Paul Hindemith – Symphony: Mathis der Maler

Paul Hindemith’s Symphony “Mathis der Maler” was one of the major works of the twentieth century to unite historical reflection with a modern artistic language. Composed in the early 1930s, this symphony was a significant musical achievement and a personal and political statement. At its core lies Hindemith’s admiration for Matthias Grünewald, the Renaissance painter whose monumental Isenheim Altarpiece inspired the theme. By transforming images from a past painter into orchestral movements, Hindemith created a bridge between art forms and eras, producing a work that speaks to both timeless spirituality and the specific political and social crises of his time.

The symphony was composed in 1934, during one of the most difficult periods of Hindemith’s career. Germany was under the rule of the National Socialist regime and the cultural environment was becoming increasingly hostile towards modernist artists. Although Paul Hindemith was not as radical as Schoenberg or Webern, he nevertheless represented an aesthetic that valued freedom, creativity, and commitment. His music was tonal but highly complex and accessible but still intellectually demanding.

This placed him in a difficult position when the authorities tried to limit acceptable culture to a narrow vision. ‘Mathis der Maler’ became a symbol of the conflict between artistic freedom and tyrannical political power.

The subject of a work of art is crucial to its meaning. Matthias Grünewald was a painter who lived through the chaos of the German Reformation and the Farmers’ War. His art is characterised by intense emotion, strong sense of suffering and deeply religious imagination. For Paul Hindemith, Grünewald represented an artist who remained faithful to his calling, even during times of social and political chaos.

Therefore, the symphony is more than just a series of musical pictures; it is also a meditation on the role of the artist in society, a theme that Paul Hindemith would explore in even greater depth in his opera on the same subject. The symphony came first, serving as a public statement that introduced the broader vision.

The three movements correspond directly to panels from the Isenheim Altarpiece. The first movement, ‘Engelkonzert’ (Concert of Angels), reflects the heavenly vision associated with the Nativity. Rather than attempting to paint the scene literally in sound, Paul Hindemith focuses on capturing its spiritual atmosphere. The orchestration is filled with bright colours, and the textures suggest a world filled with spiritual light. There is a sense of balance between the majesty of a sacred celebration and the personal nature of devotion. The music is rich in counterpoint, demonstrating Hindemith’s mastery of complex polyphonic composition, while the overall impression is one of calm and joy.

The second movement, ‘Grablegung’ (Entombment), takes us into a world of sorrow and tragedy. Here, Paul Hindemith’s talent for expressing strong emotions without being sentimental is clear. The music slowly unfolds, with solemn chords and dark tones that express grief. The lines move with control, enabling the listener to sense the dignity of mourning. This movement not only portrays the biblical scene, but also reflects on human suffering in general. It resonates with the feeling of a society struggling with conflict and despair, mirroring the challenges Hindemith faced in his own time.

The final movement, ‘Versuchung des heiligen Antonius’ (The Temptation of Saint Anthony), is the largest and most dramatic. It brings together moments of struggle, grotesque visions and ultimate spiritual elevation. Paul Hindemith employs the orchestra’s full range of instruments to create a soundscape that is simultaneously terrifying and victorious. Dissonant passages represent the demonic forces challenging the saint, while hymnal themes symbolise faith and strength of character. The movement reaches a majestic crescendo that rises above the chaos. With its majesty and moral seriousness, this movement embodies Hindemith’s belief that art has the power to face evil and point towards renewal.

The premiere of the symphony in 1934 by Wilhelm Furtwängler and the Berlin Philharmonic was a major event. While it was received with great enthusiasm by the audience, it also placed Paul Hindemith in direct conflict with the Nazi authorities, who disapproved of both the music and its message. Furtwängler himself defended the work, viewing it as an expression of German artistic strength. However, the political pressure soon became too much to bear. Hindemith eventually left Germany, continuing his career in Switzerland and later in the United States.

Beyond its historical context, ‘Mathis der Maler‘ remains a powerful musical statement in its own right. It is an example of Hindemith’s synthesis of traditional and modern elements. His use of counterpoint is similar to Bach’s, while his harmonic language is firmly rooted in the 20th century. His orchestration is both transparent and majestic, revealing every detail while maintaining an architectural stability. The memorable thematic material shows his gift for shaping motives that can support complex development. The result is a symphony that is both intellectually satisfying and emotionally powerful.

Reflecting on the work today, it is clear to see how it speaks across borders. It is also a meditation on the role of the artist as a figure of conscious. Hindemith chose to associate himself with a painter from centuries earlier who had expressed suffering and hope through his art. By translating these images into symphonic terms, Hindemith created a dialogue between the past and the present that continues to inspire.

Paul Hindemith’s Symphony ‘Mathis der Maler’ is therefore more than just an orchestral composition. It offers a vision of the artist’s role, expresses faith in creativity and provides a powerful response to historical darkness. From its bright opening to its serious middle to its triumphant finale, it takes us on a journey from reflection to conflict to renewal. The symphony remains one of the defining works of the twentieth century, bearing witness to the power of music to represent truth.