Frank Martin: Golgotha

Frank Martin Golgotha
Golgotha

Frank Martin: Golgotha

Year of composition:
1945/1948
Subtitle:
Oratorio in 2 parts
Scored for:
for 5 vocal soloists, mixed choir, organ and orchestra
Composer:
Frank Martin
Original language:
French
Translator:
Roland Philipp; Frank Martin
Choir:
SATB
Soloists:
soprano, alto, tenor, baritone, bass
Instrumentation:
2 2 2 2 - 4 2 3 0 - timp, perc(2), pno, org, str
Instrumentation details:
1st flute
2nd flute (+picc)
1st oboe (+ob.d'a)
2nd oboe (+c.a)
1st clarinet in Bb
2nd clarinet in Bb (+cl(Eb))
1st bassoon
2nd bassoon
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in C
2nd trumpet in C
1st trombone
2nd trombone
3rd trombone
timpani
percussion(2)
piano
organ
violin I
violin II
viola
violoncello
contrabass
Table of contents:
1. Teil - No. 1
1. Teil - No. 2: Das Psalmfest
1. Teil - No. 3: Der Disput im Tempel
1. Teil - No. 4: Das heilige Abendmahl
1. Teil - No. 5: Gethsemane
2. Teil - No. 6
2. Teil - No. 7: Jesus vor dem Hohen Rat
2. Teil - No. 8: Jesus vor Pilatus
2. Teil - No. 9: Kalvaria
2. Teil - No. 10
Remarks:
"Die drei Kreuze" - drawing by Rembrandt Study score available at Musikproduktion Höflich: www.musikmph.de
Duration:
90’
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Golgotha
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Work introduction

“For me, Golgotha was a unique event in my life as a composer. The decision to write the composition did not come from a deliberate choice [of material] like Rilke’s Cornet or Shakespeare’s Tempest, for instance. Everything, it seemed to me, forbade it, especially a true cult-worship which I had devoted since childhood (up to the present day) to J. S. Bach’s Matthew Passion – but perhaps it was even more so the fact that I felt myself unworthy – utterly, completely unworthy – of treating such a topic. Nothing and no one had ever challenged me to do it. But something was called for, something that felt like a call to me, and at first I strove against that call with everything I had. But the call was stronger than my resistance, and so I sat down to work …” (Letter from Frank Martin to Willy Fotsch, February 1970)

Rembrandt’s etching Three Crosses was one of the factors which gave impetus to the composition. The great success of Golgotha’s première has not waned in the meanwhile; it has taken its place in the standard repertoire of the 20th century for evident reasons.

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Golgotha

Frank Martin: Golgotha

score
for 5 vocal soloists, mixed choir, organ and orchestra , 90’
Instr.: 2 2 2 2 - 4 2 3 0 - timp, perc(2), pno, org, str

Golgotha

Frank Martin: Golgotha

score
for 5 vocal soloists, mixed choir, organ and orchestra , 90’
Instr.: 2 2 2 2 - 4 2 3 0 - timp, perc(2), pno, org, str

Golgotha

Frank Martin: Golgotha

score
for 5 vocal soloists, mixed choir, organ and orchestra , 90’
Instr.: 2 2 2 2 - 4 2 3 0 - timp, perc(2), pno, org, str

Next performances

30 Mar

Golgotha

Ev. Stadtkirche, Karlsruhe (DE)

World première

Location:
Genève
Date:
29.04.1949
Conductor:
Samuel Baud-Bovy

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