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Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA

800-521-0600

A PERFORMER'S GUIDE AND NEW CRITICAL EDITION OF

FRANK MARTIN'S QUATRE PIECES BREVES

by

Brent Foe McCabe

Copyright Brent Poe McCabe 2000

A Dociiment Submitted to the Faculty of the

SCHOOL OF MUSIC AND DANCE

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC

In the Graduate College

THE UNIVERSITY OF ARIZONA

2 0 0 0

UMl Number; 3002517

Copyright 2000 by McCabe. Brent Poe

Ail rights reserved.

UMl UMl Microform 3002517

Copyright 2001 by Bell & Howell Information and Leaming Company. All rights reserved. This microform edition is protected against

unauthorized copying under Title 17, United States Code.

Bell & Howell Information and Leaming Company 300 North Zeeb Road

P.O. Box 1346 Ann Arbor, Ml 48106-1346

2 THE UNIVERSITY OF ARIZONA

GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have read the

document prepared by Brent Poe McCabe

entitled A Pprformer's Guide And New Critical Edition Of Frank

Martin's Quatre Pieces Breves

and recommend that it be accepted as fulfilling the requirements for the Degree

of Doctor of Musical Arts

Date / 1 I?^ISICD

Date/ / / / , ixlwlo^

Date '

Date

Date

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as ftilfiUing the requirement.

r/^ Director Date

3

STATEMENT BY AUTHOR

This document has been siibmitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be greinted by the copyright holder.

4

TABLE or CONTENTS

LIST OF EXAMPLES 5

ABSTRACT 7

CHAPTER 1 8

INTRODUCTION 8 SUBJECT AND SCOPE OF STUDY 10 THE HISTORY AND EVOLUTION OF QUATRE PIECES BRF^/ES 12 A CHRONOLOGICAL SURVEY OF THE MANUCRIPTS AND SCORES .... 18 A CHRONOLOGICAL LIST OF SOURCES FOR QUATRE

PIECES BREVES 20 CHAPTER 2 21

FRANK MARTIN'S PHILOSOPHY ON COMPOSITION 21 STRUCTURAL ANALYSIS OF QUATRE PIECES BREVES 24

CHAPTER 3 31

COMPARISON OF SCORES 33 CONCLUSION 50

APPENDIX A 52

NOTATIONAL REVISIONS AND ADDITIONS FOR QUATRE PIECES BREVES BASED ON FRANK MARTIN'S 1933 PIANO SCORE 52 PRELUDE 52 AIR 52 PLAINTE 52 GIGUE 53

APPENDIX B 54

NEW CRITICAL EDITION 54 REFERENCE EXAMPLES 63 PRELUDE 63 AIR 64 PLAINTE 64 GIGUE 66

REFERENCES 68

5

24

25

26

26

27

28

29

30

30

33

34

34

35

36

36

36

37

37

37

,38

,38

,39

,39

,40

LIST OF EXAMPLES

1. Martin, Quatre Pieces Breves, Prelude, m.1-2 ..

2. Martin, Chaconne, p.2, in.1-9

3. Martin, Quatre Pieces Breves, Prelude, m.3-5 ..

4. Martin, Trio, p.17, 2m. after r.6

5. Martin, Quatre Pieces Breves, Prelude, m.10-13

6. Martin, Quatre Pieces Breves, Prelude, m.14-16

7. Martin, Quatre Pieces Braves, Plainte, m.1-16 .

8. Martin, Quatre Pieces Breves, Gigue, m.1-10 ...

9. Martin, Quatre Pieces Breves, Gigue, m.34-37 ..

10. Martin, Universal Edition, Prelude, m.3-4 ....

11. Martin, Leeb Manuscript, Prelude, m.3-4

12. Martin, piano score, Prelude, m.3-4

13. Martin, revised edition. Prelude, m.3-4

14. Martin, Universal Edition, Prelude, m.21

15. Martin, Leeb manuscript, Prelude, m.21

16. Martin, piano score, Prelude, m.21

17. Martin, revised edition, Prelude, m.21

18. Martin, Universal Edition, Prelude, m.38

19. Martin, piano score. Prelude, m.38

20. Martin, revised edition. Prelude, m.38

21. Martin, Universal Edition, Prelude, m.39-44

22. Martin, Leeb manuscript, Prelude, m.39-44 ....

23. Martin, piano score. Prelude, m.39-44

24. Martin, revised edition. Prelude, m.39-44 ....

6

40

41

41

42

44

45

45

45

45

46

46

,47

,47

.48

.48

.50

LIST OP EXAMPLES - Continumd

25. Martin, Universal Edition 1, Plainte, m. 16-20

26. Martin, Universal Edition 2, Plainte, m.16-20

27. Martin, Leeb manuscript, Plainte, m.16-20

28. Martin, piano score, Plainte, m. 16-20

29. Martin, revised edition, Plainte, m.16-20

30. Martin, Universal Edition, Gigue, m.1-2

31. Martin, piano score, Gigue, m.1-2

32. Martin, Leeb manuscript, Gigue, m.1-2

33. Martin, Universal Edition, Gigue, m.26

34. Martin, Leeb manuscript, Gigue, m.26

35. Martin, piano score, Gigue, m.26

36. Martin, revised edition, Gigue, m.26

37. Martin, Universal Edition, Gigue, m.82-end

38. Martin, Leeb meinuscript, Gigue, m.82-end

39. Martin, piano score, Gigue, m,82-end

40. Martin, revised edition, Gigue, m.82-end

7

ABSTRACT

This three-part study traces the history and chronology of

Frank Martin's Quatre Pieces Breves, provides an introduction

to Martin's compositional style, and examines elements of the

work in regard to their significance for the performer. This

study also addresses the discrepancies between the various

sources of Quatre Pieces Breves, defines the role of Martin's

collaborators, and justifies the new critical edition, which is based upon the author's conclusions.

