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Baroque reflections in Ludus Tonalis by Paul Hindemith

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 RECENT ADVANCES in ACOUSTICS & MUSIC

Baroque Reflections in Ludus Tonalis by Paul Hindemith

VLAHOPOL GABRIELA
The Department of Composition and Musicology
The University of Arts “George Enescu”
Str. Horia nr. 7-9, 700126, Iasi
ROMANIA
gabriela vlahopol@yahoo.com

Abstract: - The originality and constructive complexity of the cycle The Well-Tempered Clavier by Johann
Sebastian Bach generated a series of valuable replies in the 20th century. Among these, one of the most
ingenious and inspiring is Ludus Tonalis by Paul Hindemith. This paper aims at highlighting the main aspects
that reveal, on the one hand, the correlation of Hindemith’s work with the Bachian model, and, on the other
hand, the transformation of some compositional elements in the spirit of the new school of thought of the 20th
century.

Key-Words: prelude, fugue, exposition, imitation, writing, polyphony

innovations brought to the fugue form, a

1 Introduction representative form for the Baroque Age.
In 1722, Johann Sebastian Bach named his first Unlike The Well-Tempered Clavier by Johann
volume of preludes and fugues The Well-Tempered Sebastian Bach or 24 Preludes and Fugues by
Clavier or, according to the notations in the Dmitri Shostakovich, the Ludus Tonalis cycle is not
original manuscript [1], “Preludes and fugues in all structured according to the tonal principle of
the major and minor keys for the profit and use of successive fifths; the relations of tonal similarity
musical youth desirous of learning and especially are entirely new, reflecting the revolutionary tonal
for the pastime of those already skilled in this principles presented by the composer in the work
study.” 200 years later, the rediscovery of the Unterweisung in Tonsatz (The Craft of Musical
polyphonic art generated some original replies to Composition) [2].
this work, among which that of Paul Hindemith, The result of the harmonic ensemble is a
Ludus Tonalis (Play of Tones or Tonal Game), melodic series the sounds of which form the tonal
subtitled Kontrapunktische, tonal und centres of the preludes and fugues in the Ludus
Klaviertechnische Übungen (Counterpoint, tonal Tonalis cycle.
and technical studies for the piano), that retains the
didactical intentions of the Bachian model, Fig. 1
bringing about at the same time ingenious changes
to the previous formal and technical concepts.
This study proposes to analyze the main
elements of correlation between the two cycles, Although the traditional tonal system,
through the perspective of the tradition-innovation anticipated by The Well-Tempered Clavier, is
duality. different from the Hindemithian system, a
fundamental element of correlation can be
established: the relation to the tempered system,
which makes Hindemith’s model a modern variant
2 The Concept of Tonal System of the Bachian one.
The cycle of preludes and fugues Ludus The prelude-fugue groups alternate according
Tonalis, Paul Hindemith’s last composition for to the order of the degree of similarity between the
piano, is a work with obvious didactic intentions sounds of the series and the “tonic”: 1st degree – 4th,
that, on the one hand, represents the direct 5th, 6th, 2nd degree – 2nd and 7th, 3rd degree –
application of a new tonal system, and, on the other augmented 4th and diminished 5th. At the same,
hand, demonstrates a different side of the neo- Hindemith suspends Bach’s concept of major-
baroque aesthetics, through the employment of the minor, as well as modulation; the tonality thus
most diverse counterpoint techniques and the becomes a purely external element.

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 RECENT ADVANCES in ACOUSTICS & MUSIC

