Uploaded July 2025 | Updated September 2026, 2 weeks ago
Cincinnati Wind Symphony conducted by Eugene Migliaro Corporon.
I - Moderately fast, with vigor (𝅗𝅥 = 88-92) - Molto agitato: 0:00
II - Andantino grazioso (𝅗𝅥 = 56) - Fast and gay (𝅘𝅥 = 112): 6:44
III - Fugue. Rather broad (𝅗𝅥 = 100) - Fast, energetic (𝅗𝅥 = 112) - Scherzando - Espressivo - Scherzando - Tempo primo - Poco più largamente: 12:21
Hindemith's Symphony in B-flat was composed in New Haven between February and March 1951, written for the U.S. Army Band then led by Lieutenant Colonel Hugh Curry, its commander between 1946-64. It was premiered in Washington D.C. on April 5 of that year, performed by said band conducted by the composer. The piece had a mixed reception, with some critics (like Paul Hume) praising it while others (like Richard Franko Goldman) dismissed it. It was in the following decades that the symphony became a staple in the repertoire of concert bands around the world.
Most concert bands at the time preferred to play arrangements, marches, and other popular music rather than original works for band. At the same time, most composers dismissed the possibilities of the concert band. As an example, only around a dozen of symphonies for concert band had been written up until Hindemith's work (the most notable of these being Berlioz's and Myaskovsky's). The length, breadth and content of Hindemith's symphony served to convince other first-rank composers, including Giannini, Persichetti, Creston and Hovahness, that the band is a legitimate medium for serious music.
The first movement is structured in sonata form. It begins with a lively and rhythmic main theme exposed by cornets and trumpets over triplet woodwind rhythms, culminating in a short-lived climax. After a woodwind transition dominated by a five-note motive, an imposing, chorale-like second theme is introduced by the brass. There is a relentless sense of momentum and agitation that constantly pushes this music forward.The development section consists of a substantial fugato based on the motive, in which saxophones play a prominent role. A powerful climax opens the recapitulation of the material. A vigorous coda ends the movement.
The second movement is written in ternary form. It opens with a dialogue between saxophone and cornet, introducing a melodic main theme reminiscent of Kurt Weill. There are hints of Hindemith’s Weimar Republic roots in the melody, which sounds like the lamentation of a tired cabaret singer. After a brief pause, the central section opens with a dance-like second theme based on the five-note motive, in scurrying triple-time counterpoint and featuring tambourine accompaniment. After an impetuous climax, both sections are recapitulated as they are contrapuntally interlocked, a characteristic element of Hindemith's music. The music then suddenly stops without a formal coda.
The third movement (despite its title) is actually a double fugue in form. It begins with a short and solemn introduction, which introduces the main subject based on an abrupt four-note ascending figure. The second subject is slower and broader, built on a triplet rhythm. Both are contrapuntally combined, reaching its peak as the main theme from the first movement reappears on trumpet and cornet, another familiar Hindemithian device no less effective here for its familiarity. The concluding consonant chords, enlivened by busily piping woodwinds, stand in striking relief to the edgy harmonic language that characterizes this modest masterpiece.
Picture: Photographic detail of "Music and Harvest" (1950-1) from the sculptoric group "The Arts of Peace" by American sculptor James Earle Fraser.
Sources: tinyurl.com/ynwsh7hk, tinyurl.com/yozgu7qn and tinyurl.com/yujawvj3
To check the score: tinyurl.com/ylrajoml
Cincinnati Wind Symphony conducted by Eugene Migliaro Corporon.
I - Moderately fast, with vigor (𝅗𝅥 = 88-92) - Molto agitato: 0:00
II - Andantino grazioso (𝅗𝅥 = 56) - Fast and gay (𝅘𝅥 = 112): 6:44
III - Fugue. Rather broad (𝅗𝅥 = 100) - Fast, energetic (𝅗𝅥 = 112) - Scherzando - Espressivo - Scherzando - Tempo primo - Poco più largamente: 12:21
Hindemith's Symphony in B-flat was composed in New Haven between February and March 1951, written for the U.S. Army Band then led by Lieutenant Colonel Hugh Curry, its commander between 1946-64. It was premiered in Washington D.C. on April 5 of that year, performed by said band conducted by the composer. The piece had a mixed reception, with some critics (like Paul Hume) praising it while others (like Richard Franko Goldman) dismissed it. It was in the following decades that the symphony became a staple in the repertoire of concert bands around the world.
Most concert bands at the time preferred to play arrangements, marches, and other popular music rather than original works for band. At the same time, most composers dismissed the possibilities of the concert band. As an example, only around a dozen of symphonies for concert band had been written up until Hindemith's work (the most notable of these being Berlioz's and Myaskovsky's). The length, breadth and content of Hindemith's symphony served to convince other first-rank composers, including Giannini, Persichetti, Creston and Hovahness, that the band is a legitimate medium for serious music.
The first movement is structured in sonata form. It begins with a lively and rhythmic main theme exposed by cornets and trumpets over triplet woodwind rhythms, culminating in a short-lived climax. After a woodwind transition dominated by a five-note motive, an imposing, chorale-like second theme is introduced by the brass. There is a relentless sense of momentum and agitation that constantly pushes this music forward.The development section consists of a substantial fugato based on the motive, in which saxophones play a prominent role. A powerful climax opens the recapitulation of the material. A vigorous coda ends the movement.
The second movement is written in ternary form. It opens with a dialogue between saxophone and cornet, introducing a melodic main theme reminiscent of Kurt Weill. There are hints of Hindemith’s Weimar Republic roots in the melody, which sounds like the lamentation of a tired cabaret singer. After a brief pause, the central section opens with a dance-like second theme based on the five-note motive, in scurrying triple-time counterpoint and featuring tambourine accompaniment. After an impetuous climax, both sections are recapitulated as they are contrapuntally interlocked, a characteristic element of Hindemith's music. The music then suddenly stops without a formal coda.
The third movement (despite its title) is actually a double fugue in form. It begins with a short and solemn introduction, which introduces the main subject based on an abrupt four-note ascending figure. The second subject is slower and broader, built on a triplet rhythm. Both are contrapuntally combined, reaching its peak as the main theme from the first movement reappears on trumpet and cornet, another familiar Hindemithian device no less effective here for its familiarity. The concluding consonant chords, enlivened by busily piping woodwinds, stand in striking relief to the edgy harmonic language that characterizes this modest masterpiece.
Picture: Photographic detail of "Music and Harvest" (1950-1) from the sculptoric group "The Arts of Peace" by American sculptor James Earle Fraser.
Sources: tinyurl.com/ynwsh7hk, tinyurl.com/yozgu7qn and tinyurl.com/yujawvj3
To check the score: tinyurl.com/ylrajoml
