Geschwindmarsch (arr MasQuiles)
Paul Hindemith (arr. Juan Vincente Mas Quiles)
Subtitle: Paraphrase from Symphonia Serena
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
Horn in F I-II-III-IV
- Crash Cymbal
- Snare Drum
None discovered thus far.
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
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- University of Florida (Gainesville) Wind Symphony (David Waybright, conductor) – 6 September 2011
Works for Winds by This Composer
- Concert Music, op. 50 (tr. Duker) (1930/1978)
- Der Schwanendreher (1935)
- Geschwindmarsch by Beethoven (1946)
- Geschwindmarsch (arr. Mas Quiles) (1946/1975)
- Kammermusik Nr. 7 (1927/1956)
- Kleine Kammermusik (1922/1949)
- Konzertmusik fur Blasorchester, Opus 41 (1926)
- Konzertmusik für Klavier, Blechbläser und Harfen, Opus 49
- Mathis der Maler (tr. Duker) (1934/1973)
- Morgenmusik (1932)
- Neues vom Tage Overture (arr. Rogers) (1929/)
- Ragtime (tr. De Cinque) (1921/2016)
- Septet (1948/1949)
- Sonata for Four Horns (1952)
- Symphonic Metamorphosis on Themes of Carl Maria von Weber (tr. Wilson) (1943/1972)
- Symphony in B-flat (1951)
- Symphony in E-flat (arr. Rogers) (1940/)
- Paul Hindemith website
- Smith, Norman E. (2002). Program Notes for Band. Chicago: GIA Publications. pp. 292.