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This is an old edition...Has it been revised/corrected per these corrections?

I have a G and a D in my part. It is the same engraving with newer titles and (hopefully) corrections. I do not remember changing the written G to an A but might have. The written D is correct, however. It has been many years since we last played Mathis der Maler

Wade's copy…

1. Should be a G. The basses/cellos/1st and 3rd trombone/bassoons have a perfect fifth sonority G/D that leads down in typical Hindemith reverse-leading-tone fashion to an F#/C# dyad. Tuba should be in unison/octaves with bass/cello/2nd bassoon's G on that chord. It's a G for all those instruments, including tuba, in the score there.

2. The D is correct.

Appreciate the feedback. It's a copy from my sort of big time person, and I was skeptical of the first correction as well.

Thanks for saving me from peering through the score.

Having done a lot (!) of Hindemith score study, the first pic posted looks like Hindemith's own hand. He was the type to set his own parts. And of course he was prone to the occasional error. My copy is the same as Wade's nicer typeset version.

I made this years ago and it was VERY HELPFUL for me. I hope you get some use out of it, @bloke.

Hindemith Mathis der Maler cue insert…

If you are working on this then you'll know where it goes. Many other parts have these cues, but tuba players are losers to sheet music publishers. Tuba parts are all about how few sheets of paper everything can be crammed onto in order to save a few pennies so the fiddle pickers can enjoy nicely spaced, neat, accurate booklets; screw the poor tuba player. Anyway, this insert has made my stress level drop precipitously when this is programmed. It is amazing when you know *exactly* where you are in a section like this one.

I am sorry I did not think of this when you posted this thread. The insert includes the bass trombone part, too, and I have always given a copy to Kenny when we play Mathis.

Have fun!



Anyone may take a copy.

Thank you.

We are probably expected to look over the bass trombonist's shoulder, or - if we still have good vision - over the last chair violist's.
I have spoken to percussionists about the challenges of sitting and not performing for long periods of time, yet remaining engaged and ready to play.

This is just a cue sheet to help you place some very "nekkid" punches. This section of the piece is like Stravinsky, with soloistic important-to-not-screw-up little bits tossed into some very free cadenza-ish stuff that can be difficult to follow the stick swinger. The part is very easy to practice alone but becomes a problem in rehearsal, and this sheet makes it as easy to play in the ensemble as it is at home. It should not be hard to play, but in my experience it can be very stressful if the orchestra is under-prepared. And nearly all orchestras in the US are tightly budgeted and under-prepared for most concerts, if we're being honest, here. It's the whole capitalism thing, you know. Gotta make a buck. HAHAHA!!!

Generally, I read from this at the first rehearsal only, in order to reacquaint myself with what is going on in the ensemble. After that initial run-through, I usually read from my issued part. It is only for clarity.