Paul Hindemith's Konzertmusik, Op. 41, composed in 1926, was, in some ways, written to promote the importance and relevance of wind music in classical performance. Although designed as a piece for amateurs, the piece is certainly challenging enough for professional players - a comparison may be drawn to the Schoenberg Theme and Variations, Op. 43a in this way. The piece is written for a variation on the German military band instrumentation, and has since become a standard of

Symphonic Metamorphosis of Themes by Carl Maria von Weber I. Allegro II. Scherzo (Turandot): Moderato – Lively III. Andantino IV. Marsch Paul Hindemith Born: November 16, 1895, Hanau, Germany Died: December 28, 1963, Frankfurt, Germany Original Instrumentation: Orchestra Duration: 5 minutes Composed: 1943 Arranged: 1972, Keith Wilson Hindemith’s Symphonic Metamorphosis on Themes of Carl Maria von Weber began life in early 1940, when Hindemith first took up residence in the Un

Beethoven's Geschwindmarsch and Hindemith's paraphrase of the same piece were featured last year as part of an UMWO program. Hindemith's paraphrase was part of a larger piece known as his Symphonia Serena, and both are well-known pieces that have become part of the standard wind repertoire. Program notes and audio links for both pieces are below. Ludwig van Beethoven, Geschwindmarsch (Two Marches for Military Band - No 1, March in F Major, WoO 18 Ludwig van Beethoven wrote th

Today's Composers Datebook focuses on Hindemith's Konzertmusik, Op. 41, a fantastic piece for winds. We have posted on this piece here, but you should find the information below enlightening. You can find the text below and the audio clip. There is also some great commentary in the piece on how far band music has come since 1926. Composers Datebook audio (7/24/2010) Hindemith for Winds In 1926 the German composer Paul Hindemith was the director of that year's Donaueschingen M

Paul Hindemith's Konzertmusik, Op. 41, composed in 1926, was, in some ways, written to promote the importance and relevance of wind music in classical performance. Although designed as a piece for amateurs, the piece is certainly challenging enough for professional players - a comparison may be drawn to the Schoenberg Theme and Variations, Op. 43a in this way. The piece is written for a variation on the German military band instrumentation, and has since become a standard of

In 1952, when Frederick Fennell founded the Eastman Wind Ensemble, part of the stated mission of the ensemble was the perform pieces like Paul Hindemith's newly composed Symphony in B-flat that were not part of the traditional band repertoire. Since that time, this piece has become a cornerstone of the wind repertoire. Paul Hindemith, Symphony in B-flat Eastman Wind Ensemble, Frederick Fennell, conductor Below are liner notes from the Peabody Conservatory's recording "Trendse