JAVS Fall 2012

A sketch of the Finale can be found in Hindemith’s sketchbook 38 along with notes indicating orchestration and twelve variations. Hindemith replaced the origi nal ending in August 1936 (which was variation four transposed into the subdominant and a final rendition of the Schwanendreher theme) with a more compelling version beginning at m. 269 as in the original ending but continuing with alternative music from m. 279 onward. The final version of this movement has eleven variations, although Hindemith did not actual ly indicate these in the published version of the work. Hindemith’s first version of the ending is seen below (figure 17), where he writes underneath the staves in m. 268 that variation eleven is “1–10” and a Ton tiefer (tone lower). This can be decoded when return ing to variation four and 1–10 is clearly marked below the solo viola line in each bar (see figure 18). Figure 17. M. 268 from the third movement of Der Schwanendreher referring back to Variation IV, to be played a tone lower. Sketchbook 1935 Silesius Lieder / Rondo for Trautonium / Geigensonate in E, II Satz / III / Bratschenkonzert. III. & II. Satz (with kind permis sion of the Hindemith Institute, Frankfurt am Main).

Figure 18. Variation IV from the third movement of Der Schwanendreher , with numbers referring to Variation XI, to be played a tone lower. Sketchbook 1935 Silesius Lieder / Rondo for Trautonium / Geigensonate in E, II Satz / III / Bratschenkonzert. III. & II. Satz (with kind permission of the Hindemith Institute, Frankfurt am Main).

Figure 19. Der Schwanendreher , movt. III, mm. 269–73 (viola part) in the published version, clearly a tone lower than the initial appearance of this material in variation four.

V OLUME 28 NUMBER 2 47