About Stylistic Interactions in Paul Hindemith’s Piano Sonatas
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Abstract
The author of the article makes a study of the three piano sonatas of Paul Hindemith, composed in 1936. A brief overview is given of Hindemith’s compositions written in various genres, which preceded the piano sonatas: works for viola, cello, violin, viola d’amore, etc. Definition is given of Hindemith’s chief stylistic priorities: Neoclassicism, Neo-Baroque, Constructivism and Romanticism. An interpretation of neoclassical principles finds its reflection in the Sonata in G. Here one can observe the revival of the “light” genre of the sonatina of the trend of Mozart and Haydn. A realization of the tendencies of the Neo-Baroque connected with the music of J.S. Bach and his contemporaries is revealed most vividly in the Sonata in B-flat. The genre-related color of the themes in Hindemith’s sonata cycle is expressed by the historical genres of the Sicilienne and the Bouree with the strengthening of the linear element.
Constructivism, which takes contrapuntal methods for its basic element and brings them to a universal level, can be found in all the sonatas. The tendency of “machinery” in music brings out to the forefront the elements of rhythm, dynamics and texture, thereby reducing to a minimum the melodic element. The Sonata in A demonstrates romantic tendencies, which disclose on such functional levels of the musical text as dramaturgy, composition and lexis. An important role is played in the present opus by the programmatic element. The paths of interconnection in works of various stylistic features are traced out. In the outcome the composer rejects the romantic style, which is expulsed by baroque and classicist stylistic traits. Those, in their turn, are synthesized with the avant-garde tendencies of their time.
Keywords: piano sonata, Paul Hindemith, Neoclassicism, Neo-Baroque, Constructivism, Romanticism, style in music
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