Overall Summary

The period from 1921 to 1922, when this work was composed, marks the end of Hindemith's first creative period, where his unique eclectic compositional style is prominently observed, while still inheriting influences from late Romanticism. Placing this period within the context of art history, it can be described as a time when the end of Expressionism, which emerged in the latter half of the 1900s, overlapped with the beginning of New Objectivity, which expanded after World War I. This work precisely embodies the ambivalent spirit of the early 1920s, a period when these two seemingly incompatible artistic currents coexisted. Comprising five movements, this work expresses the social character of the era often referred to as the "Roaring Twenties." Hindemith incorporates the popular jazz and dance music of the time into his keyboard music through provocative parody (Movements 2, 4, and 5). This can be seen as a quotation of popular music as a "product" symbolizing the materialistic consumer society of the time, and a musicalization of consumer goods that were becoming obsolete within the era. The work's impression of lightheartedness and its mechanical, detached image might be interpreted as a musical testament to this era, blending the enthusiasm of people celebrating rapid modernization accompanying the establishment of a mass consumption society with disillusionment towards the spiritual and material losses brought about by World War I.

Hindemith's deliberate inclusion of the year "1922" in the title is thought to stem from his intention to declare this work as a contemporary "Suite" (a multi-movement form emblematic of Baroque music) composed in 1922. Furthermore, the cover of the first edition of the score features a large "1922" logo along with Hindemith's own illustrations depicting automobiles, trains, and popular life as symbols of contemporary society. This can also be interpreted as the composer's own hint that the work is a musical reflection of contemporary society.

1. March (Marsch)

Introduction (Vorspiel): Measures 1-3, 2/4

A dissonant, fanfare-like opening that seems to foreshadow the grotesque nature of this movement.

March: Measures 4-73

Ternary form (ABA form).

A: Measures 4-27, 2/4

• While characteristic of a march with its relatively simple rhythmic repetitions, jazz-like improvisational figures and rhythms are observed throughout.
• For example, prominent features include portamento-like effects created by rapid chromatic passages (runs) that imitate the playing techniques of jazz band wind instruments (e.g., measures 6, 14), and the use of ornaments (e.g., measures 4, 5, 13).
• Furthermore, by deliberately placing f on weak beats and p on strong beats, and adding slurs from weak to strong beats, a syncopation effect is created (measures 16, 18).

B: Measures 28-49, 2/4, 3/4

• The meter temporarily shifts to 3/4 (measures 32-33, 38), and the overall "march-like quality" (sense of 2/4) of the movement is blurred by the irregular placement of accents emphasizing weak beats.

A: Measures 50-73, 2/4

• Identical to measures 4-27.

2. Shimmy (Schimmy)

"Shimmy" refers to a dance popular from the 1910s to the 1920s, characterized by rapid back-and-forth shoulder movements.

Consists of the following two sections:

Part 1 (ABA' form): Measures 1-45

A: Measures 1-16, 2/4, 2/4

• The introduction begins with an anacrusis (measures 1-2), and similar to the previous movement, syncopation is frequently used throughout, with ornaments appearing in various places (e.g., measures 4, 10, 12).
• Furthermore, a polyrhythm is formed by the right-hand phrase marking a 3-beat rhythm against the left-hand accompaniment in 2/4 time (e.g., measures 5-6).

B: Measures 17-30, 2/2, 2/4

• The introduction is transiently recapitulated (measures 17-18), leading to section B, characterized by syncopation in the right hand and an accompaniment figure of octaves plus a sixth chord in the left hand.
• This left-hand accompaniment figure also forms syncopation through ties (measures 21-22, 24-25).

A': Measures 31-43, 2/4, 2/2

• Contrasting glissandos on white keys (right hand) and black keys (right hand) serve as a signal (measure 31), and A returns.
• Up to measure 40, it is almost identical to A (measures 4-12), but from measures 41-43, the figure from the preceding measure is repeated.

Part 2 (C + Coda): Measures 44-78, 2/4, 2/2, 3/2, 5/4, 4/4

The introduction is transiently recapitulated (measures 44-45), leading to section C, which is improvisatory and fantastical.

Glissandos, as seen in the previous movement, are frequently used (e.g., measures 49-50, 54-55).

