Frank Martin
Golgotha
Short instrumentation: 2 2 2 2 - 4 2 3 0 - timp, perc(2), pno, org, str
Duration: 90'
Übersetzer: Roland Philipp, Frank Martin
Choir: SATB
Solos:
soprano, alto, tenor, baritone, bass
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
Martin - Golgotha for 5 vocal soloists, mixed choir, organ and orchestra
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Translation, reprints and more
Frank Martin
Martin: GolgothaOrchestration: für 5 Vokalsolisten, gemischten Chor, Orgel und Orchester
Type: Partitur
Language: Deutsch
Print-On-Demand
Frank Martin
Martin: Golgotha
Available digitally
Orchestration: für 5 Vokalsolisten, gemischten Chor, Orgel und Orchester
Type: Partitur
Language: Französisch
Frank Martin
Martin: Golgotha for 5 vocal soloists, mixed choir (SATB), organ and orchestraOrchestration: for 5 vocal soloists, mixed choir (SATB), organ and orchestra
Type: Chorpartitur
Language: Französisch
Frank Martin
Martin: Golgotha for 5 vocal soloists, mixed choir (SATB), organ and orchestraOrchestration: for 5 vocal soloists, mixed choir (SATB), organ and orchestra
Type: Chorpartitur
Language: Deutsch
Frank Martin
Martin: Golgotha for soprano, alto, tenor, baritone and bass soloists, satb choir, organ and orchestraOrchestration: for soprano, alto, tenor, baritone and bass soloists, satb choir, organ and orchestra
Type: Libretto/Textbuch
Language: Deutsch
Frank Martin
Martin: Golgotha for soprano, alto, tenor, baritone and bass soloists, satb choir, organ and orchestraOrchestration: for 5 vocal soloists, mixed choir (SATB), organ and orchestra
Type: Klavierauszug
Language: Deutsch | Französisch
Sample pages
Audio preview
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.