The Sonata for Viola, op. 11, no. 4 (1919) manifests Hindemith's break from the High Romantic idiom, a departure that preluded a broader backlash against late nineteenth century aesthetic ideals in post-war Germany. This paper contextualizes the piece within Hindemith's oeuvre as well as within the changing aesthetics of Germany's Weimar period. The methodology includes a brief overview of his composition training and output prior to 1919, analysis of the influence of his WWI experience on his aesthetic approach, and the employment of counter-romantic elements in the Viola Sonata.
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 51/01M(E), Masters Abstracts International|
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