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The contrapuntal textures used by Hindemith throughout the symphony highlight many instruments individually. This writing takes advantage of the vast color palette that this combination of instruments offers (Sharp 2011, 212).
Richard Franko Goldman, a bandmaster himself and a music critic of the mid-20th century, called the piece "singularly dead". He states that composing for band is difficult because "the agglomeration of instruments is irrational and exasperating". He previously lamented that the piece falls "between the effort to be popular and obvious, and the intention to remain unsmiling and uncorrupted" (Goldman 1958, 127-28)
Goldman, Richard Franko. 1958. [Untitled record review of Hindemith, Symphony in B-Flat for Concert Band; Schoenberg, Theme and Variations, Opus 43 A; Stravinsky, Symphonies of Wind Instruments. Eastman Symphonic Wind Ensemble, cond. Frederick Fennell. 12" LP. Mercury MG 50143]. The Musical Quarterly 44, no. 1 (January): 126-28.
Miles, Richard, Larry Blocher, Eugene Migliaro Corporon, Ray Cramer, Tim Lautzenheiser, and Edward S. Lisk. 2010. Teaching Music through Performance in Band, Volume 1, second edition. [S.l.]: GIA Publications, Inc. ISBN978-1-57999-788-5.
Hindemith, Paul. 1951. Symphony in B flat for Concert Band (Score). Edition Schott 4063. Mainz: B. Schott's Söhne; New York: Schott Music Corp./Associated Music Publishers.
Morgan, Robert P. 1991. Twentieth-Century Music. New York: W. W. Norton & Co.
Weiss, Scott A. 2006. "Paul Hindemith and the Genesis of the Symphony in B flat for Concert Band". In Kongressbericht Oberwölz/Steiermark 2004, edited by Bernhard Habla, 379-88. Alta Musica: Eine Publikation der Internationalen Gesellschaft zur Erforschung und Förderung der Blasmusik 25. Tutzing: Schneider. ISBN3-7952-1203-0.