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Paul HINDEMITH Mathis der Maler Symphony Nobilissima Visione ayrnphonic Metamorphosis New Zedand Symphony Orchestra Frapz-Paul Decker

HINDEMITH - Naxos Music Library · PDF filePaul Hindemith (1895 - 1963) Mathis der Maler Svm~honv Nobilissima vision;: fanrlegende Symphonic Metamorphosis on Themes of Carl Maria von

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Page 1: HINDEMITH - Naxos Music Library · PDF filePaul Hindemith (1895 - 1963) Mathis der Maler Svm~honv Nobilissima vision;: fanrlegende Symphonic Metamorphosis on Themes of Carl Maria von

Paul

HINDEMITH Mathis der Maler Symphony

Nobilissima Visione ayrnphonic Metamorphosis

New Zedand Symphony Orchestra Frapz-Paul Decker

Page 2: HINDEMITH - Naxos Music Library · PDF filePaul Hindemith (1895 - 1963) Mathis der Maler Svm~honv Nobilissima vision;: fanrlegende Symphonic Metamorphosis on Themes of Carl Maria von

Paul Hindemith (1895 - 1963) Mathis der Maler Svm~honv Nobilissima vision;: fanrlegende Symphonic Metamorphosis on Themes of Carl Maria von Weber

Born in Frankfurt in 1895, the son of a house-painter, Paul Hindemith studied the violin privately with teachers from the Hoch Conservatory before being admitted to that institution with a free place at the age of thirteen. By 1915 he was playing second violin in his teacher Adolf Rebner's quartet and had a place in the opera orchestra, of which he became leader in the same year. His father was killed in the war and Hindemith himself spent some time from 1917 as a member of a regimental band, returning after the war to the Rebner Quartet and the Frankiurt Opera Orchestra. At the same time he was making his name as a composer of particular originality, striving, at this time, to bring about a revolution in concert-going, with his concept of functional Gebrauchsmusik, and devoting much ofhis energy to the promotion of new music, in particular atthe Donaueschinaen Festival. Having changed from violin toviola, he formed the t mar-~indemit6 Quartet in 1921; an ensemble that won considerable distinction for its performances of new music.

In 1927 Hindemith was appointed professor of composition at the Berlin Musikhochschule, two years later disbanding the quartet, to which he could no longer give time, but performing in a string trio with Josef Wolfsthal, replaced on his death by Szymon Goldberg, and the cellist Emanuel Feuermann. He was also enjoying a career as a viola soloist. The political events of 1933 brought no immediate change in his circumstances and it seemed that he might .even be accepted by the National Socialist Party, in spite of his openly expressed his antipathy, as a true German composer. Matters turned out very differently.

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In 1932 the conductor Wilhelm Furtwangler invited Hindemith to write a Philharmonic Concerfo to celebrate the fiflieth anniversary of the Berlin Philharmonic Orchestra. Two years later came the MathisderMalerSymphony, a composition that gave a foretaste of Hindemith's new opera Mathis derMaler, and this too was performed under Furtwangler with some success. In the same year, however, the National Socialist Party condemned Hindemith's music. Furtwangler, in a famous article in the Deutsche Allgemeine Zeitung, defended the freedom of the artist and the political interference that prevented the staging in Berlin of the opera Mathis der Malerled him to resign from his positions with the Philharmonic and the Berlin Opera. Goebbels now saw fit to describe Hindemith as an atonaler Gerauschemacher (atonal noise-maker). To the Nazis he was, in fact, nicht tragbar, persona non grata. In 1935 he was given leave from his position at the Musikhochschule, visiting America and spending time in Turkey, where he established the Konse~atuar in Ankara and devised a national plan for music education. In 1937 he finally resigned from his post in Berlin, moving first to Switzerland and then to the United States, where, afler other teaching jobs, he was finally appointed professor of theory at Yale, becoming an American citizen in 1946. An appointment at the University of Zurich brought him to Europe again afler the war and he finally settled in Switzerland, although his death took place in a hospital in his native Frankfurt in 1963.