3 Prelude-Interlude Fig. 3 - Paul Hindemith - Ludus Tonalis,

Unlike the Bachian preludes, the interludes are Interlude I, p. 7, systems 3-4, descending
musical moments that retain characteristics of some sequencing
genres quite distinct from the baroque preludes that
accompanied the organ or clavier fugues, rather
influenced by secular genres: pastoral (interlude I),
scherzo (interlude III), march (interlude VI), waltz
(interlude XI), with mono-, bi- or tristrophic
structures. Moreover, an element of novelty is the
architectonic symmetry given by the
correspondence between the Prelude and the In the absence of a tonal focus, the
Postlude, the latter representing the inverted and transposition of the model on various phases is
recurring variation of the first. recorded at the level of a single voice; the others
hold a line independent of sequencing, sometimes
2.1 Writing unremitting (see the last example), against the
Some preludes are similar to the Bachian traditional baroque procedure, where all voices
preludes through their rhythmic-melodic were subjected to sequential repetitivity.
construction: interlude IV corresponds to the The most significant element of congruency
Prelude in D minor in The Well-Tempered Clavier, between the two works resides in the
the common element being represented by the complementarity of the voices in the polyphonic
repetitive figural constructions based on which the writing, chiefly used by Bach, but also by
sound discourse is developed. Hindemith in most of the interludes.

Fig. 2a - J. S. Bach - W. Kl. [3] I, Prelude 6 in Fig. 4a - J. S. Bach - W. Kl. I, Prelude 1,

D minor, the first 2 systems system 1

Fig. 4b - Paul Hindemith - Ludus Tonalis,

Prelude, p. 1, systems 2-4

Fig. 2b - Paul Hindemith - Ludus Tonalis [4],

Interlude IV

This rhythmic-melodic fluency becomes in

Various polyphonic procedures are used, the Hindemith the nucleus of some moments with
moments of polyphonic syntax alternating with the motor character, less frequent in the Bachian
homophonic ones. Hindemith renews procedures preludes, a characteristic similar to one of the main
and techniques, which he adapts to the new sound fundamental features of the modern sound
context, gives the development of the discourse a language, which individualizes the rhythmic factor,
marked baroque character and at the same time with the tendency of dominance in relation to the
achieves amazing correspondences with the other language elements (see Interlude 1 p. 8 the
Bachian preludes in The Well-Tempered Clavier. last system, Interlude no. 8 p. 38 the first system).
Among these one can identify latent polyphony,
double counterpoint, sequencing.
4 The Fugue Form
In the 12 three-voice fugues of the
Hindemithian cycle the composer defines the

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 RECENT ADVANCES in ACOUSTICS & MUSIC

concept of fugue reconfigured in the new mosaic- Bachian fugue themes, but they are used especially
like sound context of the 20th century, achieved at the level of pure melodic expressivity.
through the combination of the baroque traditional
constructive techniques with the innovative Fig. 6 - J. S. Bach - W. Kl. I, Fugue 2
principles of personal thought. Each fugue begins
in the tonality of the previous piece and ends in the
tonality of the following interlude (or in a different
tonality, very similar to the latter), following the
order of series 1, the circle of tonalities ending with
the tonic of the C series. Another element related to the rhythmic aspect
Although Hindemith uses a novel sound is represented by the beginning sound of the theme,
material, reflected in the original harmonic which, in the Bachian fugue, due to the strict rules
constructions, the architectonic structure of the of imitative polyphony, was restricted to the two
fugues is perfectly elaborated, equal to the functions of tonality – tonic and dominant.
perfection of the Bachian fugues. The three main Hindemith proves to be conservative in regard to
moments of the baroque form can be found in the tonal implications of this aspect, most of the
Hindemith’s fugues, each of these sections fugues observing the traditional rule. However, as
undergoing modifications, according to the in the case of The Well-Tempered Clavier [5], two
polyphonic procedures that are used, as well as to exceptions can be discovered, demonstrated in
the type of fugue which is approached: simple, reaching the T or D sound through an intermediary
double, canonic, with exposition in stretto, mirror, element or group of elements (in Fuga quarta and
recurrent. Fuga quinta).
Fig. 7 - Paul Hindemith - Ludus Tonalis,
4.1 Exposition Fuga quinta in E

