Frank Martin: Das Märchen vom Aschenbrödel Orchestre de la Haute École de Musique de Genève/Gábor Takács-Nagy (Claves)
Prokofiev’s three-act Cinderella ballet score remains one of his greatest creations. It’s so impressive that you’re incredulous to learn that there exists another account – written by the Swiss composer Frank Martin in 1942. It was successfully performed in Basel in 1942, conducted by the great Paul Sacher, before slipping into total obscurity. Martin based his scenario on the Grimm brothers’ darker Aschenputtel rather than the more familiar Charles Perrault version. It’s more delicately scored than Prokofiev’s lavish effort, with four vocalists singing in German, doubling up as the various characters. And musically, it’s terrific – witty, melodic and beautifully orchestrated. Comparing both composers’ efforts is inevitable. Martin’s dryer, quizzical score can’t measure up to Prokofiev’s moody sucession of noirish waltzes. But, taken on its own terms,Aschenbrödel is glorious, rich stuff.
Listen on Spotify : Gábor Takács-Nagy – Das Märchen vom Aschenbrödel (Le conte de Cendrillon)
Martin’s oblique, ambivalent take on jazz lends several of his dances a brittle, Kurt Weill-ish feel, a pair of saxophones wailing deliciously near the start of the third act. His fairies are accompanied by music that’s just as delicate as Prokofiev’s, and I’d argue that Martin’s visceral depiction of midnight’s chimes is more terrifying, the texture abruptly thinning after the twelfth bell stroke. The vocal parts are delicious, particularly the pair of women’s voices used to portray the birds’ chorus. The closing chorus is magical. The orchestral playing is indecently accomplished, the players’ sense of shared discovery palpable. Unmissable, in other words. Track this CD down and buy multiple copies for friends and acquaintances. They’ll be grateful.