The relatively quiet and introspective musical character up to measure 61 develops significantly in measure 62, both in terms of dynamics (mf → f) and register.

From measure 63 onwards, which can be considered a coda, the notation changes to three staves, and the music proceeds more dynamically with the indication 'Breit' (broadly).

Harmonically, seventh chords (e.g., measures 63-65) and chromatic progressions are prominent, revealing an affinity with jazz.

In measure 69, the movement reaches fff for the first time, and in measure 71, it reaches its highest register, forming a climax in the musical development.

Relentless pounding of dissonant triplet chords, combined with extreme dynamics and register, creates a stimulating sound (effective discomfort).

The movement concludes with a series of dissonant chords that give a dismissive impression, abruptly cutting off the music.

3. Nocturne (Nachstück)

"Very quietly, with half tone. Almost without expression."

The "Nocturne" in this movement differs in character from the "Nocturne" established by J. Field and F. Chopin. It can be said to be a "Nocturne" as music that depicts a somewhat surreal dream world, rather than merely possessing a lyrical and meditative character. In this movement, the powerless sound is striking, conveying the emptiness of people reduced to mere labor in the mass society of the time, and a sense of resignation and anger towards the materialistic consumer society that created such conditions.

Ternary form (ABA' form)

Although no time signature is indicated in the score, the movement is consistently in 3/2 time throughout.

A: Measures 1-35

• The opening 4-measure motif is repeated in varied forms in measures 11-14 and 27-30, respectively.
• In contrast to the previous two movements, the tempo is slow, and the musical momentum is minimal.
• Overall, p dominates, and within the heavy music where the bass stagnates in the low register, the melody led by the right hand shows an intention to ascend, increasing in dynamics from ppp to ff (measures 15-19).
• However, no sooner has it reached its peak than it is pulled down by the gravity of a minor triad struck on G in the bass, falling (descending) fleetingly while weakening back to p (measures 19-22).

B: Measures 36-65, 'Ein wenig belebter' (A little more animated)

• There is a performance indication 'Sehr zart und leise' (Very delicate and quiet), and the overall register is about two octaves higher than in A, creating a dreamlike soundscape.
• The long, expansive phrase from measures 36-46 is developed and varied in measures 52-62.

A': Measures 66-98, 'Quietly, at the initial tempo'

• The opening 4-measure motif of A is recapitulated in a different register, and the 4-measure motif from measure 23 is reproduced almost exactly (measures 66-73).
• Subsequently, a large phrase originating from the opening 4 measures of A is developed and varied twice.
• The first time (measures 74-88), from measure 79, it again shows an intention to ascend, rapidly expanding in register with leaps in the right hand.
• However, peaking at ff in measure 83, from measure 85 onwards, it is suppressed by a series of chromatically descending dissonant triplet chords, accompanied by the indication 'allmählich zurückgehen' (gradually receding).
• The second time (measures 89-98), the register gradually lowers until measure 95, and the dynamics also weaken to pp.
• After a one-measure rest, the final two measures abruptly rise in register by approximately two octaves, and the first half of the opening 4-measure motif of A, which has been frequently repeated, is varied at ppp and concludes the movement.

4. Boston (Boston)

"Boston" refers to a type of waltz that appeared in American social dance circles in the late 1860s and subsequently spread to England. It was a dance form involving various steps and became popular in Germany after World War I as the "English Waltz."

Asymmetrical Rondo form.

A: Measures 1-22, 'Tempo rubato'

• In the opening 2-measure introduction, an empty fifth on C# is struck twice at ppp (the appoggiatura is also an empty fifth).
• While characterized by an elusive, sentimental melody, ornaments, dotted rhythms (e.g., measures 4, 8), and syncopation (e.g., measures 19-20) are also effectively used.
• Furthermore, hemiola, a characteristic of the Boston, appears in the left-hand accompaniment (measures 15-18), forming a polyrhythm with the right hand's triple meter.

