Paul Hindemith's Sonata For Trumpet And Piano: An Aesthetic Analysis of the First

Movement.

Gilmar Cavalcante da Silva

MUSC 7010 Music Theory
November, 2015
 Gilmar Cavalcante n ii

Abstract

This work presents an aesthetic analysis that approaches the first movement of the sonata for

trumpet and piano by Paul Hindemith; which is one of the most important twentieth century works

of the genre for the trumpet repertoire. Thus, the analysis content on this paper is divided in four

main subjects; formal structure, melodic and rhythmic structure, harmonic and tonal structure,

texture, articulation and dynamics.

The complete piece is a three movement work; although, for the purpose of this work, only

the first movement is going to be analyzed in order to provide a better coverage of the material that

fulfills it. The approaches achieved hereby do not intend to be an absolute truth, nor the most

complete reference, or even the only source that addresses the piece this way, but it should be taken

on the way that considers the available sources and resources herein applied.

On the other hand, this paper does not intend to approach strictly the performance or describe

appropriated techniques willing the preparation of the piece as a beforehand stage guide. Though,

even if it was intended to, it would be an incomplete source due to the fact that it covers only the

first movement. Despite that, the content hereby discussed may be also useful for the performance

preparation − if applied properly. Otherwise, the points discussed hereby aims better to help

clarifying the compositional process from an analytical point of view.

 Gilmar Cavalcante n iii

CONTENTS

Abstract ......................................................................................................................................... ii

Introduction ....................................................................................................................................1

Background .................................................................................................................................... 2

Formal Structure ............................................................................................................................ 3

Melodic and Rhythmic Structure ...................................................................................................7

Harmonic and Tonal Structure .......................................................................................................9

Texture, Articulation and Dynamics .............................................................................................11

Conclusion ........................................................................................................................................13

Bibliography .....................................................................................................................................14
 Gilmar Cavalcante 1

Introduction

Paul Hindemith was a German composer and a music theorist who lived between 1895-1963.

During the World War II, expatriated from Germany during the Nazi's power, he lived in

Switzerland and later on in the United States of America. He represented one of the most important

names in music of the first half of the twentieth century, considered the foremost composer of his

generation by the end of the 1920's, and still is nowadays.

Hindemith was a violist and also a violinist which played, during his early years, in places

such as theatres, cafes and dance bands to afford a living and that musical experience influenced his

beliefs and thoughts about performance and theory − according to that they were connected. Later

on, he became the leader of the Frankfurt Opera Orchestra, by the 1920's.

His early compositions relied on pieces for chamber ensembles (Kammermusik) composed

primarily for the Amar-Hindemith Quartet, in such he was a violist. Those compositions were heard

initially in some international festivals of contemporary music. Furthermore, between 1936 and

1955, Hindemith composed a series of ten sonatas for wind instruments and piano and the sonata

for trumpet and piano was composed in 1939, during the World War II; there are some

particularities that makes this piece represent one of the most significant twentieth's century works

for the trumpet repertoire, particularities that will be discussed furthermore.

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Background

Hindemith studied composition under Arnold Mendelsohn, great nephew of Felix

Mendelsohn. His compositions, in somewhat, were intended for amateurs musicians, and had a sort

of social and political purpose underneath, it was a style so called Gebrauchmusik − music for use.

In addition to that, his compositional output counts on pieces for unusual instrumentation for the

time, such as the concerto for trumpet, bassoon and string orchestra, the quartet for violin, cello,

clarinet and piano, which guides us, at least, to think about a different way of combining timbers.

During the rise of the Nazis party in Germany, Hindemith still had a good relationship with

them; he was actually in favor of Adolf Hitler and Joseph Goebbels. On the other hand, Hindemith

was not a very political person and started to have disagreements with the Nazis because of the

opera Mathis der Maler. The opera's genesis, deriving from a symphony with the same title and

subject that was composed a year before, which is based on the protestant reformation and

paintings of Mathias Grünewald (who lived between 1470-1528) specially by Isenheim Altarpiece,

that same artist also inspired other twentieth century creative minds, like the French novelist Joris-

Karl Huysmans. At Hindemith's time, the opera Mathis der Maler was considered by the Nazis as

being a self portrait. Thus, there was a concern about the second scene of the opera, which contains

a riot among catholic, protestant students. The Nazis were worried about the opera's scene not to

inspire the people to an actual revolt, so the music went to the Nazi's black list.

