1.Vorspiel
2.Morder! Morder! Verborgen! Wo?
3. Uber Euch Allen,Die Ordnung.." /"zur Tagesarbeit!"
4. "wer Ging Vorbei?" / "nicht Ganz Hephästus War's"
5. Waagschalen Dieser Welt!
6. Die Zeit Vergeht,Rose Zerfiel
7. Pantomime (duet For 2 Flutes)
8. Mag Sonne Leuchten
9. "saure Ist Mein Genosse" - "unter Allen Seid Ihr..."
10. Mein Geliebter Kommt
11. "der Wagen Wartet."- "gib Fur Andre Kusse Das Ver- Sprechen Mir Zuruck"
12. "dies Ist Das Rechte!" - "warum Streichelt Ihr Gold,"
13. Was Ich Erschuf,Ist Wurdig Eines Konigs
14. "ich Begehre Das Schonste" - "schon Hallt Der Abend.."
15. Mag Mondlicht Leuchten
16. Stimme Des Alten Drang Mir Ins Blut
17. "verjagt Sei Aller Schrecken" - "hangend Am Abgrund!"
18. Trinker,Kommt Zum Rausch Des Bluts!
19. "des Himmels Huld Will,.." - "hare Ich,Was Ich Hare?" - "die Kraft War obermenschlich" "mein Her
20. "meine Lippen Auf Die Wunde" - "fluche Ihm Nicht!"
21. "vermochte Jener Winz'ge Das Gewaltige Zu Fassen?" - Nichts Gewaltiges War,Nur Feiger Mord
22. "gegen Mich Hatte Er Diesen Abend.." - "wach Auf! Wir Wissen Alles Und Lieben Dich Wie Nie" - 
23. Vorspiel. Engelkonzert
24. Sonniges Land. Mildes Drangen Schon Nahen Sommers
25. "woher Kommt Ihr Denn?" - "die Warme,Der Lange Weg"
26. Wagen Wollen,Was Ein Wille Nicht Zu Zwingen Vermag.
27. "du Wirst Mich Verlieren"- "las Uns Doch Weiterlaufen"
28. "alte Marchen Woben Uns Fromme Bilder" - "es Sungen Drei Engel Ein Susen Gesang"
29. "mein Bruder,Entreibe Dich Der Hollentiefen Qual" - Las Mich Im Pfuhle Untergehen
30. "du Bringst Es uber Mich,Mein Freund" - "wer Kann So Erfassen Wie Ihr Mein Handeln"

Cardillac, Op. 39:
Karl Kohn (Bass)
Dietrich Fischer-Dieskau (Baritone)
Willi Nett (Baritone)
Elisabeth Söderström (Soprano)
Eberhard Katz (Tenor)
Leonore Kirschstein (Soprano)
Donald Grobe (Tenor)
Cologne West German Radio Chorus,  Cologne West German Radio Orchestra
Joseph Keilberth – conductor

Mathis der Maler, Excerpt(s):
Donald Grobe (Tenor)
Pilar Lorengar (Soprano)
Dietrich Fischer-Dieskau (Baritone)
Berlin Radio Symphony Orchestra
Leopold Ludwig - conductor

In its original (1926) version, Cardillac plays for a fast and furious hour and a half. The Wergo recording of this under Gerd Albrecht spreads the opera over two CDs, and despite its various virtues, this performance is not so decisively superior to the newly remastered DG set to win the contest on artistic grounds. DG's two discs each play for over 70 minutes. Neither recording offers the libretto in English, although Wergo do at least supply the full German text. All you get from DG is an adequate synopsis.

Cardillac, the goldsmith who is so attached to his creations that he kills their purchasers in order to repossess them, is a demonic figure, and this quality is conveyed with exceptional vividness by DG's Dietrich Fischer-Dieskau. For Wergo, Siegmund Nimsgern has the advantage of a recording that gives the voice a more natural relationship to the orchestra, but he tends to sound petulant beside Fischer-Dieskau's commanding rhetoric. There is more refined singing in some of the supporting roles on the Wergo set—especially from Verena Schweizer as the daughter: but in general the opera—a problem piece, for all its dramatic grip—comes across as more brightly coloured and robustly characterized under Joseph Keilberth's strongly rhythmic direction.