As a composer Hindemith was very prolific, able to write music very quickly, often responding to the immediate demands of performers or cirumstances. His theories on the craft of composition led to idiosyncratic teaching and to the cultivation of a tonal and contrapuntal style that ishighly characte;stic, if less effective in the hands of his followers.

It was.in 1932 that Hindemith began to seek a subject for a new opera. At one time he considered Gutenberg, but accepted the more fruitful suggestion of the painter Matthias Grunewald. As his correspondent Franz Willm pointed out, Grunewald'scareercoincided with the Peasants' Warand the Renaissance, and there were, therefore, marked similarities with their own age. Hindemith

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expressed his anxiety not to invite comparison in his new opera with Schreker's Die Gezeichneten, but he remained optimisticabout any politicalconsiderations there might be, seeking to conceal from officialdom, at least, any such implications. His immediate intention, in any case, was to write Vorspiele (Preludes) for concert use, and the first of these, the slow movement of the symphony, was completed on 30th November 1933. Two weeks later the Enoelkonzert that forms the first movementwasfinished. The third movement. ve;suchung, actually arranged rather than taken directly from the opera; caused more trouble, but was eventually completed on 27th February 1934 and the work was successfully performed in Berlin on 12th March.

Hindemith had originally intended to write four movements, but the concept of three movements fitted exactly with the pictorial source, the lsenheim Altar- piece by Grunewald, a two-sided triptych. The three pictures provide representations that correspond to the three movements, the Concert of Angels, in which Hindemith uses the traditional song Es sungen drei Engelein sijssen Gesang (Three angels sang a sweet song). The second movement corresponds to the depiction of the Entombment, with two contrasted themes, and the third wit! the Temptation of St. Anthony, which has the added words Ubi eras, bone Jhesuhbi eras, quare non affuisti/ut sanares r!~lnera mea? (Where were you, good Jesus, where were you, why were you not there to heal my wounds?). In the opera the temptation is that of Grunewald, who is eventually persuaded by the Archbishop to use his talents that God has given him as a painter, thus putting art before political considerations, to give explicit expression to the concealed implication; The final movement, starting with muted strings in a long melodic line, leads to a fugato and to the final sound of the Lauda Sion for woodwind and brass, with its resounding concluding Hallelujah.

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The Dance Legend Nobilissima Visione again had a pictorial source, the Giotto frescoes in the Church of Santa Croce in Florence, which Hindemith saw during a visit in May 1937. The choreographer Massine at first doubted the possibility of creating a devotional style in a ballet that is based, as are the paintings, on the life of St. Francis of Assisi. He discussed the possibilities with ~ r a n ~ d s Mauriac and a scenario was devised, starting with the young man's desire for a militarv life, his disillusion with the brutalitv of soldiers. conflict with his father, the me6ting with Lady Poverty and his withhrawal to the hills to pray: he falls asleep on the ground and finally, with three faithful followers, takes Poverty as his bride, as the Franciscan order is founded. In the first performance Massine danced the part of St. Francis and Nini Theilade that of Poverty. Hindemith had now left Germany, and the German press ignored the first performance of the suite derived from Nobilissima Visione, which took place in Venice in September 1938, including his books and music in a Dijsseldorf exhibition of Entartete Musik(Degenerate Music). The ballet had its first performance at Drury Lane in London on 21st July 1938 and attracted attention both for artistic reasons and for its devotional content. The Suite openswith Meditation, proceeding to the Royal Wedding, Marchand Appearance of the Three Ladies (Chastity, Obedience and Poverty) with the final lncipiunt laudes creaturarum (The praise by the creatures of God begins).

