
[music—introduction to the Marsch]
I approach the first portion of the
Marsch with rhythmic precision and
unvarying tempo. I suggest playing this portion in four, with the quarter note
receiving the beat. You should take great care to play accurately all of the
rhythms. For instance, I instruct my students to use the full fingerings in the
fourth beat of the second measure and not employ the trill fingerings for D4-E4.
Students who use the trill fingerings not only tend to rush these notes, but
also do not produce clear resonance on all of the notes.
The passage that is four measures before number 8 deserves
special attention. Please carefully study the subdivisions given in the example.
Notice that the switch to triplets is made as quickly as possible (on the
quarter note) to aid the accuracy of the following triplet eighth notes. Too
often these triplet notes are performed as sixteenth notes. Students should
practice this example slowly by tonguing all of the subdivisions. Make certain
that the triplet eighth notes are exactly one third of the beat. Often the first
note in the triplet is too long. The second note of the triplet must come early
enough.
[Example Vincent practicing]
Here is the section performed up to speed.
[music]
I prefer to change the character of the music one measure
before number 8. Up to this point in the movement, I perform the articulated
notes with some separation. Here, however, on the
forte I play with longer value notes,
much like someone would sing a faster patriotic song or national anthem: with
enthusiasm and a full voice. Notice that the volume of the bassoon and piano
parts continue at forte up to fifth
measure, the third beat.
Hindemith’s composition is well-crafted and provides
evidence of careful planning with the melodic and harmonic materials.
Illustrating this is the fifth measure of number 8, which contains adjacent Db3
and C#3 notes. On first sight this seems to be haphazard and arbitrary. For some
20th century composers the choice of accidentals is arbitrary,
however, that is not the case for Paul Hindemith. We learn from his writings
that harmonies were carefully chosen to express tension and release. His work,
The Craft of Musical Composition
demonstrates the importance of spelling with accidentals. For instance, in
volume 1, page 127, example g notice the adjacent chords have a tied over common
tone, but the G# is given in the first chord and an Ab in second. The change in
spelling alerts the performer to a change in harmony.
Here in the Hindemith
Sonate we have a similar situation.
The change of accidentals here is highly
significant and signals not only a new harmony but also new melodic material.
The Db3 is the end of the forte
section featuring what I have called a “national anthem.”
The C#3 indicates something new and immediately should be
played quietly to start the counterpoint between the bassoon and piano. Both the
bassoon and piano must change to the quiet dynamic on the fourth beat of that
measure.
In contrast to the
Marsch, the Trio is best played
with some rubato. Play the Trio in
two, that is, with the half note receiving the beat. Do not play this
rhythmically precise, but allow for slightly Romantic gestures. Move the speed
of notes forward to climaxes and relax the phrases slightly after the climax is
reached. For instance, the third measure of the
Trio is where I would push the phrase
forward until the climax on C4. Then allow the tempo to relax and recover a bit.
[Example Vincent playing alone. m. 127-8]
There are other places in the
Trio where rubato is appropriate as
well.
Now, one key to effectively perform the
Marsch is to distinguish between the
Marsch musical materials and the
Trio musical materials. Play the
Marsch always in four and with
rhythmic precision. For instance, the
Marsch returns at number 11 in the piano. Later in the section the
Trio returns eight after number 12.
Here the eighth notes in the bassoon should accommodate the phrasing of the
piano. Both instruments should play in two and allow for rubato.
The greatest rubato or freedom of tempo in the movement is
at zögern, which is translated as
“hesitate” or “hold back.”
Now I end this video with a few performance details for the
bassoonist. Five measures after number 12 use one of these fingerings for the
trill. Please also note that this trill is not
forte, that is a mistake. Play this
mp and then follow the crescendo
mark. The downward slur in the next measure from G4-C4 is best accomplished
without flicking the C4.
I hope that you have viewed the other two videos on the
Hindemith Sonate by now. Please
proceed to the last video in the series in which we examine the
Beschluβ or conclusion to the
composition.
Copyright (c) 2016 by Terry B. Ewell. All Rights Reserved.