Barbara
Poeschl-Edrich, harpist
Mag. art., MMus, DMA
2005
Doctor of Musical Arts, Boston University
Dissertation: Modern and Tonal: An Analytical Study of Paul Hindemith’s
Sonata for Harp (see abstract below, order full text)
Translations and assistance in providing literature for The Book of the
Harp by John Marson (available at www.kevinmayhew.com)
2004
The Bavaria Folk Harp: Its music and origin.
Presentation at the Boston Conservatory, also at the Boston Early Harp Symposium
(2003).
2000
Master of Music (second Master’s thesis), Trinity College of Music, London
The neoclassic style and originality of Benjamin Britten’s
Suite for Harp, with reference to the third movement “Nocturne”
(Prepared in collaboration with Osian Ellis)
1999
Magistra Artium and Concert Diploma, University Mozarteum Salzburg
Sébastien Erard: Ein europäischer Pionier des Instrumentenbaus
Sébastien Erard: A European Pioneer of Instrument’s Making,
exists partially in English
Since
1995
Program notes for solo and ensemble recitals.
MODERN
AND TONAL: AN ANALYTICAL STUDY OF PAUL HINDEMITH’S SONATA
FOR HARP
by Barbara Poeschl-Edrich
Abstract:
This study provides both a large-scale analysis of Paul Hindemith’s Sonate
für Harfe (1939), as well as an analysis of the third movement drawing
on Hindemith’s Unterweisung im Tonsatz (Craft of Musical Composition),
his music theory treatise in three volumes. The theoretical part, volume 1
of the treatise was published in 1937. Both the sonata and the Craft of
Musical Composition were written in a period of political turmoil and
personal change.
The two analyses offer an in-depth investigation of the piece. The first analysis
is a reductive analysis, drawing on Hindemith’s own analytical methodology
as demonstrated in Craft of Musical Composition. This analysis addresses
the following elements: “Degree-Progression” (melody), “Step-Progression,” “Two-Voice
Framework,” “Fluctuation,” “Degree-Progression” (harmony),
and “Tonality.” The second discusses aspects such as form, rhythm,
tonality, long-range voice leading, hierarchy, and harmony in both their macro-
and micro context. The study investigates both the tonal and modern aspects
of the sonata.
The third movement of the sonata is based on the German poem “Lied” by
Ludwig Christoph Heinrich Hölty (1748–1776). This study shows how
the text of the poem is brought to bear on the melody of this movement, underlying
it almost identically, syllable by note. Related information about the Sonata
for Harp provides a context for the work. This discussion includes the following
topics: Hindemith’s orchestral and chamber works which include harp;
his Early Music activities at Yale University; and recordings of the harp sonata.
Clelia Gatti-Aldrovandi, for whom the piece was written, and the poet Ludwig
Christoph Heinrich Hölty are introduced through short biographies. The
discussion of the harp sonata draws on Hindemith’s letters relating to
the piece, as well as his autograph manuscripts.
The aim of this study is to make the sonata more accessible to both harp students
and teachers. It will also be of interest to composers, as Hindemith’s
harp writing is particularly idiomatic.© BPE
Order No. 3186527
OCLC 71779493
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