B: Measures 23-64, 'Allegro'

• It transitions from the p-dominated, fluid A to B, which is characterized by prominent repetition of figures at f.
• The music develops by repeating a 4-note motif including the ornament from measure 4.
• While the right-hand descending figure originating from this motif is varied and repeated, the left-hand accompaniment forms a hemiola (measures 23-38).
• From measure 39, there is an indication 'Langsames Walzertempo' (Slow waltz tempo), but the aforementioned 4-note motif is consistently repeated.
• Similar to A, ornaments, dotted rhythms, and syncopation are used.

B': Measures 65-93

• B is repeated in a shortened form, lowered by one whole tone in pitch.

A': Measures 94-115, 'At the initial tempo'

• Measures 5-18 of A are recapitulated (including repetitions of the same figure from measure 108 onwards).

C: Measures 116-163

• The opening 2-measure introduction is extended to 4 measures and transiently reused (measures 116-119, 127-130, 138-141).
• In measure 120, there is an indication 'Recitativisch, sehr rubato' (Recitative-like, very rubato), and ff and ppp are alternately repeated, while syncopation (e.g., measures 121-122, 142-143) and hemiola (e.g., measures 123-124) are used.
• From measure 152, the 11 measures from measure 120 onwards are recapitulated in octave figures (the upper voice is two octaves higher).

A'': Measures 164-183, 'At the initial tempo'

• Measures 3-18 of A are recapitulated (measures 164-179).
• Measures 178-179 are repeated three times.

Codetta: Measures 184-203

The meter is blurred by syncopation, and the music gradually stagnates from f to ppp.

From measure 200 onwards, the opening 2-measure introduction of A is recapitulated, concluding as if expiring, emphasizing the empty fifth.

5. Ragtime (Ragtime)

"Ragtime" refers to a musical idiom that began to gain popularity in America at the end of the 19th century and was adopted in Europe during the 1920s as a symbol of Black music. It is characterized by rhythms that heavily employ syncopation and is generally considered a precursor to jazz.

Rondo form, including 'breaks' that serve as transitional passages.

A: Measures 1-12

• It begins with an introduction (measures 1-3) where intense ff dissonances cascade downwards, and the crude, rapid music proceeds with ff and fz, rhythmically exaggerated by syncopation.

B: Measures 13-16

• The dynamic marking changes to mf, and while the previous intense musical motion subsides for a moment, accents on weak beats are persistently repeated.

A': Measures 17-27

• The motif of the introduction is transiently re-employed (break: measures 17-18), and the same musical development as A gradually ascends in register from measure 25.

C: Measures 28-39

• Dissonances are repeated in the high register, having reached a peak (break: measures 28-29), and material used in A is varied.
• The dissonant sound is further emphasized, and the movement in register is relatively stagnant.

A'': Measures 40-50

• While the repetitive musical motion from measure 37 onwards continues (break: measures 40-41), it returns to A again.

D: Measures 51-79

• The dynamic marking changes to mf, and the previously aggressive and extroverted musical character shifts to a somewhat introverted one.
• The upper voice forms a melody based on stepwise motion, carrying new musical development, while the bass persistently marks the last sixteenth note of each measure, demonstrating the piece's predilection for weak beats.
• From measure 76, fragments of the introduction and each motif of A are used.

A''': Measures 80-90

• Inheriting the fragmentary flow from measure 76 onwards, the opening introduction is developed and recapitulated in a different register (break: measures 80-83).
• Measures 84-90 are identical to the musical development from measure 19 onwards of A' (in a form omitting the last two measures of A').

Coda: Measures 91-116

For the first time in this movement, the dynamic marking rises to fff, reaching ffff in measure 95.

From the second beat of measure 95, dissonances descend as if tumbling down from the second highest register in this movement (measure 95: 'hinabstürzen' - to plunge down).

In measure 103, there is a performance indication 'Allmählich etwas breiter werden' (Gradually becoming somewhat broader), recalling the A motif in the right hand, while the left hand gradually raises the register, increasing musical tension.

At measure 108, where this tension reaches its peak, the movement reaches its highest register, and with the indication 'Breit' (broadly), it descends rapidly to the lowest register of the movement, emphasizing dissonances with a tenuto-like quality.

The dissonant chords (F major triad + Eb minor triad) struck three times in measures 111-112 brutally cut off the already violent and gruesome musical development, and from measure 113 onwards, a partial variation of the A motif is repeated three times, bringing the movement to a close.