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Neoclassicism in the Postwar Era: Analysis of Piano Sonatas No. 4 and No. 5 by Harald Genzmer
Yen, Shen-Hui
Yen, Shen-Hui
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Abstract
Discussions of neoclassicism in music are frequently limited to the pioneers of the movement, such as Stravinsky, Prokofiev, and Paul Hindemith. Such discussions overlook their successors, working after 1950, who serve as a bridge for the style between the 20th and 21st centuries. One such neoclassical composer is Harald Genzmer (1909-2007), a student of Hindemith who was a professor of composition at the Hochschule für Musik in Freiburg and the Hochschule für Musik und Theater in Munich. Genzmer’s neoclassical style modifies traditional treatments of harmony and form. While considered a prestigious composer and teacher in Europe, his music has received limited discussion in America.This document will review the development of neoclassicism, primarily in Germany, utilizing written manifestos (Thomas Mann’s Eine neue Klassizität, Busoni’s Junge Klassizität, and Hindemith’s Neue Sachlichkeit) and the historical conditions during the Third Reich and after 1950. The second chapter is devoted to Genzmer’s biography, and the third, to an analysis of his compositional style, using Genzmer’s Fourth and Fifth Piano Sonatas. This analysis will illustrate how the composer sought to develop neoclassicism, and his dedication to this development in spite of pressure to follow the modernist and neo-Romantic trends of his contemporaries.
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2023-01-01
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University of Kansas
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This item contains archived web content.
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Performing arts,