Mathis der Maler (Mattias the Painter) was written in 1934 as a symphony, from which the composer drew material for his opera of the same name. The four movements relate to tableaux painted by Grünewald for the Isenheim Altarpiece in what is now North Eastern France during the 16th century. The composition was well received by the public although it conflicted with Nazi ideology, drawing severe criticism from the authorities at the time.
The Symphonic Metamorphosis arose from a request for a ballet which barely saw the light of day. The Weber themes used are taken from incidental music by Carlo Gozzi for a play based on the same Turandot legend used by Puccini in his more famous work of the same name, although the relationship between that work and the present piece stops there. These themes were also transcribed for piano duet and ‘the Hindemiths’ were later to play them in that form regularly. Hindemith’s own piece became a symphonic work in its own right, having also been conceived with the virtuosity of American orchestras in mind.
And what better ambassadors for American musical virtuosity could there be than the present artists? Mathis was recorded three times by Ormandy and the Philadelphians and the Symphonic Metamorphosis twice. Wolfgang Sawallish additionally recorded both pieces in Philadelphia and nearly all of these recordings have been available on CD/in downloable form in recent years, notably Ormandy’s 1978 version of the Metamorphosis for EMI which has remarkable transparency and where the orchestra is - as here - on top form.
However, to the best of my knowledge, the present release is the only one available of Ormandy’s Columbia recording of the Symphonic Metamorphosis and so the album is more or less self-recommending, especially as both transfer and recorded sound for both works are second to none, remembering that they were set down some 60 or so years ago now.
All of the music is approachable and across the various movements varied in colouring and style. The performances possess much more verve than Hindemith’s own earlier recordings, very good though they are. The Turandot Scherzo in the Metamorphosis positively swings in places, almost taking on a Gershwin feel at times. The closing March is surely worthy of being ranked in stature alongside the symphonic greats of the genre including the Tchaikovsky Pathétique Symphony Scherzo, a march if ever there was one in all but name.
I assume the present transfer is taken from open reel tape; there does not appear to be mention of its provenance on this album page. Regardless, going on the sound of the 24/96 download, this is truly excellent.
Very highly recommended.
24/96 PCM Flac Digital Download
