Frank Martin's discography has expanded over the
last few years. The most prominent of these new releases was the first
ever complete recording of his opera
Der Sturm which was
issued last year by
Hyperion.
However, some of his most significant works have yet to make their way
onto disc; one such is
Pseaumes de Genève (1958).
In that neglected vein we are now introduced to
Le Conte de Cendrillon
(Das Märchen vom Aschenbrödel). This
was staged in Basle in 1942 conducted by Paul Sacher. Although it is
said to have had some success, it promptly disappeared and the present
recording is thus most welcome to give the piece a new lease of life.
The ballet is based on the Grimm brothers' tale
Aschenputtel
which is quite close to Perrault's well-known tale, were it only in
its Walt Disney incarnation (
Cinderella). Martin, however, insists
that his source was Grimm's tale which he finds quite different in spirit
when compared to the gospel according to Perrault. In an introductory
text written at about the time of the first performance and reprinted
in
A propos de … Commentaires de Frank Martin sur ses oeuvres
edited by Maria Martin and published by A La Baconnière, Neuchâtel
(1984), the composer remarks that Perrault's tale is meant in a French
spirit for well-behaved and well-educated children. By contrast Grimm's
tale is rather more raw at least in certain aspects. The most striking
example of this is to be found in the third act. The prince is going
through the country to find the dancer who has lost her slipper. The
'evil' sisters try to outdo Cendrillon, going as far as mutilating themselves
to have their feet fitting into the slipper - Perrault's children would
probably never have thought of doing so. They almost succeed but the
birds sing that “there is blood in the slipper” and the
prince thus understands that he might thus be cheated. He then decides
to try the slipper on Aschenbrödel's foot and “kein Blut
im Schuck! Der Schuck is nicht zu klein ...” (“no blood
in the slipper! The slipper is not too small ...”). This brings
the happy
dénouement.
When listening to this delightful score, full of nice instrumental and
orchestral touches as well as overflowing with beautiful tunes, one
has difficulty in understanding why music such as this has been neglected
for so long. This is vintage Frank Martin; this in spite of a superficial
eclecticism used to reflect the inner conflict between bad and good.
Aschenbrödel has a wonderful theme played by the oboe whereas the
Stepmother whom the composer sees as an imposing and beautiful woman
is embodied by the trombone. There are also a number of jazzy touches
in various dance numbers and a good deal of humour, too. That unexpected
presence was already to be heard in another underrated Martin score:
the delightfully funny
La Nique à Satan(1928/1932).
Next to that, there is a lot of really fine music that clearly belongs
to Martin's full maturity. It may be useful to remind ourselves that
Le Vin Herbé, generally regarded as the first masterpiece
of Martin's maturity, had just been completed when he embarked on
Das
Märchen vom Aschenbrödel. Other roughly contemporary
works include the
Ballade pour flûte,
Ballade
pour piano et orchestre and
Ballade pour trombone.
As can be seen in the above details, the four vocal soloists assume
a variety of roles when singing separately but also play the part of
a small chorus commenting upon what happens on-stage.
I must also now stress the quality of the performance. This is an excellent
reading by a student orchestra whose members obviously love the music
and relish every bar. The conductor coaxes a convinced and deeply convincing
reading that clearly deserves to be heard. It is to be hoped that Cinderella
has been recalled after “decades of deep sleep” that it
will be allowed a wider exposure. One cannot but be immensely grateful
to all concerned for bringing this beautiful score back to life.
Staunch admirers of Frank Martin's never indifferent music will unashamedly
rejoice at this fine release. I urge others who may still harbour doubts
to give this work a try. They will not be disappointed with this strongly
humane and beautifully crafted music.
Hubert Culot
