Casey TecklenburgContemporary Music HistoryProgram Notes --- Hindemith

Paul Hindemith is considered to be one of the most influential German

composers of the 20th century. His works are often described as part of a neo-

classical movement in response to the romanticism of the 19th century. In actuality,

the influences recognized in Hindemith’s works demonstrate a style that seems

more specifically neo-Baroque. The works of composers like Johan Sebastian Bach

and Anton Bruckner influenced Hindemith’s writing, especially in their use of

counterpoint and fugue style. Hindemith’s works are not considered to be without

tonality, but they do demonstrate features of non-diatonic composition. His

compositions cover a vast scope of musical genres and ensemble types. They exhibit

orchestration and instrumentation that are experimental in nature, and helped to

redefine the capabilities of the instruments scored. His exceptional musicianship led

him to become a great conductor in addition to his work as a composer.

Symphony in B flat reflects Hindemith’s adherence to formal structure, even

in his use of non-diatonic harmony. Three movements play out in an adapted sonata

form. The first movement is fast, the second is slow, and the third and final

movement is fast again. All three movements are binary in structure, with a change

coming about halfway through each. These structural features are evidence of the

influence of Baroque compositional styles on his writing. Hindemith orchestrates

instruments for changes in color as well as tonality, often using the instrumentation

to make a sudden or unexpected change.

Symphony in B flat was written in 1951 for the U.S Army Band. Hindemith

had been invited as a guest conductor for the band in February of that year, but

requested a later date to have time to compose for the band. The piece was

premiered on April 5, and has since enjoyed a spot in the core of symphonic wind

ensemble literature. This piece served as an indication of the possibilities of the

relatively new concept of the symphonic band that had grown out of the military

tradition of John Phillip Sousa. In writing for the advanced players of the U.S. Army

Band, Hindemith helped to bring further credibility to the genre of wind ensemble.

Only a year later, Frederick Fennell organized the famous Eastman Wind Ensemble,

creating the concert band ensemble capable of greater clarity and precise intonation

in the style of the bands of today. Hindemith’s Symphony in B flat represented a

defining period of growth for the symphonic band and the capability it had to

become a credible form a music making.