An Analysis of Hindemith

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An Analysis of Hindemith's Symphony in Bb

for Concert Band
Outline

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I.

Historical Overview

II.

List of Works

III.

Hindemith Sights

IV.

An Analysis of Symphony in Bb for Band

V.

Wind Symphony v's Orchestra Symphony

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An Analysis of Hindemith

http://people.morehead-st.edu/students/rp/rmpayt01/

By: Rex Payton

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An Analysis of Hindemith

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An Analysis of Hindemith's Symphony in Bb for Concert Band

(1895 - 1963)

Paul Hindemith was an incredible musician known not only for his talent as a composer, but
also as a virtuoso performer, innovative theorist, teacher, and author. Born in 1895 he grew up
performing with many small chamber orchestras around Germany. By the age of fourteen he
received free tuition to attend the Hoch Conservatory in Frankfort. During his years at the
conservatory (1904 - 1917) he began exploring an interest in composing music. By 1915 he was
made concertmaster at the Frankfort Opera Orchestra, but his term was cut short as he was
assigned to serve in a Germany regimental band during World War I. (Stolba, pg. 834)
After the war Hindemith returned to his position in the Orchestra and continued his passion for
composing. During his years with the Opera Hindemith composed many small chamber works
including a large work for Opera and Symphony. During World War II Hindemith took on his
largest challenge while fleeing form the Nazi army. (Stolba, pg. 834)
In 1927 under Nazi pressure Hindemith moved to the United States. As a citizen in the United
States Hindemith taught composition at Yale University. In his last years Hindemith taught and
conducted across America and Europe. He died in 1963 in Frankfort.
As a composer, Hindemith was prolific, sometimes facile. He composed operas, both large
and small, oratorios and other types of sacred music, solo songs, ensembles vocal pieces, piano
music, organ music, chamber and orchestra music. Like Igor Stravinsky, Bela Bartok, and Arnold
Schoenberg he was one of the four founders of modernism. Unlike his counterparts, Hindemith
continued many classical traits such as classical forms and harmonies. (Sadie, pg. 573)
During his earlier years (1920's) the composer went through an experimental season. One such

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An Analysis of Hindemith

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experiment was his interest in the wind instruments. Hindemith's "Wind Quintet" is one of the
earliest of twentieth century compositions for this combination: flute, oboe, clarinet, bassoon and
horn. It has become a favorite form of composition over the past forty years, leading to the
formation of a number of permanent performing groups. Other compositions from this time shows
experiments with different instrument groupings and sounds, atonality, impressionism, Jazz
influences, twelve tone writing, and expressionism, but none of the styles would become the norm
for Hindemith. (Thomas, pg. 530)
His later works (1940- 50's) became more classical in style. He began to use baroque textures,
styles, and compositional techniques to aid the listener. Hindemith refused to be kept in by one style
and if some of his compositions, or parts of them, are openly romantic, this only serves to
emphasize the complexity of his personality. His earlier works are more adventurous than his later
ones, especially in regard to harmony and rhythm. During the 1930's his style became more
conservative and for this reason, perhaps, his compositions of this period 1930-1945 are the most
frequently performed today. (Stolba p.834-837). It was during the late period that the Hindemith
Symphony in Bb for concert band was composed. (Kopez, pg.24)
Hindemith is one of the most influential figures in American Music. His teaching at Yale University
and his performances in America helped start a wave of educated composers in the United States.
Hindemith was one of the Key figures in the 1941 Tanglewood music festival. Over 700 music
teachers, students, music students, and amateurs, along with 100 music schools competed for
performance spots in the festival. 150 performers were chosen to perform early music in the 1941
Tanglewood Festival. Through this festival America took its place as the epicenter for musical
innovation. (Ewen, pg.279)

Symphony in B-flat
The "Symphony in B-flat" was composed at the request of Lt. Col. Hugh Curry, Leader of the
United States Army Band, and was premiered in Washington DC, on April 5, 1951, with the
composer conducting. It is the earliest example of an extended symphonic piece for concert band
and has served to convince other first-rank composers that the band is a legitimate medium for

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An Analysis of Hindemith

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serious music. Composed in three movements, the symphony is a masterpiece of contrapuntal

techniques and thematic integration. (Kopez, pg.24)
The Symphony for Bb was one of the compositions from Hindemith's late composition period of his
life. Although the symphony is written for concert band it does resemble many classical symphonies
in style and sound. Hindemith uses many contrapuntal techniques from the Baroque era to add to
the development of musical themes. The interval of a fourth becomes a staple in the whole piece of
music. Motives for later sections are some times cleverly hidden in the early parts of the music to
help the listener maintain a comfort zone.

MVT I

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The first movement is composed in sonata-allegro form and is marked at the start as
moderately fast, with vigor. The key of B-flat is the tonal area for the first movement; it is hidden
well by the active chromatic pitches in all of the themes. Each theme seems to have a
developmental type sound always moving forward. The exposition starts in mm. #1 and continues
to mm. #77. In mm. #1- 25, the A theme is introduced by the cornets and trumpets against a busy
accompaniment furnished by the soprano members of the woodwind family.

