Mathis der Maler

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Study of John the Evangelist by Matthias Grünewald, in Hindemith's time regarded as a self portrait.
Study of John the Evangelist by Matthias Grünewald, in Hindemith's time regarded as a self portrait.
This article is about the opera. For the symphony, see Mathis der Maler (symphony).

Mathis der Maler (Matthias the Painter) is an opera by Paul Hindemith. The libretto is also by the composer.

The opera's 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 whose art, in particular the Isenheim altarpiece[1] [2], was an inspiration to many creative figures living in the early 20th century (see, for example, Huysmans' novel Là-bas).

Hindemith wrote the libretto himself, though at the beginning (around 1932) he had considered working with Gottfried Benn. The finishing touches were completed in 1935, by which time performances in Germany had become problematic; nevertheless, for several years Hindemith attempted to secure a performance in Nazi Germany, where he was still living until 1938 [3]. The action, set during the Peasants' War, concerns Matthias's struggle for artistic expression in the repressive climate of his day and is clearly a mirror of Hindemith's own life as the Nazis came to power.[4]

Contents

[edit] Performance history

It was first performed on 28 May 1938 in Zürich.

In contrast to the popular Mathis der Maler symphony, the opera itself is now only occasionally staged. A notable US production was that of the New York City Opera in 1995.[5] Hamburg State Opera staged the work in 2005. It was being performed at Barcelona Gran Teatre del Liceu when it was burnt by a fire in January 1994.

[edit] Synopsis

The temptation of St. Anthony fron the Issenheim altarpiece
The temptation of St. Anthony fron the Issenheim altarpiece
  1. In a cloister courtyard Mathis' (baritone) musings and doubts about his vocation are interrupted by the peasant leader Schwalb (tenor) and his child Regina (soprano). Moved by the peasants' plight, he offers his horse and stays to face the pursuing Sylvester (bass) who dares not arrest the cardinal's favorite painter.
  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 (tenor) with relics of St. Martin. He promises the merchant Riedinger (bass) to countermand an order to burn books, but latter gives in to Pomerfeld (bass) who points out that he cannot defy Rome. Mathis, reunited with Reidinger's daughter Ursula (soprano), 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.
  3. The Lutherans are at first outraged when Capito (ten.) leads soldiers to the stash of hidden books in Reidinger's house, but appeased when he reveals a letter from Luther to Albrecht suggesting that he demonstrate his advanced views by marrying. Albrecht is in such dire financial straits that it is likely he would agree, and Reidinger asks Ursula to give thought to the matter. 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.
  4. The peasant army has captured the Helfensteins, marching the Count to execution and humiliating the Countess. 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.
  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.
  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, already heard in the overture, 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 Issenheim 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".
  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 a ribbon from Ursula - to love.
Albert of Mainz as St. Erasmus (Alte Pinakothek, Munich)
Albert of Mainz as St. Erasmus (Alte Pinakothek, Munich)

[edit] Bibliography

  • Bruhn, Siglind, The Temptation of Paul Hindemith, Pendragon, 1998
  • Hindemith, Paul, Libretto of Mathis 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

[edit] Selected Recordings

[edit] References

  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 of The 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 of Mathis der Maler (Hamburg State Opera). Financial Times, 5 October 2005.
  5. ^ Bernard Holland, "City Opera Gamely Flirts With Danger". New York Times, 9 September 1995.

[edit] External links