Aaron Copland’s connection between composers Paul Hindemith (1895–1963) and J.S. Bach (1685-1750) is surprising. The first being from the 20th century composing modern music, the second from the 18th century composing Baroque music. After further inspection, other writers compared the two together as well.
Is there a connection between the two men several centuries apart? Or was this an attempt by writers to label Hindemith’s music in order to understand it? After further digging, a connection was made between Bach’s The Well-Tempered Clavier, BWV 846–893 (1722) and Hindemith's Ludus Tonalis (1942). (Ludus Tonalis can be translated to “Tonal Games”.)
Both Clavier and Tonalis are a collection of preludes and fugues in the 24 major and minor keys. First, we can look at the intent of both works. Both works share the same intention: to teach pianists how to perform in a harmonic language. Both pieces start in C major but that’s about all they have in common. Clavier proceeds in chromatically while Tonalis adders to Hindemith’s tonal theory.
Clavier begins with an introduction. It then has a prelude and fugue in C major followed by C minor. This formula is continued chromatically from C# major and minor, and etc. until ending in B minor. This book is a manifestation of Bach’s musical musical beliefs and style. For example, “№1 Prelude and Fugue in C major” starts with arpeggiated chords outlining C major and is homophonic in nature. The fugue is a contrapuntal four voice that begins and ends in C major. As with the entire book, Bach takes harmonic detours within each prelude or fugue stretching the harmonic Baroque language of his day. By no means, does it try to break through the mold of Bach’s day as opposed to the 20th century music we are studying tries to do.
Tonalis starts with a prelude that introduces the works thematic material. The fugues are connected by interludes until the cycle of keys in over (see picture below for how Hindemith organizes his tonal structure). The opening prelude is mirrored and inverted in the postlude . The fugues are contrapuntal while the interludes are homophonic focusing on expression. The interludes serve to modulate from one key to the next while also being character pieces. Compared to Bach’s, it is more harmonically and rhythmically active as to be expected from a 20th century work. Although the first fugue is labeled in C major, it would be more appropriate to label it as C minor. But this is a biased look on Hindemith's music from a traditional Classical mindset.
Was Hindemith taking Bach’s Well-Tempered Clavier and transforming it for the modern age? In terms of study, both works serve to challenge and teach students of the Baroque era and Modern era. From my knowledge, Well-Tempered Clavier is a standard among piano study and I wonder if Hindemith’s work has been accepted as well. Does comparing Bach and Hindemith assist scholars and listeners in understanding Hindemith’s Lotus Tonalis? Or was this an attempt to label Hindemith to make him more palatable?
Paul Hindemith is almost unknown in the horn world. He composed the Sonata for French Horn and Piano (1939) which I have not worked on nor have I performed him in the concert hall. I do know he wrote a book on theory titled “The Craft of Musical Composition”. If there is a difference in how he treats tonality, I would suspect it would be in his works and book. I wonder if I understood how Hindemith treats tonality if my “biased” view of his first fugue would be different.
Source:
“Paul Hindemith” New York Times (1923-Current file); Dec 30, 1963; ProQuest Historical Newspapers: The New York Times, pg. 20
