A study of piano accompanying technique and aspects of Neo-Classicism in Paul Hindemith's sonata for viola and piano, op.11 no.4

Abstract

This thematic paper is a study and analysis of the Sonata for Viola and Piano, Op. 11, No. 4, which was composed in 1919 by Paul Hindemith. This piece is one of his early works and it contains aspects of the late Romantic form of Brahms and Reger, but also shows neo-classic tendencies through the abundant use of counterpoint techniques and neutral dissonance. This work is comprised of three movements, each movement continuing attacca without pause. The first movement is a fantasy form in the introduction with a romantic melodic theme. It features frequent enharmonic modulation, nonharmonic tones, varied chords and altered chords in the first movement. The theme is exchanged between the viola and piano parts. The second movement consists of four variations. Although each variation is individual, and separate, the contrapuntal aspect gradually increases through the variations. The third movement is the finale and includes three variations on the theme from the second movement, giving the feeling of being connected to the second movement. Since the piano "accompaniment" part does not merely accompany but leads the whole piece along with the viola part, this study would be helpful for the collaborative pianist to perform a key role in chamber music by expressing the main theme and motives in each part in ensemble with an instrumental player with skillful technique and profound knowledge for a deeper comprehension of music. The expectation of this thematic paper is that it would help collaborative pianists know how to practice and how to perform with the exact articulations, dynamics, tempi and formulate their intentions with the proper understanding by analyzing Hindemith's Sonata for Viola and Piano, Op. 11, No. 4.