{"id":30654,"date":"2023-07-24T12:11:58","date_gmt":"2023-07-24T10:11:58","guid":{"rendered":"https:\/\/www.classical-music.com\/?p=186820"},"modified":"2023-07-24T12:40:06","modified_gmt":"2023-07-24T10:40:06","slug":"a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings\/","title":{"rendered":"A guide to Hindemith\u2019s Mathis der Maler Symphony and its best recordings"},"content":{"rendered":"<p class=\"rssexcerpt\"> Erik Levi explains how Matthias Gr\u00fcnewald\u2019s powerful paintings inspired Hindemith&#8217;s symphonic masterpiece, Mathis der Maler Symphony and finds the very best recordings <\/p><p class=\"rssauthor\">By Erik Levi\n                \t\t<\/p><p class=\"rssbyline\">2023-07-24 10:11:58<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body> <p class=\"&quot;p2&quot;\"><strong><span class=\"&quot;s1&quot;\">For a brief period, Paul Hindemith appeared to have the musical world at his feet. <\/span><\/strong><\/p>\n<p class=\"&quot;p2&quot;\"><span class=\"&quot;s1&quot;\">Internationally acclaimed during the early 1930s as a pedagogue and outstanding viola player, <a href=\"&quot;https:\/\/www.classical-music.com\/composers\/paul-hindemith\/&quot;\"><strong>Paul Hindemith<\/strong><\/a>\u2018s position as the <strong><a href=\"&quot;https:\/\/www.classical-music.com\/composers\/the-best-german-composers-of-all-time\/&quot;\">leading German composer<\/a><\/strong> of the younger generation seemed unassailable after securing prestigious commissions for new orchestral works from the Boston Symphony Orchestra and the Berlin Philharmonic in 1930 and \u201932. <\/span><\/p>\n<p class=\"&quot;p2&quot;\"><span class=\"&quot;s1&quot;\">Alongside this breakthrough, he had cast off his earlier reputation as a musical iconoclast, modifying his creative outlook to embrace a more accessible style.<\/span><\/p>\n<p>\u00a0<\/p>\n<h2>What is <em>Mathis der Maler Symphony<\/em> about?<\/h2>\n<p><span class=\"&quot;s1&quot;\">A comparison of the subject matters of the two operas that frame this period neatly illustrates Hindemith\u2019s significant change of direction.<\/span><\/p>\n<div class=\"&quot;image-handler__container\" image-handler__container--full=\"\" style=\"&quot;padding-bottom:\" calc=\"\"> <picture><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?webp=true&amp;quality=90&amp;resize=300%2C162,\" https:=\"\" type=\"&quot;image\/webp&quot;\"><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=300%2C162,\" https:=\"\" type=\"&quot;image\/jpeg&quot;\"><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?webp=true&amp;quality=90&amp;resize=355%2C191,\" https:=\"\" type=\"&quot;image\/webp&quot;\"><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=355%2C191,\" https:=\"\" type=\"&quot;image\/jpeg&quot;\"><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?webp=true&amp;quality=90&amp;resize=405%2C218,\" https:=\"\" type=\"&quot;image\/webp&quot;\"><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=405%2C218,\" https:=\"\" type=\"&quot;image\/jpeg&quot;\"><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?webp=true&amp;quality=90&amp;resize=554%2C298,\" https:=\"\" type=\"&quot;image\/webp&quot;\"><source media=\"&quot;(max-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=554%2C298,\" https:=\"\" type=\"&quot;image\/jpeg&quot;\"><source media=\"&quot;(min-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?webp=true&amp;quality=90&amp;resize=620%2C334,\" https:=\"\" type=\"&quot;image\/webp&quot;\"><source media=\"&quot;(min-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=620%2C334,\" https:=\"\" type=\"&quot;image\/jpeg&quot;\"><source media=\"&quot;(min-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?webp=true&amp;quality=90&amp;resize=408%2C220,\" https:=\"\" type=\"&quot;image\/webp&quot;\"><source media=\"&quot;(min-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=408%2C220,\" https:=\"\" type=\"&quot;image\/jpeg&quot;\"><source