Doctor of Musical Arts (DMA)
School of Music
I was introduced Paul Hindemith’s Cello Concerto (1940) in 2015, my first year as a Doctoral Student. Admittedly, this piece was not very attractive to me. However, I tried to embrace this work, and experience it as a new adventure in ear training, technical challenge and style. Several weeks later, after many frustrating hours of practice, I closed this music because so many elements of this composer’s sound were unfamiliar and foreign to me, to which I could not easily relate. Even though I had listened and examined this work for these initial weeks, I felt horribly under-prepared, musically to approach this piece and do it any kind of justice.
Now, I have returned to this piece to try to overcome the difficulties I faced earlier in my studies. I am curious to see, after three years here, mainly working on compositions that are more traditional and limited in harmonic and cellistic scope, where do Hindemith and I stand. The aim of this project is to discuss the challenges, both aurally, and mechanically that this work poses, to me at least. The first chapter will present a brief history of Hindemith, and his general compositional style. In the second chapter, I will present my personal story, my approach to solving some of the works demands and how I attempt to process the strange melodic and harmonic structures found within this piece. Perhaps some of these discussions may assist others if similar difficulties are found.
Kim, Eunbi, "Paul Hindemith's Cello Concerto (1940): A Short History and An Ongoing Personal Quest Toward Its Comprehension, Mastery, and Performance" (2018). LSU Doctoral Dissertations. 4571.