Frank Martin interprets Frank Martin
View record and artist detailsRecord and Artist Details
Composer or Director: Frank Martin
Label: Disco
Magazine Review Date: 3/1990
Media Format: CD or Download
Media Runtime: 78
Mastering:
ADD
Catalogue Number: JD563-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (6) Monologe aus Jedermann |
Frank Martin, Composer
Frank Martin, Composer Frank Martin, Piano Heinz Rehfuss, Baritone |
| (3) Minnelieder |
Frank Martin, Composer
Elly Ameling, Soprano Frank Martin, Composer Frank Martin, Piano Pieter Odé, Flute |
| (3) Chants de Noël |
Frank Martin, Composer
Elly Ameling, Soprano Frank Martin, Composer Frank Martin, Piano Pieter Odé, Flute |
| (8) Preludes |
Frank Martin, Composer
Frank Martin, Composer Frank Martin, Piano |
| Ballade |
Frank Martin, Composer
Frank Martin, Piano Frank Martin, Composer Robert Willoughby, Flute |
Author: Robert Layton
This well-filled CD assembles the contents of two separately issued LPs. One (reviewed in February 1986) included Martin playing the Eight Preludes for piano, a South German Radio recording of the 1949 Ballade for cello and piano and a rather brighter recording (made in New Hampshire in 1967) of the 1939 Ballade for flute. The other—not submitted for review—comprised the Sechs Monologe aus ''Jedermann'' with Heinz Rehfuss (recorded in 1955 by Decca) and the Drei Minnelieder and Trois chants de Noel (made in the mid 1960s for Dutch EMI).
Martin re-recorded the Jedermann songs for DG, albeit in their orchestral form, with Dietrich Fischer-Dieskau and I hope they will in due course reissue this classic account on CD. That is a marvellous performance, though some collectors, I know, find that in his reading Fischer-Dieskau dots the 'i's and crosses the 't's too precisely. Rehfuss is equally intense and equally inside this remarkable score, surely one of the indisputably great song-cycles of the present century. His account is less overprojected but he does not use the same variety of dynamics and quite as much colour as Fischer-Dieskau and, inevitably, the sound, is a little monochrome. It is none the less a moving performance.
The Drei Minnelieder composed at the behest of RIAS Berlin in 1960 to medieval texts were written immediately after the Mystere de la Nativite another work we have yet to hear on disc. They have an austere charm and are beautifully sung by Elly Ameling, as are the slight but charming Chants de Noel (1947). The composer was in his mid seventies when he made these recordings and remarkably supple and fleet of finger. The sound is, of course, fresher than in the Jedermann songs. He was also in his mid seventies by the time he recorded the fine set of Eight Preludes he composed for Lipatti in 1948. A pity that he did not record them earlier, but even so his performance is still more than just a valuable historical document. Of course, as LS pointed out, ''for those inclined to regard composers' printed timings as gospel Martin takes a good deal longer over several of these, particularly No. 1''—in part, I think, for matters of technique rather than artistic reasons. There have been other recordings (Lucia Negro on BIS, Mcole Wickihalder on Accord—not generally available—and I do not forget a BBC performance of thrilling virility some years ago by a remarkable young Dutch pianist, Martijn van den Hoek), which are more virtuosic.
The Ballade for flute (1939) is characteristic Martin with overtones at one point of the Ballade for piano written the same year. The Ballade for cello, composed ten years later at the time of the Concerto for seven wind instruments, is less well known, but is a work of the highest quality; it's highly imaginative and thoughtful music. I would like to hear it played by Yo-Yo Ma or one of the younger generation of players. Henri Honegger's tone is not always beautiful, but there is no current alternative version and the recording, made in 1952, is remarkably good for its age.
Martin's music gets better and better the closer one comes to it and those with an interest in him will need no prompting to acquire this rewarding issue.'
Martin re-recorded the Jedermann songs for DG, albeit in their orchestral form, with Dietrich Fischer-Dieskau and I hope they will in due course reissue this classic account on CD. That is a marvellous performance, though some collectors, I know, find that in his reading Fischer-Dieskau dots the 'i's and crosses the 't's too precisely. Rehfuss is equally intense and equally inside this remarkable score, surely one of the indisputably great song-cycles of the present century. His account is less overprojected but he does not use the same variety of dynamics and quite as much colour as Fischer-Dieskau and, inevitably, the sound, is a little monochrome. It is none the less a moving performance.
The Drei Minnelieder composed at the behest of RIAS Berlin in 1960 to medieval texts were written immediately after the Mystere de la Nativite another work we have yet to hear on disc. They have an austere charm and are beautifully sung by Elly Ameling, as are the slight but charming Chants de Noel (1947). The composer was in his mid seventies when he made these recordings and remarkably supple and fleet of finger. The sound is, of course, fresher than in the Jedermann songs. He was also in his mid seventies by the time he recorded the fine set of Eight Preludes he composed for Lipatti in 1948. A pity that he did not record them earlier, but even so his performance is still more than just a valuable historical document. Of course, as LS pointed out, ''for those inclined to regard composers' printed timings as gospel Martin takes a good deal longer over several of these, particularly No. 1''—in part, I think, for matters of technique rather than artistic reasons. There have been other recordings (Lucia Negro on BIS, Mcole Wickihalder on Accord—not generally available—and I do not forget a BBC performance of thrilling virility some years ago by a remarkable young Dutch pianist, Martijn van den Hoek), which are more virtuosic.
The Ballade for flute (1939) is characteristic Martin with overtones at one point of the Ballade for piano written the same year. The Ballade for cello, composed ten years later at the time of the Concerto for seven wind instruments, is less well known, but is a work of the highest quality; it's highly imaginative and thoughtful music. I would like to hear it played by Yo-Yo Ma or one of the younger generation of players. Henri Honegger's tone is not always beautiful, but there is no current alternative version and the recording, made in 1952, is remarkably good for its age.
Martin's music gets better and better the closer one comes to it and those with an interest in him will need no prompting to acquire this rewarding issue.'
Frank Martin interprets Frank Martin
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