Luigi Dallapiccola’s An Mathilde (1955) is a cantata for soprano and orchestra setting five German poems by Heinrich Heine drawn from Romanzero and Letzte Gedichte. Lasting about 15 minutes, the work unfolds as a continuous sequence of vocal‐orchestral scenes in which the soprano’s declamatory line is paired with shifting instrumental colors to reflect the texts’ introspective and often ironic moods.

Scored for a large orchestra, the instrumentation balances percussive effects and shimmering timbres against the solo voice. Dallapiccola employs pointillistic gestures and sustained chords to create an austere yet sensuous backdrop, allowing moments of lyrical warmth to emerge organically from the serial framework. Though built on twelve‐tone rows characteristic of his mature style, An Mathilde integrates modal and diatonic inflections that enhance text expression. The vocal part demands precise diction and controlled legato, while the orchestra must maintain tight ensemble and dynamic balance—especially in the delicate interplay between percussion and harp—that defines the work’s contemplative, ritualistic character.