Strings By Mail Frank Martin – Quatre Pieces Breves (pour la Guitare) – Universal Edition UE 10 pages. (back to CD recording). Having long been a part of the standard repertoire of guitar literature for several decades as a solo work, Frank Martin’s Quatre Pieces Breves is now adapted for . Buy Quatre Pieces Breves by Frank Martin/ed. Brudel at Guitar Tab Sheet Music. Edited by Hans Brudel. For guitar quartet. First Edition. T.
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The end of qutre century is an appropriate time to gain insights into and take inventory of historical events and cultural heritages. In the field of music, anthologies concerning the twentieth century, which is approaching its matin, appear only sporadically; listeners seem to be still preoccupied with the time preceding it.
In part, the problems involved with the music of this century are the same as with the music of earlier periods. If it has not yet been published, one has to consult libraries. It is often difficult to make breve selection amongst the abundance of material. In this regard, the body of music of the twentieth century, to a great extent, has yet to be discovered — even if it has been published, decades often pass before musicians decide to perform it and musicologists are found who put it uqatre its proper historical perspective.
The special case of musical development in Switzerland is notable for certain factors which stand or stood in the way of the more widespread acceptance of Swiss music internationally. Switzerland, as a nation, does not represent one single body of culture.
Frank Martin: Quatre pièces brèves
Therefore, there is a certain lack of cultural identity perceived by other nations. Being surrounded by cultural giants, Swiss culture possibly does not stand out enough; its image is absorbed to a certain extent by that of the surrounding countries.
Additionally, Switzerland isolated itself politically, and therefore culturally, in the first half of this century. That is one of the reasons why Frank Martin left the country shortly after the second World War. A true cosmopolitan, Segovia lived in many countries — besides Spain, he also lived in Buenos Aires, Montevideo, New York, and for a short time in Paris.
Also, he lived from to in Geneva. He did give a master class at the Geneva Conservatory in Wherever he went, Segovia always inspired composers through his powerful guitar playing and personality to write for the instrument. After the war, he also inspired Hans Haug to write pieces for the guitar. Gagnebin and Segovia developed a close relationship, and it was Segovia who suggested that Gagnebin — then president of the Geneva International Music Competition — admit the guitar as a competition instrument for the first time in4 two years before the O.
This first guitar competition in history turned out to be a summit meeting of some of that generation’s most prominent composers and guitarists.
The repertoire for the competition was demanding. Luise Walker remembers hearing a year-old boy by the name of John Williams take part in the competition. Inan article by Jan J. At any rate, Martin did receive some music by Castelnuovo-Tedesco from Segovia in order to show him how to write for the guitar. But Martin did not write according to any set patterns. He used the guitar as an aid in composing. First, he wrote out a manuscript in pencil which he used as a rough draft in composing different versions.
He sent Segovia a copy right away, but Segovia never responded. Upon a chance meeting in the rue de la Corratarie, Segovia merely uttered a terse “au revoir.
The same year, Martin wrote an arrangement of them for piano with the title: And Martin’s friend, the conductor Ernest Ansermet, convinced him to write a version for orchestra which was premiered in However, Martin always had the original guitar version in the back of his head. This motivated Segovia in turn to ask Martin for a new copy of the work, having lost his first one. Martin refused, pirces as he was in Segovia. Therefore, we have no means of comparing the original pencil rough draft with the version he gave to Segovia.
Leeb’s version is kept in the collection of the Paul Sacher Foundation in Basel. In June ofAzpiazu arranged his own version of Martin’s piece which he recorded on July 30 of the same year. Still another version of the pieces was prepared for publication by Martin ,artin Anyone who knows the UE edition and compares it with Leeb’s brevea would probably think that Scheit was responsible for its many textual deviations.
However, this is not the case, for Azpiazu’s version of is almost identical to Martin’s last manuscript which he sent to Universal Edition in Later, Bream tried to get Martin to compose another solo work for guitar.
His recollections piefes that time: A composer I much admire is the Swiss composer Frank Martin. I even quaatre round and spent some time with him at his house near Amsterdam. Eventually, I plucked up enough courage to commission a piece, and he was most eager to do it. But he was already eighty or thereabouts, which is leaving it a bit late in the day.
