Symphony in B-flat (Hindemith)
Duration: c. 18:15
Difficulty: VII (see Ratings for explanation)
Publisher: Schott Music
Cost: Score and Parts - $250.00 | Score Only: $69.95
1. Moderately Fast, with Vigor – 7:10
2. Andante Grazioso – 5:25
3. Fugue (rather broad) – 5:15
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
Horn in F I-II-III-IV
Percussion I-II-III, including:
- Bass Drum
- Crash Cymbals
- Snare Drum
- 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 should be E instead of G
See also: Topolewski in Resources, below.
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
- Audio: Reference recording. University of Florida Wind Symphony (David Waybright, conductor)
- Audio CD: Cincinnati Wind Symphony (Eugene Corporon, conductor)
- Audio CD: North Texas Wind Symphony (Eugene Corporon, conductor)
- Audio CD: University of Michigan Symphony Band (H. Robert Reynolds, conductor)
- Grade V: Any one movement
- Grade VI: Play All
- Florida: --- (The Florida Bandmasters Association denotes this as "significant literature.")
- Grade VI: Any movement
- 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
- Group I: Any movement
- Grade VI: Any movement
- New York:
- Grade VI: Movement I or Movement III
- North Carolina:
- VI: play one movement
- Masterworks: play all
- South Carolina: "Masterworks"
- Virginia: VI (full performance of all movements counts as two works)
To submit a performance please join The Wind Repertory Project
- Eastman School of Music (Rochester, N.Y.) Wind Ensemble (Mark Scatterday, conductor) - 27 January 2023
- Las Vegas (Nev.) Academy of the Arts Wind Ensemble (John Seaton, conductor) - 19 December 2022 (2022 Midwest Clinic)
- Northshore Concert Band (Evanston, Ill.) (Mallory Thompson, conductor) - 16 November 2022
- Northshore Concert Band (Evanston, Ill.) (Mallory Thompson, conductor) - 6 November 2022
- University of Minnesota (Minneapolis) Wind Ensemble (Emily Threinen, conductor) - 21 October 2022
- University of Oklahoma (Norman) Wind Symphony (Shanti Simon, conductor) - 2 October 2022
- Central Washington University (Ellenburg) Wind Ensemble (T. André Feagin, conductor) – 17 March 2022 (CBDNA 2022 Western/Northwestern Conference, Tacoma, Wash.)
- United States Marine Band (Washington, D.C.) (Donald Schofield, Kenneth C. Collins, Bobby Francis, conductors) - 4 March 2022 (87th Annual ABA National Convention)
- The Naperville (Ill.) Winds (Sean Kelley, conductor) - 9 December 2021
- Northwestern University (Evanston, Ill.) Symphonic Wind Ensemble (Mallory Thompson, conductor) - 22 October 2021
- Ithaca (N.Y.) College Wind Ensemble (Grant Cooper, conductor) - 5 March 2021
- 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
- Eastman School of Music (Rochester, N.Y.) Wind Ensemble (H. Robert Reynolds, conductor) - 9 December 2013
- 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
- Concert Music, op. 50 (tr. Duker) (1930/1978)
- Der Schwanendreher (1935)
- Geschwindmarsch by Beethoven (1946)
- Geschwindmarsch (arr. Mas Quiles) (1946/1975)
- Kammermusik Nr. 5 (1927/1955)
- Kammermusik Nr. 7 (1927/1956)
- Kleine Kammermusik (1922/1949)
- Konzertmusik fur Blasorchester, Opus 41 (1926)
- Konzertmusik für Klavier, Blechbläser und Harfen, Opus 49 (1930)
- Mathis der Maler (tr. Duker) (1934/1973)
- Morgenmusik (1932)
- Neues vom Tage Overture (arr. Rogers) (1929/)
- Nobilissima Visione (tr. Sweet) (1938/)
- Ragtime (tr. De Cinque) (1921/2016)
- Septet (1948/1949)
- Sonata (arr. Spede) (1938/2006)
- Sonata for Four Horns (1952)
- Symphonic Metamorphosis on Themes of Carl Maria von Weber (tr. Wilson) (1943/1972)
- March from "Symphonic Metamorphosis" (tr. Wilson) (1943/1972)
- Marsch from "Symphonic Metamorphosis" (tr. Ross) (1943/2012)
- Symphony in B-flat (1951)
- Symphony in E-flat (arr. Rogers) (1940/)
- Arkansas School Band and Orchestra Association. (2013) "AR Required Music List by Grade (12-5-13)". Arkansas School Band and Orchestra Association. pp. 33, 35.
- Belcik, Mark Gerald. (1996) “Paul Hindemith’s Symphony in B-flat for Concert Band.” D.M.A. diss., University of Texas at Austin.
- Berz, William, and Andrew Yozviak. "A Comparative Analysis of Three Recordings of the Symphony in B-flat Conducted by Paul Hindemith." Journal of Band Research 47, no. 2 (Spring 2012), pp. 27-42.
- 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.
- "Symphony in B-flat by Paul Hindemith (Germany, 1895 – 1963)." WASBE. Web. (Featured as WASBE’s Composition of the Week, 5 April 2021). Accessed 13 January 2023
- Topolewski, Timothy. Errata Studies for the Wind Band Conductor, Vol. 1. Topolewski, 1990.
- Weiss, Scott A. "Paul Hindemith and the Genesis of the Symphony in B Flat for Concert Band." In: Kongressbericht Oberwölz/Steiermark 2004. Alta Musica, band 25. Edited by Bernhard Habla. Hans Schneider, 2006, pp. 379-388.
- 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