media=\"&quot;(min-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?webp=true&amp;quality=90&amp;resize=556%2C300,\" https:=\"\" type=\"&quot;image\/webp&quot;\"><source media=\"&quot;(min-width:\" data-srcset=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=556%2C300,\" https:=\"\" type=\"&quot;image\/jpeg&quot;\"><img class=\"&quot;wp-image-186824\" align=\"\" size-landscape_thumbnail=\"\" image-handler__image=\"\" image-handler__image--full=\"\" no-wrap=\"\" js-lazyload=\"\" data-src=\"&quot;https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/24\/2023\/07\/GettyImages520721103cmyk-21c3de1.jpg?quality=90&amp;resize=620%2C334&quot;\" width=\"&quot;620&quot;\" height=\"&quot;413&quot;\" alt=\"&quot;The\" isenheim=\"\" altarpiece.=\"\" found=\"\" in=\"\" the=\"\" collection=\"\" of=\"\" mus=\"\" d=\"\" colmar.=\"\" by=\"\" fine=\"\" art=\"\" images=\"\" title=\"&quot;The\" artist:=\"\" gr=\"\" matthias=\"\"\/><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/picture><\/div><div class=\"&quot;caption-hold&quot;\"><figcaption class=\"&quot;wp-caption-text&quot;\"><span class=\"&quot;caption-copy&quot;\"><i class=\"&quot;icon-arrow\" icon-camera-circle=\"\"\/> The Isenheim Altarpiece, painted by <a title=\"&quot;&quot;\" href=\"&quot;https:\/\/en.wikipedia.org\/wiki\/Matthias_Gr%C3%BCnewald&quot;\">Matthias Gr\u00fcnewald<\/a>. Photo by Fine Art Images\/Heritage Images\/Getty Images<\/span><\/figcaption><span class=\"&quot;im-image-caption&quot;\"\/><\/div>\n<p><span class=\"&quot;s1&quot;\">Whereas <i>Neues vom Tage<\/i> (News of the Day), premiered in 1929, <\/span><span class=\"&quot;s2&quot;\">is a biting satire on the goings-on in a Berlin <\/span><span class=\"&quot;s1&quot;\">daily newspaper, <i>Mathis der Maler<\/i> (Mathis the painter), composed from 1933-34, is a profoundly serious work charting the life of the early-16th-century artist Matthias Gr\u00fcnewald, whose struggles to maintain freedom of expression caused him temporarily to abandon his profession and <\/span><span class=\"&quot;s2&quot;\">take up arms with the politically oppressed <\/span><span class=\"&quot;s1&quot;\">during the German Peasants\u2019 War of 1524.<\/span><\/p>\n<p>\u00a0<\/p>\n<h2>Why did Hindemith compose <em>Mathis der Maler Symphony?<\/em><\/h2>\n<iframe title=\"&quot;Hindemith:\" mathis=\"\" der=\"\" maler=\"\" symphony=\"\" i.=\"\" engelkonzert=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/74n5lhD-Q6I?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" web-share=\"\" allowfullscreen=\"\"\/>\n<h2\/>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">It was hardly coincidental that Hindemith should write an opera with this particular scenario at the very moment that Germany was experiencing almost unprecedented political turmoil. In early 1933, the Nazis\u2019 rise to power had resulted in a haemorrhaging of the German musical scene, with the removal of many leading personalities that were deemed by the new regime to be unacceptable on aesthetic, political and\/or racial grounds. Although Hindemith had good reason to fear for his own future, he nonetheless believed that he could win over the Nazis with his more recent compositions.<\/span><\/p>\n<section class=\"&quot;highlight\"><div class=\"&quot;highlight__content\" editor-content=\"\"> <ul><li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/composers\/4-jewish-composers-suppressed-by-nazism-and-the-third-reich\/&quot;\">4 Jewish composers suppressed by Nazism and the Third Reich<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/terezin-ghetto-how-the-persecuted-jewish-community-created-music-within-theresienstadt\/&quot;\">Terezin ghetto: how the persecuted Jewish community created music within Theresienstadt<\/a><\/strong><\/li>\n<\/ul><p> <\/p><\/div> <\/section><p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">Driven by that objective, he enthusiastically accepted a request from conductor Wilhelm Furtw\u00e4ngler to write a new orchestral work for the Berlin Philharmonic\u2019s 1933-34 season. <\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">The commission could not have come at a more appropriate time, for it enabled him to showcase some of the music already composed for <i>Mathis<\/i>, which he hoped might help secure a staging of the complete opera. Initially, he contemplated compiling a suite drawing upon two interludes from the opera which were inspired by Gr\u00fcnewald\u2019s paintings for the altarpiece at the Isenheim Abbey in Alsace. But after drafting a third and more extended movement, he decided to turn the work into a fully-fledged symphony.