Together, they grow into semi-climax before being interrupted by another dotted-rhythm theme, which dominates the development until the second initial theme returns. Another pair of themes is introduced at letter D.
The second, a short burst of five 8th notes, is hidden in the bluster of the first beat of the movement, not emerging fully until the two themes merge. The first is lyrical and rhythmically intense, spanning 10 bars. Hindemith introduces two themes immediately.
The Symphony’s first movement, marked, “Moderately fast, with vigor” is in sonata allegro form. Below, I’ll include my thumbnail analysis of each movement above separate videos of each, all by the world class United States Navy Band. Its three movements use classical and baroque approaches to form and thematic development in Hindemith’s unique harmonic idiom. Hindemith wrote it in 1951 on a commission from “Pershing’s Own” United States Army Band. The Symphony in B-flat is a cornerstone of the wind band repertoire. He was very interested in understanding instrumental technique, to the point that he is said to have learned to play every one of his instrumental sonatas (and there are many, including trumpet, clarinet, trombone, harp, tuba, flute, violin, viola, and bass) on the instrument for which he wrote it. While this approach sounds purely academic, it resulted in playful, accessible music in Hindemith’s hands. He developed his own system of tonality that was not diatonic, but which ranks musical intervals from most-consonant to most-dissonant while still relying on a tonal center. He became an American citizen in 1946, but moved to Zurich in 1953, where he remained for the rest of his life. In 1940, he emigrated to the United States, where he taught primarily at Yale University.
During that period, he was invited to Turkey, where he helped to reorganize the music education system there. He grew up and began his career in Germany, but a complicated relationship with the Nazi regime in the 1930s sent him elsewhere. Paul Hindemith (1895-1963) was an influential German composer who explored the fringes of tonality through his music and who was teacher to many a great name in composition.
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