Hindemith's Symphonic Metamorphosis on Themes of Carl Maria von Weber was written in 1943. In 1941 Massine had been in Buffalo with a ballet of the Bacchanale from Wagner's Tannhauser, for which Salvador Dali had provided decor that Hindemith found simply ridiculous. Massine now wanted music based on themes by Weber for a ballet and Hindemith sketched a work using themes from Weber's Turandot, a Chinese Peking opera theme included in Rousseau's Dictionary, and from the Piano Duets, Opp.10 & 60. When it became clear that Dali was to be involved, Hindemith cancelled the contract, but later completed the composition, colourful music of considerable ingenuity, as a concert work. It was first performed by the New York Philharmonic Orchestra under Artur Rodzinsky on 20th January 1944.

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New Zealand Symphony Orchestra

The New Zealand Symphony Orchestra, the country's leading arts organisation, is based in Wellington, but performs regularly throughout the country. Formed in 1946, the orchestra was until 1988 part of the Broadcasting Corporation of New Zealand, but thereafter has enjoyed independence as a Crown Owned Entity, with a Board of Directors appointed by the Government. The Chief Conductor, appointed in 1990, is Franz-Paul Decker. Now with some ninety players, the orchestra gives some 120 concerts a year, in addition to its work in the theatre and in television, broadcasting and recording studios. Foreign tours include performance at the Seville Expo in 1992 with Dame Kiri Te Kanawa, one of a long line of distinguished musicians, from Stravinsky to John Dankworth, who have appeared with the orchestra.

Franz-Paul Decker

Franz-Paul Decker has enjoyed a long association with the New Zealand Symphony Orchestra and currently divides his time between Barcelona, Montreal, Ottawa, Cologne and New Zealand. Born in Cologne, he studied composition and conducting at the Cologne Hochschule fiir Musik, while pursuing parallel studies in musicology, ethnology and psychology at Cologne University. He made his conducting debut at the age of twenty-two at the Cologne Operaand four years laterwas appointed to the Staatsoper, Wiesbaden and subsequently to the positions of conductor of the Wiesbaden Symphony Orchestra and ~eneralmusikdirecktor in Bochum. In 1962 he became Music Director of the Rotterdam Philharmonic Qrchestra. A busv international career brought appointment in 1966 as Music Director of the~ont rea l Symphony 0rch;stra'and other subsequent positions held include that of Chief conductor of the Orauesta Cuitat de Barcelona and in 1990 of Chief Conductor of the New Zealand .kymphony Orchestra. In 1991 he was appointed Principal Guest Conductor of the Ottawa National Arts Centre Orchestra.

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Paul Hindemith: Syrnphonie "Mathis der Maler" . Nobilissirna Visione Sinfonische Metarnorphosen Carl Maria von Weberscher Thernen

'Warum schreiben Sie denn nicht tonal? Sie haben doch Talent ..." sol1 Richard Strauss im schonsten Bayerisch seinen jungen Kollegen Paul Hindemith einmal gefragt haben. Und der Uberlieferung nach lautete die im nicht minder deutlichen Hessisch gegebene Antwort: 'Wisse Se, Herr Professe, schraiwe Sie lhre Musick, unn ich schreib maine."

Aus der Sicht des gestandenen Erfolgskomponisten Strauss war die Frage durchaus berechtiat: Denndiefruhen Werkedesin Hanau aeborenen Hindemith - darunter ein praghtiges Cellokonzert und eine Lustige ~Tnfonietta - beweden sich noch ganz im ~ahrwasser der romantischen Tonalitat. Er hatte also~aient, doch mitdieserfurwahrauOerordentlichen Beaabunasetzte erseinem Publiku'm bald schon nicht diese Tone vor, sondei er gtimmte ganz andere an: Hindemith galt als der Burgerschreck der 20er Jahre. In seinen frCjhen Kammermusiken beispielsweise, in seinen Klavierwerken wiedersuite 1922 und anderen Provokationen der 20er Jahre flogen die Fetzen ...

