Search - Martin, Schweizer, Graf :: Martin: In Terra Pax / Erasmi Monumentum

Excellent Performances of 2 Contrasted Works

Nicholas A. Deutsch | New York, NY USA | 12/24/2001

(5 out of 5 stars)

"Frank Martin composed his "short oratorio" In Terra Pax in 1944, on commission from Radio Geneva, to celebrate the anticipated cessation of wartime hostilities. But he didn't consider it merely an "occasional work," & more than a half century on it retains its power, directness & beauty as a meditation on the coming of earthly & celestial peace. Despite the Latin title, the Biblical passages, adapted & ordered by the composer, are set in French; Martin also deliberately sought to simplify his musical language, knowing that the piece would be heard by a large audience, but that doesn't mean there's any loss of spiritual depth. On the contrary, Part III in particular, with its extended alto solo ("Behold my servant whom I uphold") followed by eloquently simple settings of the Beatitudes and the "Our Father," ranks among Martin's greatest religious music -- which means among the greatest of the 20th century. In a committed performance, In Terra Pax remains a very moving experience.
This live 1990 performance from Cologne is accomplished & powerful, with vigorous leadership by Volker Hempfling, a strong-voiced quintet of soloists, & fine choral & orchestral work. Everyone sounds as if she or he means every word & note. However, as it's sung in German -- rightly so, given the performers & venue -- it probably should be considered in addition to, not instead of, one of the French-language versions (I recommend Ernest Ansermet's 1963 account on London 448 264-2 & Michel Corboz's 1990 one on Cascavelle VEL 1014).
Martin's 1969 Erasmi Monumentum (Monument for Erasmus) is a set of 3 highly contrasted pieces for large symphony orchestra & organ, each one focusing on one aspect of the work or life of the Dutch philosopher (1469-1536): his independence of thought, his book "In Praise of Folly," & finally a plea for peace in a time of war. This performance makes an excellent case for this rarely heard work: Hempfling's reading is fierce & taut, & the sounds of the score, whether harsh, raucous, plaintive or serene, really get under the the listener's skin! The basel sinfonietta give the piece everything they have. In comparison, the only other version I've heard, by Matthias Bamert & the London Philharmonic (Chandos CHAN 9283), sounds positively tame, plushly played & recorded though it is. Highly recommended."