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Petite symphonie concertante – Wikipedia
Fearing that the unusual instrumentation of the “Petite symphonie concertante” might limit performances, Martin later rescored the work for a conventional large orchestra without solo instruments as the “Symphonie concertante”. The work was requested by Paul Sacher, a man who possesses the art of suggesting ideas to a composer while leaving him free to handle them in his own way. This page was last edited on 21 Juneat I enlarged upon this programme and set myself the task of employing all the stringed instruments in use today — strings, piano, harp and harpsichord.
After writing this score and before hearing its first performance, I was convinced that this sonorous work, owing to its experimental nature and its unusual combination of instruments, would be restricted in its performance and played in this form only at its premiere by Collegium Musicum Zurich. It was this combination of instruments, therefore, which gave me the first incentive to my work.
Frank MARTIN – Petite Symphonie Concertante [TH]: Classical CD Reviews- Nov MusicWeb(UK)
In the second part of the work I was inspired by the spontaneous movement of the music. I have read the data protection statement and agree to its validity. The work is Neoclassical in outlook, and his approach reflects Martin’s adoration of Bach.
The piece was intended for the so-called “revival harpsichord”, the large earlyth-century ptite built in the piano tradition by makers such as Robert Goble and Pleyel. Views Read Edit View history.
It is one of the few pieces in the sinfonia concertante symphonoe to be composed in the twentieth century. Each movement may then be divided into two ‘halves’, though the relationship between each part differs considerably between the two: Events have proved my supposition completely false.
Frank Martin: Petite symphonie concertante
Using all of the common stringed instruments available, Martin desired to use the harp, harpsichord and piano not as accompanying, or ‘ basso continuo ‘ instruments as is often their role but as solos, thus being a distant echo of J. Next work Pilate Frank Martin Pilate. IIvlavccb Instrumentation details: I feared that it would remain an instrumental curiosity, and I therefore wrote a second version for a large orchestra without solo instruments.
Petite symphonie concertante petlte, Op. The work also demonstrates Martin’s use of the tone techniquethough in an entirely different way from the composers of the Second Viennese School.
I mmartin, vln. Shopping options License request Hire request. Petite symphonie concertante Golgotha Concerto for seven wind instruments, timpani, percussion, and string orchestra Der Sturm Compositions by Frank Martin.
Petite symphonie concertante Year of composition: It was not until that I was able to resume and complete the Petite symphonie concertante. The Msrtin symphonie concertante is in two movements, separated by the briefest of pauses. Martin received the commission for the work inthough progress was delayed by work on the oratorio In Terra Pax. The row also demonstrates some other characteristic features of the composer’s tone technique, including the use of constant rhythmic values, no octave transpositions within the series, and the row’s use frequently as an accompanimental ostinato.
I was led by this instrumental arrangement to choose the classical form for the Allegro, not with the specific intention of moulding my musical ideas into a pre-established maetin, but to see whether such musical material could thrive and develop in this form with two themes.
I decided to use the two keyboard instruments and the harp as solos, and the sort of music I was concfrtante caused me to divide the string ensemble into two groups of equal importance.