Golgotha, oratorio for 5 soloists, chorus, organ & orchestra
Applause
Frank Martin's Golgotha counts among the great liturgical vocal works produced by French, or French-oriented, composers immediately following World War II, such as Milhaud's Service sacre pour le samedi matin or Honegger's Mimaamaquim, except that Martin's work is much longer and larger in scale than either. Golgotha is also more challenging owing to its long stretches of slightly tough, highly augmented harmonic language; lengthy recitatives; and often very light orchestral support for sung passages. As a representation of ...
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Frank Martin's Golgotha counts among the great liturgical vocal works produced by French, or French-oriented, composers immediately following World War II, such as Milhaud's Service sacre pour le samedi matin or Honegger's Mimaamaquim, except that Martin's work is much longer and larger in scale than either. Golgotha is also more challenging owing to its long stretches of slightly tough, highly augmented harmonic language; lengthy recitatives; and often very light orchestral support for sung passages. As a representation of the passion of Christ, ranging from Palm Sunday through the crucifixion, Golgotha retains a mood of almost unrelieved piety and low-key penitence, almost as if it were the film about Jesus that Danish film director Carl Theodor Dreyer didn't live to make. Given its general austerity of style and requirement of five soloists, chorus, orchestra, piano, and organ, it's a little surprising that Golgotha has been recorded as many times as it has been. The trajectory of Golgotha...
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