Please DONATE to help with maintenance and upkeep of the Wind Repertory Project!

Symphony in B-flat (Hindemith)

From Wind Repertory Project
Jump to navigation Jump to search
Paul Hindemith

Paul Hindemith


General Info

Year: 1951
Duration: c. 18:15
Difficulty: VII (see Ratings for explanation)
Publisher: Schott Music
Cost: Score and Parts - $250.00   |   Score Only: $69.95


Movements

1. Moderately Fast, with Vigor - 7:10
2. Andante Grazioso - 5:25
3. Fugue (rather broad) - 5:15


Instrumentation

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

  • Bass Drum
  • Crash Cymbals
  • Glockenspiel
  • Snare Drum
  • Tambourine
  • Triangle


Errata

  • Flute II: 1st movement, 1st bar of rehearsal D there should be a time change into 3/2.
  • Cornet I: 1st movement, 1 bar before rehearsal K the 4th quarter note of the bar s/r E instead of G


Program Notes

The Symphony for Concert Band was composed at the request of Lt. Col. Hugh Curry, leader of the United States Army Band, and was premiered in Washington, D.C., on April 5, 1951, with the composer conducting. This three-movement work is the only symphony that Hindemith wrote expressly for the wind band. The suite shows Hindemith's great contrapunctal skill, and the organized logic of his thematic material. His melodies develop ever-expanding lines, and his skill in the organization and utilization of complex rhythmic variation adds spice and zest to the strength of his melodies.

Although Symphony in B-Flat features unique uses of dissonant chords and nonharmonic tones, it preserves neo-classical tonality, forms, and rhythmic and melodic patterns. Short figures are apt to form themselves into ostinatos to provide the background to broad and declamatory melodies; these melodies will often repeat characteristic phrases of awkward lengths so as to disturb the even flow of the basic rhythm. A slow section will alternate with a scherzando section, and the two will combine to form the third portion of a movement.

The first movement is in sonata allegro form in three sections, with the recapitulation economically utilizing both themes together in strong counterpoint. The second and third movements develop and expand their thematic material in some of the most memorable contrapunctal writing for winds. The second movement opens with an imitative duet between alto saxophone and cornet, accompanied by a repeated chord figure. The duet theme, along with thematic material from the opening movement, provides the basic material for the remainder of the movement. The closing section of the third movement utilizes the combined themes while the woodwinds amplify the incessant chattering of the first movement. The brass and percussion adamantly demand a halt with a powerful final cadence.

The Symphony in B-Flat rivals any orchestra composition in length, breadth, and content, and served to convince other first-rank composers -- including Vittorio Giannini, Vincent Persichetti, Paul Creston, and Alan Hovhaness -- that the band is a legitimate medium for serious music.

- Program note by Hubert Henderson and James Jorgenson, and from the SUNY Potsdam Crane Wind Ensemble concert program, 22 April 2016


Hindemith’s Symphony in B-flat for Band was composed during his time in the United States, at the request of Lt. Col. Hugh Curry, leader of the United States Army Band, and was premiered by “Pershing’s Own” on April 5, 1951, with Hindemith conducting. Featuring strong melodies, great contrapuntal writing, and complex rhythmic organization, variation, and texture, the Symphony is another true pillar of the repertoire. This masterwork elevated the scope of content available to the concert band, opening the doors for future composers and offering free license to explore the genre, cementing the validity of the wind and percussion ensemble as a medium for serious music.

- Program Note by Andrew Grenci and Joel Baroody for the United States Coast Guard Band concert program, 22 December 2017


Commercial Discography


State Ratings

  • Florida:    ---   (The Florida Bandmasters Association denotes this as "significant literature.")
    • Grade VI: Any movement
  • Maryland:
    • Grade VI: Any movement
  • New York:
    • Grade VI: Movement I or Movement III
  • North Carolina: Grade VI: play one movement / Masterworks: play all
  • South Carolina: "Masterworks"
  • Virginia: VI (full performance of all movements counts as two works)
  • Georgia:
    • Grade VI: Omit Movement I or III (play mvt. I and mvt. II or mvt. II and mvt. III)
    • Masterwork: If complete Symphony is performed