DG also provide a tempting bonus with a substantial selection of extracts from Hindemith's later, very different operatic study of artistic obsession, Mathis der Maler, made 30 years ago. Fischer-Dieskau later took the title-role in a memorable recording of the complete opera for HMV, conducted by Rafael Kubelik (12/79—nla), but in this much earlier approach to the part he triumphantly conquers initial tendencies to vocal over-acting and presents a finely rounded portrait of Mathis's anguish and ultimate serenity. He is well supported by Pilar Lorengar and Donald Grobe, and although the sound shows its age this set as a whole earns enthusiastic recommendation. -- Arnold Whittall, Gramophone [12/1991]

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CD1
Kammermusik No. 1, Op.24 No.1
1. I. Sehr schnell und wild		1:07
2. II. Mässig schnelle Halbe. Sehr streng im Rhythmus	  3:03
3. III. Quartett. Sehr langsam und mit Ausdruck	3:56
4. IV. Finale: 1921 (Lebhaft)		6:07
Kammermusik Nr.2
5. Sehr lebhafte Achtel		3:10
6. Sehr langsame Achtel - Etwa doppelt so schnell - Im ersten Zeitmass 8:36
7. Kleines Potpourri. Sehr Lebhafte Viertel		1:37
8. Finale. Schnelle Viertel - Fugato. Ein Wenig Ruhiger - Im Hauptzeitmass	5:39
Kammermusik Nr.3
9. Majestätisch und stark. Mässig schnelle Achtel		2:19
10. Lebhaft und lustig - Ein wenig ruhiger		4:14
11. Sehr ruhige und gesmessen schreitende Viertel - Im gleichen ruhigen Zeitmass - Sehr ruhig		7:16	
12. Mässig bewegte Halbe. Munter, aber immer gemächlich	2:51
Kammermusik No. 4 (Violinlkonzert) für Solo-Violine und grösseres Kammerorchester Op. 36 No. 3
13. I. Signal. Breite, majestätische Halbe - (original version)		2:07	
14. II. Sehr lebhaft	5:41
15. III. Nachtstück. Massig schnelle Achtel	7:54
16. IV. Lebhafte Viertel	3:25
17. V. So schnell wie möglich	2:03

CD2
Kammermusik No. 5 (Bratsche-Konzert) für Solo-Bratsche und grösseres Kammerorchester Op. 36 No. 4
1. I. Schnelle Halbe		4:01	
2. II. Langsam		8:46	
3. KIII. Mässig schnell	3:17	
4. IV. Variante eines Militärmarsches	2:59
Kammermusik Nr.6	
5. Mässug schnell, majestätisch - Doppel so schnell		3:29
6. Langsam - Sehr zart und ruhig - Im Hauptzeitmass - Sehr langsam	6:43
7. Variationen. Mässig Schnell Bewegt - Gleiches Zeitmass - Ein Wenig Ruhiger - Langsam Bewegt - Sehr Langsam, Frei Im Zeitmass 	4:24	
8. Lebhaft, wie früher		1:28
Kammermusik Nr.7
9. Nicht zu schnell ('minim' [=symbol] bis etwa 116)	3:11	
10. Sehr langsam und ganz ruhig	6:58	
11. ('quaver' [=symbol] bis 184)	6:20
Der Schwanendreher • Konzert nach alten Volksliedern für Viola und kleines Orchester
12. I. Zwischen Berg und tiefem Tal		8:11	
13. II. Nun Laube, Lindlein, Laube - Fugato: Der Gutzgauch auf dem Zaune saß	9:08	
14. III. Variationen über "Seid ihr nicht der Schwanendreher"		8:50

