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Martinu: The Epic of Gilgamesh (Oratorio)
CD DetailsPerformer: Ivan Kusnjer Composer: Bohuslav Martinu Conductor: Zdenek Kosler Orchestra: Slovak Philharmonic Orchestra Performer: Eva Depoltova Performer: Stefan Margita Edition: Music CD CD Release Date: 2002-04-16 Music Label: Naxos Soundtracks: - Gilgames!
- Gilgames!
- Vyslysela Stiznost Bozska Aruru
- Cloveka Neznal Ni Vlast
- Sam Uz Mechod
- Sam Uz Nejde Lovec
- Zeno, Hle, On!
- K Stadu Kdyz Pak Pohledl
- Ja K Tobe Vzhlizim
- I Souhlasil V Nitru Svem
- Nam Vsem S Udel
- Gilgames A Enkidu
- Ja Pak Vesel V Onu Tmu
- Enkidu Trapil Se Den
- Narek Slyste Muj, Vy Starci!
- Enkidu Nic Nevidi
- Gilgames, Kam Chvata?
- Skon Pritele Meho Zdeptal Mne
- Gilgames, Kam Chvata?
- Introduction
- Gilgames, Odekdy Sily Pozbyl?
- Mne Pritele Skon Podlomil
- Gilgames, Jenz Nevnik
- To Hlina Jest
- Enlile, Muj Otce!
- Spes, Vladce Luny
- Eo, Spln Zadost!
- Hlina Zeme Ho Odnala Nam
- I Vyslysel Ho Ea-Buh
Music reviews of Martinu: The Epic of Gilgamesh (Oratorio)Music Review: Fine Performance of Major 20th Century Choral Work Rating: 5 Stars
"The Epic of Gilgamesh" (1954-55) is a magnificent piece for 4 soloists, chorus and orchestra, one of the "undiscovered masterpieces" of 20th century choral music. The score shows Martinu at the height of his mature powers, responding at every turn to his chosen text - excerpts from the ancient Babylonian tale of the hero Gilgamesh and his friend Enkidu - with music of tremendous power, imagination and directness. Martinu set an English translation by R. Campbell Thompson, written in deliberately "archaic" language which emphasizes its mystery and distance from the present day; the composer even preserved places where the text trails off in mid-sentence, indicating a gap in the surviving tablets. Part One starts with a text in praise of Gilgamesh, then tells how the primitive innocent, Enkidu, is seduced by a courtesan, thus severing his natural connection with his animal companions, and how Enkidu comes to the city and engages Gilgamesh in one-on-one combat. Part Two tells of the death of Enkidu - now Gilgamesh's beloved friend - and Part Three of Gilgamesh's search for immortality, and his questioning of Enkidu, raised from the earth at Gilgamesh's request by his father, the Moon God Enlil. These episodes are shrewdly chosen to give Martinu a chance to write a wide range of music, all orchestrated with this composer's customary brilliance: from the warm pastoral idyll of Enkidu's initial life, through the sensuality of his seduction, to the violence of his duel with Gilgamesh; then the sober, compassionate contemplation of Enkidu's death, Gilgamesh's anguish at his loss and the discovery of his own mortality, to the truly otherworldly chill of Enkidu's return, with his unvarying answer to each of Gilgamesh's questions: "I saw, I saw..." This is one of many riveting passages in a score of uniformly high quality and interest. Both available recordings of "The Epic of Gilgamesh" are sung in the Czech translation by Ferdinand Pujman. Both are very good performances. This one, dating from 1989, was first issued on Marco Polo; Naxos has improved the booklet materials by adding the complete Czech text (Marco Polo had only the English) and a complete list of tracks. Zdenek Kosler leads the Slovak Philharmonic Choir and Orchestra in dynamic fashion, with a capable quartet of soloists - baritone Ivan Kusnjer (Gilgamesh) particularly good - and a strong actor, Milan Karpisek, for the half dozen short patches of spoken narration. I also like the sound, very much what you might expect to hear in an actual concert hall, with the chorus clearly behind the orchestra but very present, plenty of air around all the voices, and the speaker's voice well integrated into the overall sound picture. The other available version [Supraphon 11 1824-2 211] presents a sharp contrast in interpretation and sound: Jiri Belohlavek directs more expansively, and the 1976 analog recording - warm, close - really plunges the listener into the midst of the orchestra. I can't really recommend one over the other - each one reveals different aspects of a rich work -but I do recommend that you give one of these recordings a try.
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