Frank Martin's 1933 piano score; GUITARE-Quatre Pieces

Breves, published by Universal Edition in 1976, number UE

15041, is used as the primary interpretive model for the new

critical edition because the author believes it preserves the

composer's original intentions regarding this work. The

result is a new, more authentic interpretation that is

designed to serve as an alternate to the current, published

edition.

8

CHAPTER 1

INTRODOCTION

One of Switzerland's foremost twentieth-century composers,

Frank Martin enjoyed a long, productive career. His large catalog of work encompasses a wide range of musical forms and

genre, from the most simplistic folk arrangements to

symphonic, oratorio, and operatic works written on a grand

scale.

Frank Martin was born the last of ten children in the

Suisse Romande (French-speaking) area of Switzerland on

September 15, 1890, which makes him a contemporary of

Martinu, Prokofiev and Ibert among European composers of this

period. Martin was the son of a prominent Calvinist minister

whose French ancestors had fled Huguenot persecutions and

settled in Geneva where Frank Martin not only grew up, but

spent a major portion of his adult life.^ At an early age Martin displayed an unusual talent for

music. As a member of a large and active musical family, he

was often requested to perform or to accompany singers or

other musicians. His parents, who advocated a well-rounded

education, were encouraged to provide him with formal music

^ Charles W. King "Frank Martin: A Bio-Bibliography." New York: Greenwood Press, 1990.

9

lessons. Martin's first and only instructor was Joseph

Lauber, a strongly conservative composer and professor at the

Geneva Conservatory. Professor Lauber refined Martin's piano

technique and also gave him a solid foundation in the basics

of composition.

After World War I, Martin lived in Zurich, Rome and Paris.

In 1926, having returned to Geneva, he participated in the

congress on rhythmic musical education convened by Emil

Jacques-Dalcroze. First as a pupil and, after a period of

two years, as a teacher of rhythmic theory at the Jacques-

Dalcroze Institute, working closely with its founder and

director. At the same time he was active as a pianist and

harpsichordist; he lectured on chamber music at the

conservatory and was director of the private music school

Tehnicum Modeme de Musique. From 1943 to 1946 he was

president of the Swiss Musicians Union. In 1946 he moved to

the Netherlands, first to Amsterdam and then to Naarden. From

1950 he held a composition class at the Cologne Hochschule

fiir Musik. In the 1960's, to an increasing extent, Martin

traveled all over the world performing his works. The

growing public regard for him at home and abroad was

reflected in many prizes and honors, and his work came to

10

enjoy a firm place in the repertories of orchestras and choirs.2

SUBJECT AND SCOPE OF STUDY

This three-part study traces the history and chronology of

Frank Martin's Quatre Pieces Breves (1933), provides an

introduction to Martin's compositional style, and examines

elements of the work in regard to their significance for the

performer. It also addresses pertinent notational and

interpretive issues through a comparative study of four

relevant scores.

Chapter one covers the significant events that led to the

composing of Quatre Pieces Breves and identifies the

chronology of 9 different scores (3 are lost). It also

describes the interesting circumstances that led to the

numerous arrangements of QuaCre Pieces Breves. For this

study, I have used four scores: the Herman Leeb manuscript,

Universal Edition 1 and 2, and Martin's piano arrangement.

These four sources constitute the foundation for the new

critical edition.

^ Bernhard Billeter . "Frank Martin" In The New Grove Dictionary of Music and Musicians, 715-718. New York: Macmillan, 1980.

11

Chapter two summarizes Martin's philosophy regarding

tonality, atonality, cind serialism. It also provides a

structural analysis of Quatre Pidces Breves, which

incorporates stylistic and compositional techniques from the

years c.1925-33. Two compositions in addition to Quatre

Pieces Breves served as stylistic reference: Trio sur deux

melodies populaires irlandaises (1925) and Chaconne pour

violoncelle et piano (1931-32).

Divided into three categories, early, middle cind late,

Martin's work exhibits identifiable characteristics that

outline the evolution of his style.^ Some of his early

characteristics include Schoenberg-inspired chromaticism and

12-tone techniques, and J.S Bach's sequential and motivic

designs. Frank Martin's middle period, from c.1933-40,

features an increased use of chromaticism, distant key

modulation, thematic metamorphosis, and 12-tone procedures

that unify entire compositions. Martin's late period

incorporates techniques from his earlier periods, but expands

them to include bravura, passages requiring virtuosic writing

and a greater sense of technical refinement. Quatre Pieces

Breves, written in 1933, is the last composition from

Martin's early period. It represents one of his finest

achievements, utilizing many of the stylistic traits that

^ Janet Eloise Tapper "Stylistic Analysis of Selected Works by Frank Martin." Ph.D. diss., Indiana University, 1964: p. 4.