Das blieb nicht so. Denn wie gesagt: Er hatte jaTalent. Nachdem er sich auf genialeNeise ausgetobt hatte, wurde Hindemith allmahlich wieder gesetzter. Er entwickelte eine eigene Theorie des Tonsatzes, die er auch als Lehrbuch veroffentlichte und karn zu einer neuen, unverwechselbaren Tonalitat zuruck. Allerdings hatten seine Unflatigkeiten dafur gesorgt, daO er in der braunen Clique um einen gewissen Adolf H. nicht besonders gelitten war. Daran war auch nichts zu andern, als Paul Hindemith 1933 einen echt deutschen Stoff zum Gegenstand eines neuen Opernprojektes wahlte: Mathis der Maler sollte es sein, der groOe Matthias Grunewald (1460170-1528), der Schopfer des lsenheimer Altars, dessen Verstrickung in die Konflikte der Reformation und der Bauernkriegeauf die Buhnegebrachtwerden sollte. Hindemiths Hoffnungen auf ein besseres Ansehenzerschlugen sich. Die Urauffuhrungwurde kurzerhand verboten.

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Schon vorher hatte es Theater urn das Theaterstiick gegeben. Denn Wilhelrn Furtwangler wollte fur die Tournee der Berliner ~hiharmoniker ein neues Orchesterstiick haben. Darauf lieferte Hindemith die dreisatziae Svrn~honie MathisderMaler, die gewissermaOen ein Seitentrieb der~~erwa(auchwenn sie vordieserfertiggestellt wurde. Allein, auch hierschlug die braune Kulturjustizzu: Furtwangler bekam ~ r g e r und legte kurzfristig all seine ~ m t e r nieder - eine Blamage deutete sich an, denn immerhin war er einer der weniaen "arischen" ~unstler,diesichinternatlonaler~nerkennungerfreuten. lhnvollends kaltzustellen, konnten sich die Nazis nicht leisten, also arranaierte man sich schlieBlich. und Furtwanglerdirigierte wiederfur ~eutschland. -

brhindern freilich konnte niemand die Popularitat der Symphonie. Jeder der drei Satzestellt eineder Bildtafeln des lsenheimer Altarsdar. Das Enaelskonzeri beginnt feierlich mit dem Lied Essungen drei Engel; im Mittelteil belGbt sich d& Tempo, dann schlieOt sich der Bogen rnit der ubersteigerten Wiederholung des Anfangs. Der "Grabgesang" ist, wie konnte es anders sein, der kontemplative Ruhepol des Werkes. Am Ende erleben wir "Die Versuchuna des heiliaen Antonius", der von den Monstren seines UnterbewuOtseins hekgesucht Gird und diese fur Damonen halt: Die Hektik muR weichen. wenn die Zuversicht des . . -- -

Gepeinigtendie Oberhandgewinnt -mit dem ~horal~auda~ion~alvatoremsetzt sich der Glaube durch, und ein prachtiges Alleluia der Blechblaser IaOt am Ausgang der Versuchung keinen Zweifel.

Andersals Furtwangler, den man nicht ziehenlassen wollte,sah Hindernith nur die Moglichkeit, der Heimat den Riicken zu kehren. 1935 trat er als Kornpositionslehrer an der Berliner Musikhochschule zuruck, und er verlieB Deutschland. 1940 fand er als Lehrer an der amerikanischen Yale University eine neue Anstellung.

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Nach der Emigration gab es einige lukrative Auftrage. Schon 1938 brachte der russische Tanzer und Choreograph Leonid Massine in London das Ballett Nobilissima Visione heraus - eine Szenenfolge aus dem Leben des Heiligen Franziskus von Assisi, deren Musik bis heute zu den rneistgespielten Orchesterwerken Hindemiths gehort. Die Sache sollte ein Nachspiel haben, jedenfalls nach Massines Vorstellungen: 1940 bat er den Komponisten urn eine neue Partitur, die auf Carl Maria von Webers Werken beruhen sollte. Paul Hindemith war zunachst einverstanden, rnachte dann aber einen Ruckzieher, hatte er doch an der New Yorker Metropolitan Opera Massines Tannhauser- Ballett gesehen, das erals "idiotisch" bezeichnete, wobei ervon Salvatore Dalis Buhnenbildern besonders abgestoOen wurde. Als er nun horte, Dali solle auch fur sein nachstes Ballett die Dekoration herrichten, da wares urn das Projekt geschehen.