Kolja Blacher – violin
Lars Vogt - piano
Tabea Zimmermann – viola
Georg Faust – cello
Wolfram Christ – viola, viola d’amore
Wayne Marshall – organ
Berlin Philharmonic Orchestra
Claudio Abbado - conductor
Bavarian Radio Symphony Orchestra
David Shallon – conductor (CD2, 12-14)

The first flush of the digital era brought about a boatload of unexpected recordings, including this set of Hindemith's Kammermusik by Claudio Abbado and the Berliner Philharmoniker. Prior to Abbado's, there had already been two superlative recordings in the digital era: Riccardo Chailly and the Concertgebouw Orchestra's propulsive and virtuosic 1990 Decca recording and Markus Stenz and the Ensemble Modern's angular and aggressive 1993 RCA recording. But Abbado was a big fan of the composer, and he had the perfect orchestra for the job in the virtuosic Berliner Philharmoniker; their performances are as well played as Chailly's, but less driven and more musical than Stenz's. With first-class soloists drawn mostly from the orchestra, plus Lars Vogt as a spectacular pianist in Kammermusik No. 2, all parts are superbly covered. And as is almost always the case with Abbado, the conducting is alert, alive, and energetic with complete commitment to the details, the long line, and the big climax. Coupled with violist Tabea Zimmermann's dedicated and determined 1989 recording of Hindemith's Der Schwandenreher with David Shelton leading the Symphonieorchester des Bayerischen Rundfunks, these vivid 1996 and 1999 recordings are a clear first choice for these odd but engaging works. ---James Leonard, Rovi

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Hindemith - Symphony, "Mathis der Maler"
1.   	I. Engelkonzert (Angelic Concert) 00:08:27
2.   	II. Grablegung (The Entombment) 00:04:43
3.   	III. Versuchung des heiligen Antonius (The Temptation of St. Anthony) 00:13:39

4.  Ernst Toch - Symphony No. 3, Op. 75

Pittsburgh Symphony Orchestra
William Steinberg – conductor

The question of the artist’s role in society is the theme of Hindemith’s opera Mathis der Maler (Mathias the Painter), a fictional account of the life of Mathias Grunewald (c. 1475-1528), who lived during the time of the Peasant’s War in Germany, when serfs revolted against their feudal lords, violently turning society on its head in the name of justice before succumbing to hired professional armies. Hindemith had shown no interest in the subject when his publisher suggested it in 1932, but a year later, after the Nazis had come to power, he immersed himself in the subject and began to write both the music and libretto. Well before finishing the opera, but after he had worked out its major elements, Hindemith put together the Mathis der Maler Symphony. Wilhelm Furtwängler and the Berlin Philharmonic gave it a triumphant premiere in March 1934, but a month later a performance was banned because of reports that Hindemith had made remarks critical of Hitler. Later that year Furtwängler, pleading Hindemith’s case in a Berlin newspaper article, succeeded only in convincing the Nazi leadership that Hindemith was, as propaganda minister Goebbels put it in a December 1934 speech, “drastic confirmation of how deeply the Jewish intellectual infection has eaten into the body of our own people.” Despite the clarity of this hint, Furtwängler and other Hindemith supporters continued to lobby unsuccessfully to allow Mathis to be staged in Germany. Hindemith gradually severed ties with Germany, moving to Switzerland in 1938 and then to the United States in 1940.

Each movement of the Symphony is based on Grunewald’s vivid and sometimes grotesque and bizarre Isenheim altarpiece paintings. The opening Engelkonzert (Angelic Concert, the opera’s overture) is a scene of Mary and the infant Jesus being serenaded by angels. Hindemith’s music depicts the striking lighting of the painting at the opening, with shining G-major chords against rising passages in G minor (this major-minor ambiguity, called “cross-relation,” was a favorite device of Brahms). The trombones introduce Hindemith’s version of medieval German song, Es sungen drei Engel (Three angels were singing). The music emulates the bright colors of the painting with brilliant splashes of sound, and evokes the beating of the angels’ wings with a bird-like theme introduced by the flute, and by chirping eighth-notes in the violins.

