Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's title. Existing analyses either only focus on a singular movement, or are limited; presumably, due to a prevailing notion that Hindemith simply orchestrated the piano pieces. Potentially exacerbating the issue may be the fact that it was not known for nearly twenty years after Symphonic Metamorphosis was premiered which Weber duets Hindemith reworked. This analysis, coupled with the background information provided, shows that Hindemith's settings transcend mere orchestrations and, in some cases, exhibit qualities of original composition. The analysis thoroughly delineates Weber's Turandot overture and three piano duets, part by part and hand by hand, to show exactly where and how Hindemith altered the original writings. The differences in overall form, measure numbers, tempi, meter, and harmony are listed. In addition, it is revealed which thematic additions, alterations, and omissions Hindemith includes.

中文翻译：

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卡尔·玛丽亚·冯·韦伯为管弦乐队创作的保罗·欣德米特主题交响曲变形：历史和分析视角

摘要 卡尔·玛丽亚·冯·韦伯 (Carl Maria von Weber) 的主题交响曲变形是管弦乐和管乐队曲目的标准组成部分，最初是为了成为芭蕾舞音乐。这项研究考察了保罗·欣德米特管弦乐曲的历史和背景，并展示了欣德米特如何根据韦伯的原始钢琴二重奏和附带的管弦乐来制作每个乐章。这项研究是在关于整篇文章的信息有限的情况下进行的，并且所写的大部分内容主要涉及欣德米特标题的语法和上下文方面。现有的分析要么只关注一个单一的运动，要么是有限的；大概是由于一种流行的观念，即欣德米特只是编排了钢琴曲。可能会加剧这个问题的事实可能是，在韦伯二重唱欣德米特改编的《交响变态》首映后近 20 年，它才为人所知。这一分析与所提供的背景信息相结合，表明欣德米特的设置超越了单纯的编排，在某些情况下，还表现出原创作品的品质。分析彻底地描绘了韦伯的图兰朵序曲和三个钢琴二重奏，部分地和手地，以准确地展示欣德米特在哪里以及如何改变了原始作品。列出了整体形式、小节数、速度、节拍和和声方面的差异。此外，它还揭示了 Hindemith 包括哪些主题添加、更改和遗漏。