Bartje Bartmans | Frank Martin - Étude rythmique (1965) @bartjebartmans | Uploaded June 2024 | Updated October 2024, 1 week ago.
Frank Martin (15 September 1890 – 21 November 1974) was a Swiss composer, who lived a large part of his life in the Netherlands.
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Étude rythmique (1965)
Dedication: à Jaques-Dalcroze
Julie Adam, piano
The Petite Symphonie Concertante of 1944–45 made Martin's international reputation, and is the best known of his orchestral works, as the early Mass is the best known of his choral compositions, and the Jedermann monologues for baritone and piano or orchestra the best known of his works for solo voice. Other Martin pieces include a full-scale symphony (1936–37), two piano concertos, a harpsichord concerto, a violin concerto, a cello concerto, a concerto for seven wind instruments, and a series of six one-movement works he called "ballades" for various solo instruments with piano or orchestra.
Among a dozen major scores for the theater are operatic settings of Shakespeare (Der Sturm [ The Tempest ], in August Wilhelm Schlegel's German version [1952–1955]) and Molière (Monsieur de Pourceaugnac [1960–1962]), and the satirical fairy tale La Nique à Satan (Thumbing Your Nose at Satan [1928–1931]). His works on sacred texts and subjects, which include another large-scale theater piece, Le Mystère de la Nativité (The Mystery of the Nativity) 1957/1959, are widely considered to rank among the finest religious compositions of the 20th century. Fellow Swiss musician Ernest Ansermet, a champion of his music from 1918 on, conducted recordings of many of Martin's works, such as the oratorio for soloists, double chorus & orchestra In Terra Pax (1944), with the Orchestre de la Suisse Romande.
Martin developed his mature style based on his personal variant of Arnold Schoenberg's twelve tone technique, starting using it around 1932, although he didn't abandon tonality. His preference for lean textures and his habitual rhythmic vehemence make his style different from the one of Schoenberg. Some of Martin's most inspired music comes from his last decade. He worked on his last cantata, Et la vie l'emporta, until ten days before his death. He died in Naarden, the Netherlands, and was buried in Geneva at the Cimetière des Rois.
Frank Martin (15 September 1890 – 21 November 1974) was a Swiss composer, who lived a large part of his life in the Netherlands.
Please support my channel:
ko-fi.com/bartjebartmans
Étude rythmique (1965)
Dedication: à Jaques-Dalcroze
Julie Adam, piano
The Petite Symphonie Concertante of 1944–45 made Martin's international reputation, and is the best known of his orchestral works, as the early Mass is the best known of his choral compositions, and the Jedermann monologues for baritone and piano or orchestra the best known of his works for solo voice. Other Martin pieces include a full-scale symphony (1936–37), two piano concertos, a harpsichord concerto, a violin concerto, a cello concerto, a concerto for seven wind instruments, and a series of six one-movement works he called "ballades" for various solo instruments with piano or orchestra.
Among a dozen major scores for the theater are operatic settings of Shakespeare (Der Sturm [ The Tempest ], in August Wilhelm Schlegel's German version [1952–1955]) and Molière (Monsieur de Pourceaugnac [1960–1962]), and the satirical fairy tale La Nique à Satan (Thumbing Your Nose at Satan [1928–1931]). His works on sacred texts and subjects, which include another large-scale theater piece, Le Mystère de la Nativité (The Mystery of the Nativity) 1957/1959, are widely considered to rank among the finest religious compositions of the 20th century. Fellow Swiss musician Ernest Ansermet, a champion of his music from 1918 on, conducted recordings of many of Martin's works, such as the oratorio for soloists, double chorus & orchestra In Terra Pax (1944), with the Orchestre de la Suisse Romande.
Martin developed his mature style based on his personal variant of Arnold Schoenberg's twelve tone technique, starting using it around 1932, although he didn't abandon tonality. His preference for lean textures and his habitual rhythmic vehemence make his style different from the one of Schoenberg. Some of Martin's most inspired music comes from his last decade. He worked on his last cantata, Et la vie l'emporta, until ten days before his death. He died in Naarden, the Netherlands, and was buried in Geneva at the Cimetière des Rois.