12

characterize this period. In my analysis, I have utilized

the principles of functional harmony and form and additional

concepts that are closely allied with Martin's compositional

style, such as, pantonality, thematic metamorphosis, and a

modified 12-tone technique.

Part three is a comparative study of the four scores.

Inconsistencies in notation, interpretation, and re-writings

will be noted. The result of this research is a new critical

edition (found in Appendix 2) which demonstrates that the

piano score more accurately reflects Frank Martin's original

interpretation for Quatre Pieces Breves. Editorial

suggestions for slurs and fingerings are also included.

THB HISTORY AMD BVDLUTION OF QUATRE PISCES BREVSS

Frank Martin's Quatre Pieces Brdves is widely considered

within the guitar community to be one of the most significant

guitar works of the early twentieth century. It is imique

because it is the first composition to consistently use

modern compositional techniques for the guitar during this

period.'' Quaere Pieces Breves also pioneered a new trend for

a repertoire previously dominated by Spanish Romanticism. The

Tom and Mary Anne Evcins. "GUITARS." New York: Facts on File, 1977.

13

music of Torroba, Tedesco, and Turina formed the basis and

foundation of Segovia's public performances. This music

recalled an earlier style of writing, whereas, Martin's work

utilized the innovative techniques and concepts of leading

figures of the day, such as Stravinsky and Schoenberg.

Quatre Pieces Breves was written for and dedicated to

Andres Segovia while he lived in Martin's native city,

Geneva. According to Frank Martin's widow, Maria Martin, a

score was sent to Segovia in 1933. However, the composer

never received any confirmation or thank you note.

Subsequently, when the two met in the street one day, Segovia

greeted Martin with a short au revoir eind walked the other

way as if to avoid discussion.^ Therefore, it was Martin's

assumption that Segovia either did not like the piece, or he

considered it unplayable.

It is my contention that Segovia decided Quatre Pieces

Breves was too complex for guitar audiences in the early

1930s. His foremost priority at this time was to establish

the guitar as a major concert instrument, which initially required a more accessible repertoire. He was also more

interested in composers who were willing to write in a

Romantic or Neo-classical Style. Segovia's rejection of Quatre Pieces Breves is unfortimate because his acceptance

^ Jan de Kloe. "Frank Martin's Quatre Pieces Breves: A Comparative Study of the Available Sources." Soundboard 20 (Summer 1993): p.20.

14

would undoubtedly have elevated the status of the work and

given it International recognition. It may also have led to

more solo guitar compositions from Martin, as well as from

other influential twentieth-century composers. As a result

of Segovia's rejection, Martin's guitar piece remained neglected for several years. However, in 1933-34 Martin made

an orchestral and piano arrangement of Quatre Pieces Breves.

The orchestral arrangement was premiered in 1934 by the Swiss

conductor, Ernest Ansemet and the piano version was

performed by Martin (he was an accomplished pianist) at

various times prior to the guitar premiere. Nevertheless,

Martin did find a performer for the guitar work, Austrian

guitarist, Herman Leeb. Leeb premiered Quatre Pieces Breves

in Laren, the Netherlands on October 9, 1947.

Quatre Pieces Breves was first published by Universal

Edition in 1959, edited by Karl Scheit. Prior to

publication, Quatre Pieces Breves underwent a process of

evolution. Following the 1933 guitar composition, an

orchestral arrangement and a piano version were written in

1933-34. Numerous guitar versions appeared at various times

leading to the 1959 publication. The original guitar

manuscripts were copied for Andres Segovia, Herman Leeb, and

Jose Azpiazu, (as well as for Universal Edition). Leeb and

Azpiazu conferred with Martin and made their own adaptations.

Ibid., p.21

15

Presumably, Martin accepted these alterations which included

notational additions, deletions, and rhythmic changes. The

fact that Martin wrote the same material for different media

indicates that he considered the essential material to be

malleable. It is thus reasonable to assiime that this view,

combined with his limited understanding of the guitar allowed

him to be willing to accept performers' suggested

alterations. After Segovia's original recognition, Martin

was surely interested in suggestions that might lead to the

performance of his piece.

General interest in Quatre Pieces Breves did not occur

until several years after its publication by Universal

Edition. Julian Bream's albxm, "20th-century Guitar,"

released in 1966, was largely responsible for initiating this

interest. The album was the formal, debut recording of

Quatre Pieces Breves (Jose de Azpiazu previously recorded

Quaere Pieces Breves for Swiss radio in 1951) Bream used

the Universal Edition for his recording. Apparently, he and

other guitarists were not aware of the existence of the other

sources at that time.

In the early 1980's a copy of the Herman Leeb manuscript

began to circulate within the guitar community. Some

guitarists consider it to be the true interpretive model for

' Ibid., p.20 Julian Bream, 20th Century Guitar, RCA LM/LSC 2964, 1965.

