Paul Hindemith - Symphony in B-Flat 

Neotonality baby!

Can you show me the way to Alagadda?

No one on Earth seems to know.

Yağız. -- yes YES!! (What means "bop"?)

@@steveegallo3384 it emans god

@@sneddypie -- But...How can you be sure??

@@steveegallo3384 i simply am

@@sneddypie -- Haha....Would that it were so! But, as you've amply demonstrated, you simply are "NOT."

They are a beat early for the rest of that section.

> "B♭ Major" in the title > second measure features a concert D♭ I guess "B♭ Major" more aptly applies to Giannini's third symphony than to this symphony.

Well, the score says just B flat, so not necessarily need to be in Major... I wonder why the uploader entitled it 'Symphony in B flat Major'... the B flat is just a tonal centre...

@@jackminto7062 That is why he has selected B flat as the tonal centre, I think!

@@BetonBrutContemporary The Symphony is entitled symphony in B flat major. it is written for winds and was premired by the United Sates Army Pershings Own Band. A symphony also does not necessarily have to stay in the same key as its called.

I don't know if this is just laziness in naming the piece, or just a musical joke on hindemith's part. But all the movements end on a Bb major chord, therefore, the symphony is in "Bb major"

Omg I’ve always thought this

ofc not for an audition

6:13

?

Well, you're not the first to make such an observation. In a published review of the score when it was still hot off the presses, the American band director Richard Franko Goldman criticized the instrumentation for being cluttered, especially in the middle range. Hindemith did occasionally risk over-orchestrating, but then, that's a common German flaw: think Schumann, or Reger (an obvious influence) -- and this is nothing compared to, say, Henze or Zimmermann. But speaking of Reger, doesn't the peroration in the finale seem oddly reminscent of the endings of Reger's variation works for orchestra? Of course, a razor-sharp performance helps, and this one is a bit limp. Something like the old Fennell/Eastman performance for Mercury suits the music much better. As for Hindemith's own, they're oddly Brucknerian, which is . . . well, interesting, and hardly inappropriate (doesn't the third theme of the first movement sound like something a twentieth-century Bruckner would write?), but it's just not my favorite way to hear the work.