Mathis der Maler (opera)

Mathis der Maler (Matthias the Painter) is an opera by Paul Hindemith. The opera's
Mathis der Maler
genesis lay in Hindemith's interest in the Reformation. The work's protagonist,
Matthias Grünewald, was an actual historical figure who flourished in that era, and Opera by Paul Hindemith
whose art, in particular the Isenheim Altarpiece,[1][2] inspired many creative figures
in the early 20th century, including Joris-Karl Huysmans's novel Là-bas.

Hindemith considered commissioning authorGottfried Benn to write the libretto, but

wound up doing it himself. Hindemith completed the opera in 1935. By that time,
however, the rise of Nazism prevented Hindemith from securing a performance in
Germany, despite three years' efforts.[3] 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 government's notice.

Contents John the Evangelist by Matthias

Performance history Grünewald, regarded in Hindemith's
Main roles time as a self-portrait of the title
Synopsis figure
Scene 1
Translation Matthias the Painter
Scene 2
Scene 3 Librettist Hindemith
Scene 4 Language German
Scene 5
Based on Matthias Grünewald
Scene 6
Scene 7 Premiere 28 May 1938
List of musical numbers
Zurich Opera

Recordings
References
External links

Performance history
It was first performed on 28 May 1938 in Zurich, conducted by Robert Denzler.[5][6] On 9 and 11 March in 1939 the Opera Mathis
der Maler was performed in Amsterdam, conducted by Karl Schmid-Blosz, director of the Opera in Zurich. At the same time the
Rijksmuseum Amsterdam made a documentary exhibition of the painting 'The Small Crucifixion' and two drawings by Mathias
Grunewald owned by Franz Koenigs.[7] The British premiere was in Edinburgh on 29 August 1952, and it was first given in the
United States on 17 February 1956, at Boston University
, conducted by Sarah Caldwell.

In contrast to the popular Symphony: Mathis der Maler, the large-scale opera itself is only occasionally staged. A notable US
production was that of theNew York City Opera in 1995.[8] Hamburg State Opera staged the work in 2005. It was being performed at
the Gran Teatre del Liceu in Barcelona when the building was destroyed by a fire in January 1994.
Main roles
Premiere Cast, 28
Voice May 1938
Role
type (Conductor: Robert
Denzler)
Albrecht von Brandenburg, Cardinal
tenor Peter Baxevanos
Archbishop of Mainz
Countess Helfenstein contralto
Hans Schwalb, leader of the peasants tenor
Regina, Schwalb's child daughter soprano Emmy Leni Funk
Lorenz von Pommersfelden,Catholic Dean of
bass Fritz Honisch
Mainz Cathedral
Riedinger, a rich protestant citizen bass Albert Emmerich
Ursula, Riedinger's daughter soprano Judith Hellwig
Mathis, a painter, in love with Ursula baritone Asger Stieg
The temptation of St.
Sylvester von Schaumberg,an army officer tenor Anthony from the Isenheim
Truchsess von Waldburg, army general bass Marko Rothmüller Altarpiece

Wolfgang Capito, Albrecht's counsellor tenor Fridolin Mossbacher

Synopsis

Scene 1
In a cloister courtyard Mathis' musings and doubts about his vocation are interrupted by the peasant leader Schwalb and his child
Regina. Moved by the peasants' plight, he offers his horse and stays to face the pursuing Sylvester who dares not arrest the cardinal's
favorite painter.

Scene 2
A riot between Catholics, Lutherans and students in front of Albrecht's residence in Mainz is averted only by the arrival of the
Cardinal himself with relics of St. Martin:

German[9] English

Kann ich nicht immer bei euch sein, bin ich doch bedacht, Even if I cannot always be amongst you, I intend to
Den Ruhm der Stadt zu mehren. Hier soll versammelt Enhance the prestige of our city. May here be
sein, assembled
Was an Werk und Wort Edles der Menschengeist Everything noble that human thought has generated
Hervorbringt. Ein deutsches Rom am Rhein. In art and words. A German Rome on the Rhine.
Nehmt dies Geschenk als Zeugen für mein W
ort hin. May this gift be witness of my words.