4.1.1 The fugue theme is as diverse in all its

aspects as the innovative Hindemithian language.
a. Melodic Aspects
If in the Bachian fugue one can identify the
diatonic-chromatic predominance in the
organization of the thematic articulation, the b. Rhythmic and Metric Aspects
combinations of the gradual movement with the Hindemith makes full use of the rhythmic side
melodic leap and the dramatic implications of the in his fugues, thus becoming a significant exponent
latter (reaching the climax, fractioning the theme in of the new sound thought of the 20th century, which
contrasting modules, etc.), in the case of the fugues rediscovered the expressive values of the rhythm.
in Ludus Tonalis one can no longer speak of the In this regard, the baroque spirit is renewed through
consonant-dissonant duality, as the intervallic the use of a variety of rhythmic formulas, often
variety of the theme is based on the unexpected interrupted by pauses which unexpectedly
succession of ascending and descending leaps fragmentarize the discourse, as well as presenting
(often placed in a ninth or tenth in less than three some unusual measures (5/8 in Fuga II secunda in
beats), as well as the intrusion of the repetitive, G). Nevertheless, analyzing the 12 fugue themes,
symmetrical melodic formulas that direct one observes a double emphasis of the rhythm: on
expressivity towards the rhythmic area, (also see the one hand, an assertion of the freedom to
Ludus Tonalis, Fuga nona) combine formulas, with simple or multiple
Fig. 5 - Paul Hindemith - Ludus Tonalis, Fuga divisions, normal or exceptional, with accents or
sexta, the first 3 measures groupings of the values that shift the metric
pulsation,

Fig. 8a - Paul Hindemith - Ludus Tonalis,

Fuga octava, m. 1-2

Similar structures based on repetitions of the

same melodic model can also be found in the

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 RECENT ADVANCES in ACOUSTICS & MUSIC

and, on the other hand, an assimilation of some expositive sector, there can also be found fugues
configurations similar to the Bachian fugues, with two or three subjects (fuga prima, fuga sexta)
characterized by great values (halves, quarters) and a fugue with exposition in stretto (fuga
and/or by theme delineation in contrasting motivic duodecima), the composer showing perfect
units. knowledge of the baroque polyphonic techniques.
In The Well-Tempered Clavier there exist three
Fig. 8b - Paul Hindemith - Ludus Tonalis, fugues with two subjects, a fugue with three
Fuga quarta, m. 1-2 subjects (II/14) and one with exposition in stretto
(W.Kl. II/3), the polyphonic complexity of such
constructions exceeding the initial didactic purpose
of the work, the two typologies being subsequently
developed in Kunst der Fuge and Orgelwerke. In
Ludus Tonalis Hindemith follows the same line of
clarity and relative accessibility, the approach of
Fig. 8c - J. S. Bach - W. Kl. I, Fugue 22, m.1-2 these agglomerated polyphonic structures
representing constructive replies to the baroque
model.

4.2 The developing sector

What makes Ludus Tonalis a modern reply to
4.1.2 The Imitative Principle The Well-Tempered Clavier is the variety of
The imitative principle as a fundamental procedures of thematic treatment used in the central
element in the construction of the fugue form, section of the form.
clearly determined in the interval between subject The thematic sections bring in the Bachian
and response, manifests in Ludus Tonalis the same cycle numerous elements of theme variation, from
tradition-innovation duality previously emphasized the tonal and harmonic ones to the most complex
in the expositive segment, as well as in the melodic aspects (inverted, augmented or
developing part; moreover, one can delineate an diminished) to polyphonic variations (double or
evolutionary trajectory of the transformation of the multiple counterpoint). The transposition of these
Bachian principle, from imitation in the fifth (in modalities to give complexity to the
five of the 12 Hindemithian fugues), to the monothematism in the Hindemithian language will
perfectly ascending fourth [6], up to the third [7]. eliminate the tonal-harmonic aspects, diversifying
The equivalence established by Hindemith between up to a maximum the counterpoint artifices
the perfect fifth and fourth, thus achieving an operated with the theme, as well as its melodic
emancipation of the traditional technique, is aspects. Next to the mentioned variants, Paul
illustrated in their simultaneous use in the Hindemith will also use recurrence, the reversal of
expositions of the fugues secunda and sexta. recurrence and the intensification of the theme, in
various mixtures.
Fig. 9 - Paul Hindemith - Ludus Tonalis, Fuga Fuga tertia is the most elaborate in this regard,
secunda, exposition as its theme appears in all the four fundamental
aspects of a melodic structure in the traditional
counterpoint: direct, inverted, recurrent and the
inversion of the recurrence.
Fig. 10 - Paul Hindemith - Ludus Tonalis,
Fuga tertia, p. 13 systems 5, 6, p. 14, system 1

