![]() ![]() The movement climaxes in a recapitulation of the chorale. This theme reappears to generate the climax of the fugal middle section, in which saxophones play a prominent role. Hindemith connects the two groups with a quizzical theme in the oboe and accompanying woodwinds. The opening movement ("Moderately fast, with vigor") juxtaposes two main theme groups, the first marked by a rather grim declamation in the cornets and trumpets against triplet woodwind rhythms, the second by a sinuous woodwind unison from which a brass chorale of similar character emerges. Hindemith took full advantage of this feature, investing his three-movement work with a jazzy sound that hearkened to the composer's years as an enfant terrible in the 1920s. Army Band included a large number of saxophones in its ranks. While most melodic and rhythmic material transferred easily to the piano, specific issues with sustained pitches, complex voicings, registration issues, and the inclusion of percussion parts were found and explained.Hindemith composed his Symphony in B flat major for Concert Band (1951) on a commission from the United States Army Band. This piece was selected because it is one of the masterworks in the wind band repertory, is often studied by graduate wind conducting students, and no piano reduction already exists. To address this need, I created a piano reduction for 2 pianos (4 hands) of Paul Hindemith’s Symphony in B flat for Concert Band. With this disparity, there is a need to expand the library of piano reductions for wind works. However, orchestral students have a vast library of piano reductions for their major works that they can use for study and to set up rehearsal experiences with pianists to emulate the experience of conducting a full ensemble. Those opportunities are reserved for the conductors of the top ensembles at the university level rather than their students. Conducting students in either genre are unlikely to conduct major works in their repertoire during their time of study. ![]() The experience of wind conducting students compared to orchestral conducting students is lacking because of the limited availability of piano reductions for major wind works. ![]()
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