Summary

This work is the shortest of Hindemith's three Piano Sonatas, approximately half the length of the First and Third Sonatas (about 13 minutes). Hindemith completed Piano Sonatas Nos. 1-3 in quick succession from June to August 1936. During this period, his educational and performance activities in Germany were restricted under Nazi influence. Perhaps as a reaction to this, it is conceivable that his awareness of reconstructing and codifying his own music theory heightened. This awareness is evident in his concurrent undertaking of the revision of Das Marienleben (1923), a representative work of his middle creative period, and the commencement of writing Unterweisung im Tonsatz, Vol. 1: Theoretischer Teil (The Craft of Musical Composition, Book 1: Theory) (1937). Therefore, this work can be regarded as one culmination of Hindemith's musical theory and practice cultivated throughout his career, and simultaneously, a piece that foreshadows a new turning point in his compositional style.

Movement 1

2/4, 3/4 Moderately fast (Mäßig schnell) (♩=108)

Although it can be considered a sonata-allegro form, its concise development section allows it to be interpreted more as a sonatina.

Exposition (Measures 1-63)

From measures 1-6, a "G-mode" music begins, which is neither clearly G major nor G minor, while the G note is persistently emphasized by the left-hand accompaniment. The melody of the first theme played by the right hand suggests a pentatonic scale (G, A, C, D, F), imbuing it with a somewhat ethnic atmosphere while creating an archaic sound. At the second beat of measure 26, an abrupt dynamic change from p to f occurs, and a short interpolated passage (interpolation a) appears. The contrast between the improvisatory musical motion of sixteenth notes and octaves hints at a musical world different from the first theme. At measure 36, the tension reaches its peak in terms of range, and interpolation a rapidly closes with the descending sixteenth notes in the right hand.

The second theme, starting from measure 41, is based on "F-mode" (with a tendency towards F minor). From measure 56, the same theme is played in an octave figuration, and the left hand changes to a new accompaniment pattern, transitioning directly into the development section.

Development (Measures 63-94)

At the first note of measure 63, both hands strike an octave on F at f, signaling the forced truncation of the second theme, and the development begins with the dynamics reduced to p. The development uses interpolation a from the exposition as its material, with the right hand's sixteenth-note figuration and the left hand's octave figuration providing momentum and drive to the music. Particularly from the second beat of measure 73, the left hand rhythmically strikes octaves in eighth notes, and the right hand repeats the same pattern in sixteenth notes, causing the music to rush forward. From the second beat of measure 89, both hands play a continuous sixteenth-note pattern, and the dynamics rise to ff, with the music plunging into the recapitulation with that momentum.

Recapitulation (Measures 95-156)

The first theme returns with a completely changed expression from the exposition, and the recapitulation begins with a thick texture emphasizing the sound of octaves. At the beginning of the development, a three-note ascending accompaniment pattern with the first note as an octave appeared, and this accompaniment pattern is carried over into the recapitulation. The persistent repetition of this accompaniment pattern makes the music progress as if recalling the powerful yet precise movements of heavy machinery in a factory.

From measure 117, the second theme returns, this time in C minor, but from measure 130, it is recapitulated in G minor. The second theme gradually decays, repeating the same motif with variations, and from measure 145, the first theme is recapitulated an octave lower than in the exposition. The movement concludes quietly by presenting the G major tonic chord.

Movement 2

3/4 Lively (Lebhaft) (텞.=80)

Three-part (ABA') form with a long coda. Each section begins with a unison motif as a signal.

A (Measures 1-26)

The unison in measures 1-4 dynamically initiates the second movement. The musical character gives an impression of being somewhat out of tune without overtly presenting harmonies, and overall, it has a bright and humorous atmosphere. While the tonal center is placed on B and F-sharp, the hint of both D and D-sharp maintains the B mode.

B (Measures 26-68)

Marked by the unison in measures 26-29, section B begins, characterized by more prominent dissonant sounds and an eerie quality compared to A. From measure 44, it shows a dynamic development based on octaves with an expanded range, leading to a sudden ff at measure 54, as if the protagonist of the musical narrative suddenly realizes something. From measure 56, the dynamics rapidly decrease to mp, and the music attempts to regain its composure, hinting at B-flat major. However, from measure 62, a latent sense of unease erupts again, expanding in range and volume, increasing the musical tension.

