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This work is likely not in the public domain in the US (due to first publication with the required notice after 1923, plus renewal or "restoration" under the GATT/TRIPS amendments), nor in the EU and those countries where the copyright term is life+70 years. However, it is public domain in Canada (where IMSLP is hosted) and in other countries (China, Japan, S. Korea) where the copyright term is life+50 years.
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Performances
Naxos
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Sheet Music
Full Scores
| Publisher. Info.
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Mainz: B. Schott's Söhne, No.3509, 1934. Plate 34052.
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| Copyright
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| Purchase
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| Editor
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Kurt von Fischer (1913-2003)
Stephen Hinton (1955-)
Arnold Werner-Jensen (1941-)
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| Publisher. Info.
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Mainz: B. Schott's Söhne, 1934.
Paul Hindemith: Sämtliche Werke, Band II,2 (PHA 202):
Orchesterwerke: 1932-34 (pp.79-180)
Mainz: B. Schott’s Söhne, 1991. Plate B.S.S. 43641.URTEXT EDITION
This "urtext" or "scholarly" (scientific) edition was published at least 25 years ago in the EU (or 20 years ago in Italy, before 1992 in the former USSR). Hence, the edition is public domain in its country of origin or a government publication. Such editions are also public domain in Canada because they fail to meet the minimum 'threshold of originality' to qualify for copyright as an 'adaptation'. They may not be public domain elsewhere. More information about this can be found here.
Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
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| Copyright
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| Misc. Notes
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600 dpi. Page size is 10.67 x 14.763 inches.
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Parts
⇒ 12 more: Oboe 1, 2 • Clarinet 1, 2 (B♭) • Bassoon 1, 2 • Horn 1, 2, 3, 4 (F) • Trumpet 1, 2 (C) • Trombone 1, 2, 3, Tuba • Timpani, Glockenspiel/Snare Drum/Triangle/Cymbals/Bass Drum • Violins I • Violins II • Violas • Cellos • Basses
| Publisher. Info.
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Mainz: B. Schott's Söhne, 1934. Plate 34001a.
Reissued: Mainz: B. Schott's Söhne, 1962.
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| Copyright
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| Misc. Notes
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Converted to monochrome and cleaned of marks. Violins II and Basses scans do not have the newly engraved title or 1962 renewal date. This file is based on high-resolution images obtained from the source using a method explained on this page.
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Free Recordings
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General Information
| Work Title
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Mathis der Maler Symphony
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| Alternative. Title
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Symphonie „Mathis der Maler"
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| Composer
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Hindemith, Paul
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| I-Catalogue NumberI-Cat. No.
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IPH 89
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| Movements/SectionsMov'ts/Sec's
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3 movements:
- I. Engelkonzert
- II. Grablegung
- III. Versuchung des heiligen Antonius
- "Ubi eras, bone Jhesu/ ubi eras, quare non affuisti/ ut sanares vulnera mea?"
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| Year/Date of CompositionY/D of Comp.
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1933/34 November-Feburary, Berlin
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| First Performance.
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1934-03-12 in Berlin
- Berlin Philharmonic, Wilhelm Furtwängler (conductor)
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| First Publication.
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1934 - Mainz: Schott (facsimile of the composer's manuscript)
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| Average DurationAvg. Duration
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27 minutes
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| Composer Time PeriodComp. Period
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Modern
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| Piece Style
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Modern
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| Instrumentation
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Orchestra: 2 flutes (2nd also piccolo), 2 oboes, 2 clarinets (B♭), 2 bassoons
4 horns (F), 2 trumpets (C), 3 trombones, tuba, timpani, percussion (3 players), strings
- bass drum, snare drum, triangle, small cymbals, cymbals,
small and large suspended cymbals, glockenspiel
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| Related Works
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Mathis der Maler (Opera)
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| External Links
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Hindemith Foundation
Wikipedia article
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- Music subsequently used in the opera of the same name (q.v.) Plate no. BSS 34000a was apparently first used for the autograph facsimile (65p.), according to Stephen Hinton in SW (Sämtliche Werke) 11/2 (p. 184), but was later applied to a 100-page full score as well. The edition no. 3509 (Schott London: 3509a) and plate number BSS 34052 have been applied to both the 90 and 100-page miniature scores.
- -Paul Hindemith: A Research and Information Guide
- From the Opera of the same name, each movement come from the following parts of the Opera:
- I. Engelkonzert (The overture)
- II. Grablegung (Orchestral interlude from the last act)
- III. Versuchung des heiligen Antonius (Orchestral piece reworked and amplified into a visionary scene in Scene 6 of the Opera)
- -Cited from Wikipedia