Erstdrei Jahrespaternahm sich Paul Hindemith seine Skizzen wiedervor, und er schrieb seine Symphonischen Metarnorphosen Carl Maria von Weberscher Thernen, diedankihrerherzhaften Machartnoch popularerwurden alsdie Mathis- Symphonie. Humorlosen Menschen mag der frohliche Radau zu oberflachlich erscheinen: Doch der kernige, kraftvolle Umgang mit den Melodien des Fruhromantikers ist dem unvoreingenommenen Horer allemal ein Vergnugen. Besonders apart macht sich der zweite Satz, dessen chinesisch angehauchtes Thema Weberin derouverture zu seinerTurandot-Schauspielrnusikverwendete - Hindemith setzt"noch einsdrauvund gibtdem originellen Original zusatzlichen Schwung. Er hatte eben Talent ...

0 1994 Cris Posslac

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Paul Hindemith Mathis der maler Nobilissima visione Sinfonische Metamorphosen

Peu de temps apres la Premiere Guerre Mondiale. Hindemith, deja reconnu cornme pedagogue et altiste membre du quatuor Amar, se fit connaitre comme cornpositeur iconoclaste et anti-romantique militant en faveur d'une "musique utilitaire" (Gebrauchsmusik) b5tie selon la grande tradition classique. Tres vite range dans les annees vingt parmi les compositeurs d'avant-garde, il ne nia pourtant guere son attachement a la polyphonie et aux structures formelles classiques. Bien que sa musique fClt parfois inspiree du jazz ou du chant populaire allemand, le style musical de Hindemith p a ~ i n t a une synthese entre une esthetique neo-classique et une recherche de sonorites nouvelles pleines de vitalite, magistralement exprirnee dans les Kammermusikcornposes entre 1921 et 1927.

Avec I'arrivee des Nazis au pouvoir en janvier 1933, Hindemith, conscient a la fois de I'impact de la musique et de sa propre vocation d'artiste, entarna une nouvelle option esthetique ou la morale et I'humanisme trouverent une place de premier ordre. C'est dans ce contexte precis qu'il decida d'ecrire un opera sur la vie de Mathias Griinewald (env. 1475 - 1528), Mathis le peintre. D'un mysticisrne exalte, tragique, et dote d'un temperament visionnaire, Griinewald decrivit avec realisme dans ses oeuvres les horreurs, les souffrances et les conflits de son epoque. Mais au-dela du symbole de I'artiste aux prises avec une periode agitee dominee par la violence, ['Opera de Hindemith reflete surtout la volonte de sauvegarde du patrimoine et des traditions culturelles allemandes. En ce sens, I'oeuvre fait d'une part appel aux chants populaires allemands en puisant dans I'Altdeutsches Liederbuch de Franz Bohm publie a Leipzig en 1877, et d'autre part, renoue avec la grande tradition symphonique germanique. Car, Hindemith composa d'abord une Symphonie, suite a la

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demande de Wilhelm Furtwangler d'une nouvelle oeuvre pour I'Orchestre Philharrnonique de Berlin, avant de s'attaquer veritablement a son Opera.