A five note motive appearing in the bassoons and basses on the first two beats of the movement,
this is an example of how the composer uses motives to make later sections comfortable to the
listener. This motive shows up in the development section of the first movement as one of the main
development motives. This motive along with the two fragments extracted from the first theme is
responsible for the melodic unity evident throughout the movement.
The B theme starts in mm. #26 and goes through mm. #50 uses the key of F natural as it's tonal
base. Solo oboe, against a background of tremolos and trills from the flutes, present the initial
statement of the second theme.
The closing section in the exposition goes from mm. #51 - #77. During the normally boring
part of the exposition, the closing, Hindemith throws in two new themes. The first starts in mm.
#51 in the clarinets and double reeds, the C theme. It consists of a single unharmonized line spread
over three octaves. This motive is repeated in octaves and superimposed in the horns.
The development section of the first movement begins in mm. #78 -154.
This section marked Molto Agitato, starts of as a small fugoto section, with the fugoto subject

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going throughout the development. The source of this subject is the motive first introduced by the
horns in the closing section of the exposition. The beginning of each fragment of this theme consists
of a descending half step. The development section goes through various keys, such as F, A, E,
D-flat, G-flat and some others, it use both A and B material throughout the section. Sequencing is
the main tool. The development section ends on a full band twelve-note chord in mm. #154.
The recapitulation is a masterpiece of timesaving economy and contrapuntal ingenuity in which the
first and second themes are brought back simultaneously, thereby condensing the former two
sections into one. The recapitulation goes through mm. #155184.
The Coda starts in mm. #185 and continues until mm. #212, again in the tonal center of B-flat. The
Coda begins with the C theme introduced by the woodwinds in the closing section to the exposition
The Coda, throughout it's first three sections, differ very little from the exposition other than in
tonal level and thickness of scoring. In the last section, however the earlier fragment of the theme is
abandoned in favor of an uninterrupted repetition with slight melodic elaboration. This leads
directly to a cadence group consisting of three note progressions with woodwinds figuration
carrying through. The quarter note cadence pattern is derived from the first three notes of the
bassoon and bass motive in the first measure of the Coda.

MVT II.
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The second movement is in Song Form, A B A, the tonal base is G Major and the first
section starts out marked as Andantino Grazioso it goes from mm. #1-48. The section starts with
the A theme, a cornet and sax duet in canon, from mm. #1-20.
The accompaniment to the A theme is a simple pattern of two quarter notes, quarter rest,
two quarter notes, quarter rest, each quarter not is preceded by two grace notes. This pattern
scored for clarinet, bassoons, tuba and bass drum. Although at first glance the above passage may
appear to be chaotic, it is merely a duet in which the essential melodic element of the A theme
passes periodically from one instrument to the other.
The second section of this song form, marked fast and gay, is a scherzo in character. The
second section starts in mm. #49 and goes through mm. #90. The texture is imitative thought out
much of this section and an example of such treatment can be seen by observing the entrance of the
third clarinets and the alto saxophone in measure three of the B theme.
The third section to this movement is a recapitulation of both the A theme and the B theme
simultaneously, it starts in mm. #91-128. Both A and B themes are stated in their pure form from
mm. #91-112. The duet of section one is replaced by its essential melodic extract (brought back by
unison horns doubled with baritone saxophone).

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Just like both the first and second sections of the this movement an interlude is used to get back to
the A and B themes.
Just like the first two sections there is a codetta. Both codetta motives from the previous sections
are used and in there original voicing. The movement ends quietly as did each of the first two
sections. Thus the second movement is basically a minuet and trio.

MVT III
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The third movement entitled fugue consists of three main preceded by a brief interlude. After
looking further into this movement I discovered that it is a double fugue with coda. The primary
tonal center of this movement is B-flat. The A exposition begins in mm. #10 and goes through mm.
#65 the primary key of this section is B-flat which helps to develop closure for the piece. The
subject is introduced first by the trumpets in mm. #10.
Since Hindemith always seemed fascinated by the interval of a fourth, the horns come in at
the interval of a fourth below the trumpets with the counter subject. Oboe and E-flat clarinet enter
in a fourth above that with the next statement of the subject. This entry is followed by a two-voice
canon a fourth above in the clarinets, flutes, and piccolo, followed four measures later by the
baritone a fourth below. The canon utilizes both subject and counter subject in its statement. The
first measure of the subject becomes a fragment and is inverted, sequenced and augmented to help
develop the section Hindemith throws in a interlude section to help transfer the listener to the B
theme mm. #66-76.
The next section of this movement shows the mastermind of one of the greatest composers to live.
A stretto section is introduced with both the A and B subjects superimposed a fourth apart mm.
#161-177. Not only does Hindemith use both subjects
simultaneously but he also uses the counter subject, both accompaniment and augmentations of the
subjects.
On mm. #178-225, a coda for the entire piece is presented in the original tonal center of B-flat. At
this point in the final section a factor that unifies the entire symphony is introduced. The fugue
subjects of section one and two continues as a single melody combined with persisting woodwind
features derived from the first four notes of the A subject. Then the A theme of section one is
brought back augmented by the trumpets and trombones. The woodwind feature that has been
present through the entire coda is taken
directly from the closing section of the first movement. This plays over the final three tonic chords
of the piece as the band ends on a tutti B-flat major fortissimo chord
Most significant, however is the fact that for the first time in history of the concert band a major
composer has written a major work for this medium. A first-rank composer has exercised every bit
as much craft and conscientious endeavor in writing for band as was his custom for works in any
medium. It stands not only as fine band music but fine Hindemith-representation of the composer at
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his best. (Kopez, 31)

