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Hindemith - Violin sonata Es-dur op.11 N1

Hindemith - Violin sonata Es-dur op.11 N1. You can download the PDF sheet music Hindemith - Violin sonata Es-dur op.11 N1 on this page. The work of Paul Hindemith is baroquely widely branched and there was perhaps no genre into which the composer failed to penetrate successfully. From the artistic aspect Hindemith set out from Reger and Busoni. but he soon arrived at the conclusion that the expressional possibilities of romanticism had been wholly exhausted and because he did not find anything on which to base himself evon in impressionism he gradually created his own musical language in which in essence he returned to the baroque linear way of thinking. His Sonata in E flat major dates from 1921, i.e. from the time when these ideas were just maturing in his mind and when the 25-year old composer was preparing to take a decisive step. He ranked it in first place in his Op. 11, which contains another five sonatas for violin, viola and cello - with and without piano. The sonata still bears traces of the influence of the last representatives of late romanticism, but as a whole it no longer denies its composer and its musical language can perhaps be best described as post-romantic.

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Instrument part: Missed


Piano part: 12 pages. 934 K


Hindemith - Violin sonata Es-dur op.11 N1 - Instrument part - first page Hindemith - Violin sonata Es-dur op.11 N1 - Piano part - first page
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The Sonata in E flat, Op. 11 No. 1 is the first of a group of five stringed-instrument sonatas which Hindemith began in 1918. The E flat Sonata was included in the first-ever concert entirely devoted to Hindemith's music, given in his native Frankfurt on 2nd June 1919. Hindemith apparently originally thought of the work as a sonatina, and he also sketched a third movement for it which he did not bother to complete, apparently feeling the two finished movements already created a satisfactory form. The first of these movements is a lively affair, driven in its outer sections, with a more lyrical central episode. Most of the material derives from the movement's fanfare-like opening. The movement's harmonic language is often highly chromatic and tonally ambiguous - especially in the central episode, which wanders restlessly. The second movement is a slow, solemn dance, grave and even a little ghostly in character, with an uncanny atmosphere.
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