The trill figure is taken up by more of the woodwinds and further developed at measure 76 and the theme is taken up by the high brass. At measure 107 we see a further augmentation in the energy of the theme by the introduction of a moving triplet line in the cellos. This line is taken from the triplet motif in the percussion in measure 22. The theme becomes filled out a bit in the brass at measure 111 while the both the trill and triplet gestures are also expanded. The triplet figure forms a hemiola with the theme of two against three.
At measure 124, the woodwinds take up the moving triplet gesture and it is expanded to include several instruments. These triplet lines are developed to create sort of a pad of sound upon which the rest of the movement develops. The high brass take over the trill gesture, and an off beat quarter note gesture is introduced in the low brass. The energy of the theme is further augmented at measure 146. The triplet line is in full force now, with the entire woodwind section playing the gesture, and the theme is now being played by the entire string section.

The frenetic climax of the tension is probably around measure 171. The entire woodwind section has taken up the trill motif, the entire string section has taken up the triplet, and the entire brass section is playing the theme. The thematic climax of the movement is at measure 180. The trill lines are extended to include whole note trills. The theme is abruptly broken and the triplet gesture rapidly begins disintegrating.

The theme reaches it’s first true variation at measure 193 with the introduction of the jazz section. This section is characterized by a heavily accented syncopation at the top of the phrase. Hindemith does away with both the triplet and trill gestures and the entire orchestra now functions to reinforce the new theme. The second (and secondary) climax of the movement comes at measure 295. The trill and triplet gestures are reintroduced and the theme is again abruptly interrupted by long gestures.

At measure 301, the theme is again directly quoted by the percussion for the final measures of the movement, while the rest of the orchestration begins to rapidly diminish until the only moving line in the last bar is the piccolo. The movement ends with a full and, stylistically, contrasting chord.

The third movement is based on the second of Weber’s six Easy Pieces also for piano duet, op. 3, in a lyric siciliano style. This movement is characterized by a beautiful and soaring melody. The most interesting aspect of this movement is the elaborate obbligato line played by the flute. The solo is introduced in the closing return of the main theme and continues until the very end of the movement.
This movement contains many of the same elements that characterize the entire piece as a whole. Most importantly is the general development and deconstruction of the orchestration which is shaped very much like a crescendo and decrescendo with the climax of tension at it’s center.

For the fourth movement, Hindemith again turned to the piano duets, op 60, for the basis of his finale, using Weber’s Marcia (the seventh of the eight pieces) for the basis of his March, as well as incorporating elements of the second of Weber’s pieces in that opus. The orchestration for this movement is somewhat different than the other movements. Hindemith really shows his neo classical roots in this movement. The tonality is not what could be described as tradition classical tonality, but the structure is very typical of a classic march.

Hindemith uses a much less subtle orchestration. The movement as a whole is much larger and more consistent. Elements of the second movement can be seen in the fourth movement as well, such as the prominent percussion sections interrupting the flow of main melodic idea, and the triplet motifs creating hemiolas with the doted eighth – sixteenth passages in the theme.

Symphonic Metamorphosis was performed for the first time by the New York Philharmonic on January 20th, 1944, under the direction of Artur Rodzinsky. It received considerable acclaim from critics and audience. In the end the piece was actually used as a ballet, staged by the New York City Ballet in 1952 and was choreographed by George Balanchine.

This piece is one of the finest examples of Hindemith’s brilliance. Filled with humoristic gestures, raucous lines, and intensely beautiful melodies, Symphonic Metamorphosis is an example of the work that has made Hindemith one of the most masterful artisans in musical history.


Bibliography
Sadie, Stanley. New Grove Modern Masters: Bartok, Stravinsky, Hindemith. New York: W. W. Norton & Co, 1984.

Noss, Luther. Paul Hindemith in the United States. Chicago: University of Illinois Press, 1989.

Neumeyer, David. The Music of Paul Hindemith. New Haven: Yale University Press, 1986.

Ferguson, Donald N. Masterworks of the Orchestral Repertoire. Minneapolis: The University of Minnesota Press, 1954.