A Uniqness of Paul Hindemith's Symphony in Bb for Band

Paul Hindemith’s Symphony in Bb for Band is a work to which was composed for the modern instrumentation and configuration of the wind band in mid 20th century America which resulted in a composition of immense scale and grandeur. The initial composition of this piece came about when Hindemith was invited by the U.S. Army “Pershing’s Own” to conduct and premiere a piece of his for the wind band in 1951. The premiere of the Symphony in Bb for Band turned out to be quite a successful one for Hindemith as this piece exemplified in techniques such as the work being substantially orchestrated and prolonging the form and thematic material for the wind ensemble setting. This execution created a piece filled with several uses of sonorous textures and various exposed solos placing higher demands on musicians of the time as well. This in turn, gave way to compositions of prolonged length, technique, and skill for the wind ensemble and influenced composers such as Samuel Adler and Lukas Foss.

The instrumentation of this piece is also structured on an immense scale but can be performed without certain instruments if needed. However, if performed in this manner, the ideals and themes which Hindemith attempted to display in this piece might not be as prevalent in this form due to lack of volume and sound. This instrumentation calls for two flutes, piccolo, two oboes, Eb clarinet, four Bb clarinets, alto clarinet, bass clarinet, two bassoons, two alto saxophones, tenor saxophone, baritone saxophone, four cornets, two trumpets, four horns in F, three trombones, euphonium, tuba, timpani, bass drum, cymbals, glockenspiel, snare drum, tambourine, and triangle. Like Florent Schmitt, Hindemith uses this large instrumentation to create a vast array of colors doing so in a formal structure. Unusual techniques about the instrumentation of this piece are focused unto the bassoons, and French horns. If one were to look at the score of this piece, they would notice that the bassoons are listed below the bass clarinet instead of with the double reeds. The French horns are placed in between the trombones and euphonium which was also considered to be peculiar. One aspect of the score which is interesting takes place in the first trombone part. In this part, the use of the tenor clef is written. This implies that not only does the principal trombonist must be able to play successfully in bass clef, but also must be able to decipher between bass and tenor clefs and also play just as well in the latter clef.

The first movement of this piece begins with the style indication ‘moderately fast, with vigor’ and does not contain a key signature. This movement is in a binary form and makes use of several dotted eighth sixteenth figures throughout. The movement contains a five-note motif which is played in quartile structure, a technique to which Hindemith was rather fond of. The second movement begins with the indication Andantino grazioso and is also in a binary form. There is a staggering amount of rhythmic activity to which takes place in this movement and features solo material from the cornet, alto saxophone, and clarinets. Again, the interval of a fourth is used as a foundation for the thematic material that takes place in this movement. Hindemith also takes advantage of woodwind timbres in this movement and uses these instruments extensively throughout. The third movement is labeled ‘Fugue, rather broad’ and contains contrapuntal texture like that of a Fugue. Polytonality is evident throughout this movement with several chords that appear to violate the sound and structure of this movement. This technique however, is intentional from Hindemith as he composes for instruments to clash which in turns creates a dark and mysterious texture.

With the composition of this piece, the use of pantonal and atonal compositional practice becomes increasingly popular for the wind band in the mid twentieth century. The Symphony in Bb for Band took influences from the likes of Stravinsky, Schoenberg, Bartok, etc. and applied these methods for the wind ensemble with Hindemith’s own practices and methods in mind as well. As a result of this, wind ensembles must approach this piece in an orchestral sense of mind as the compositional methods for the two ensembles begin to blend and mesh together during this time. This in turn, created a much higher reputation for the wind band and has led to the composition of fantastic music for the ensemble by phenomenal composers of the middle to late twentieth century worldwide.