Hindemith's music was considered by Joseph Goebbels, who was the propaganda minister

during the Nazi power, as entertate musik (degenerate music). In addition, Hindemith also defended

the rights of the Jewish to be employed while he was leading the Frankfurt Opera Orchestra. Thus,

all this together made him ask Hitler to continue employed in Germany, which was denied and he

left the country with his Jewish wife to an exile in Switzerland in August of 1938. Once in

Switzerland, he continued to compose. Although, the Nazi power was spreading out and annexing

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new territories such as Czechoslovakia. Then, upon those circumstances, Hindemith felt insecure

and left to the United States of America soon after; he contacted his wife in a letter that was sent

from The United States and that letter dates from February 1939.

The music was a way whereby the composer exploit to express his feelings, in that case,

Hindemith expressed the discomforts upon the circumstances that made he need to leave his home

country. Hindemith composed a sequence of ten sonatas for wind instruments and piano

corresponds to the years between 1936 and 1955; that sequence started with the sonata for flute and

piano, while he was still in Germany, in 1936. "Hindemith scoffed at the notion that composers

actually feel, while they are composing, the emotions they strive to convey (Ball, 2010).1" However,

the sonata for trumpet and piano is considered one of his most personal works, due to the fact that it

was composed under this upheaval of happenings that were taking place on Hindemith's life, which

is represented throughout some elements along the piece. The trumpet sonata was composed in

1939, during the World War II. Therefore, this is a work that was completed when Hindemith was

in the United States of America.

Formal Structure

That is the point on the music analysis process which is supposed to describe the method of

organization applied on a work. Thus, that describes and locates the spots of possible dividing

points, their relationship − from the previous to the following ones or vice versa − as well as the

criteria that characterizes such divisions. It also traces the probable length of each section, period

and, once it fits, may also establish a comparison among them.

Since this analysis will focus on the first movement of the sonata for trumpet and piano by

Paul Hindemith, is valuable to have some basic and brief definitions before reaching a statement

about the work. For example, the first movement of a classic sonata is usually in a sonata form − on

1
Ball, Phillip. The Music Instinct: How Music Works and Why We Can't Do Without Music. 259.

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its simplest form with sections that can be divided in ABA. Even Hindemith kept some aspects of

the classical sonata form on the structure of this work, for example, it is a three movement work

with contrasting tempos among the movements − fast, slow, fast − the piece conceives some

particularities, which will be discussed furthermore.

The second movement of a sonata (on a three movement piece) can vary on form; it is usually

a slow movement. Last, on the third movement, when the works contains a rondo, this is usually

found as the last movement. Therefore, during the twentieth century, the sonata form still preserved

its conventional and classic form on tonal music.

Hence, rondo, from the French rondeau, is a musical form that started to appear more

frequently during the late baroque period. Its structure consists on a form with repeated sections

within at least two episodes. In addition to that, "at its simplest it can be represented as ABACA. It

is to be found in many cultures and periods, for example in the medieval carol, where the BURDEN

represents the A section (Tucker and Temperley, 2015).2"

Furthermore, during the second world war, some composers started to apply more

dissonances and increase the harmonic movement on the form. However, the traditional structure of

the classic sonata form was usually kept. Although, on Hindemith's trumpet sonata, the structure of

the first movement does not really match with the classic sonata form, and that may be one of the

starting points that opens possibilities for describing other kind of ambiguities on the work.

The movement can be divided in three main sections (ABC), containing transitions joining the

sections. So, those characteristics are commonly found on the sonata-rondo form. This is a simple

diagram showing how the first movement is structured:

2
Tucker and Temperley. online at:
http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5740?q=Rondo-
+Form&search=quick&pos=1&_start=1#firsthit

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 Gilmar Cavalcante

section A B C A' C' B' A''

mm. 1-27 30-45 47-66 67-84 85-106 107-126 127- end
pitch center B-flat M C-sharp A Dm B E-flat B-flat M

Figure 1: representation of the formal organization of the first movement.

Some authors have mentioned that the Hindemith trumpet sonata's first movement is even a

sonata or a rondo form. Indeed, there are characteristics of sonata form, for example, this first

movement starts and ends on the same key, has an exposition, the A' section could be considered as

beginning of the development and A'' coda. Even though, what actually looks clearer to me is that

this fits better into a sonata-rondo form. That can be justified due to the fact that the themes do not

really develop, they are repeated with additional material and it makes the work contain elements of

both, the classical sonata and also the rondo form.