<\/span><\/p>\n<h2>How was <span class=\"&quot;s1&quot;\"><i>Mathis der Maler<\/i> Symphony received?<\/span><\/h2>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">The <i>Mathis der Maler<\/i> Symphony, first performed in Berlin in March 1934, was such a success that many other German orchestras eagerly incorporated the work into their programmes. But Hindemith\u2019s position proved to be anything but secure. Following a rumour that he had made disparaging remarks about Hitler while on tour outside Germany, zealous Nazis spearheaded a campaign to prevent further performances of the Symphony. <\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">Things came to a head in November 1934 after Furtw\u00e4ngler had written a newspaper article staunchly defending the composer. Unfortunately, the conductor\u2019s well-meaning support seriously backfired. The following month, propaganda minister Joseph Goebbels delivered a speech condemning Hindemith\u2019s work as manifesting \u2018drastic confirmation of how profoundly the Jewish intellectual infection has eaten into the body of our own people\u2019. <\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">After such a public outburst, Hindemith\u2019s hopes of persuading any German opera house to stage <i>Mathis<\/i> were completely dashed. The situation became even more precarious after the Nazi government\u2019s Reichsmusikkammer issued an official ban on all performances of Hindemith\u2019s music in Germany. This action inevitably prompted the composer to sever ties with his native country \u2013 in 1938, he moved to Switzerland, where <i>Mathis<\/i> was given for the first time at the Zurich Opera, and two years later he settled in the US.<\/span><\/p>\n<h2>A guide to the music of <span class=\"&quot;s1&quot;\"><i>Mathis der Maler<\/i> Symphony<\/span><\/h2>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">From our vantage point, it seems deeply ironic that the <i>Mathis der Maler<\/i> Symphony should have occasioned such opposition from the Nazis. After all, its stylistic ingredients, which draw so heavily upon German folksong and chorale, could hardly be described as decadent. <\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">Indeed, listeners pigeonholing Hindemith as a sober neo-classicist will surely be surprised by the Romantic warmth of the Symphony\u2019s first movement \u2013 entitled \u2018Engelkonzert\u2019 (Concert of Angels), its richly scored G major string chords and brilliant splashes of colour vividly project Gr\u00fcnewald\u2019s image of Mary and the infant Jesus being serenaded by angels.<\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\"> In contrast, the much more sombre second movement, \u2018Grablegung\u2019 (Entombment), depicts the crucified Jesus lying upon a tomb. Hindemith reserves his most dramatic music for the opening of the finale, \u2018Versuchung des heiligen Antonius\u2019 (The temptation of St Anthony), depicting St Anthony being viciously attacked by grotesque demons.<\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\"> A more delicately scored section, inspired by Gr\u00fcnewald\u2019s painting of St Anthony meeting St Paul the Hermit, provides a brief moment of repose before Hindemith places these demonic and consolatory elements into direct conflict with each other. But the closing passage, with the woodwinds intoning the 13th-century chant \u2018<em>Lauda Sion Salvatorem<\/em>\u2019, followed by a grandiose chorale in the brass, brings the Symphony to a strongly affirmative conclusion.