16

Quatre Pieces Breves; in many respects this is justifiable because it was the score used by Herman Leeb for the premiere

in 1947. It also corresponds, in part, to Martin's original

sketches. Nevertheless, there are still unexplained

alterations between this score and the other arrangements.

Possibly, Martin's intent was to simplify areas he thought

problematic. His unfamiliarity with the guitar and its

technical capabilities perhaps led to these changes.

Regardless of the motive, Martin prepared the Leeb manuscript

for a premiere performance, and later, publication, which

was his primary consideration.

As noted above, the 1959 Universal Edition was the primary

interpretive model prior to the emergence of the Leeb

manuscript. The Universal Edition differs from the Leeb

manuscript in that the first, third, and fourth movements

contain re-written sections. There are also interpretive and

notational variances between the two versions. Due to the

growing popularity of the Leeb manuscript. Universal Edition,

under pressure to accovint for the apparent discrepancies

between the two scores, was inclined to publish a second

edition of Quatre Pieces Braves in 1987. Prominent changes

include facsimile excerpts from the first (bar 40-end) and

fourth movements (bar 82-end) of the Leeb manuscript, a five-

bar ossia section (bars 16-20) in the third movement, and a

brief historical preface. Other changes include:

17

Prelude: bar 5, a natural on the last note; bar 8, Lent

above first beat and an accent mark below the low E; bar 10,

replaces p with p doux; bar 11, adds f on the high A; bar 24,

adds cres. under the first group of three notes; bar 34 adds

sf before the accent.

Air: bar 1, parentheses around the p; bar 5, below the

staff, mains doux (less soft); bar 7, parentheses around the

pp.

Plainte: bar 5, a tie between beat two and three; also bar

5, add an accent over the A; bar 7, a tie between beat two

and three; bar 16, adds ff under the first chord; bar 19, a

natural on the C in beat 2; last bar, corrects the typo; s to

sourd (deaf).

Coime une Gigue: bar 20, the accent of the high A# is

changed to Martin's personal double accent; bar 24, an accent

under the last note; bar 28, adds dim. under the second half

of the bar.^

Currently, performers are divided in their choice between

the three interpretive options: The Leeb manuscript, the

original Universal Edition, or the second Universal Edition

score. However, I consider there to be a more reliable

option. Frank Martin produced a 1933 piano score which he

performed himself. He has never altered this score.

3 Jan de Kloe. "FRANK MARTIN'S QUATRE PIECES BRilVES: A Comparative Study of the Sources." Soundboard 21 {Fall 1993): p.27.

18

Therefore, this study will provide an edition that

includes an examination of the piano score, while also

considering elements of both Universal Edition's and the

Herman Leeb manuscript.

A CHRONOLOGICAL STOVKY OF THE MANPCRIPTS AND SCORES

This chronology of Quatre Pieces Breves will begin with a

brief overview and discussion of nine scores from 1933-87:

(Msl) Martin's first complete manuscript is kept in the home

of his widow, Maria Martin. (Msla) The manuscript given to

Segovia which is now lost. (Mslb) The manuscript given to

Herman Leeb. (Ms2) The score incorporating Herman Leeb's

changes; it was used for the premiere performance in 1947.

(Ms2a) Martin sent this score (now lost) to the music

division at Radio Suisse Romande for a recording by guitarist

Jose de Azpiazu. (Ms3) This score contains Azpiazu's

modifications, (addition of fingerings, chord revisions, slur

markings, and harmonics) to make it more playable. (Ms3a)

Azpiazu hand copied his modified version for the director of

Radio Suisse Romande, Jean-Marc Pasche, which was returned to

Martin. (Ms3b) Azpiazu sent his version to Universal

Edition.

(Ms4) Martin prepared a final version of Quatre Pieces

Breves to be submitted for the 1959 publication. Karl

19

Scheit, editor of guitar music at Universal Edition, was

given the responsibility to edit this final version, much to

the disappointment of Azpiazu who felt slighted. In 1959,

following the first publication of Quatre Pieces Breves, Jose

de Azpiazu was stunned to find an edition that was, despite a

few incidental changes, an exact duplication of his modified

version.Recognizing his own product, he wrote to Martin

and Universal Edition for an explanation. He presumably

never got one. (Ms5) A second Universal Edition was

published.

It is likely that Martin sent Azpiazu's setting of Quatre

Pieces Breves to Universal Edition rather than his own. This

is probable since Azpiazu's score contained notation favored

by guitarists: fingerings and slur markings appropriate for

performance. Also, Martin was in the process of having his

complete works published by Universal Edition and was busy

preparing many other scores. Therefore, it is a strong

possibility that to save time Martin simply recopied

Azpiazu's performance-ready score.

Jan de Kloe "FRANK MARTIN'S QUATRE Pli:CES BRiVES: A Comparative Study of the available Sources." Soundboard 21 (Fall 1993): p. 26.

20

A CHRONOLOGICAL LIST OF SOURCBS FOR QUATRS PISCES BREVBS

Msl - Martin's first complete manuscript kept at the home of

Maria Martin, 1933.

Msla - The manuscript given to Segovia in 1933.

Mslb - The manuscript given to Herman Leeb in 1938.

Ms2 - The score that incorporates Leeb's changes.

Ms2a - The score that Martin sent to the Radio Suisse Romande

for Jose de Azpiazu's performance in 1951.

