Martin: Mass for Double Choir

Among Frank Martin's (1890-1974) works, this double mass is undoubtedly a special piece. The first half of the Kyrie, Gloria, and Credo, as well as the Sanctus, were composed in 1922, the second half of the Credo in 1924, and the Agnus Dei in 1926. However, for Martin, this Mass was not intended for performance but was written solely as an offering to God and as a dialogue between himself and God. It was first performed by a conductor in Hamburg in 1963, 40 years after its completion. The opening of each movement primarily uses a pentatonic scale, and the rhythm remains consistently simple. Martin found joy in music through perfect consonances and whole-tone melodies, rather than Wagner's chromaticism or the 12-tone technique. While maintaining a classical form, every note emanating from his unwavering faith is refined and noble, brimming with energy that speaks directly to the listener's heart.

Among Frank Martin's (1890-1974) works, this double mass is undoubtedly a special piece. The first half of the Kyrie, Gloria, and Credo, as well as the Sanctus, were composed in 1922, the second half of the Credo in 1924, and the Agnus Dei in 1926. However, for Martin, this Mass was not intended for performance but was written solely as an offering to God and as a dialogue between himself and God. It was first performed by a conductor in Hamburg in 1963, 40 years after its completion. The opening of each movement primarily uses a pentatonic scale, and the rhythm remains consistently simple. Martin found joy in music through perfect consonances and whole-tone melodies, rather than Wagner's chromaticism or the 12-tone technique. While maintaining a classical form, every note emanating from his unwavering faith is refined and noble, brimming with energy that speaks directly to the listener's heart.

Among Frank Martin's (1890-1974) works, this double mass is undoubtedly a special piece. The first half of the Kyrie, Gloria, and Credo, as well as the Sanctus, were composed in 1922, the second half of the Credo in 1924, and the Agnus Dei in 1926. However, for Martin, this Mass was not intended for performance but was written solely as an offering to God and as a dialogue between himself and God. It was first performed by a conductor in Hamburg in 1963, 40 years after its completion. The opening of each movement primarily uses a pentatonic scale, and the rhythm remains consistently simple. Martin found joy in music through perfect consonances and whole-tone melodies, rather than Wagner's chromaticism or the 12-tone technique. While maintaining a classical form, every note emanating from his unwavering faith is refined and noble, brimming with energy that speaks directly to the listener's heart.

Among Frank Martin's (1890-1974) works, this double mass is undoubtedly a special piece. The first half of the Kyrie, Gloria, and Credo, as well as the Sanctus, were composed in 1922, the second half of the Credo in 1924, and the Agnus Dei in 1926. However, for Martin, this Mass was not intended for performance but was written solely as an offering to God and as a dialogue between himself and God. It was first performed by a conductor in Hamburg in 1963, 40 years after its completion. The opening of each movement primarily uses a pentatonic scale, and the rhythm remains consistently simple. Martin found joy in music through perfect consonances and whole-tone melodies, rather than Wagner's chromaticism or the 12-tone technique. While maintaining a classical form, every note emanating from his unwavering faith is refined and noble, brimming with energy that speaks directly to the listener's heart.