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The Secret Mass: Choral Works by Frank Martin & Bohuslav Martinů

Danish National Vocal Ensemble

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Mass for Double Choir  
1
I. Kyrie
Frank Martin; Danish National Vocal Ensemble; Marcus Creed
5:09
2
II. Gloria
Frank Martin; Danish National Vocal Ensemble; Marcus Creed
6:08
3
III. Credo
Frank Martin; Danish National Vocal Ensemble; Marcus Creed
6:10
4
IV. Sanctus
Frank Martin; Danish National Vocal Ensemble; Marcus Creed
4:50
5
V. Agnus Dei
Frank Martin; Danish National Vocal Ensemble; Marcus Creed
5:00
4 Songs of the Virgin Mary, H. 235  
6
No. 1, The Annunciation
Bohuslav Martinů; Danish National Vocal Ensemble; Marcus Creed
1:59
7
No. 2, A Dream
Bohuslav Martinů; Danish National Vocal Ensemble; Marcus Creed
2:05
8
No. 3, Our Lady's Breakfast
Bohuslav Martinů; Danish National Vocal Ensemble; Marcus Creed
3:22
9
No. 4, The Virgin Mary's Picture
Bohuslav Martinů; Danish National Vocal Ensemble; Marcus Creed
4:36
Songs of Ariel  
10
No. 1, Come unto These Yellow Sands
Frank Martin; Danish National Vocal Ensemble; Marcus Creed; Unknown Artist
1:34
11
No. 2, Full Fathom Five
Frank Martin; Lauritz Jakob Thomsen; Danish National Vocal Ensemble; Marcus Creed
3:30
12
No. 3, Before You Can Say Come and Go
Frank Martin; Danish National Vocal Ensemble; Marcus Creed
1:03
13
No. 4, You Are Three Men of Sin
Frank Martin; Hanna-Maria Strand; Danish National Vocal Ensemble; Marcus Creed
4:25
14
No. 5, Where the Bee Sucks, There Suck I
Frank Martin; Danish National Vocal Ensemble; Marcus Creed
1:02
15
Romance of the Dandelions, H. 364
Bohuslav Martinů; Klaudia Kidon; Emil Lykke; Daniel Åberg; Danish National Vocal Ensemble; Marcus Creed
12:42
Digital Booklet
Total Playing Time    63:35
…this is one of the most enjoyable discs I have reviewed in some time. With exemplary performances and recorded sound, the SACD should be in the collection of anyone who cares about twentieth-century choral music.
- MusicWeb International

The centerpiece of this album is Martin’s towering masterwork, the Mass for Double Choir. Originally completed in 1926, Martin did not allow the work to be performed until 1963. After its premiere he explained: ‘I felt that a personal expression of religious belief should remain secret and hidden from public
opinion.’

Thankfully Martin decided to share his secret; his Mass has become one of the 20th century’s most powerful works composed for a cappella choir. Beyond the similarity of their surnames there is little in common between the two men. For Swiss-born Martin, his musical breakthrough came early in life when he heard a performance of Bach’s St. Matthew Passion. His musical language draws on a wide variety of influences, including Renaissance polyphony, Hindemithian extended tonality and traces of Schoenberg’s twelve-tone system, but above all, Bach.

In contrast, the urbane, cosmopolitan Martinů was a stylistic butterfly, and a bit of a late bloomer. One can easily hear traces of impressionism and Stravinskian neoclassicism throughout his mature style, but in his finest moments, Martinů embraces the love of folklore that inspired his elder countryman, Leoš Janáček.
192 kHz / 24-bit, 96 kHz / 24-bit PCM – OUR Recordings Studio Masters

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