As to the exceptional modalities of

manifestation of the imitative principle in the

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 RECENT ADVANCES in ACOUSTICS & MUSIC

The cycle of preludes and fugues simultaneously

provides a synthesis of the polyphonic science and
proposes the new concepts of tonal treatment
specific to the 20th century. Hindemith’s art is
inevitably compared to Bach’s due to the complex
intertwining of voices endowed with their own
vitality, accomplished not only as a result of a well-
4.3 Final Section acquired technique, but also as an internal
In the last articulation of the form, with the role necessity.
to reaffirm the initial tonality, Hindemith
demonstrates a faithful observance of the Bachian
model, given the tonal stream of his sound thought References:
(a personal tonalism though), even using some [1] „Das Wohltemperirte Clavier oder Praeludia
functional artifices employed in The Well- und Fugen durch alle Tone und Semitonia sowohl
Tempered Clavier and adapted to his own tonal tertiam majorem oder Ut Re Mi anlangend, als
system. Thus, while in Bach one identifies the auch tertiam minorem oder Re Mi Fa betreffend.
subdominant-tonic relation, maintaining the fifth Zum Nutzen und Gebrauch der Lehrbegierigen
relation between theme and response, in Ludus Musicalischen Jugend als auch derer in diesen
Tonalis one finds in the final section of Fuga studio schon habil seyendern besondern Zeit
octava an augmentation of the principle up to the Vertreib auf gesetzet und ver fertigen von Johann
blurring of the initial centre due to its placement in Sebastian Bach p.t. Hochfürstl. Anhalt.
a chain of ascending fifths: G-D-A. Cöthenischen Capell-Meistern und Directore derer
Cammer-Musiquen. Anno 1722.” Introducere la
Fig. 11 - Paul Hindemith - Ludus Tonalis, reeditarea variantei Breitkopf und Härtel din anul
Fuga octava, p. 38, systems 1-2 1947 realizată de J.W. Edewards, Ann Harbor,
Michigan, U.S. A. Surce
http://www.dlib.indiana.edu/variations/scores/abt87
26/large/index.htm.
[2]Staring from the acoustic phenomenon of the
natural resonance, Hindemith “populates” the space
of an octave with sounds that do not belong to the
series of harmonics with a single generating centre,
still through the function invested into the first six
4.4 Exceptional fugues harmonics, one by one, each of them becomes
A special role within the Ludus Tonalis cycle is fundamental, the second, the fourth and the fifth
played by some particular types of fugue that, harmonic making up a chromatic scale, that he
because of the polyphonic complexity, have no considers one of the most ingenious inventions of
correspondent in The Well-Tempered Clavier cycle, the human spirit, specific to the keyboard
but which were approached by Bach in his instruments, with equally tempered vibrations.
elaborate polyphonic works (Kunst der Fuge and [3] For the examples from The Well-Tempered
Musikalisches Opfer): Clavier we shall use the abbreviation of the original
- the canonic fugue used in Fuga undecima; title, accompanied by the corresponding number
- the mirror fugue in Fuga decima, a fluent from book I or II and the registration number of the
variant of the Bachian model; the form has as axis work
of symmetry the cadence in unison on the sound of [4] The examples are extracted from the score,
the dominant (lab) at the end of the central section Edition Verlag Music, Moscow, 1964.
[5] There are two exceptions: the supertonic in W.
Kl. II/21 and the sensitive in W.Kl. II/13.
[6]. Hegemonic in Hindemith’s work, the fourth in
5 Conclusions one of the intervals that fits the first relating degree,
Paul Hindemith’s work Ludus Tonalis represents, along with the perfect fifth.
through its complexity and practical value in the [7]. According to the same principle of the tonal
study of counterpoint, the most important and at the relationship, present in the tertia and quarta
same time the most original work written in the fugues.
aftermath of Johann Sebastian Bach’s masterpieces.

ISSN: 1790-5095 175 ISBN: 978-960-474-192-2

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