Therefore, in order to support the statement that this is a sonata-rondo, the theme which is

played by the trumpet on the beginning of the movement, occurs a couple of times in different

registers and in three different tonalities. This little motive can be called the rondo theme and that

rondo theme that starts the piece is on the key of B-flat major, furthermore it is played on F major

and back to B-flat major again on the A section, but it also is played on D minor up to measure 65;

those transpositions are better applicable for a rondo form.

Figure 2: Rondo theme on its original key; B flat minor (transcribed for the B-flat trumpet- must be read a step
below).

Figure 3: Rondo theme on the key of F major.

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Figure 4: Here the rondo theme appears transposed one major third above from the initial key, in D minor.

The rondo theme starts with the melody on the trumpet line and the piano playing the

accompaniment on a rhythm that recalls to a march, starting both on the downbeat of the first

measure within a forte as dynamic indication; it lengthen up to measure 9 with the trumpet melody

and continues up to measure 11 with the piano completing the first phrase of the rondo theme.

Figure 4: Piano on a march-like theme. Trumpet line transposed for a B-flat trumpet. For concert pitch read one step
below.

The transition spots were called by (Weiss, 2011)3 as being digressions and those digressions

happen between the sections, working as connectors. This same author mentions that the function of

those transitions are connectors, with the difference that the sections after are so called as the

"actual digressions" as it is a characteristic of the sonata-rondo form.

According to (Campbell, 2015) 4 Transition is a "portion of the exposition that moves

decisively to a new key and highlights the move; in the recapitulation; the transition is modified so

that the second theme enters in the tonic." There are transitions with different length, in a crescent

number of measures (3-4-7) and the last one is in the longest one, although, this one can be better

3
Weiss, Marybeth. Defiance Through Music: the First Movement of Paul Hindemith's sonata for
trumpet and piano. 1046.
4
Campbell, Michael. Music: Student Edition; Sonata Form, transition. Second Edition, 106.

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 Gilmar Cavalcante

defined as a bridge, once it builds the return to the original material creating a climax to the coda.

The first occurrence of those transitional materials is between measures 27 to 29. Moving forward,

the second one appears on measures 52 to 55, the third time it occurs is on measure 60-64 and last

one at 115-121.

Melodic and Rhythmic Structure

The melodic structure is the point where aspects such as the range − low and high registers −

are about to be described. Thus, this piece is supposed to be played on the B flat trumpet, that is the

most common kind of trumpet. So, that is one aspect that recalls to the desire that Hindemith

intended on his music − Gebrauchmusik, music for use − which probably comes from the heritage

of his early life as a violinist.

Hence, according to Neumeyer, Hindemith made it clear that melody 'rests on' (is
hierarchically subordinate to) harmony, but it is equally clear that some melodic factors can
be independent of harmony [...] No simple principle can be applied consistently to the relation
of harmony and melodic activity: contexts are variable (Neumeyer, 1986)5.
Therefore, with that statement is possible to conclude that the composer is not really obeyed

to follow the rules all of the time, but he may break them in order to reach his intentions and use the

sounds or sequences that are on his mind; that allows a possibility for a double interpretation on the

structure of the sonata.

The melodic relationship between trumpet and piano presents some fourth and fifths

relationships among the phrases, just following the interval hierarchy stated as more or less stable.

For example, As shown by the diagram on figure 1, the themes on the trumpet line do not have the

accompaniment repeating the harmony until measure 127, where the movement gets to A'' and the

tonal center is back to B-flat as in the beginning.

5
Neumeyer, David. The Music of Paul Hindemith. 42.

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 Gilmar Cavalcante

The tessitura, which represents another part of the melodic compounds, written on the trumpet

voice on this first movement, goes from the low B-flat to the high A on concert pitch; and that is not

too wide for the average of non beginner trumpet players. Still, the rhythmic on the melodic

progression for the trumpet does not require a virtuosistic technique to perform the work, on the

way that it does not demand fast fingerings.

Also, still looking at the diagram 1 the sections played by the trumpet are presented in a

progressive order until measure 66, where the three main sections are presented. After the

recapitulation of A, which starts on measure 67, the sections are organized on a backwards order

with additional material added to the themes.

