Paul Hindemith’s life was dominated by the events of the two world wars. In 1917, his discovery of contemporary Expressionist poetry and drama transformed him from a talented student to Germany’s leading new composer. His one-act operas Sancta Susanna and Das Nusch-Nuschi date from this period. Sancta Susanna – Hindemith’s first masterpiece – combines religious and erotic symbolism into an eerie narrative that was shocking for its time, whereas the dance suite from Das Nusch-Nuschi emphasises the plot’s origin as a Burmese comedy. The three symphonic movements from the opera Mathis der Maler refer to the three panels of the Isenheim Altarpiece by Renaissance painter Matthias Grünewald, but also graphically reflect Hindemith’s own artistic struggles in Nazi Germany.
Hindemith, Paul
Nusch-Nuschi-Tänze
1 Sehr lebhaft - 02:26
2 Mäßig lebhaft - 04:53
3 Allegro marziale 02:44
Hindemith, Paul
Stramm, August - Lyricist
Sancta Susanna, Op. 21
4 Sehr langsam. Mit Ausdruck und Wärme - Ohne Takteinteilung. Sehr ruhig: Sancta Susanna! (Klementia, Susanna) 07:03
5 Sehr langsam, wie im Vorspiel: Ave Maria! (Susanna, Maid, Servant) 02:03
6 Lebhaft: Satanas (Susanna, Klementia) 05:11
7 Fast unmerklich langsamer als das vorige Hauptzeitmaß: Wir trugen sie fort… (Klementia, Susanna) 06:08
8 Langsam: Kyrie eleison (Old Nun, Chorus of Nuns, Susanna, Klementia) 03:00
Hindemith, Paul
Symphony, "Mathis der Maler"
9 I. Engelkonzert 08:57
10 II. Grablegung 04:38
11 III. Versuchung des heiligen Antonius 13:51
Total Playing Time: 01:00:54
