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Geschwindmarsch (arr MasQuiles)

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Paul Hindemith

Paul Hindemith arr. Juan Vincente MasQuiles


Subtitle: Paraphrase from Symphonia Serena


General Info

Year: 1946 / 1975
Duration: c. 4:05
Difficulty: VI (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Molenaar
Cost: Score and Parts - $262.95 | Score Only - $39.95

Instrumentation

Full Score
Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet Solo A-B
B-flat Soprano Clarinet I A-B
B-flat Soprano Clarinet II A-B
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone I-II
E-flat Baritone Saxophone
B-flat Cornet/Trumpet I-II
F Horn I-II-III-IV
Trombone I-II-III
Baritone/Euphonium
Tuba
Timpani
Celesta
Percussion, including:

  • Cymbal (crash)
  • Glockenspiel
  • Snare Drum
  • Triangle

Errata

None discovered thus far.


Program Notes

This "quick march" is the second movement of a much larger work by Hindemith entitled Symphonia Serena. The work was composed for the Dallas Symphony in 1946 and premiered by that organization, conducted by Antal Dorati, on February 1, 1947.

The entire symphony, as suggested by the title, is an agreeable work, making no pretense of plumbing emotional depths, but exploiting various instrumental groups in an amiable and ingenious manner. In borrowing from Beethoven's March in F, Hindemith begins by quoting variants of his predecessor's melody, phrase by phrase. After a change to triple meter and a considerably altered presentation of the theme, the scoring gradually increases, new material is presented, and the movement ends with full ensemble.

- Program notes by March Music Notes and Dennis L. Johnson


Like much of Hindemith's music written after World War II, the Symphonia Serena (1946) combines a new preoccupation with intensely chromatic counterpoint and a wry sense of humor, a feature largely dormant in the composer's music since his departure from Germany in the 1930s. As might be expected from a composer whose own instrumental expertise fostered a special affinity with performers, Hindemith also filled his score with a multitude of felicities that could be counted on to delight players and listeners alike: witty parody, ingenious instrumental combinations, and different simultaneous tempi. A miniature military march by Beethoven, the Yorck'sche Marsch (March in F), is the thematic basis for the second movement, Geschwindmarsch by Beethoven.

This scherzo is scored entirely for winds and brass. Chattering woodwinds create a shifting chromatic background for fragments of Beethoven's theme, stuttered out amusingly by horns and tuba. A trio section presents the same theme in irregular chordal phrases, with woodwinds imitating the reedy drone of bagpipes. The return of the main section presents Beethoven's march theme in its entirety, with the same élan and harmonic abandon that Hindemith employed twenty-five years earlier in his orchestral jazz parody Ragtime (Well-Tempered).

- Program Note by Mark Satola for the University of Oklahoma Symphony Band concert program, 20 November 2017


Commercial Discography

None discovered thus far.


State Ratings

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Performances

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Works for Winds by this Composer


Resources