JAVS Fall 2012

Figure 4. Extract from Hindemith’s Sketchbook III. Bratschenkonzert/ I. & II/ Schwanendreher/ 1935 , p. 34–35 (with kind permission of the Hindemith Institute, Frankfurt am Main).

In figure 6 (starting seven bars after letter L), Hindemith has marked the viola entry (Br.) one bar later than the published version and indicates the scale passages with a squiggle at the end of the sec ond and fourth bars. This extract is a full orchestral sketch, and like the previous examples no instru mentation is specified. Figure 6. Extract from Hindemith’s Sketchbook III. Bratschenkonzert/ I. & II/ Schwanendreher/ 1935 , p. 14 (with kind permission of the Hindemith Institute, Frankfurt am Main).

Figure 5. Extract from Hindemith’s Sketchbook III. Bratschenkonzert/ I. & II/ Schwanendreher/ 1935 , p. 9 (with kind permission of the Hindemith Institute, Frankfurt am Main).

Figure 4 shows a sketch of the first ten bars of the first movement mostly as we know it, but a few minor rhythmic adjustments and corrections can be seen in bars four and five. Hindemith sketched this opening after having written the main Mäßig bewegt, mit Kraft section. This perhaps goes some way to explaining why he “lifted” his second subject to become the introduction (letter S until T). The extract in figure 5 is from Hindemith’s Sketchbook, showing his original conception of let ter I in the first movement as eighth notes and not quarter notes as they appear in the published version (mm. 87–89). Perhaps the eventual speed of this movement convinced Hindemith that greater clarity would be achieved if repetition of this figure was heard in quarter notes rather than in eighth notes.

Movement II

The second movement of Der Schwanendreher bears the title Nun laube, Lindlein, laube! (no. 175 in Böhme). Böhme indicates that the text was original ly sacred and began Nu lobet mit gesangen den Herrn Got allesampt , notated in kühlandischer dialect. 23 Böhme translated the text into Hochdeutsch, as seen below. The music for the sacred text was first printed in 1555, and the secular text dates from the fifteenth century.

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