LaSymphoniecomprend trois mouvements et chacun d'entre eux represente un des panneaux du retable d'lssenheim (1512-1515) peint par Grijnewald. Engelkonzerf relate la scene de la Nativite avec trois anges jouant de la viole. Ce premier rnouvement debute par une lente introduction oh les trombones citent la melodie Es sungen drei Engel ein sussen (Trois anges chantent une douce melodie), suivie par un Allegro de forme sonate. De structure identique, Grablegung depeint a travers une marche funebre la Mise au Tombeau du ~hr is t . - ~e dernier mouvement Versuchung des Heiligen Antonius, le plus im~ortant des trois, est un "condense de I'Ooera oh la ~remiere section montre saint Antoine (Mathis dans 110p6ra) en proie a une vision et tourmente par des figures de demons. La section centrale correspond a la rencontre de Saint Antoine avec Saint Paul-Ermite venu lui apporter un soutien moral et spirituel. De part la correlation entre la Symphonie et I'Opera, Hindemith retrace les tourments psychologiques du pehtre (Mathis), ehfin soulage et rassure par la rencontre decisive avec 11archev2rque de Mayence.

Ainsi, I'oeuvre s'acheve par la victoire du Bien sur le Mal tout en louant les grandes valeurs hurnaines egalement bafouees dans le contexte historique contemporain ... Malgre I'interdiction de la creation de I'opera Mathis le peintre par les Nazis, la Symphonie du meme norn fut creee le 12 mars 1934 par Wilhelm Furtwangleretl'Orchestre Philharmoniquede Berlin. Deslors, Hindemith fut frappe d'interdit concernant toutes sortes d'activites musicales et contraint pour une longue periode, a prendre douloureusement le chemin de I'exil.

Inspire par les fresques de Giotto dans I'eglise de Santa Croce a Florence, Nobilissima Visione fut compose en 1938 et donne en creation a Londres par le Ballet de Monte-Carlo en juillet 1938, avec Leonide Massine en Saint Fran~ois, sous la direction du compositeur. De cette "Iegende dansee", Hindemith tira une Suite en trois mouvements corres~ondant a cina des onze sections du Ballet. L'introduction du premier mouvern;?nt fait reference au voeu

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de depouillement de Saint Fran~ois dlAssise, avant le Rondo evoquant ses noces avec Dame Pauvrete. Le mouvement central debute par une Marche dotee d'un trio fugue representant la Chastete, I'Obeissance et la Pauvrete, suivie d'une Pastorale expressive. De m6me que dans Mathis le peintre, le troisieme et dernier mouvement occupe une place importante a la fois par sa duree et par sa structure interne. L'oeuvre se termine par une Passacaille composee de vingt variations sur une basse obstinee de six mesures.

Dans sa globalite, Nobilissima Visione proroge I'esprit metaphysique de Mathis le peintre et insiste fortement sur le pouvoir moral de la musique dont I'inscription lncipiunt laudes creaturarum (ici commencent les louanges de la creation), portee sur-la partition de la Passacaille souligne I'ampleur et I'universalite de ce message.

Dans un ordre d'esprit different, les Metamorphoses symphoniques sur des themes de Carl Maria von Weber virent le jour en 1943, durant I'exil americain de Hindemith. ~onsiderees comme une des oeuvres les plus populaires du compositeur, les Metamorphosesfurent concues comme un traitement libre et persbnnel des themes de ~ e b e r dans un style parfois proche du big band et du jazz.

Les mouvements extr6mes font usage des themes empruntes aux Huit Piecesop. 60 pourpianoaquatre mains de Weber, publiees entre 181 8 et 181 9. Le deuxieme mouvement Turandotest un Scherzo plein d'humouret de fantaisie, une "chinoiserie" tiree de lamusique de scene que Weber ecrivit en 1809 pour le Turandotde Friedrichvon Schiller (1 759 - 1805). Atravers uneorchestration tres coloree, Hindemith instaureun climat exotiquequi contrasteavec ledeveloppement fugue tres inspire du jazz de la section centrale (trio). D'une beaute calme et sereine, I'Andantino renvoie aux Piecespourpiano op. 10 de Weber et precede la Marchejoyeuseet rapidedu derniermouvement, concluant~'oeuvredans une atmosphere pleine d'espieglerie et d'exuberance.

Armin Firouzmande

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