He promises the merchant Riedinger to countermand an order to burn books, but latter gives in to Pomerfeld who points out that he
cannot defy Rome. Mathis, reunited with Reidinger's daughter Ursula, is recognized by Sylvester and makes a passionate plea to
Albrecht not to join in the suppression of the peasant's revolt. Realizing he cannot change his friend's mind, Albrecht grants him safe
passage to join their cause.
Scene 3
The Lutherans are at first outraged when Capito leads soldiers to the stash of hidden books in Reidinger's house ("Ein Verbrechen /
Gegen Luther, gegen deutsche Glaubenskraft","A crime / Against Luther, against the power of German faith"), but appeased when he
reveals a letter from Luther to Albrecht suggesting that he demonstrate his advanced views by marrying:

German English

"Ein Vorbild wäre kurfürstliche Gnaden, weil sie

"Your electoral Grace would be an example, as you surely
gleichsam
are
mitten in deutschen Landen eines der größten
One of the most important princes, situated in the midst
Häupter
Of Germany. A lot of people would be appeased and allured,
ist. Das würde viele Leute beruhigen und gewinnen
and
und
Other bishops would follow you."
andere Bischöfe nachziehen."

Albrecht, "the strongest clerical prince in Germany" who [...] holds / The fate of the Empire
in his hands" is in such dire financial straits that it is likely he would agree, and Reidinger
asks Ursula to give thought to the matter as it would be to the benefit of both the Lutheran
faith and the Empire. Mathis arrives to bid farewell and insists she cannot follow him to the
war. When her father returns she gives her consent to the plan.

At the end of scene 3, all men chant a paean to God, their religion and the fatherland:

German English

Lobt Gott, ihr frommen Christen. Praise God, you pious Christians.
Freut euch und jubiliert Rejoice and jubilate
Albert of Mainz as St.
Mit David dem Psalmisten [...] With David, who wrote the psalms, [...]
Erasmus (Alte Pinakothek,
Die Harfen hört man klingen Harps resound Munich)
In deutscher Nation, In Germany,
Darum viel Christen dringen As many Christians start following
Zum Evangelion. The gospel.

Scene 4
The peasant army has captured the Helfensteins, marching the Count to execution and humiliating the Countess. Asked for their
demands, one of the peasants replies, amongst others, that they do not accept any ruler save the emperor ("Kein Herrscher gilt / Als
der Kaiser.") Mathis remonstrates and is beaten down. The federal army arrives and the disheartened peasants prepare for battle but
are quickly overrun; Schwalb is killed and Mathis barely saved by the Countess. He flees with the orphaned Regina.

Scene 5
Albrecht discusses his debts and Luther's challenge with Capito and agrees to interview a rich bride. He is astonished when Ursula
enters and, dubious of her avowals, reproaches her for lending herself to the scheme. She admits that she is motivated not by love but
by her faith to attempt his conversion, and in turn reproaches him for his vacillations and his lack of vision. He appears to be
profoundly moved by her plea, but when the others are called in he announces that he will reform his ways by striving to return to his
vows and to lead a simple life.
Scene 6
In the Odenwald forest Mathis lulls the haunted Regina to sleep with a description of a concert
of angels, she joining in the folksong "Es sungen drei Engel" (this is the music of the
symphony's first movement). No sooner is she asleep but Mathis, now in the garb of
Grünewald's Saint Anthony, is beset by tempters: a figure resembling the Countess
Helfenstein offers a life of luxury; Pommersfelden praises power over money; Ursula appears
in the guises of a beggar, then a seductress and, led to the scaffold, as a martyr; Capito, now a
scholar, tells 'Anthony' the world can be mastered by science and reproaches him for
unobjectivity; Schwalb upbraids for his unwarlike compassion. The chorus unite in an
enactment of the temptation scene of the Isenheim Altarpiece before the scene suddenly
changes to that of Anthony's visit to Saint Paul. Paul/Albrecht consoles Anthony/Mathis and
calls him to his duty: "go forth and paint".

Scene 7
Ursula cares for the dying Regina, who confuses Mathis' painting of the dying Christ with her father. Only the sight of Mathis calms
her before she dies. In the morning (following the interlude from the Symphony) he is visited by Albrecht who offers his home, but
Mathis prefers to spend his last days in solitude. Packing his trunk, he bids farewell to good intentions -a scroll, ambition -compass
and ruler, creation -paints and brush, acclaim -a gold chain, questioning -books, and last, kissing ribbon
a from Ursula - to love.