Performances

To submit a performance please join The Wind Repertory Project

  • Miami (Ohio) University Wind Ensemble (Gary A. Speck, conductor)– 11 March 2020
  • State University of New York, Fredonia, Wind Ensemble (Paula Holcomb, conductor) – 29 February 2020
  • Appalachia: A Southeastern Wind Symphony (Piedmont, S.C.) (Logan Campbell, conductor) - 29 February 2020
  • University of Colorado Boulder Wind Symphony (Donald J. McKinney, conductor) – 28 February 2020
  • United States Army Band (Ft. Meyer, Va.) (Andrew Esch, conductor) – 22 February 2020
  • Baldwin-Wallace University (Berea, Ohio) Symphonic Wind Ensemble (Dwight Oltman, conductor) – 14 February 2020
  • University of Georgia (Athens) Hodgson Wind Symphony (Emily Mariko Eng, conductor) – 10 February 2020
  • United States Coast Guard Band (New London, Conn.) and United States Naval Academy Band (Annapolis, Md.) (Patrick K. Sweeten, conductor) – 9 February 2020
  • University of Colorado Boulder Wind Symphony (Donald J. McKinney, conductor) – 6 February 2020
  • Manhattan School of Music (New York) Wind Ensemble (Eugene Migliaro Corporon, conductor) – 29 January 2020
  • University of Nebraska (Lincoln) Wind Ensemble (Carolyn Barber, conductor) – 11 December 2019
  • Purdue Fort Wayne Symphonic Wind Ensemble (Daniel Tembras, conductor) – 5 December 2019
  • Baylor University (Waco, Texas) Symphonic Band (Isaiah Odajima, conductor) – 25 November 2019
  • The Ohio State University (Columbus) Wind Symphony (Russel C. Mikkelson, conductor) – 24 November 2019
  • California State University, Fullerton, Wind Symphony (Dustin Barr, conductor) – 22 November 2019
  • Georgia State University (Atlanta) Symphonic Wind Ensemble (Robert J. Ambrose, conductor)– 21 November 2019
  • University of Southern Mississippi (Hattiesburg) Wind Ensemble (Catherine Rand, conductor)– 19 November 2019
  • University of Southern California Thornton Wind Ensemble (H. Robert Reynolds, conductor) - 3 November 2013
  • High School Symphonic Band [Interlochen, Mich.] (Frederick Fennell, conductor) - 6 August 1978
  • Eastman Wind Ensemble (Rochester, N.Y.) (Frederick Fennell, conductor) - 8 February 1953 *Eastman Wind Ensemble debut concert*


Works for Winds by this Composer


Resources

  • Belcik, Mark Gerald. (1996) “Paul Hindemith’s Symphony in B-flat for Concert Band.” D.M.A. diss., University of Texas at Austin.
  • Cameron, Scott. (2016) “Experts Excerpts: Symphony in B-flat for Concert Band, mvmt. 1. Paul Hindemith.” ITEA Journal [International Tuba Euphonium Association] 43, no. 2 (Winter 2016): pp. 55–58.
  • Gallagher, Charles. (1966) “Hindemith’s Symphony for Band.” Journal of Band Research 2, no. 1 (Fall 1966): pp. 19-27. Reprinted in The American Bandmasters Association Journal of Band Research: A Repertoire Anthology (1964–1989), Terry Austin, ed. Chicago: GIA Publications, 2013. pp. 33–42.
  • Kopetz, Barry. (1990) “Hindemith’s Symphony for Band.” The Instrumentalist 44, no. 8 (March 1990): pp. 24-28, 30, 32.
  • Le Page, Brendon. (1999) “Symphonies for Band—Part 1: Hindemith,” WINDS 14 (Autumn 1999): p. 13.
  • Miles, Richard B., and Larry Blocher. (2010). Teaching Music through Performance in Band. Volume 1. Chicago: GIA Publications. pp. 952-959.
  • Smith, Norman E. (2002). Program Notes for Band. Chicago: GIA Publications. pp. 292.
  • Whitwell, David. (2011) “Making Masterpieces Musical. Part I: Paul Hindemith—Symphony in B-flat.” NBA Journal [National Band Association] 51, no. 4 (Summer 2011): pp. 46-48. Reprinted in Essays on Performance Practice. Austin, TX: Whitwell Publishing, 2013, pp. 67–71