The idea of composing a work based on
Carl Maria von Weber's music was first put to Hindemith in 1940 by the choreographer and dancer
Léonide Massine, who suggested that he should arrange music by Weber for a ballet. When Hindemith made a piano arrangement in March 1940 of the two pieces that would become movements 1 and 3 of the
Metamorphosis (which in a letter of April 12, 1940 he described as "lightly coloured and made a bit sharper"), Massine expressed a preference for more strict arrangements of Weber. This was one reason the project fell through. After studying Weber's music, Hindemith watched one of Massine's ballets and disliked it, and so wrote the
Symphonic Metamorphosis instead. The Andantino and Marsch were completed on June 8 and June 13, 1943, respectively, and the manuscript of the complete orchestral score is dated August 29, 1943. Although by its thematic material it belongs squarely in the European tradition, it was composed with the virtuosity of American symphony orchestras in mind, and was titled originally in English. Other lands later translated it variously into German as
Symphonische Metamorphose von [über/nach/zu] Themen Carl Maria von Webers; two German editions mistakenly give the title in the plural,
Sinfonische Metamorphosen nach Themen von Carl Maria von Weber, and
Sinfonische Metamorphosen Carl Maria von Weber’scher Themen, though none of these German titles were sanctioned by Hindemith. They nevertheless have sometimes been
back-translated into English as
Metamorphoses on Themes by .... The work is also sometimes known in English as
Symphonic Variations on (or
of)
Themes by Carl Maria von Weber but, despite the title's reference to "themes", the work incorporates material more broadly from whole works by Weber. The
Symphonic Metamorphosis is in four
movements: •
Allegro •
Scherzo (Turandot): Moderato – Lively •
Andantino •
Marsch The Weber themes are taken from incidental music which Weber wrote for a play by
Carlo Gozzi, based on the same
Turandot legend that later inspired
Giacomo Puccini and others. Hindemith and his wife would play Weber's music for piano four-hands, and Hindemith used some of these little-known pieces—
Op. 60/4 (no. 253 in the Jähns catalog of Weber's works) (first movement), Op. 37 (J. 75) (second movement), Op. 10/2 (J. 82) (third movement), and Op. 60/7 (J. 265) (fourth movement) for the themes of the other movements. Weber's piano duets were written around 1802–03, 1809, and 1818–19, his
Turandot music in 1809. The work was first performed on January 20, 1944, in
New York City, with
Artur Rodziński conducting the
New York Philharmonic-Symphony Orchestra. The
New York Times described the piece as "a novelty ... [which] was one of the most entertaining scores that he has thus far given us, a real ''jeu d'esprit'' by a great master of his medium in a singularly happy mood." ==Ballet productions==