Ms3 - Azpiazu's modified version, 1951.

Ms3a - The copy of Azpiazu's modified version that was sent

to Martin in 1951.

Ms3b - The modified version that Jose de Azpiazu sent to

Universal Edition in 1955, believing they would publish

it.

Ms4 - The second Universal Edition, 1987.

21

CHAPTER 2

This second part of the study begins with a brief siimmary

of Martin's philosophy regarding tonality, atonality, and

serialism. It also includes a structural analysis of Quatre

Pieces Breves that incorporates stylistic and compositional

elements from Frank Martin's "early period," (1925-33).

FRANK MARTIN'S PHILOSOPHY ON COMPOSITION

Through a collection of personal statements from the

composer, the following section helps to clarify Martin's

thoughts regarding tonality, atonality, and his adaption of

Schoenberg's 12-tone serial technique. The compositional

insight derived from his quotations will also serve as a

valuable reference for succeeding chapters of this study.

According to Janet Eloise Tupper:

Frank Martin feels that a tonal basis in music is necessarily present due to the acoustical fact of the overtone series. Therefore, no matter how diffuse his harmonies may become, there is an insistence upon some kind of tonality. Many degrees of tonality are present, and different means are used to establish them. Vertical chord structures may imply tonality through the tension and relaxation of chords around a chord base or tone. In addition, the horizontal formation of a tonality that was present in some early music, as in a Bach solo partita or in

22

Gregorian Chant, has once again become increasingly important.

Although Martin was an admirer of Schoenberg's 12-tone

serial technique, his musical aesthetic would not allow him

to embrace fully the concept of atonality. He felt that the

abandonment of tonality would deny the composer an enormous

wealth of musical styles from past centuries. It was also

his belief that a composer could easily become reliant on the

ready-made system of rules corresponding to the 12-tone

system. A reliance that could become a form of entrapment

within the very system whose fundamental goal was one of

emancipation.

Although Martin rejected the idea of atonality at a very young age, he considered the 12-tone technique a valuable

enrichment to his compositional style. He explained as

follows:

Partial use of the 12-tone technique has helped me free myself from acquired customs and ready-made fomulas. Where I never could follow Schoenberg was in the area of atonality, against which I place my entire musical feeling. Considering atonality, I have the same feeling as before an architectural work in which the calculation of the gravitational support is not carefully done; as before a world in which there is no vertical, no horizontal, in which even the right angle is unknown.^2

Janet Eloise Tupper "Stylistic Analysis of Selected Works by Frank Martin," p. 11.

23

Martin continues his views on the 12-tone system:

The associations with the Row teach us to think and write in a new language, which everyone must create for himself according to his own feelings. The first thing that we learn from it is the use of especially rich melodies. Their richness is a product of the utilization of all twelve chromatic tones before the return of the first note. The search for such melodies attracts us out of the familiar roads of tonal or modal melody and makes us extraordinarily sensitive to the return of the melody upon itself.

In conclusion, Martin describes his thoughts on musical

aesthetics: "In music the result is beauty; in mathematics,

truth. The mathematical truth is compulsive and

indisputable. Beauty, however, must convince. In art there

is no other proof of success than the judgment of one's own inner feelings, than the consent of inner feelings."^'

Ibid., p. 13. Ibid., p. 13. Ibid., p. 14.

24

STRUCTORAL ANALYSIS OF OUATRE PXECS3 BREVES

This section provides a comprehensible, practical analysis

which guitarists may easily utilize for concert performance.

Although an in-depth analysis is beyond the scope of this

paper, major structural areas will be highlighted on the basis of form, melodic, harmonic, and rhythmic significance.

The Prelude from Quatre Pieces Breves demonstrates

Martin's early use of 12-tone melodic construction which

illustrates evidence of Schoenberg's influence in Martin's

music of the early 1930's. Example 1 shows how freely Martin

adapted the principles of 12-tone composition and applied

them within a tonal framework that is essentially B-natural.

Ex. 1. Martin, Quatre Pieces Breves, Prelude, m.1-2

The Chaconne pour Violoncelle et Piano, written in 1931,

also exhibits similar, Schoenbergian influence. The piano

bass line utilizes a freely constructed 12-tone row, but

clearly suggests an A tonal center through a fifth-related

series of bass notes: c#-f#-b-e-a. Therefore, Martin adheres

to certain principles of tonal composition.

Lent

trhexpreuif

25

Ex. 2. Martin, Chaconne, p.2, m.1-9

Adafln -

Theme P4

Puna

9*-BASS notes are CIFCH relACD

Modified 12-cone bASS

Canon Cncronce

iS*)-

A noticeable trait of Martin's compositions is the

complexity of rhythmic and metric design. His early works in

particular exhibit a strong tendency toward asymmetrical

rhythmic accents and a compoimd division of triple meter:

6/8, 9/8, and 12/8. Martin's stay in Paris c.1925, and

subsequent association with the Jacques-Delcroze Institute

26

for rhythmic theory undoubtedly had a great effect on this

aspect of his compositional style.

