HINDEMITH - SONATA NO 2 G MAJOR PIANO
HINDEMITH - SONATA NO 2 G MAJOR PIANO
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Shortly after the publication of Wilhelm Furtwängler's article "The Fall of Hindemith" in the "Deutscher Allgemeine Zeitung" of November 25, 1934, Hindemith knew that his days were counted in Germany. On February 13, 1935, he wrote a letter to Willy Strecker about plans to work in Turkey, the USA, and Basel. He intended to stay in Germany, but to give up his position at the College of Music the following year.
In this context, the three Klaviersonaten composed in 1936 can be understood as a need for Hindemith after the introduction and submission of a "compositional accountability report". This is borne out by the importance which the composer himself attached to them, and the seriousness with which, during his second stay in Turkey, In the midst of strenuous practical and administrative construction work.
The first two sonatas were produced shortly after each other. In a letter to Willy Strecker, Hindemith writes: "Dear Willy, here you get the conscious sonata [meaning the 1st sonata] and so you do not believe Senilitas is already in the suit, I have made another hinnedruff, so for practice. it is the leitere counterpart to the least weighty first. In fact, the first sonata is designed not only musically complex, but it also benefits from the connection to Hölderlin's poem "the Main" on additional significance. the second sonata is against Lighter in the structure and almost didactically designed. In the first movement, the long breath of the very vocal melody line begins to appear. This Kantability is just as characteristic of Hindemith's style in the 1930s as the restrained pianissimo at the end of the last movement, which bears witness to an inwardness, which unfortunately is rarely observed at the Hindemith reception.
In this context, the three Klaviersonaten composed in 1936 can be understood as a need for Hindemith after the introduction and submission of a "compositional accountability report". This is borne out by the importance which the composer himself attached to them, and the seriousness with which, during his second stay in Turkey, In the midst of strenuous practical and administrative construction work.
The first two sonatas were produced shortly after each other. In a letter to Willy Strecker, Hindemith writes: "Dear Willy, here you get the conscious sonata [meaning the 1st sonata] and so you do not believe Senilitas is already in the suit, I have made another hinnedruff, so for practice. it is the leitere counterpart to the least weighty first. In fact, the first sonata is designed not only musically complex, but it also benefits from the connection to Hölderlin's poem "the Main" on additional significance. the second sonata is against Lighter in the structure and almost didactically designed. In the first movement, the long breath of the very vocal melody line begins to appear. This Kantability is just as characteristic of Hindemith's style in the 1930s as the restrained pianissimo at the end of the last movement, which bears witness to an inwardness, which unfortunately is rarely observed at the Hindemith reception.