Well, we have come to the last video in the series. Most
fitting is that this movement is called
Beschluβ which is translated “conclusion.” Hindemith also gives the
instructions Pastorale-Ruhig, which is
translated “pastoral” and “calm.”
I hope that you have had a chance to view the other three
videos in this series on the Hindemith
Sonate. These will be helpful for you as you study this piece.
The opening piano section should be phrased with some
rubato or slight changes in tempo. This is the most extensive piano solo in the
composition, so the pianist should take advantage of it.
[Music]
Much of this movement, in fact, should move forward to
musical goals and then relax.
The most important rhythm to master in this section is that
of the dotted eighth, sixteenth, and eighth note. Let’s just call it the
“Figure.” In the Figure I suggest practicing quarter note and eighth note
sequences first. Practice this with a metronome, making certain that the eighth
note coincides exactly with the last third of the beat. When you have mastered
this rhythm add the sixteenth note. Again this should be practiced with a
metronome.
Once you have mastered the rhythm of the Figure it is now
time to shape these as gestures. The notes in the Figure are not played with
equal emphasis. The dotted eighth on the beat receives the most weight. The
eighth notes move forward to each dotted eighth and likewise the sixteenths have
motion towards each eighth note. Thus the traditional beaming of the notes does
not show the musical groupings of these notes. Instead the musical groupings are
better represented in this figure.
I don’t play each of the Figures the same. In general, the
downward moving Figures I play with more separation, coming away from notes,
quicker diminuendos, with less emphasis on each note. In addition, I slightly
“rhythmitize” the sixteenths. I play them a little quicker than sixteenth notes
but not as quick as 32nd notes. These downward Figures I try to
perform with a more relaxed, calm, and pastoral mood.
[Music]
The upward moving Figures, however, I play with more length
and emphasis; more agitation. The sixteenth notes are played in rhythm and
lengthened. This helps to convey more weight to the notes and greater intensity.
All notes are played without diminuendos and in fact move forward to the highest
pitch.
[Music]
In music we have special terms for types of gestures.
“Motives” refers to rhythmic fragments that can be expressed with various
pitches. The Figure is a motive in this movement. Phrases are longer groupings
of music and here in this movement they are often made up of motives and other
music materials. Both motives and phrases can be thought of as gestures, some
smaller and some larger with multiple components.
Music is more than just the arrangement of starts and stops
of notes. Music speaks, it stirs emotions. The goal of the musician is to
communicate the music to the listener. The word “gesture” is able to describe
aptly how a performer communicates to a listener. These gestures of
communication are similar to the motions given by dancers. Some movements convey
one meaning and other motions provide communication of something different.
Brush strokes in painting may also convey many varieties of meaning.
In the example of Chinese painting I am providing here, the
strokes to create bamboo stalks, branches, and leaves are gestures.
[Music with synchronized painting gestures]
Each gesture contributes in a unique way to the painting
and taken altogether provide final meaning to the work. Similarly, each gesture
in music builds upon and enhances the other gestures given by the performer.
[Music under this text:] The musician needs to scale each
gesture. Some are less significant and therefore highlighted less in the music.
Other musical statements are bold and need to be projected with more force. When
you perform music paint with your tone; dance with your musical statements;
speak to your audience with your musical expression. This will not only bring
greater joy to your audience, but you will gain greater satisfaction with your
role as an interpreter of the music.
Copyright (c) 2016 by Terry B. Ewell. All Rights Reserved.