In example 3, from the Prelude of Quatre Pieces Breves,

the cadence is set off rhythmically by the faster note values

in 9/8 meter with an embellishing melodic line sequentially

related to the opening motive. Martin frequently utilizes a

compound division of triple meter to introduce new sections

and phrases.

Ex. 3. Martin, Quatre Pieces Breves, Prelude, m.3-5

Another good example of Martin's use of polymeters is

shown in his Trio sur des melodies populaires irlandaises,

written in 1931-32:

Ex. 4. Martin, Trio, p.17, 2m. after r.6

Poco stringcndo

<

-i-r-ii in ' - * 1, . s , K . ar

<

Poco ilringcndo

<

ft *it H J' j - j _ B J J = "J-J' gj -R-n' K yJ|J ^ J J -

<

#: * O (t <

H J ff 1* ir-rM -8-^^ is r r ~ ~T= r.T ' j

27

As previously stated (p.4), Martin frequently uses the

technique of thematic metamorphosis. This procedure allows

the composer to alter original themes or motivic units,

inorder to sustain interest in the basic material. In

example 5 the essence of the metamorphosis is through varied

repetitions of the opening motive (see ex.1). There are

interpolations of new tones and occasional reversals of

direction in the line. However, there is still an obvious

similarity between this theme and that of the original.

Ex. 5. Martin, Quatre Pieces Breves, Prelude, m.10-13

nnf.

ILL

I trrs rrtenu

4

tlim.

The melodic contour of Martin's early period suggests a

vocal influence through its typically balanced, linear

phrasing with a central arch, and somewhat limited range.

These phrases are often unified through the use of sequence.

Martin also creates thematic unity by including common

intervals between themes, thus achieving a subtle

correspondence of design.

28

Example 6 shows how the opening motive appears

sequentially in the middle, Vite section of Quatre Pieces

Breves.

Ex. 6. Martin, Quatre Pieces Breves, Prelude, m.14-16

The Prelude from Quatre Pieces Breves is essentially a

monothematic piece that is divided into three main sections.

Martin achieves unification by extending the opening motive

through thematic metamorphosis, rhythmic variety, and the use

of a similar cadential structure.

The third movement, "Plainte" (lamentful), is also a

monothematic work. Martin varies the length of the

ornamental, loosely-phrased melodic line giving it an

improvisational quality (see ex. 7).

29

Ex. 7. Martin, Quatre Pieces Breves, Plainte, m.1-16 Sim Icntcur

rrh en dehors

F ^ ' - F ^ h F ^ ' femprr urpegg.

I n . n ^ i . - n ^ r a i J ! n ? 3 - J T n

-4- ' a.11

J'jjuiH 7

un piKo mm

pi" p

The intervallic range of the melody is very small, moving

primarily in conjunct motion. Occasional leaps of a third, one leap of a fourth (the climax in m.ll), and a decending

fourth are introduced to provide melodic contour to an

otherwise registrally limited opening line. Thus, the main

item of interest is rhythmic variety. However, Martin

successfully achieves a sorrowful mood, which, as the title

suggests, is the primary expressive theme.

30

The Gigue of Quatre Pieces Breves is also constructed on a

loosely formed, 12-tone pattern. The first ten measures of

the movement are unaccompanied creating their own tonality in

a manner much the same as Bach does in his partitas which

rhythmically stress the tonic and dominant. See example 8:

Ex. 8. Martin, Quatre Pieces Breves, Gigue, m.1-10 Con moio

r r r f rr lutti legato

'j ^ 4 r r

The overall form of the Gigue is an A B A form which

employs a three-octave, three-note motive as the beginning to

the main theme in the first section. It also signifies a

return to the tonic throughout the movement. Transposition

of this motive allows a tonal contrast in the B section as

the phrases incorporate repetition and sequence. The first

few bars of the B section are shown in example 9:

Ex. 9. Martin, Quatre Pieces Breves, Gigue, m.34-37

chante

semprr

31

CHAPTER 3

In 1933, after a series of preliminary sketches, Frank

Martin completed the first copy of Quatre Pieces Breves.

Martin then presented the work to Andres Segovia, whom he

envisioned giving the premiere performance. He hoped Segovia

would add the work to his touring, concert repertoire.

Unfortunately, this never transpired. It was not until 1947

that Quatre Pieces Breves received it's formal guitar

premiere. However, during the interim Martin made a piano

and an orchestral arrangement of the work, each of which was

performed in the year it was written, in 1933 and 1934

respectively.

As previously outlined in chapter 1 there were several

versions of Quatre Pieces Breves that preceeded the 1959

publication. Although some scores were lost, i.e., the score

written for Segovia and the copy Martin sent to Jose de

Azpiazu, the existing scores differ sufficiently to create a

degree of confusion as to Martin's original compositional

intent. Currently, the versions most commonly used for

performance are the Herman Leeb, (1938) Universal Edition 1,

(1959) or the second Universal Edition (1987). The

discrepancies between these commonly used versions raise the

question of which score most accurately represents Martin's

true intentions.

