|ORCHESTRA: Concerto Grosso; Concerto for Piano and Orchestra; Partita; Rebus.|
|CHAMBER MUSIC: Serenade for Violin, Clarinet and Bassoon.|
|CHORAL: Cantata; Psalm.|
About Igor Markevitch:
Boston Evening Transcript April 20, 1933; New York Times June 19, 1932; Revue Musicale 13:95June 1932.
FRANK MARTIN, one of the more prominent of modern Swiss composers, was born in Geneva on September 15, 1890. Classical studies were pursued at the college at Geneva simultaneously with his musical education, undertaken under the guidance of Joseph Lauber. For several years, Martin lived in Paris where, by closely associating with current movements in music and coming into contact with the prominent composers of the day, he was first ineluctably drawn towards composition. From the very first, he avoided any radical idioms in his music and, satisfied with the traditions of his art, was eager to construct his individual beauty without destroying any of the long-accepted tenets of composition.
Upon returning from Paris, Martin permanently established his residence in Geneva where he became actively associated with its musical life. He founded, under the name of Technicum Moderne de Musique, a school of music which holds a prominent position in the pedagogical life of Geneva. As a faculty member of the Institute Jacques Dalcroze and as the music-critic of the Tribune de Genève he has exerted no small influence upon the musical life of his native city. He is also a member of the Society of Chamber Music, for which he plays the piano and harpsichord; and an active co-worker in the Association of Swiss Musicians.
While the name of Frank Martin has not, as yet, been popularized in America, it has been recognized since 1918-- when his Les Dithyrambes for chorus and orchestra was performed in Lausanne and Geneva--as one of Switzerland's most creative musical forces by his fellow-countrymen. His strictly orthodox style may tempt the superficial listener to believe that Frank Martin's music is painfully derivative and stereo- typed. But a careful study of his works reveals innumerable subtle colors and touches and voices whch are individual with this composer. His technique is remarkable for its ability to cope with the most intricate of problems gracefully; his music flows with fluidity and ease, without any obstructions to mar its