Paul Hindemith's Bb Symphony for Orchestra is a work that was composed for the modern instrumentation and configuration of the mid-century wind orchestra. 20th century America, resulting in a composition of immense scale and grandeur. The initial composition of this piece took place when Hindemith was invited by the US Army's "Pershing's Own" to conduct and premiere one of his pieces for concert band in 1951. The premiere of the Symphony in Bb for orchestra s It turned out to be a real ordeal. an achievement for Hindemith, as this piece is exemplified by techniques such as the work being substantially orchestrated and extending the form and thematic material for the staging of the wind ensemble. This performance created a piece filled with multiple uses of sound textures and various exposed solos also placing higher demands on the musicians of the time. This in turn resulted in compositions of prolonged length, technique and craftsmanship for the wind ensemble and influenced composers such as Samuel Adler and Lukas Foss. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The instrumentation of this piece is also structured on an immense scale but can be performed without some instruments if necessary. However, if interpreted in this way, the ideals and themes that Hindemith attempted to display in this piece might not be as prevalent in this form due to the lack of volume and sound. This instrumentation requires two flutes, piccolo, two oboes, one Eb clarinet, four Bb clarinets, one alto clarinet, one bass clarinet, two bassoons, two alto saxophones, one tenor saxophone, one 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 range of colors within a formal structure. Unusual techniques regarding the instrumentation of this piece focus on bassoons and French horns. If one were to look at the score for this piece, one would notice that the bassoons are listed under the bass clarinet instead of with the double reeds. The French horns are placed between the trombones and the euphonium, which was also considered special. An interesting aspect of the score takes place in the first trombone part. In this part, the use of the tenor clef is written. This implies that not only must the lead trombonist be able to play successfully in the bass clef, but also they must be able to read between the bass and tenor clefs and also play equally well in the latter key. The first movement of this piece begins with the style indication “moderately fast, with vigor” and contains no key signature. This movement is in binary form and uses several dotted eighth-sixteenths throughout. The movement contains a five-note motif that is played in a quartile structure, a technique that Hindemith was very fond of. The second movement begins with the indication Andantino grazioso and is also in binary form. There is a staggering amount of rhythmic activity taking place in this movement and features solo elements from the cornet, alto saxophone and clarinets. Once again, the interval of a fourth serves as the foundation for the thematic material that unfolds in this movement. Hindemith also takes advantage of woodwind timbres in this movement and uses extensively.