The second movement, Grablegung (Entombment), is based on a panel depicting the crucified Jesus being laid in the tomb. It comes from the final scene of the opera, as Grunewald’s last great burst of creation, and his life, come to an end.

The last movement is a wholly symphonic creation using music from the extended climactic scene in the opera, which is based on two of the Isenheim paintings. In one of them, St. Anthony is assailed by grotesque demons (Hindemith’s Anthony/Grunewald is confronted with his life choices in the form of characters from the opera). The other shows St. Anthony meeting St. Paul the Hermit. Shortly before the end of a movement of explosive force and great churning energy, the woodwinds introduce the 13th-century chant “Lauda Sion Salvatorem,” which is answered by majestic alleluias in the brass. — Howard Posner, laphil.com

The Ernst Toch’s Third Symphony was awarded the 1956 Pulitzer Prize for music.

The award was made for original use of new instruments including a Hammond organ, glass balls (instead of a vibraphone), a wooden box containing wooden balls and three horns mounted on a board and fed with compressed air. A witty central movement includes a stiff-legged tip-toe introduction that is to return Tippett-like in the finale. Again the music is modernistic but not outright avant-garde. The final sprint is a display of uproarious virtuosity. It would be interesting to know how this disc compares with the reading by William Steinberg and the Pittsburgh Symphony Orchestra recorded on Capitol shortly after they had premiered it on 2 December 1955. --- Rob Barnett, musicweb-international.com

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Symphonia Serena
1 I. Moderately fast - Animato - Broad - Tempo primo 	9:30
2 II. Geschwindmarsch by Beethoven: Rather fast	3:26
3 III. Colloquy: Quiet - Fast - Scherzando – Fast	8:36
4 IV. Finale: Gay - Slow - Coda: Fast 	8:37

Symphony "Die Harmonie der Welt"
5 I. Musica Instrumentalis	10:45
6 II. Musica Humana		9:47
7 III. Musica Mundana 		13:43

Dennis Simmons, Andrew Orton – violins
Janet Fisher,  Tania Maxwell – violas

BBC Philharmonic
Yan Pascal Tortelier – conducto,

Hindemith’s penultimate opera Die Harmonie der Welt (like Mathis der Maler before it) concerns a historical figure with whom the composer could strongly identify, in this case the Renaissance astronomer Johannes Kepler. He had sought to establish a mathematical and philosophical relationship between the planetary system and musical language: this is the ‘Harmony of the World’, with which Hindemith’s own theories closely fitted. The three movements of this symphony, completed in 1951 and musically related to the opera, refer to the ‘three classes (of music) that we often encounter in the writings of the ancients’: musica instrumentalis, musica humana and musica mundana. Thus the work contains a rather mechanical first movement, a touching slow one and a contrapuntal finale which culminates in a passacaglia to set the spheres resounding in awesome E major. The Symphonia serena (1946) is one of Hindemith’s most cheerful works: his quirky sense of humour is evident both in the Scherzo for wind alone (based on a Beethoven march) and in the Colloquy for strings, with its violin and viola solos and offstage echoes. As in their two previous Hindemith discs, Tortelier coaxes superbly committed performances from the BBC Philharmonic, with characterful violin and oboe solos in particular. Chandos obliges with glorious technicolour sound. Stephen Maddock --- classical-music.com

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Sonata for flute and piano
1	Heiter Und Bewegt			
2	Sehr Langsam			
3	1. Sehr Lebhaft/2. Marsch	
Sonata for oboe and piano
4	 Munter			
5	 Sehr Langsam		
Sonata for clarinet and piano
6	Massig Bewegt			
7	Lebhaft			
8	Sehr Langsam			
9	Kleines Rondo, Gemachlich	
Sonata for English horn and piano
10	1. Langsam/2. Allegro Pesante			
11	1. Moderato/2. Scherzo, Schnell/3. Moderato			
12	Allegro Pesante

Ensemble Villa Musica:
Jean-Claude Gerard – flute
Ingo Goritzki – oboe and english horn
Ulf Rodenhauser – clarinet
Kale Randalu – piano

Ensemble Villa Musica and MDG continue their invaluable series of Hindemith sonatas with this disc of woodwind sonatas written in the late 1930s. And as with the previous releases, the performances here are uniformly excellent and the recordings splendid.

