Paul Hindemith의 Piano Sonata No.2에 관한 분석 연구

Abstract

Paul Hindemith(1895-1963) pursued to modernize the classical formality through his life in various genres such as Sonata, Symphonies and Concertos. As a Neoclassic musician, he consistently applied the traditional musical concept to his works in deliberate and academic ways. For example, he insisted that harmonic overtone and tonal effect shoud not be excluded. Therefor, he incorporated major and minor system, and readjusted order of consonances according to the overtone series. He also rearranged modern counterpoint structure by using modal and polytonality melodies and then, he tried a variety of expression. The sonata in G is the piece that was composed in 1936, the period between he wrote his famous opera "Mathis der Maler" and "Ludus Tonalis," called a textbook of modern counterpoint. In this period he composed sonatas for almost all instruments to show the possibilities of tonal music in modern form. Therefore, these pieces should be regarded as a trial and a verification of formal music. As to the structure of this sonata, it is consisted of three movements. The first movement is in classical Sonata-Allegro form, the second movement in A.B.A. Scherzo, and the third movement in Rondo with Prelude and Postlude. We can characterize the following from the aspect of technique of the sonata. First, Hindemith tries to construct sonata from the classical sonatas by introducing modern idioms. Second, The main intervals, tonality, and harmonies used in this work are from his unique system based on his theory. So the tonal core of harmony and the direction of a melody are clearly shown in this piece. Third, The sonata is in contrapuntal structure rather than harmonic. Fourth, Despite of the simplicity of formation from outside and the completeness of logical construction, we find it dry and empty which make it difficult to understand and appreciate the piece. This piece contains almost all the techniques of establishing tonality of modulation, harmony, and counterpoint. These techniques are so consistently treated by Hindemith's unique theory that the possibility of tonal music in 20th century can be seen through this sonata.