32

It is my belief that the piano score of Quatre Pieces

Breves has not received adequate attention from guitarists

and historians. After all, Martin performed the work several

times on the piano prior to the guitar premiere in 1947. And,

today's piano score remains identical to its first

arrangement in 1933 (the same interpretive terminology,

phrasing, etc.). This would indicate that Martin had a clear

idea of his artistic and compositional goals for Quatre

Pieces Breves, which he initially expressed through the

piano. Why then, were there so many variances in the

subsequent guitar scores? As with most questions there are

many possible answers. However, it is my hypothesis that

Martin notated the guitar scores according to what he

presiamed easiest for guitarists to comprehend, even if it

sacrificed some of his original interpretive ideas. Karl

Scheit, guitar editor for Universal Edition, may have also

encouraged Martin to simplify areas to make the piece more

playable. In addition, while there were a few extraordinary

virtuosi at the time, it is relevant to note that guitarists'

technical abilities were not generally as strong as they are

today. This fact along with Martin's desire to have the work

performed may explain some of his interpretive flexibility

and subsequent modifications.

33

COMPARISON OF SCORES

The intention of this chapter is to support my contention

that Frank Martin's 1933 piano arrangement represents the

most reliable interpretive source for Quatre Pieces Breves.

Through a comparison of four scores (Leeb manuscript,

Universal 1,2, and the piano arrangement), specific sections

are identified based on their inconsistencies with the piano

arrangement. The principal revisions that I have made are

located in the first, third, and fourth movements, modeled

after Martin's piano score. Appendix A will provide a list

of notational additions and corrections which have been

included in appendix B, the revised score of Quatre Pieces

Breves.

The following discussion introduces the changes I've made

based on comparisons of specific passages from the

aforementioned scores. The first comparison takes place in

bars 3-4 of the Prelude. The following examples are

extracted from the Universal, Leeb, and piano scores.

Ex. 10. Martin, Universal Edition, Prelude, m.3-4

34

Ex. 11. Martin, Leeb Manuscript, Prelude, m.3-4

Ex. 12. Martin, piano score. Prelude, iti.3-4

Plus vile

In bar 3 the primary issue is note duration. Karl Scheit

(Universal Edition guitar editor) notates the first three

beats as an eighth-note figure, without tying the notes.

Similarly, the Leeb manuscript also indicates eighth-notes,

but includes a quarter-note sustain on beat one. In the

piano score, however, the notes are tied so that it sustains

for ten counts, serving as a pedal harmony to the melody.

This produces a greater emphasis on the overtone quality of

each note, thereby enhancing the overall sonority of the

figure. On the guitar, this effect can easily be duplicated

with a fifth-position arrangement of the figure, accompanied

by the appropriate notation for the sustaining notes.

Universal Edition and the Leeb manuscript omit several of

Martin's phrase markings. In most instances the groupings

are apparent; the contour of the melody clearly defining the

beginning and ending. In other instances, the absence of

specific phrase indications can make accurate interpretation

35

difficult, such as bars 3-4 of the Prelude. In bar 3 the

melody line suggests a phrase ending on the eleventh beat,

with the new phrase beginning on beat twelve, leading into

the 9/8 passage of bar 4 {see example 10). However, in the

piano score, Martin notates a phrase mark for beats eleven

and twelve (bar 3, c#-d#), followed by the three-phrase

groupings of the sixteenth notes. By clearly indicating that

the phrase ends on c#, Martin implies a downbeat resolving

tone rather than simply a pick-up note to the Plus Vite

passage. Therefore, the inclusion of this phrase mark will

serve to eliminate any subjective interpretation that might occur.

Example 13 illustrates the revised version of bars 3-4:

Ex. 13. Martin, revised edition, Prelude, m.3-4

Plus vile VI

The next comparison is located in the Vite section of the

Prelude, bar 21. The following excerpts are from Universal

Edition, the Leeb manuscript, and the piano score.

36

Ex. 14. Martin, Universal Edition, Prelude, m.21

nnfz.

Ex. 15. Martin, Leeb manuscript. Prelude, m.21

Ex. 16. Martin, piano score. Prelude, m.21

This comparison is similar to the previous one in that the

main issue is also bass note sustain. In Ex. 14, Karl Scheit

notates each eighth-note equally, as shown in the Universal

Edition example. This would require the interpreter to

dampen the E, A, and G# (beats 1, 5, and 7), inorder to

prevent the notes from ringing throughout the measure. At a

quick tempo this dampening technique is very difficult to

execute and is also unnecessary. The Leeb manuscript and

piano score, allow the bass notes to sustain, creating a

distinct accompaniment to the melody. The revised version of

bar 21 utilizes the Leeb manuscript notation, but extends the

duration of the fifth-beat A, in compliance with Martin's

piano score.

37

Example 17 illustrates the revision of bar 21 of the

Prelude:

Ex. 17. Martin, revised edition. Prelude, m.21

i '

r nnfz.

In examples 18 and 19 I will compare bar 38 of the

Prelude. The excerpts are from Martin's piano score and

Universal Edition (Leeb's manuscript is identical to

Universal Edition).

Ex. 18. Martin, Universal Edition, Prelude, m.38 nrr ft

Ex. 19. Martin, piano score. Prelude, m.38 nrrnu

The Universal Edition example complies with the piano

score in that beats 4-9 exhibit the same voice leading

arrangement; a repeating B, C#, and D bass figure. However,

unlike the piano score. Universal Edition does not double any

38

of the chordal notes. In part, Karl Scheit's decision is

understandable; the bass notes (B, C#, D) cannot be doubled

within the context of the measure and the additional octave,

E, would appear to confuse the voice leading. However, when

positioned on the first line, the integrity of the line

remains intact and ultimately gives the passage a fuller,

chordal texture. Example 20 illustrates the revision of bar

38 of the Prelude.