A' (Measures 69-108)

A returns with partial variations. From measure 97, a transformation of measures 9-18 appears at ff, impressively inserted in the highest register of this movement. This new interpolated passage rapidly converges while gradually lowering its range, and from measure 105, the music stagnates in unison towards pp. Overall, a single tonality is not established, but E major (measures 69-70, 80-81, 95-97) and A-flat major (measures 82-87) are partially hinted at.

Coda (Measures 109-144)

The unison motif that separates each section is decomposed and varied into a canon between the right and left hands. The volume rapidly increases from pp at the beginning of the coda to ff at measure 116, but this surge is short-lived. From measure 117 onwards, the large section from A (measures 18, beat 3 – 26, beat 1), imbued with a sense of emptiness and decadence, is extensively varied. The preceding section with its ascending figure is repeated, gradually truncated as if pleading, but is abruptly closed by the subsequent section, which impressively uses empty fifths, leaving an incomplete and empty impression. From measure 135, the unison motif reappears, and the movement ultimately concludes quietly by establishing E major with an E major triad.

Movement 3

Rondo form including a prelude and a postlude.

Prelude (Measures 1-20)

6/8, 9/8 Very slow (Sehr langsam) (♪=69 or less)

At the beginning, a B minor theme based on a dotted rhythm is presented like a funeral march. While hinting at the dominant major, F-sharp major, in measures 3-4, the music progresses as if wandering in a tonally unstable state, sounding an F minor tonic chord in measure 5 and a D minor tonic chord in measure 6. From the "vorangehen" (progressing) section at measure 9, the melodies in both hands are linearly interwoven, gradually increasing in volume, but the music loses power again after peaking at the third beat of measure 13. At measure 16 ("Ruhig" - quiet), it transitions to a 9/8 section in D major, symbolizing peace, but three chords struck at f in measure 18 momentarily collapse the sense of tonality. Just when it seems to regain the peace of D major in measure 19, an F-sharp major tonic chord is presented at the end of measure 20.

Rondo (Measures 21-197)

2/2, 3/2 Lively (Bewegt) (텞=100-108)

Overall structure: A/B/A'/C/A''/D (recapitulation of prelude)/A/B'/A'''/Coda

Section A, which begins rapidly with a drastic change in musical character from the prelude, maintains a bustling and lively character until measure 32. Section B begins at the second beat of measure 32, repeating the same motif from p to f, but the music rapidly decays after peaking at measure 40. From measure 46, A returns with variations, and from measure 54, the right-hand melody of A shifts to the left hand, while the upper voices of the chords played in this section provide propulsion to the music (A'). Section C begins at the second beat of measure 65, with the right hand's four-note motif (descending 2nd + descending 3rd + descending 3rd) being repeated, raising the range by an octave to increase tension. From measure 79, accompanied by a chromatic melody in the left hand, the right-hand motif's ties disrupt the metric feel, exaggerating C's improvisatory nature. From measure 101 onwards, A returns again with variations (A''), but from the fourth beat of measure 125, the B minor theme from the prelude is transposed to G minor and recapitulated (D). Unlike the prelude section, the tempo and volume increase, and the dotted rhythm is eliminated during this recapitulation and expansion, giving a passionate and sorrowful impression. The range gradually increases, and the volume reaches ff at measure 150, but the music rapidly stagnates after peaking at measure 152. From the third beat of measure 163, the initial A (measures 22-32) is recapitulated without change (A). From the second beat of measure 174, it returns to B, but here, a variation of the characteristic right-hand motif (measures 33-34) is repeated transitionally. At the third beat of measure 186, an E major tonic chord is struck at f, symbolically returning to A, but it remains a fragmented recapitulation, gradually slowing down ("langsamer werden") to pp, quietly closing the rondo.

Postlude (Measures 198-203)

9/8 Slow (Langsam) (♪=69 or less)

The section beginning at measure 16 of the prelude returns in E-flat major. Similar to the prelude, after the three chords in measure 200 negate the sense of tonality, E-flat major is restored, but the music ends extremely quietly with the G major tonic chord that concluded the first movement.