Martinu: The Epic of Gilgamesh (Oratorio)

Martinu: The Epic of Gilgamesh (Oratorio)

Martinu: The Epic of Gilgamesh (Oratorio)
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CD Details

Performer: 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:
  1. Gilgames!
  2. Gilgames!
  3. Vyslysela Stiznost Bozska Aruru
  4. Cloveka Neznal Ni Vlast
  5. Sam Uz Mechod
  6. Sam Uz Nejde Lovec
  7. Zeno, Hle, On!
  8. K Stadu Kdyz Pak Pohledl
  9. Ja K Tobe Vzhlizim
  10. I Souhlasil V Nitru Svem
  11. Nam Vsem S Udel
  12. Gilgames A Enkidu
  13. Ja Pak Vesel V Onu Tmu
  14. Enkidu Trapil Se Den
  15. Narek Slyste Muj, Vy Starci!
  16. Enkidu Nic Nevidi
  17. Gilgames, Kam Chvata?
  18. Skon Pritele Meho Zdeptal Mne
  19. Gilgames, Kam Chvata?
  20. Introduction
  21. Gilgames, Odekdy Sily Pozbyl?
  22. Mne Pritele Skon Podlomil
  23. Gilgames, Jenz Nevnik
  24. To Hlina Jest
  25. Enlile, Muj Otce!
  26. Spes, Vladce Luny
  27. Eo, Spln Zadost!
  28. Hlina Zeme Ho Odnala Nam
  29. 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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