Hindemith's symphony for band is very closely related to his Symphonies for Orchestra. His
orchestral symphonies differ in style and instrumentation. Unlike the three movements of the Bb
Symphony, the others have four movements. The traditional four-part symphony is applied to all of
his symphonies. The first movements are in sonata Allegro form. The second movements are slow
and very chromatic. The third movements are in a scherzo. The fourth movements in the
symphonies for Orchestra are in sonata allegro form. While there is no fourth movement in the
Symphony for band, the third movement is divided into two complete sections; giving the listener
it's four-part symphony.
They large group writing, solo woodwinds, unison melodies, and progressions of chords a fourth
apart are still characteristics no matter what medium Hindemith composed in. The soft chromatic
parts generally played by the strings or woodwinds, are interrupted by Fortissimo brass motives
from preceding sections of the music in all of his symphonic writings. Hindemith successful
composed in every genre, not because he was a great theorist, performer, or even composer; but
because his prime objective was to write working music for the listener. His creative ides helped
spark a musical revival in America and provided musicians with a fresh way to use traditional
harmonies and styles.

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Form and Structure

Movement I, Sonata form, Bb

Exposition, mm.1-77
A material, mm.1-25, Bb
B material, mm. 26-50, F
Development, mm. 78-154
various keys, uses both A and B material
Final statement uses B material and ends on 12 note chord
Recapitulation, mm.155-184
A and B material simultaneously recapitulated
Coda, mm. 185-212, Bb
Based on closing material from exposition

Movement II, Song Form, G

A, mm. 1-48,
A theme, Cornet and Alto saxophone Duet in Canon, mm. 1-20
Interlude, Cornet and Trumpet mm. 21-26
A theme, mm.27-41
Codetta, mm. 42-48
B, mm. 49-90
B theme, mm. 49-72
Interlude, Flutes, MM. 73-75
B theme , mm. 76-86
Codetta, mm. 87-90
A and B Recapitulated Simultaneously, mm. 91-128

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A and B themes, mm. 91-112

Interlude, Flutes, Cornet and Trumpets, mm.113-116
A and B themes, mm. 117-124
Coda, mm. 125-128
Movement III, Double Fugue with Coda, Bb
Introduction, mm. 1-9, F
Exposition A, mm. 10-65, Bb
Interlude, A material, mm. 66-76
Exposition B, mm. 77-135, Bb
Interlude, B material, mm. 136-160
Stretto, A and B material superimposed, mm. 1651-177
Coda, A theme from mvmnt. I superimposed on Stretto, mm. 178-225

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Bibliography

Ainsley, R. (1989). Classical Music. New York: Smithmark Publishers. Pg. 74,125.

Cook, K. (1978). Reviews on Classical Music Recordings, Symphony in E-flat, composer Paul
Hindemith. American Record Guide, March - April 1995, Vol. 58, Issue 2. pg. 114

Cuyler, L. (1995). The Symphony. (2nd Ed.) Michigan: Harmonie Park Press. pg. 204- 205.

Ewen, G. (1966). Great Composers. New York: The H.W. Wilson Company. Pg. 278- 279.

Kopez, B. (1990). Hindemith's Symphony for Band. The Instrumentalist, March 1990, pg. 24-31.

Ranel, D. (1996). The Havard Biographical Dictionary of Music. London: The Belknap Press of the
Havard University Press. Pg.383-384.

Sadie, S (Ed.). (1989). New Grove Dictionary of Music and Musicians (Vol. 8). London, England:
Macmillian Publishers Limited pg. 573-587.

Stolba, K. Marie. The Development of Western Music. Dubuque, IA.: Wm. C. Brown Publishers.

Schales, P. (1998). The Oxford Companion to Music. (10th Ed.) London: London Oxford
University Press pg. 970-972.

Thompson, O. (1995). The Encyclopedia of Music and Musicians. (11th Ed.) New York: Dodd,
Mead, and Company pg. 529-530.

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