Frank Martin’s deep love of Bach infuses in different ways each of the three works on this disc.

Polyptyque (1973) is the result of a joint commission from Yehudi Menuhin and the conductor Edmond de Stoutz for a concerto for violin and string orchestra. However, somewhat overawed by the examples of Bach in this genre, Martin instead wrote this suite of six short movements inspired by the emotions evoked in the composer when he saw a Polyptych by Duccio in Sienna representing some scenes of Christ’s Passion. The result is an intensely personal work of great spiritual beauty and emotional depth, qualities that Willi Zimmermann the soloist, who incidentally is also leader of the Musikkollegium Winterthur, never underplays in his sensitive and deeply felt performance of the solo part. Zimmermann is balanced slightly forward of the well differentiated string orchestras, but not excessively so.
Each of the six movements is given a title although Martin does not attempt overtly to depict these icons. Christ’s entry into Jerusalem is the subject of ‘Image des Rameaux’, the first uneasy and agitated movement, while ‘Image de la Chambre haute’ is an achingly beautiful Andante tranquillo representing the Last Supper. ‘Image de Juda’ is an anguished Bartokian allegro and is followed by ‘Image de Gethsémané’ that opens with a cadenza like solo depicting Christ’s solitude and acceptance of His fate. The ‘Image du Jugement’ with its slashing string chords and motor rhythms vividly depicts the viciousness of the crowd. Finally the radiant ‘Image de la Glorification’ brings this impressive work to a serene conclusion.

Passacaille was originally composed for organ in 1944, the model being Bach’s Passacaglia in C minor (BWV582), but Martin would appear not to have been entirely satisfied with the result. In 1952 he made a version for string orchestra, the one heard here, and in 1962 wrote a third and final version for full orchestra. It is a pity that the latter was not chosen for this recording, as it would have made a welcome contrast with the 25 minutes of string music that precedes it. The Passacaglia theme, clearly articulated by the lower strings in this recording, undertakes a series of complex transformations and a gradual rise in intensity to reach its climax before moving to a hushed and tranquil close. Jac van Steen makes certain that, even in the densest passages, all the string lines remain clear and in this he is aided by the luminous MDG recording quality.

The two-movement neo-classical harpsichord concerto of 1951-52 completes this disc. Martin had already used a harpsichord in what has possibly become his most well known work, the Petite Symphonie concertante, but here it is given the leading role. The orchestra uses very modest forces (2 flutes, 1 oboe, bassoon and clarinet, 2 horns, 1 trumpet and a small body of strings). On this recording the balance between soloist and orchestra is perfect throughout. Rudolf Scheidegger gives an accomplished performance of the almost non-stop solo part, while Jac van Steen is careful to ensure that the haunting orchestral sonorities in the second movement make their mark.

There are many works that fail to create a profound impression after only one or two hearings; something that may partly account for their, often surprising, neglect in the concert hall. As with so many 20th century masterpieces exposure to them through the medium of recordings can lead to a deeper appreciation of their inner qualities. This is especially true in the case of Frank Martin whose somewhat ascetic and unostentatious music has suffered from neglect since his death in 1974. This latest volume in MDG’s beautifully recorded survey of Martin’s oeuvre should do much to help restore his reputation.

Copyright © 2008 Graham Williams and HRAudio.net

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