Sonate arranged for wind quintet







SKU: 33S030022967


Composed by Paul Hindemith (1895-1963)
Arranged for Woodwind Quintet by Paul Leonard Schaffer (2018)
Published by Schott
Duration: 15 minutes
Includes score and parts

Oboe (doubilng cor anglais)
Clarinet in Bb
Horn in F

I. Heiter bewegt
II. Sehr langsam
III.Sehr lebhaft – Marsch

      During the seizure of power by the Nazi regime and the accompanying defamation of contemporary artists, it became increasingly impossible for Paul Hindemith to perform substantially-dimensioned works in public. He was forced to arrange the performance of larger-scale compositions such as Mathis der Maler, Schwanendreher and Nobilissima Visione outside the confines of Germany.
      The performance of his chamber music works whose distribution was equally hampered was however slightly easier as they could be presented to an interested audience within private circles, thereby completely bypassing the public awareness of the party. In view of the political situation, it was perhaps Hindemith's pragmatic outlook on life that motivated him to create an impressive and highly varied number of instrumental works between the years 1935 and 1950 in which he ingeniously highlighted the individual qualitites of each instrument. These effective and virtuoso works in a classical modern style are today well established in the corresponding instrumentalists' repertoires. The frequently performed Kleine Kammermusik fur Blaserquintett [Small chamber msuic for wind quintet] dating from 1936 also belongs to this catergory and is unfortuantely Hindemith's only composition for this popular ensemble type. 
      It therefore seemed a good idea to make an arrangement for wind quintet of the Sonata for Flute and Piano composed in 1936 in which the original solo part remained unchanged and the original piano accompaniment was split between the remaining four instruments of the ensemble.

      In performance, it is essential to ensure a balanced dynamic level between all instruments; above all it is vital that the horn is well integrated in the general sound texture when it is not playing distinctive solo passages. If this balance is attained, all dynamic indications can be correspondingly interpreted with a certain degree of freedom. 

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