<\/span><\/p>\n<h2>The best recordings of <span class=\"&quot;s1&quot;\">Hindemith\u2019s <\/span><span class=\"&quot;s1&quot;\"><i>Mathis der Maler<\/i> Symphony<\/span><\/h2>\n<h3 class=\"&quot;p1&quot;\"><strong><span class=\"&quot;s1&quot;\">Paavo J\u00e4rvi <\/span><span class=\"&quot;s2&quot;\"><i>(conductor)<\/i><\/span><\/strong><\/h3>\n<p class=\"&quot;p2&quot;\"><strong><span class=\"&quot;s3&quot;\">Frankfurt Radio Symphony<\/span><\/strong><\/p>\n<p class=\"&quot;p3&quot;\"><strong><span class=\"&quot;s3&quot;\"><i>Na\u00efve V5434<\/i><\/span><\/strong><\/p>\n<p>\u00a0<\/p>\n<p class=\"&quot;p1&quot;\"><span class=\"&quot;s1&quot;\">Although Hindemith remains arguably the most deeply unfashionable and grievously underrated of all 20th-century masters, his <i>Mathis der Maler<\/i> Symphony has maintained its place in the repertoire and boasts a sizeable stream of fine recordings. <\/span><\/p>\n<p class=\"&quot;p1&quot;\"><span class=\"&quot;s1&quot;\">The high standards of performance were established from the very outset by the composer\u2019s pioneering 1934 recording in which he conducted the Berlin Philharmonic. Over 20 years later, the same forces came together to record the work again for Deutsche Grammophon, a benchmark performance of great warmth and intensity captured in decent mono sound, although lacking perhaps the depth and clarity of engineering that would be found in more recent releases.<\/span><\/p>\n<p class=\"&quot;p2&quot;\"><span class=\"&quot;s1&quot;\">Between the 1960s and \u201990s, the Symphony became very much the province of leading American orchestras. Classic recordings include the warmly Romantic interpretations from Eugene Ormandy and the Philadelphia (Sony), and the same orchestra conducted by Wolfgang Sawallisch (Warner). More dispassionate accounts have been offered by William Steinberg and the Boston Symphony (DG) and the fleet-footed Herbert Blomstedt and the San Francisco Symphony Orchestra (Decca). Every one of these performances boasts wonderfully manicured playing, and almost all of them have justifiably garnered critical acclaim.<\/span><\/p>\n<p class=\"&quot;p2&quot;\"><span class=\"&quot;s1&quot;\">Yet the <i>Mathis der Maler<\/i> Symphony amounts to far more than a dazzling orchestral showpiece. A top recommendation in such a highly competitive field therefore has to bring something more. In this respect, Paavo J\u00e4rvi and the Frankfurt Radio Symphony Orchestra\u2019s live 2010 recording really does stand out from the crowd. Almost like a picture restorer revealing the original colours of a faded masterpiece for the first time, J\u00e4rvi reinvigorates Hindemith\u2019s score, highlighting innumerable subtle details of texture, balance and phrasing often missed in many other recordings. <\/span><\/p>\n<p class=\"&quot;p2&quot;\"><span class=\"&quot;s1&quot;\">Such a forensic approach could so easily sound over-fussy and self-conscious, yet J\u00e4rvi never loses sight of the overarching trajectory of each movement. Adopting eminently sensible tempos throughout, his interpretation conveys all the drama and textural variety of Hindemith\u2019s musical invention with burning intensity. Na\u00efve\u2019s recording is ideal, combining depth of orchestral sound with an admirable clarity that allows one to savour every strand in Hindemith\u2019s linear writing.<\/span><\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;https:\\\/\\\/www.amazon.co.uk\\\/dp\\\/B077V54RMM\\\/ref=sr_1_1&quot;,&quot;excludeKeywords&quot;:&quot;&quot;,&quot;geolocation&quot;:true,&quot;limit&quot;:&quot;4&quot;,&quot;priceRange&quot;:&quot;0.7-1.3&quot;,&quot;sid&quot;:&quot;term-classicalmusic-6-pcs-txt-pos&quot;}'\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <iframe title=\"&quot;Spotify\" embed:=\"\" mathis=\"\" der=\"\" maler=\"\" symphony=\"\" iph=\"\" iii.