That said, these are perhaps not the best of Hindemith's sonatas. True, they are full of immediately attractive melodies, but they are also rather workmanlike (pun, if there is one, intended), in particular the works for obo and English horn. But in performances like these, ideally accompanied by Randalu, this release is still strongly recommended. ---G.D., amazon.com

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  Concerto For Organ And Orchestra
1 Crescendo - Moderato Assai 	4:52 	
2 Allegro Assai 	6:40 	
3 Canzonetta In Triads, And Two Ritornelli: Moderato 	5:30 	
4 Phantasy On 'Veni Creator Spiritus': Allegro Moderato 	11:37 	
  Sonata I For Organ
5 Mäßig Schnell, Lebhaft 	7:21 	
6 Sehr Langsam - Phantasie, Frei - Ruhig Bewegt 	10:36 	
  Sonata II For Organ
7 Lebhaft 	4:27 	
8 Ruhig Bewegt 	4:17 	
9 Fuge: Mäßig Bewegt, Heiter 	3:03 	
  Sonata III For Organ
10 Mäßig Bewegt 'Ach Gott, Wem Soll Ich's Klagen' 	4:12 	
11 Sehr Langsam 'Wach Auf, Mein Hort' 	3:58 	
12 Ruhig Bewegt 'So Wünsch Ich Ihr'

Anton Heiller – organ (1-4)
Elisabeth Ullmann – organ (5-12)
ORF-Symphonieorchester
Milan Horvat – conductor

Paul Hindemith (1895-1963) was one of Germany’s most important composers in the 1920s and 1930s. After the Second World War his fame declined. Hindemith’s œuvre is vast; his organ works represent only a small part of it. The Konzert für Orgel und Kammerorchester (Kammermusik No. 7 / Opus 46 No. 2, 1927) was written for the inauguration of the Weigle organ at the Frankfurter Rundfunk. Hindemiths remarks about this organ indicate that he fancied the ideas of the Orgelbewegung, but did not quite understand the details: ‘Ich bin kein Orgelfachmann.’ Since 1927 Hindemith tried to construct a theory on which to base his compositional technique. In 1937 he published this theory, entitled Unterweisung im Tonsatz. According to the Unterweisung, the triad is the beginning and the end of all music. Hindemith compares it with the three primary colours in painting and the three dimensions in architecture. In the same year, Hindemith published his first two organ sonatas as well. The first one is characterised by very precise indications with regard to articulation and phrasing; the second Sonata is less complicated and less representative for Hindemith’s style. The third Sonata was composed in 1940, after Hindemith had emigrated to the United States. It is based on three ancient German folk songs. Remarkable is the large number of crescendi- and decrescendi-indications, which require a register crescendo. The Concerto for Organ and Orchestra (1962/1963) is one of Hindemith’s last works. It was written for the inauguration of the organ at Lincoln Center, New York. Hindemith did not consider it one of his best compositions. Hindemith’s remarks about organs and the indications in his organ music are not coherent enough to enable us to draw conclusions about the ideal Hindemith organ. ---Peter Ouwerkerk, hetorgel.nl

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Repertory for Military Music for String Quartet

1 Armeemarsch 606 2:49
2 Overtüre zu »«Wasserdichter und Vogelbauer« 5:32
3 Ein Abend an der Donau-Quelle 5:07
4 Löwenzähnchen an Bachesrand 5:03
5 Die beiden lustigen Mistfinken 2:30
6 Alte Karbonaden 1:49 

Streichquartett der Deutschen Staatsoper Berlin:
Egon Morbitzer (first violin)
Wilhelm Martens (second violin)
Werner Buchholz (viola)
Bernhard Günther (cello)

