| Abstract [eng] |
Paul Hindemith, as an accomplished composer and renowned violist, was famous for quite a few things – among them is his harmonic theory, based on harmonic fluctuation and harmonic/melodic tension arising from a newly created system for chord analysis, all topics covered in his 1937 music theory treatise The Craft of Musical Composition. He also composed a great amount of famous repertoire pieces for the viola, whether it be solo, chamber or orchestral works. Among them is the Concerto for Viola and a Small Orchestra Der Schwanendreher (1935), which is a component of the main topic of this Masters thesis, for it delves into the interplay of Hindemith’s harmonic theory and Der Schwanendreher’s interpretative analysis while reviewing three different recordings of the Ist movement of this concerto: starting with one by Paul Hindemith himself, following with Tabea Zimmermann’s and finishing off with Antoine Tamestit’s. After the analysis of these three recordings it is safe to assert that Hindemith’s harmonic theory (mainly harmonic and melodic tension, represented in separate graphs) shines through during the most harmonically and melodically intense moments and is often represented or deliberately shown by performers, who are either expertly following the score or intuitively guided by the harmonic and melodic pull of the piece. |