=\"\" versuchung=\"\" des=\"\" heiligen=\"\" antoniu=\"\" style=\"&quot;border-radius:\" width=\"&quot;100%&quot;\" height=\"&quot;152&quot;\" frameborder=\"&quot;0&quot;\" allowfullscreen=\"\" allow=\"&quot;autoplay;\" clipboard-write=\"\" encrypted-media=\"\" fullscreen=\"\" picture-in-picture=\"\" loading=\"&quot;lazy&quot;\" src=\"&quot;https:\/\/open.spotify.com\/embed\/track\/3osCN8DSnZI6wOe9Ajlime?utm_source=oembed&quot;\"\/>\n<h3 class=\"&quot;p1&quot;\"><span class=\"&quot;s1&quot;\"><i>L<\/i><\/span><span class=\"&quot;s1&quot;\"><i>eonard Bernstein (conductor)<\/i><\/span><\/h3>\n<p><strong><span class=\"&quot;s1&quot;\"><i>DG 429 4042<\/i><\/span><\/strong><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">Nobody rivals the sheer theatricality of <strong><a href=\"&quot;https:\/\/www.classical-music.com\/composers\/leonard-bernstein-composer\/&quot;\">Bernstein<\/a><\/strong>\u2019s approach to Hindemith\u2019s final <\/span><span class=\"&quot;s2&quot;\">movement in this live account from 1989. <\/span><span class=\"&quot;s1&quot;\">The menacing string threnody at the <\/span><span class=\"&quot;s2&quot;\">opening conjures up an almost Mahlerian <\/span><span class=\"&quot;s1&quot;\">vision of the Apocalypse before plunging <\/span><span class=\"&quot;s2&quot;\">us headlong into the scariest ride through <\/span><span class=\"&quot;s1&quot;\">the gates of Hell.<\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\"> Though the dryish recording doesn\u2019t give much bloom to the Israel Philharmonic\u2019s woodwind and brass, there\u2019s a palpably vivid sense of struggle between good and evil later in the movement, resolved in arguably the most heart-warming apotheosis of the Symphony on disc.<\/span><\/p>\n<p><strong><a href=\"\/\/www.amazon.co.uk\/Hindemith-Symphony-Mathis-Leonard-Bernstein\/dp\/B07CXZ9CG2\/ref=sr_1_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/p>\n<iframe title=\"&quot;Hindemith:\" mathis=\"\" der=\"\" maler=\"\" leonard=\"\" bernstein=\"\" israel=\"\" philharmonic=\"\" orchestra=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/rB3AZK4jXsg?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" web-share=\"\" allowfullscreen=\"\"\/>\n<h3 class=\"&quot;p2&quot;\"><span class=\"&quot;s1&quot;\"><i>Claudio Abbado (conductor)<\/i><\/span><\/h3>\n<p><strong><span class=\"&quot;s1&quot;\"><i>DG 447 3892<\/i><\/span><\/strong><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">In this 1995 recording, <strong><a href=\"&quot;https:\/\/www.classical-music.com\/news\/claudio-abbado-1933-2014\/&quot;\">Abbado<\/a><\/strong> invests Hindemith\u2019s \u2018Concert of Angels\u2019 with lyrical warmth and tenderness. Exquisite phrasing of the woodwind solos in the slow introduction is followed by radiant bursts of orchestral colour at the climaxes in the ensuing faster section. <\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">The full-blooded passages in \u2018Entombment\u2019 are suitably dark and majestic, providing a stark contrast to some breathtakingly hushed string timbres near the opening. The Berlin Philharmonic relishes the considerable technical challenges of the final movement, delivering some mind-blowingly fast string passage work near the end.\u00a0<\/span><\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;https:\\\/\\\/www.amazon.co.uk\\\/Hindemith-Symphonie-Nobilissima-Symphonic-Metamorphoses\\\/dp\\\/B0000012WN\\\/ref=sr_1_2&quot;,&quot;excludeKeywords&quot;:&quot;&quot;,&quot;geolocation&quot;:true,&quot;limit&quot;:&quot;4&quot;,&quot;priceRange&quot;:&quot;0.7-1.3&quot;,&quot;sid&quot;:&quot;term-classicalmusic-6-pcs-txt-pos&quot;}'\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <h3 class=\"&quot;p2&quot;\"><span class=\"&quot;s1&quot;\"><i>Esa-Pekka Salonen (conductor)<\/i><\/span><\/h3>\n<p><strong><span class=\"&quot;s1&quot;\"><i>Sony G010003835294B<\/i><\/span><\/strong><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">Like Paavo J\u00e4rvi\u2019s, this 2018 recording offers a fresh yet deeply considered interpretation, highlighting