Download Composer: Paul Hindemith

Composer: Paul Hindemith
Title: Mathis der Maler (Matthias the Painter)
Hindemith extracted this three-movement symphony from an opera he wrote based upon the life of a
Renaissance painter who took the name Matthias Grunewald (Mathis). The opera was set amid the
religious/political turbulence of the early Reformation, when Matthias, a successful painter, aligned himself
with the poor peasants against the Church authorities, including his patron, a Cardinal.
The questions the opera raised concerning the moral and ethical responsibilities of artists in times of
political turmoil were too sensitive for sanction by the German authorities in the 1930s; therefore, the opera
was suppressed. Hindemith then composed this symphony based upon some of its musical and dramatic
themes, each movement of the symphony representing one panel of a famous triptych (a three-panel
painting) by Matthias.
First Movement:
The music, derived from the overture of the opera, is festive and happy in mood. Both religious and
secular tunes are included, suggesting the rivalry between peasants and the Church.
Second Movement: "The Entombment"
This is a quiet movement, whose reference to modes suggests the Church, and whose dissonance
reflects the discordant relations between the Church and the secular society. Hindemith skillfully
blends old and new techniques, using traditional formal designs, but building chords on fourths instead
of thirds. The music in this as in the other movements remains basically tonal.
Third Movement: "Temptation of St. Anthony"
Here Matthias imagines himself as St. Anthony beset by a series of temptations to renounce his true
calling. The form is a broad three-part design. It begins with a tortuous, chromatic introductory theme
in the strings, soon joined by the woodwinds. The main theme appears in the strings, accompanied by a
driving rhythmic force in the woodwinds. Various instruments and combinations of instruments
present this theme.
A second theme, long and recitative-like, is played by the oboe over an accompaniment in the violins
and cellos. The clarinet continues the theme, joined by other woodwinds. Suddenly the full orchestra
cries out a new, intensely dissonant, motive.
The short mid-section is calmer in mood, with more lyrical, though hardly singable, melodies.
The restatement of themes begins with the last motive of Section A, but its intensity is considerably
relaxed. Thematic material, including that from the mid-section, returns, and the section ends with the
main theme.
The introductory theme begins the coda, which includes a dramatic Gregorian statement only slightly
altered from the original chant, in the woodwinds. Triumphing over this Catholic reference is a bold
"Protestant" chorale in the brass instruments, fortissimo, which ends the movement.