Each of twelve fugues possesses a unique characteristic, that improves and upgrades the baroque form of fugue, which is best observed in fugues with multiple themes (triple fugue in C, double in A, double in F-sharp). Fugues in Ludus Tonalis are organized in a particular order, which is a product of Hindemith’s principle of musical thinking based on acoustic facts, and twelve fugues were enough to encompass all of the notes, i.e.
Liberated from tonal way of thinking and “reckless” harmonies, Hindemith enables a wider range of possibilities for using counterpoint techniques. There are similarities to both of these collections, the fugues are arranged according to a set sequence of tonalities, and all tonalities are provided (although it lacks the major and minor variants of a tonality, rather in C, in G), and the themes in fugues are provided in different types of imitations and forms. This cycle of fugues is obviously an homage to Bach’s Well-tempered clavier, as well as to Bach’s collection The Art of Fugue.
Ludus tonalis hindemith f fugue how to#
This provokes a question: how to maintain a connectivity to tradition and at the same time strive towards a unique expression? The connection between Hindemith’s music and established canons is observable in his Ludus Tonalis cycle. For a work to be specified as innovative and original, it needs to utilize a new form, organized into a compact system. One of them is the fact that a single work is always compared to countless other traditional musical creations. In constant battle for artistic independence, a composer encounters numerous obstacles.
Paul Hindemith, fugue, counterpoint, sonata form, neoclassicism, baroque Abstract Music school “Stevan Mokranjac” Požarevac, Serbia
0 kommentar(er)
