Paul hindemith mathis der maler
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Mathis der Maler (opera)
Opera by Paul Hindemith
This article is about the opera. For the symphony, see Symphony: Mathis der Maler.
Mathis der Maler (Matthias the Painter) is an opera by Paul Hindemith. The work's protagonist, Matthias Grünewald, was a historical figure who flourished during the Reformation, and whose art, in particular the Isenheim Altarpiece,[1][2] inspired many creative figures in the early 20th century.
Hindemith completed the opera, writing his own libretto, in 1935. By that time, however, the rise of Nazism prevented Hindemith from securing a performance in Germany.[3][full citation needed] The story, set during the German Peasants' War (1524–25), concerns Matthias's struggle for artistic freedom of expression in the repressive climate of his day, which mirrored Hindemith's own struggle as the Nazis attained power and repressed dissent.[4] The opera's obvious political message did not escape the regime.
Performance history
[edit]The opera was first performed at the Opernhaus Zürich on 28 May 1938, conducted by Robert Denzler.[5][6] On 14 October 1956, a rebuilt Schauspiel Köln in Cologne opened with a gala performance of the opera.[7] On 9 and 11 Mar
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Symphony: Mathis der Maler
Symphony by Paul Hindemith
This article is about the symphony. For the opera, see Mathis der Maler (opera).
| Symphony Mathis der Maler | |
|---|---|
The Temptation of Saint Anthony, on which the third movement is based | |
| Related | Mathis der Maler (opera) |
| Based on | paintings by Matthias Grünewald |
| Composed | 1934 (1934) |
| Performed | 12 March 1934 (1934-03-12): Berlin |
| Movements | three |
Symphony: Mathis der Maler (Matthias the Painter) is among the most famous orchestral works of German composer Paul Hindemith. Music from the symphony was incorporated into, or reworked for, Hindemith's opera Mathis der Maler, which concerns the painter Matthias Grünewald (or Neithardt).
History
[edit]Hindemith composed the symphony in 1934, while plans for the opera were in their preliminary stages. The conductor Wilhelm Furtwängler asked him at that time for a new work to perform on an upcoming Berlin Philharmonic concert tour, and Hindemith decided to compose symphonic movements that could serve as instrumental interludes in the opera, or be drawn upon or elaborated into various scenes. Furtwängler and the Berlin Philharmonic gave the first performance on 12 March 1934. The first performance outside Germany was give
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