| Contents |
Part I: Preliminaries: On theory, composition, and analysis. Hindemith's compositional theory. Craft I and II ; Craft III -- Stages of the compositional process. The five structural stages ; Form and proportion ; Harmony and tonality ; The analyses of Craft I -- An analytic method. Stages I and II: Structural levels ; Stage III ; Stage IV: Harmonic activity ; Stage V: Melodic activity ; Stage III: Interpretation -- Part II: Mathis der Maler (1933-35). Model analysis: Mathis der Maler, "Angelic concert" -- A comment on Tableaux 6 and 7 -- Part III: The music before Mathis. The early music (to 1925) ; Sonatas op. 11, nos. 4 and 5, op. 25, no. 1 ; Sonata for solo cello, op. 25, no. 3 -- Das Marienleben, op. 27 (1922-23; revised 1936-48). Stages of revision: sketches and other holographs ; "Geburt Mariä" and "Mariä Verkündigung" -- Cardillac (1925-26) -- Part IV: The music after Mathis. Echoes and the American years (1935-50). Der Schwanendreher (1935) ; Trauermusik (1936) ; Piano sonata no. 1 in A (1936) ; Piano sonata no. 2 in G (1936) ; Piano sonata no. 3 in Bb (1936) ; Tonal-formal schemes in the sonata series and chamber works after 1935 ; Whitman requiem ("When lilacs last in the dooryard bloom'd" (1946)) -- The play of tones: on the Ludus Tonalis -- The last music (after 1950) -- Appendix: The works of Hindemith: a chronological listing / compiled by Luther Noss, curator, Hindemith Collection, Yale University. |