Hindemith wrote "Minimax" for a private gathering of friends and supporters – a party piece. The title Minimax puns on a well-known fire extinguisher and on the names of the von Fürstenbegs, Max and Wilhelmine (Minzi), the "protectors" of Hindemith's Donaueschingen Festival. Every movement title puns on something. For example, the second movement – "Ouvertüre zu 'Wasserdichter und Vogelbauer" (water-tight – or water-closet – and birdcage) – refers to von Suppé's "Poet and Peasant" (Dichter und Bauer) Overture. Unfortunately, the titles are more interesting than the music itself, which could have been written by any competent composer of the period. Significantly, Hindemith never published it and asked that his unpublished works never be played after his death. It does nothing for his currently low reputation and isn't fair to the "real" music he wrote during the same year, like the Fourth String Quartet and Das Marienleben. He should have destroyed it, rather than rely on good will. ---Steve Schwartz, classical.net

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1 	Prelude For Orchestra 	5:04
2 	1. When Lilacs (Baritone And Chorus) 	5:15
3 	2. Arioso : In The Swamp (Mezzo-Soprano Solo) 	2:55
4 	3. March, Over The Breast Of The Spring (Chorus And Baritone) 	6:59
5 	4. O Western Orb (Baritone And Chorus) 	2:19
6 	5. Arioso : Sing On, There In The Swamp (Mezzo-Soprano Solo) 	2:07
7 	6. Song : O How Shall I Warble (Baritone And Chorus) 	3:57
8 	7. Introduction And Fugue : Lo! Body And Soul (Chorus) 	5:08
9 	8. Sing On! You Gray-Brown Bird (Mezzo-Soprano And Baritone, Soli And Duet) 	9:45
10 	9. Death Carol : Come, Lovely And Soothing Death (Chorus) 	7:47
11 	10. To The Tally Of My Soul (Baritone And Chorus) 	6:52
12 	11. Finale : Passing The Visions (Baritone And Mezzo-Soprano Soli And Chorus) 	7:38

Baritone – Krister St Hill
Chorus – Rundfunkchor Berlin
Chorus Master – Dietrich Knothe
Mezzo-soprano Vocals – Cornelia Kallisch
Orchestra – Rundfunk-Sinfonieorchester Berlin 
Conductor – Lothar Zagrosek

Whitman's poem "When Lilacs Last in the Dooryard Bloom'd" was his elegy on the death of Abraham Lincoln. Hindemith's setting, subtitled "A Requiem for Those We Love," dates from 1946. It was conceived as a tribute to FDR and the Americans who fought and died in World War II and perhaps also as a lament for the destruction of German culture. The composer himself--whose music was banned by Hitler's regime thus forcing his emigration from Germany--had both public and private reasons for writing this piece, and the result is extremely moving and approachable. It's a true modern counterpart to Brahms's German Requiem. Robert Shaw commissioned the music and simply "owns" it. This is a definitive performance. ---David Hurwitz

Hindemith's setting of Whitman's When Lilacs Last in the Dooryard Bloom'd has been called his only "profoundly American" work. However, the double entendre of its original subtitle, "An American Requiem," alluding to Brahms's Ein deutsches Requiem, mirrors Hindemith's ambivalence about his own postwar cultural identity. Although the work's intertextual links with the German polyphonic tradition extend back to Bach, "Taps" is the only overt "American" reference. But the phrase in quotation marks within the final subtitle, "A Requiem 'For those we love,' " is the incipit of a World War I hymn of commemoration, "For those we love within the veil." Hindemith quotes verbatim the melody for this hymn from the 1940 Episcopal Hymnal, which identifies it as "Gaza," a "Traditional Jewish Melody" (in turn derived from a Yigdal). The Requiem may be reinterpreted as a covert commentary on Whitman's text from the post-Holocaust perspective of Hindemith's conflicted personal and artistic circumstances. ---Kim H. Kowalke, jstor.org

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