Not long after, he came to a recital I was giving in Lucerne. It was a morning concert [see photograph], and afterwards we took a stroll down by the lake to discuss the new piece, he in French and myself in English. Yet we understood each other perfectly. That was the last time I saw him. He died a few months later. The family moved back to Switzerland in Gagnebin studied organ, composition, and orchestration; his teachers included, among others, Vincent d’Indy and Joseph Lauber who later taught Frank Martin as well.
Gagnebin was director of the Geneva Conservatory from to His catalogue of works includes four symphonies, oratorios, organ and piano works, and string quartets, among others. Gagnebin had an important circle of friends which he built during his years as director of the Geneva Conservatory.
Foremost among these was Frank Martin, whom he admired greatly and with whom he enjoyed an especially close friendship.
They met once a week over a long period of time, and between andthey even lived in the same building at 16 Cours des Bastions: Martin on the fifth and Gagnebin on the second floor. Many of Brefes contemporaries describe him as a man with a great sense of humor. After a concert in Geneva where Segovia gave a uniquely inspired quatrd of Bach’s D minor Chaconne, Gagnebin made a pun on the French expression: He wrote the following in a letter from New York on Fran, 22, I am sending you these lines to let you know that I am slowly progressing in my work with your beautiful compositions.
I believe that I can include them in my programs for the next season. I intend to come to Switzerland early next summer before heading on to Granada. I shall inform you in advance of my time of arrival so that I can play your pieces for you and get your approval.
If I can get them up properly before then, I shall send you a tape recording of them. In his letter from Assisi on September 19, he writes: I am going to play a piece from your beautiful suite, the Chansons, in Geneva — unfortunately, I was not yet able to master the entire set.
I don’t know whether you approve of the idea of playing the Chansons separately from the rest of the work; normally I wouldn’t, but I do want to play something of yours. If you do not approve, please tell Madame Giovanna Cassetti to whom I am mailing my program at the same time as this letter.
I shall probably arrive in Geneva on the 28th and shall notify you at once so you can hear your piece. It sounds very good on the guitar. Segovia wrote again while on tour in the USA — here is part of his letter dated January 17, I am presently about to remake an older recording of mine, this time with some new material.
Your Chansons will be on it.
Frank Martin, Quatre Pieces Breves fur vier Gitarren
This attractive piece will fit in quite nicely and I hope you will enjoy the results. As soon as the record is issued, I shall send you one or two copies. Chansons was one of the required pieces at the Geneva competition.
He wrote to Gagnebin on March 10, from Vienna: I am editing a series called Music for the Guitar for Universal Edition and am including some contemporary music as well. A piece by Frank Martin will soon be published.
Now I would like to ask if you would be interested in submitting one of your guitar compositions for publication in this series? Besides, I want to take this opportunity to express my thanks to you for your efforts on behalf of the guitar and especially for admitting this instrument category to the Geneva competition.
With best regards, yours truly, Karl Scheit. As far as I could ascertain, Segovia’s recording was never issued. It is certain, though, that Scheit never published any piece by Gagnebin. Bauer in and scored for clarinet and guitar. After the competition was over, Gagnebin’s guitar pieces were gradually forgotten.
Hans Haug was born in Basel on July 27, He studied piano and ‘cello at the Basel Conservatory and participated in master classes given by Ferruccio Busoni in Zurich, later studying composition and conducting at the Music Academy in Munich.
Haug conducted several different Swiss radio symphony orchestras. From tohe taught harmony and counterpoint at auatre Lausanne Conservatory.
Haug’s catalogue of works is immense and includes string quartets, various chamber works, vocal music, concertos, symphonic works, operas, oratorios, and film music in addition to his compositions for, or including, the guitar. In December,the “Accademia Musicale Chigiana” in Siena, Italy held a composition competition for guitar in the following combinations: Concertino for Guitar and Chamber Orchestra.
Quintet for Guitar and String Quartet. Guitar Solo Sonata, Suite or Fantasy. Twenty-five works were submitted.
The prizes awarded in August, did not recognize any of the guitar quintets; Alexandre Tansman’s Cavatina for guitar solo and Hans Haug’s Concertino for Guitar and Chamber Orchestra both received prizes.