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Paul hindemith in ludus tonalis
Paul hindemith in ludus tonalis















The Ludus was completed two years after Hindemith's appointment at the Yale School of Music, and four years before he received American citizenship. Hindemith invites us to analyse his piano cycle with his theory in mind.

paul hindemith in ludus tonalis

It provides the strongest indication of how Hindemith's music theory might be transferred into free composition, and lends itself more suitably to a theoretical analysis than any of his other compositions. If Hindemith's early works show the composer at his most pluralistic, the Ludus presents the composer at his most cerebral.

paul hindemith in ludus tonalis

PAUL HINDEMITH IN LUDUS TONALIS SERIES

Though Hindemith wrote many other compositions during this time, such as three organ sonatas (1937–1940), eleven instrumental sonatas and the ballet The Four Temperaments (1938), none have the explicit reference to music theory found in the Ludus: where all twelve of the starting pitches for the fugues correspond to the ordering of Series 1. It was written five years after the first published edition of the Unterweisung, and shared proximity with Unterweisung II (1939), the second edition of Unterweisung I (1940), Craft I (1942) and the preparatory work towards Unterweisung III. The Ludus Tonalis (‘Play of Tones’), written in 1942 and premiered by Willard MacGregor in 1943, is the quintessential model of Hindemith's music theory in practice. To corroborate further his theory of tonal organisation he composed the monumental ‘Ludus Tonalis’ for piano which has become one of his most famous works.

paul hindemith in ludus tonalis

As a member of his composition class I remember well how he used to discuss with his advanced pupils certain acoustical phenomena about which he was writing in his book, and their melodic and harmonic implications.















Paul hindemith in ludus tonalis