Martin: Concerto for violin; Études No1-5

On this CD:

1. Études (5) for string orchestra
Composed by Frank Martin
Performed by New Century Chamber Orchestra

2. Concerto for violin & orchestra
Composed by Frank Martin
Performed by Berkeley Symphony Orchestra with Stuart Canin

3. Maria-Triptychon for soprano, violin & orchestra
Composed by Frank Martin
Performed by Berkeley Symphony Orchestra with Stuart Canin

Tracks:

Etudes For String Orchestra: Ouveture
Etudes For String Orchestra: 1Ere etude pour l'enchainement des traits
Etudes For String Orchestra: 2Eme etude pour le pizzicato
Etudes For String Orchestra: 3Eme etude pour l'expression et le sostenuto
Etudes For String Orchestra: 4Eme etude pour le jeu fugue
Concerto For Violin And Orchestra: Allegro tranquillo
Concerto For Violin And Orchestra: Andante molto moderato
Concerto For Violin And Orchestra: Presto
Maria Triptychon: Ave maria (Gegrusset seist du) adagio
Maria Triptychon: Magnificat (Meine seele erhebet den herrn) andante energico - lento
Maria Triptychon: Stabat mater (Molto lento)

Customer Reviews:

Fine California performances of 3 Martin Masterpieces.......2003-11-17

The 3 works on this fine CD rank among the best of the great Swiss composer Frank Martin (1890-1974). What connects them is their emphasis, one way or another, on string instruments - not surprisingly, the disc is directed by violinist/concertmaster Stuart Canin. The centerpiece is Martin's Violin Concerto (1950-51), a magical work full of subtle orchestral color composed at a time when Shakespeare's "The Tempest" was very much on Martin's mind: the 1st movement even reworks material from his recent "Five Ariel Songs." In contrast, the "Etudes for String Orchestra" (1955-56) wrings maximum variety from self-imposed restrictions - only the 4 modern string instruments, no more than one "divisi" per section, no solo lines; it's one of Martin's most shapely "Classical" pieces, one which also shows his sense of humor, especially in the witty "study" for pizzicato (plucked strings). The "Maria Triptychon" (1967-68) is a setting of the "Ave Maria" and "Magnificat" (in Luther's German) and the "Stabat Mater" (in Latin), for soprano and solo violin - it was written for the wife/husband team of Irmgard Seefried and Wolfgang Schneiderhahn, the latter a notable interpreter of the Violin Concerto. Very much a concert, rather than a devotional work, this is one of the finest compositions of Martin's later years: the ecstatic central "panel" of the triptych (Magnificat) is flanked by a quiet setting of the Ave Maria (as if Mary "were repeating in her heart the Angel's words," according to Martin) and a searingingly intense evocation of the Crucifixion.
These are vivid, accomplished performances, very well recorded. All 3 pieces are played with rhythmic vitality and expressive warmth, Canin setting the tone (literally) with his full-bodied solo work. The "Etudes," performed by the New Century Chamber Orchestra, is performed by only 15 instrumentalists - nice to hear it for once with a small ensemble (it can be done with as few as 9 players). The Berkeley Symphony Orchestra plays excellently in the other two pieces. My only reservations concern the "Maria Triptychon," where the 2nd and 3rd parts feel rushed; Sara Ganz, the assured if light-toned soprano, would probably have benefited from a less hectic approach. Also, it is a shame that there are neither texts nor translations: in German and Latin, as in French, Martin was extremely sensitive to the meanings of the texts he set.
Alternatives: many for the "Etudes," including Ernest Ansermet's classic version (on the indispensible London set, 448-264-2), at least 4 for the Violin Concerto, including Schneiderhahn's 2 superb versions, in mono for Ansermet (as above) and in stereo with Martin conducting (Jecklin JD 632-2). Each of the other 3 recordings of the "Maria Triptychon" has something special to offer, despite drawbacks: an invaluable 1970 broadcast (Jecklin JD 645-2) gives us Seefried, Schneiderhahn and Martin's perfectly judged conducting, but constricted sound; a 1984 live performance (Koch 3-1619-2) has far better sound, the fine soprano Edith Mathis, ideal both technically and interpretively, Schneiderhahn again (now occasionally shaky), propulsive leadership from the work's first conductor, Jean Fournet, but occasionally ragged orchestral work; and finally Matthias Bamert's 1994 version (Chandos 9411), with the London Philharmonic in luxurious, glowing sound, Lynda Russell and Duncan Riddell fine soloists, Bamert slower than the other conductors - suitably contemplative or too laid-back, depending on your point-of-view.

Martin: Études No1-5; Polyptyque: 6 images de la Passion du Christ

Average customer rating:

Great Works at Bargain Price, including a Rare Gem

Martin: Études No1-5; Polyptyque: 6 images de la Passion du Christ

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tracks:

Polyptique: Image Des Rameaux
Polyptique: Image De La Chambre Haute
Polyptique: Image De Juda
Polyptique: Image De Gethsemane
Polyptique: Image Du Jugement
Polyptique: Image De La Glorification
Etudes For String Orchestra: Overture
Etudes For String Orchestra: Etude No.1
Etudes For String Orchestra: Etude No.2
Etudes For String Orchestra: Etude No.3
Etudes For String Orchestra: Etude No.4
Son De Chiesa For Viola And String Orchestra: Andante
Son De Chiesa For Viola And String Orchestra: Allegro Alla Francesca
Son De Chiesa For Viola And String Orchestra: Musette
Son De Chiesa For Viola And String Orchestra: Adagio

Customer Reviews:

Great Works at Bargain Price, including a Rare Gem.......2000-06-03

This is a real bargain: highly polished performances of 3 beautiful works by a 20th century master, one of them a rarity. The Sonata da Chiesa, or church sonata, was composed in 1938 for viola d'amore and organ; Martin arranged the accompaniment for strings in 1952. The one-movement piece falls into 3 sections, 2 slow meditations framing a dance-like middle portion. It's a lovely work that deserves to be heard more often: this is the 1st recording I've run across (you'll find the version for flute and organ on Bis CD-71, a collection of Martin's chamber music), and it's a beautiful one. The Etudes for String Orchestra (1955-56) give players a chance to show their virtuosity (a bit like Britten's "Frank Bridge" Variations): a dotted-rhythm Overture precedes the 4 "studies," respectively for "linked gestures,""pizzicato,""expression & sostenuto" and "fugal style." There have been wittier performances than this -- the syncopations in the "pizzicato" study are a bit "straight" -- but this is a rhythmically alert, suavely played version. Polyptyque -- the title is spelled wrong throughout -- dates from 1973 and was composed for violinist Yehudi Menuhin & conductor Edmond de Stoutz & his Zurich Chamber Orchestra. It's one of Martin's most profound works, & it receives a very fine performance here (de Stoutz's 1992 version (Gallo CD-713), with Zbigniew Czapczynski the outstanding soloist, remains my top pick). Only negative: the sound in the Etudes & Polyptyque, though admirably clear, is a bit dry, with traces of "glassiness," especially in the upper strings; the Sonata da Chiesa is more warmly recorded. Finally, the English-language notes make a number of errors in translating the German originals; more seriously, Martin's own thoughts on Polyptyque are translated from the German notes, not the original French, and the French notes here are a back-translation of the German! Still, this is a genuine bargain.

Music Track:

Music Track

music track

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