some of the music\u2019s darker resonances. <\/span><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">The opening <\/span><span class=\"&quot;s2&quot;\">bars to \u2018Concert of Angels\u2019, with Salonen\u2019s <\/span><span class=\"&quot;s1&quot;\">noticeably slower <strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-tempo-in-music\/&quot;\">tempo<\/a><\/strong> and halting phrasing tinged with an unexpected feeling of sadness, are particularly distinctive. Also admirable are his imposing, almost Brucknerian approach to the second movement and a vividly <\/span><span class=\"&quot;s2&quot;\">expressionist projection of the opening to <\/span><span class=\"&quot;s1&quot;\">the finale. The Los Angeles Philharmonic responds incisively to the score\u2019s every twist and turn, and the recording is excellent.<i>\u00a0<\/i><\/span><\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;https:\\\/\\\/www.amazon.co.uk\\\/dp\\\/B07BZNST7R\\\/ref=sr_1_1&quot;,&quot;excludeKeywords&quot;:&quot;&quot;,&quot;geolocation&quot;:true,&quot;limit&quot;:&quot;4&quot;,&quot;priceRange&quot;:&quot;0.7-1.3&quot;,&quot;sid&quot;:&quot;term-classicalmusic-6-pcs-txt-pos&quot;}'\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <p class=\"&quot;p5&quot;\"><strong><span class=\"&quot;s4&quot;\">And one to avoid\u2026<\/span><\/strong><\/p>\n<p class=\"&quot;p3&quot;\"><span class=\"&quot;s1&quot;\">In his 1972 recording, Jascha Horenstein secures some fine playing from the LSO, especially in the first two movements, and the recorded sound is perfectly acceptable. But the impossibly slow tempo he adopts in the \u2018Sehr Lebhaft\u2019 section early in the finale is a serious miscalculation, robbing the music of its <\/span><span class=\"&quot;s2&quot;\">elemental power and making Hindemith\u2019s <\/span><span class=\"&quot;s1&quot;\">invention sound turgid and mechanical.<\/span><\/p>\n<section class=\"&quot;highlight\"><div class=\"&quot;highlight__content\" editor-content=\"\"> <ul><li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/works\/when-and-why-did-hindemith-compose-trauermusik\/&quot;\">When and why did Hindemith compose Trauermusik?<\/a><\/strong><\/li>\n<\/ul><p> <\/p><\/div> <\/section> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p> Erik Levi explains how Matthias Gr\u00fcnewald\u2019s powerful paintings inspired Hindemith&#8217;s symphonic masterpiece, Mathis der Maler Symphony and finds the very best recordings <\/p>\n","protected":false},"author":24,"featured_media":30655,"template":"","categories":[1],"acf":{"readingTimeMinutes":"8"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2023\/07\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings.jpg",900,900,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2023\/07\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2023\/07\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings-300x300.jpg",300,300,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2023\/07\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings-768x768.jpg",768,768,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2023\/07\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings.jpg",800,800,false],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2023\/07\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings.jpg",900,900,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2023\/07\/a-guide-to-hindemiths-mathis-der-maler-symphony-and-its-best-recordings.jpg",900,900,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"Erik Levi explains how Matthias Gr\u00fcnewald\u2019s powerful paintings inspired Hindemith's symphonic masterpiece, Mathis der Maler Symphony and finds the very best recordings","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/30654"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/30655"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=30654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=30654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}