The rhythm structure that looks like it is straight forward between trumpet and piano if we

just listen to it, but it brings actually some spots of polyrhythm. For example, on the first section B

that starts on measure 30, where the piano switches from 4/4 to 12/8 while the trumpet keeps on 4/4

until measure 47, when the trumpet finally joins the piano on a 12/8 metric, and also that is where

starts the section C with a new material.

Figure 6: Trumpet keeps in 4/4 and piano switches to 12/8 metric on measure 30.

Furthermore, on the second part of the movement it happens the opposite, but at that time on

the second section C, starting on measure 92. Also, this time is the trumpet which plays on 12/8

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while the piano keeps playing on 4/4; and that goes until measure 106 and then starts the second

section B on 107.

Figure 7: Both instruments change meters from 9/8, but trumpet goes to 12/8 and the piano to 4/4.

In addition to that, the coda is another sport where the trumpet plays in one metric other than

the piano. Trumpet plays in 4/4 and piano in 12/8 from measure 127 to the end.

Figure 8: Trumpet switches for a 4/4 and the piano keeps on 12/8 from measure 122 to the end.

Harmonic and Tonal Structure

In this section of the paper, there are points such as tonalities, key changes, pitch centers,

harmonic progressions and cadences that may be analyzed. However, "in analyzing twentieth

century music it is clear that certain concepts of harmonic common practice are applicable, while

other concepts either do not apply or must be considerable modified to be useful (White, 2003).6"

Therefore, observing the beginning of the piece, there is not indication of tonality on the key

signature on Hindemith's sonata for trumpet and piano. However, the accidental notes guides us to

6
White, John D. Comprehensive Musical Analysis. 166.

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 Gilmar Cavalcante

think about six different tonal areas among the sections − there are seven main sections, but the last

section repeats the beginning tonality of B-flat major. Thus, since the first movement starts and

ends with the same tonality it is possible to conclude that the main key is B-flat major.

The first movement can be divided up to seven sections, and that is another characteristic that

breaks the idea of a classical sonata form in this movement, indicating for something in between

rondo and sonata − confirming that is a sonata-rondo. In this particular case, other that that, the

relationship among the pitch centers gives another contribution to confirm the form. "The

compositional application of this timbral aspect of harmony is called harmonic fluctuation

(Neumeyer, 1986).7"

In addition to that, [...] The tonal definition is not well achieved because of the great variety of
[harmonic] facts involved and their rapid succession ... A clear expression of tonality depends
not only on the physical character of its constituent harmonies, but equally on our interpretive
faculties (Neumeyer, 1986)8.
There is a I-V-I harmonic progression between measures 1 up to 27 within a structure of 9

bars phrase, which is divided in two small sections − 4 bars for the first and 5 for the second − that

asymmetry shows a break on the classical sonata form, which is supposed to have a symmetry

between phrases.

Hindemith used the overtone series in a unique way to justify his intervallic and harmonic
relationship [...] In his system, the unison and octave have a greatest stability. The next most
stable intervals are the perfect fifth and its inversion − the perfect fourth. Thirds and their
inversion come next (Heinzen 2010)9.
The following figure is a diagram which represents the interval hierarchy system used by

Hindemith in order to define the way he applied the chords on the organization of the piece, which

was described before:

7
Neumeyer, David. The Music of Paul Hindemith. 31
8
iBid, 43.
9
Heinzen, Craig D. Semiotic Modeling: Relevance to Trumpet Performance and Musical
Interpretation Using Paul Hindemith's Sonata for Trumpet and Piano. 20.

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 Gilmar Cavalcante

Figure 9: Interval hierarchy sequence based on Hindemith's classification.

The first occurrence of the rondo theme happens between the downbeat of the first measure

and the downbeat of measure 9 on the tonic on the key of B-flat major. After that, it progresses to

the dominant on measure 12, which goes until measure 24, when it comes back to the tonic and on

the downbeat of measure 27 with the trumpet ending the rondo theme on the tonic it concludes the

first section.

There are several spots where the harmony is tricky; sometimes due to the organization of

chords with quartal and quintal harmonies, where the chords are without the third or the fifth of the

triad. Also, sometimes there are accidents written on the piano part that makes it hard to define

clearly what is the tonal center. For example, between measures 30 and 31, there is a tonal

instability on the piano, with sharps on 30 and flats on 31.