List of musical numbers

number performed by title (German) title (English)
Overture orchestra Engelkonzert Angelic Concert
Scene 1
Mathis Sonniges Land. Mildes Drängen schon nahen Sommers...
Aria
Aria Schwalb Aufmachen! Helft uns! "Open the door! Help us!"
Aria Mathis Woher kommt ihr denn? Was für Leute seid ihr?
Aria Regina Es wollt ein Maidlein waschen gehen...
Aria Schwalb Was redest du da?
Aria Regina Staub am Himmel, Pferdetraben
Scene 2
Citizens Dem Volk stopft man die falschen Lehren insMaul
Chorus
Aria Albrecht Nach dem Lärm vieler Orte
Aria Albrecht Man fühlt den Segen, der auf eurem Land ruht
Aria Albrecht Gewinnst du auch mein Herz
Aria Pomerianians Rom verzieh oft, was ihr euch an Freiheit nahmt
Aria Albrecht Was gibt’s?
Scene 3
Scene 4
Scene 5
Scene 6
Scene 7
Recordings
1977: EMI Classical 555 237-2 (CD issue):Rafael Kubelik (cond.), Bavarian Radio Symphony Orchestra& Chorus.
Dietrich Fischer-Dieskau(Mathis), James King (Cardinal Albrecht), Ursula Koszut, William Cochran, Peter Meven,
Rose Wagemann, Donald Grobe, Gerd Feldhoff, Alexander Malta, Trudeliese Schmidt.
1990: Wergo WER 6255-2: Gerd Albrecht (cond.), WDR Symphony Orchestra Cologne& Chorus. Josef Protschka,
Roland Hermann, Victor von Halem, Hermann Winkler, Harald Stamm, Sabine Hass, Heinz Kruse, Ulrich Hielscher ,
Ulrich Reß, Gabriele Rossmanith, Marilyn Schmiege.
2005: Oehms Classics OC 908:Simone Young, Hamburg PhilharmonicSymphony and chorus.Falk Struckmann,
Scott MacAllister, Susan Anthony, Inga Kalna, Pär Lindskog. 2005 Hamburg staging. (Libretto not included in
booklet.)

References
Notes

1. Claire Taylor-Jay, Review of The Temptation of Paul Hindemith: 'Mathis der Maler' as a Spiritual Testimony. Music &
Letters, 81(3), 469-472 (2000).
2. John Williamson, Review ofThe Temptation of Paul Hindemith: 'Mathis der Maler' as a Spiritual Testimony. Notes
(2nd Ser.), 56(4), 951-954 (2000).
3. Claire Taylor-Jay, The Artist Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist.
4. Shirley Althorp, Review ofMathis der Maler (Hamburg State Opera).Financial Times, 5 October 2005. (http://www.ft.
com/cms/s/bece727a-353d-11da-9e12-00000e2511c8.html)
5. Grove's Dictionary of Music and Musicians, 5th ed., 1954,Eric Blom, ed.
6. Letters from a Life: The Selected Letters and Diaries of Benjamin Britten
(https://books.google.com/books?id=RcQK
7Tws2XoC&pg=PA188&lpg=PA188&dq=robert+denzler+1892&source=bl&ots=LzVtlqTzue&sig=2GhA WVLO5tqJFeS
iusR0n41ouww&hl=en&ei=GU7lSsWFMKbU6gO0kqDyCQ&sa=X&oi=book_result&ct=result&resnum=8&ved=0CBo
Q6AEwBw#v=onepage&q=robert%20denzler%201892&f=false)
7. Newspaper De Tijd 02-03-1939 and De Tijd 05-03-1939.
8. Bernard Holland, "City Opera Gamely Flirts With Danger".New York Times, 9 September 1995. (https://query.nytime
s.com/gst/fullpage.html?res=990CE7D8173BF93AA3575AC0A963958260)
9. German libretto (http://impresario.ch/archive/libretto/Clibhinmat.htm)

Sources

Casaglia, Gherardo (2005)."Mathis der Maler, 28 May 1938". Almanacco Amadeus(in Italian).
Bruhn, Siglind, The Temptation of Paul Hindemith, Pendragon, 1998
Hindemith, Paul, Libretto ofMathis der Maler, Schott/AMP (with English synopsis, credited "courtesy of University of
Southern California Opera Theatre")
Taylor-Jay, Claire, The Artist-Operas of Pfitzner, Krenek, and Hindemith: Politics and the Ideology of the Artist
,
Aldershot: Ashgate, 2004

External links
Upcoming productions
Site on the altar, with pages on the opera and2007 Karlsruhe revival(in German)

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