Inspired by the polyptchs (altarpieces composed of multiple panels, often depicting scenes from the Bible or religious figures) of the 14th century Italian painter Duccio, Swiss composer Frank Martin composed a work in six tableaux based on the Passion of Christ. Polyptyque, a concerto for violin and two small orchestras rooted in the music of Bach, Martin sets out to transpose musically the scenes of the Crucifixion. Polyptyque is the centerpiece for the new recording by violinist Marianne Piketty and her Concert Idéal, a string ensemble that tackles repertoire ranging from the 18th century to contemporary with an emhasis on world music and women composers. Martin’s concerto is interspersed with works by Vivaldi, Bach, Lotti and Victoria, like so many tableaux responding to Poylptyque. By opening up a dialogue between ancient and modern, sacred and secular, Marianne Piketty explores the continuum of human emotions, reminding us that they are at once universal and ephemeral, and yet a source of beauty and plenitude.