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Frank Martin's take on the Passion of Jesus is an intense, deeply felt affair that's worthy of attention. Our editor, Don Vroon, described the piece in some detail this past March/April while giving a positive review to a performance conducted by Herbert Bock on Hanssler 98327.

This is an impressive performance; dark, emphatic, and extremely well paced by the conductor. All three male soloists sound uncomfortable when they hit the upper register; otherwise, they make a most affecting group. Baritone Joachim Gebhardt is admirably expressive in the Jesus recitatives, where Maestro Siemens accompanies him with the utmost sensitivity. The chorus is good too, especially in the more wrenching portions of the drama. There's one splatty bit in Part I where they don't interact well with the soloists. This was recorded in concert back in 1988, and there's nothing at all wrong with the sound. Virtually no audience noise either.

If you're going to get to know Golgotha, though, I think you'll probably be happier starting out with that Hanssler version. Not only is it very well done, it's sung in French-the composer's language of choice. This one is in German, and while Martin approved of the translation, it might be better to stick with the original as you get to know the piece. Hanssler also gives you notes and translations in four languages, one of them English. Here, it's German only, which could keep you at a distance from Martin's handiwork. But if you've already made the work's acquaintance and would like to know it better, these provincial German forces don't sound provincial in the least.

This performance of this masterpiece of 20th century choral music was recorded...

Don't be misled by the packaging. The liner gives the title in German (Die Sieben Worte Christi am Kreuz), but the work is in fact sung in Latin. It comes from 1859, a time when the composer was engaged with liturgical and religious music; in later life he restricted his composition to the orchestral and chamber music he is known for. The Seven Words was, for reasons unknown, not performed during Franck's lifetime, and in fact was not discovered until 1977. This performance dates from 1979, shortly after the discovery. Franck supplemented the traditional Seven Words with additional text, both biblical and free. His music is sweet and lyrical, rather Mendelssohnian in flavor (as is so much 19th Century church music), and free from Franck's penchant for incessant modulation. The overall effect is meditative, not dramatic, even in poignant sections like 'My God, why has thou forsaken me?'

The performance is certainly adequate for such a rare work. Most impressive is soprano Edith Wiens, who sounds terrific: full, rich, and expressive. A valuable release, then, for seeing another side of Franck and the state of church music in France around 1860.

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