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Program Notes - Hindy

Paul Hindemith was a highly influential 20th century German composer. His works were described as neo-classical in response to 19th century romanticism, though he was more specifically influenced by Baroque composers like Bach and Bruckner in his use of counterpoint and fugue. Hindemith's compositions covered many genres and ensembles, exhibiting experimental orchestration that expanded instrumental capabilities. His 1951 Symphony in B flat for U.S. Army Band demonstrated his adherence to formal structure through sonata form and binary movements, reflecting Baroque influences, while also using orchestration to create tonal and textural changes. The piece helped establish the credibility and potential of the developing symphonic wind ensemble genre.

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95 views2 pages

Program Notes - Hindy

Paul Hindemith was a highly influential 20th century German composer. His works were described as neo-classical in response to 19th century romanticism, though he was more specifically influenced by Baroque composers like Bach and Bruckner in his use of counterpoint and fugue. Hindemith's compositions covered many genres and ensembles, exhibiting experimental orchestration that expanded instrumental capabilities. His 1951 Symphony in B flat for U.S. Army Band demonstrated his adherence to formal structure through sonata form and binary movements, reflecting Baroque influences, while also using orchestration to create tonal and textural changes. The piece helped establish the credibility and potential of the developing symphonic wind ensemble genre.

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CaseyTecklenburg
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Casey Tecklenburg

Contemporary Music History


Program 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 Hindemiths
works demonstrate a style that seems more specifically neo-Baroque.
The works of composers like Johan Sebastian Bach and Anton Bruckner
influenced Hindemiths writing, especially in their use of counterpoint
and fugue style. Hindemiths 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 Hindemiths 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. Hindemiths 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.

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