Moving forward, on measure 127, the tonality comes back to B-flat with both instruments

joining that return to the initial key. But, soon after, on measure 131, while the trumpet keeps B- flat,

the piano does not have a clear tonality. The frequency of accidents, quartal and quintal harmonies

with chords omitting the thirds, sometimes the fifth, it is not clear to say about a tonal center. It just

gets to B-flat again on the last measure (142), when the piano joins the trumpet on the key.

Texture, Articulation and Dynamics

At this point, the content to be discussed involves characteristics such as the density on the

organization of the material into the sections and between them, changes of dynamics. Also, as a

definition of articulation, I consider it as being the way that the sound and silence is organized into

the phrases. So, that is the way which articulation is going to be taken by.

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 Gilmar Cavalcante

On Hindemith's trumpet and piano sonata, the dynamics figures an important aspect, once

they are combined to other expressions (for example, words) indicated on the music, they can

represent the composer's different feelings on the different spots they were applied; especially if in

accordance to the composer's own statement in such "music creates images, memories of feelings

(Ball, 2010).10" Generally speaking, there is a wide change of dynamics on this first movement;

indications happens between pianissimo and fortissimo among the phases and sections, including

also crescendos and diminuendos.

The movement is 142 measures long and brings the expression Mit Kraft (powerful) on the

beginning. Thus, with that expression and the combination of both instruments starting on the

downbeat of the first measure, and plus with a forte as a dynamic indication, the composer implies

an idea of strength; that idea is applied to the complete A section.

There is a symmetry on the way Hindemith applied the dynamics among the sections. The

three "A" sections brings a forte as a dynamic indication, while the "B" sections starts on piano and

the "C" sections are marked by having crescendos and diminuendos, as the "C" sections function as

connectors to the "A" and "B" sections respectively.

Furthermore, there are transitions and a bridge connecting the sections. Thus, what happens at

this first occurrence of the transitions, on measures 27 to 29, is that the dynamic drops down to a

piano and the texture is way less dense then in the end of the A section, piano and trumpet play

almost in a soloistic way, excepting for the downbeat on measure 27 and third beat of measure 28,

and the material is stable, the interval relation guides to think about a progression from B-flat to A.

The second transition happens on measures 54 to 57 and presents chromaticism and accidents,

specially on the piano line, with sharps and flats organized in a more dense texture than in the first

10
Ball, Phillip. The Music Instinct: How Music Works and Why We Can't Do Without Music. 259.

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 Gilmar Cavalcante

one. This should prepare to a new section, but it does not, it rather progresses from A to F on the

"C" section.

The third transition occurs on measures 63-66, when there is going to be a section change,

from "C" to A'. That transition, likewise the first one, dos not have to much density, although, there

is a dynamic change from pianissimo on measure 63 to a forte on 66, and that builds to the

fortissimo on measure 67, where trumpet plays the rondo theme on the key of D minor while the

piano plays a tremolo.

The fourth transition, that happens between measures 120 to 126, uses the material recurring

to the Nazi march on the piano part with a dense texture, while the trumpet line progresses through

chromaticism creating tension until it gets to measure 127, where the tension releases with the

occurrence of the rondo theme which is back on the initial tonality of B-flat.

Conclusion

The sonata, which was primarily intended to be Gebrauschmusik (utility music) and indeed it

lasts this way for the trumpet but for the piano, is a programmatic work which makes it particularly

different from the other sonatas for solo with piano. That piece allows to interpret that the

composer's feelings could have been deeply affected. Thus, the personal feelings expressed through

the different ways on the piece can be seen on aspects such as the dynamics, rhythm pattern,

melody, ambiguities on the melodic and harmonic structure, tonal instability, as well as by words

and expressions present on the piece, and the break of the sonata form − what did not happen in

other works such as the oboe sonata, which has an allegro sonata form as the first movement. In

other words, this is actually not a work completely intended for amateurs as supposed.

This Hindemith's sonata for trumpet and piano is a fascinating work which requires a lot more

work to have its content analyzed in more depth and in order to have a more complete coverage of

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its content of the entire piece, or even still of the first movement. This paper, by focusing only on

the first movement, covered as well as it fitted for its purposes and length, but again, this sonata is a

three movement work and the other two remaining movements can enhance this analysis on future

researches.

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