MahlerBrass

Hello all, I usually try to get some good background info on composers when I play their music, especially composers such as Hindemith where it's not always clear what he's trying to imply, so let me share with you some limited knowledge of what Hindemith was going through to give you an idea of what he might've wanted:
Hindemith wrote this sonata in 1939 while in Switzerland after being pretty much exiled from Nazi Germany after premiering his opera Mathis der Maler. Needless to say that by this time, Germany had already started their destruction over Europe and was slowly taking over other areas. Hindemith had to leave behind everything because of war, he was witness to many grueling acts, and was shunned for his music in Germany, and was shunned for being German when he came to the US (in 1940).
I strongly believe that his trumpet sonata is a depiction of the war that was taking place in Europe during his time there, his feelings of fear, despair, anxiety. The first movement depicts the actual battle, starting off with the a bold statement that could be compaired to Reh. #7 in Mahler's 5th. In my opinion this first movement depicts the moving of the military forces to destruction (it really wasn't much of a battle 'till later on), with the opening statement being a kind of call to battle. The rest of the movement depicts the feelings of fear, anxiety, and emotions among the victims of the attack, until the closing statement where it's even more intense than the opening, which I think depicts the final sweep of the military before leaving. The second movement shows the quiet after the war, witnessing the destruction left behind, the silence of everything but the wind. The third movement is the fealing of despair over those lost in the attack, a solemn movement that ends with a gorgeous chorale, Alle Menschen mussen sterben or All men must die. This is just the way I see it, and the best way I can make sense of what he does, I could be completely off here, but I think it seems to fit together really well this way. With this in mind, the first movement can't really move too quick, think of a German army, marching to battle, a slow, stomping like march, I think 98bpm is the magic tempo to really illustrate what's happening, anything much faster wouldn't express anything very well I don't think. A big point in this post guys, there's a story behind every piece of music, try to find it, and more importantly, try to tell it, it's helped me a lot when it comes to making the music, although we have to work a bit more, but I really think it's worth it. You can't convince me that you can really play Gabrieli without having some sort of knowledge of what he was trying to do. Enjoy!

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john daniel

I'm going to agree with Manny in principle and yet draw a slightly different conclusion. The problem is that the composer initially indicated a tempo marking that makes sense to very few. Compounding the problem is the fact that he didn't make that sort of a mistake very often. So we are left to figure it out on our own, based on musical instincts and our experience with Hindemith. The clue (tempo marking) that is left to us is in this case is not helpful, and even a distraction.

I agree with the metaphor about Nazi Germany, although in lessons I often describe it as "THE BORG". "Resistance is futlie, you will be assimilated." So there is a sense of cold, stark, evil machinery in motion. The music is intentionally unemotional in the first movement in order to extract a maximum of emotion (fear) in the listener, I believe. It is certainly one of the most profound pieces we have in our rep., and I am certain the sentiment can be illicited at a variety of tempi.

If you are starting from scratch trying to figure this out, study as much Hindemith as you can, especially his other solo sonatas. Ambitious tempo markings in this genre are the norm.

In any case, you have to play it in a way YOU BELIEVE IN, and hopefully pull off a performance that makes the listener respect your beliefs.

Manny Laureano

Y' know, irrespective of our various beliefs about the meaning of the piece (mine has to death a life/trumpet vs. death/piano and eventually peace struggle) this discussion merely galvanizes a statement I've made about why I like this as an undergrad/grad piece and not a high school piece.

I believe that emotional content is critical to playing a piece with understanding and you need a little more life under your belt to play this really well. I hate that it's been reduced to a whatever grade level contest piece.

ML

Billy B

I believe it is very important to understand what was going on in Hindemith's Germany at the time this was written. This piece gives me the chills every time, even after playing it for 30 years.

cornetguy

[[/quote]

Same here. Also I get too emotionally involved in it. I performed it on Senior recital, a month after my grandfather died. (the one that I liked the best, and the last one to go) and all those emotions get tied up in the piece, so I dont do the piece very often. (as well as having a hell of a time getting a pianist that can hack the part). This discussion is getting me to want to get the piece out again.

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Per aspera ad astra

tpter1

I've read this post every time it comes up. I've even responded several times, only to delete my post because I didn't like it.

This is my favorite piece out of the solo trumpet repertoire because of its power, its heroically open defiance, and its chilling statement that all must face their fate in the end, and in that we are all equal. Powerful statement considering all Hindemith must have had to witness and endure. I have to say that Manny's statement really hit me hard...not a bad thing or in a bad way. 100 seems to work for the first movement. He put it much more eloquently (as always) than I could, so I won't bother to try to repeat him. I should get mine out again and play it. First time I played it I got to perform it with a pianist that quite literally made the piano and the stage shake. (The hall where I did that recital had an elevator type floor that could go down and make a pit). She was a BEAR. Get an accompanist like that for this piece; let's not forget that this is for trumpet AND piano. You need power to shake the rafters and scare the pants off people. His statement holds true; for all time. It is frightening, bold, angry, and there is even humor. Those moments after the final note finishes are some of the meatiest, most dense and intense moments I have ever experienced.

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-Glenn
"Roses have thorns; shining waters mud. Clouds and eclipses stain the moon and the sun; and history reeks of the wrongs we have done. After today, after today, consider me gone."- Sting

Jimi Michiel

Manny,
I really like your reasons for not wanting younger students to play this piece. The lack of tricky fingering, double tonguing, etc. I think makes it almost TOO accessable. Too many young players (like me, see 2nd paragraph) think of technique as their only barrier.
I played it in 10th grade and, even though I got most of the notes, looking back I realize that there was no way I was ready for it. At the time, I was so happy to have the technique to play a "real" trumpet solo, I didn't even consider the interpretationor phrasing, which in my opinion is the most important part of the piece.
I was lucky enough to have a teacher in college who focused almost exclusively on phrasing and interpretation. With a completely different approach, I went back to the Hindemith for my senior recital and had a much more rewarding experience. I still feel like I haven't scratched the surface of the piece, but I think I'm a little farther a ahead than I was at 16.
-Jimi

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JJ

I decided to dig a little deeper, and today received the following message from Dr. Heinz-Juergen Winkler of the Hindemith Institute:

"In the autograph Hindemith notes: quarter note = 96-100. I do not know anything about anecdotal evidence that Hindemith preferred the tempo half note=96-100. So quarter note 96-100 should be authoritative."

I hope this settles the matter ...;)

JJ

Manny Laureano

I love it, JJ...

... but for me, the matter was settled 30 years ago.

Thank you for your scholarship, detective work, and what has already proven several times to be a wonderful addition to this website, namely, your interest in things that make us more thoughtful musicians.

Therefore, I dub thee:

JJ, Music Detective 1st Class.

Thanks,

ML