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Aaron Po

Professor Edmund Goehring

Music 1710F

17 November 2015

A Performance Analysis of Paul Hindemith’s “Sonate für Posaune und Klavier”

Paul Hindemith’s Sonate für Posaune und Klavier (1941) is a performed frequently

on recitals and recordings, thus becoming an integral part of the solo trombone literature.

In a performance by trombonist Henry Charles Smith, and pianist Glenn Gould, both are

able to collaborate in such a way that display the virtuosic abilities of both performers. This

sonata is an example of this Hindemith’s neo-classicism, , Hindemith still offers the

performer opportunity for personal interpretation and not simply observing phrasing and

dynamics. For this reason, recordings of this work show quite different characteristics,

from the more romantic approach of Christian Lindberg, to a more dry approach in Henry

Charles Smith’s interpretation (Walter 1996). What strikes the listener the most is the

treatment of the piano, with it being less as accompaniment, and with it being technically

demanding, it is more treated as being another device needed to portray out the story of

this particular work. This evidently creates a piece revolved around dialogue, allowing for

the two unique instruments/performers to interact with each other, such as characters in a

novel.

In the first movement of Sonate, “Allegro moderato maestoso”, Hindemith composes

a five measure motive that is to be repeated in multiple sections of the movement. This

motif as performed by Smith, brought out a majestic introduction to this piece, and through

his use of marcato articulation, it created a contrast between the two instruments, with the
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piano mostly providing rhythmic drive, with the trombone providing melodic tension. This

continues on during the “A” Section, then ends with a piano transition into section B,

cutting the exposition section, to be concluded only in the very ending of the sonata in

Movement 4. In Section B, the duet nature of this piece is brought out with Hindemith

composing various melodic exchanges, acting in such a way that it creates a conversation

between the two instruments. Henry Charles Smith, and pianist Glenn Gould are able to

portray this to great effect, each bringing out their particular part in appropriate sections

to bring each phrase together to create a conversation between the two instruments,

something uncommon in many traditional sonatas. In traditional sonata performances, the

pianist typically takes an accompaniment role, and is usually brought down to spotlight the

soloist, this is not the case in Hindemith’s Sonate, where in addition to providing

accompaniment, the pianist, Glenn Gould takes a soloistic approach to the repertoire in

order to provide another voice in the piece.

Another example of when the piano takes a solistic role is in the second movement

of the piece, “ll. In this section of Sonate, a new melodic idea appears, which exchanges

between the two instruments for the entire movement, What is unique about this section is

that this section contains mostly piano material, in which the trombone imitates. Being a

relatively slow movement, it gives an opportunity for both performers to outline their

lyrical virtuosity. After the piano and trombone exchange melodic ideas, each melody

continues to repeat. In the midst of the repetitive nature of this movement, Glenn Gould

and Henry Charles Smith are able to provide dynamic contrast, as well as contrast in

articulation in order to paint each repetition differently, providing contrast as well as

adding intensity to this movement. This movement of the piece largely outline’s the piano’s
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character, with Glenn Gould interpreting it with rhythmic prescion and accuracy, and with

less of a romantic, rubato and solistic nature.

In the movement “Lied des Raufbolds (Swashbuckler’s Song) the trombone

comes back as the primary instrument, starting off with a joyful and heroic march in

compound duple meter, with performers Smith and Gould bringing a very playful

interpretation to this melody. In this section of the piece, it is very reminiscent of the title,

with swashbuckling meaning “engaging in romantic and daring adventures” (Oxford

University Press, n.d.). This movement of the piece, is certainly more joyful, and energized,

containing a driving rhythm and a constant pulse that is accentuated by Gould’s

accompaniment in this section.

In conclusion, Paul Hindemith’s Sonate für Posaune und Klavier (1941) is a piece of

trombone repertoire that had become an integral part of solo trombone literature In this

piece of trombone repertoire, Hindemith offers the performer the opportunity and ability

to provide one’s own personal interpretation and not simply observing phrasing and

dynamics. For this reason, recordings of this work show quite different characteristics,

from the more romantic approach of Christian Lindberg (Walter 1996), to a drier and

precise approach in Henry Charles Smith’s interpretation. What strikes the listener the

most is the soloistic treatment of the piano, with it being less as accompaniment being

treated as being another character needed to portray out the story of this particular work,

all in turn creating a piece revolved around dialogue and interaction between the two

performers.
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Works Cited

Hindemith, Paul. Sonate für Posaune und Klavier (Sonata for Trombone and Piano).

Mainz: Edition Schott, 1941.

Hindemith, Paul. The Complete Sonatas for Brass and Piano. Perf. Glenn Gould,

Mason Jones, Abe Torchinsky, Gilbet Johnson, and Henry Charles Smith. Columbia,

1962. Vinyl recording.

“Swashbuckle”. Oxford Dictionaries. Oxford University Press, n.d. Web. 17 November

2015.

Walter, Ross A. "Paul Hindemith's Sonata For Trombone: A Performance Analysis." Diss.

Louisiana State U, 1996. Print.