Ex. 20. Martin, revised edition. Prelude, m.38

The last manuscript and score comparison of the Prelude

takes place in a six-bar transitional section, entitled Lent.

The following examples are extracted from the Universal

Edition, Leeb, and piano score.

Ex. 21. Martin, Universal Edition, Prelude, m.39-44

Leitt

39

Ex. 22. Martin, Leeb manuscript, Prelude, m.39-44

LiU I Vite Ldit _

\emprr sr

Ex. 23. Martin, piano score. Prelude, m.39-44

Lent

From the examples shown it is clear that there are

variances between scores. Notational differences occur

between the Leeb excerpt, and both piano and Universal

Edition excerpts. The Universal Edition example follows more

closely to the piano score, whereas the figure preceding the

trill in the Leeb excerpt utilizes a sixteenth note pattern

rather than triplets, (see Ex. 22) and alters the rhythmic

stress of the figure.

I believe the Universal Edition is more reliable than the

Leeb manuscript, however it does not account for the lower

octaves indicated in the piano score. This is unfortunate

because the octaves, particularly when combined with the

trill, add a completely different character to the section.

Therefore, I have modeled my revision of bars 39-44 after

Martin's piano score (see Ex. 23). The result is a fuller

texture that more authentically represents Frank Martin's

40

original compositional ideas. Example 24 illustrates the

revised section.

Ex. 24. Martin, revised edition, Prelude, m.39-44

Lent

The next section in review is located on p.5, bars 16-20

of the Plainte. Excerpts from Universal Edition 1, Universal

Edition 2, the Herman Leeb manuscript, and the piano score

are used for comparison. Examples 25-28 illustrate the

following excerpts.

Ex. 25. Martin, Universal Edition 1, Plainte, m. 16-20

II I J r J >

J

.t lempit

Ex. 27. Martin, Leeb manuscript, Plainte, m.16-20

j i jjJQ- jJQ-' i j i J J ^ -1= = = = = ^ i f - 9 = 1,^ =-JS = -

" F ^ F f ^ 7 f

r-aciel.

42

Ex. 28. Martin, piano score, Plainte, m. 16-20

!#-

1

55, J

As shown in the examples, each score demonstrates its own

interpretive characteristics. Universal Edition 1 takes the

entire passage down one octave. It also employs open string

chords such as the first three beats of bar 16. The second

Universal Edition offers an ossia alternative featuring the

upper octaves similar to both the Leeb manuscript and piano

arrangement. The Leeb manuscript is notated entirely in the

upper register. Martin's piano score incorporates a double

octave figure in the upper stave which is extremely difficult

to accomplish on the guitar, as well as musically

unnecessary.

The chord structure of Universal 1,2 and the Leeb

manuscript contain the same notes as in the piano score,

however, there are differences in register and placement. In

bars 16,17, and the first two beats of bar 18, Universal

Edition 1 employs a rolled, open note chord pattern which is

quite easy to accomplish (see Ex. 25). However, I believe

43

this combination greatly reduces the dramatic quality of the

passage, creating a more mundane effect. The ossia section

of Universal Edition 2 utilizes the upper octaves, but

notates the opening chords in the twelfth position. This

would demand a full bar on the twelfth fret, making clear

articulation nearly impossible. The Leeb manuscript offers a

better solution by leaving the low E and A as open notes,

permitting only a half bar on the twelfth fret. This

achieves a more desirable balance between upper and lower

registers (see Ex. 27).

For the section, bars 16-20, it is my editorial suggestion

to combine elements from the Leeb manuscript and Universal

Edition 1. The first two bars will correspond to the Leeb

manuscript because it utilizes the upper octaves, offers a

more accessible chordal placement, and retains the lower bass

notes. The following three bars will remain in the lower

octaves as indicated by Universal Edition 1. Thus, producing

a contrast of timbre between the two phrases. The revised

bars are illustrated in example 29.

44

Ex. 29. Martin, revised edition, Plainte, m. 16-20

/T1 J"T3 ' >1 Tti'n' '~in ^'. [ ' 'L " ^ i 1' .f I

r r r r r f r ^ XT

The first manuscript and score comparison of the fourth

movement, Gigue, takes place in bars 1-2. The Gigue begins

with an introductory note B, which is repeated three times,

forming the opening motive of the movement. Universal

Edition 1 and 2 present the opening motive in a double octave

format while the Leeb manuscript incorporates a third octave

to the figure. The piano score indicates four octaves for

the opening motive. However, this exceeds the guitar's

range, making it impossible to accomplish. Therefore, the

best compromise would be to employ the Leeb manuscript's

additional octave. Although it is slightly more difficult

than the Universal Edition version, it is still quite

manageable. Examples 30-32 illustrate the different versions

of the Gigue's opening motive.

45

Ex. 30. Martin, Universal Edition, Gigue, m.1-2

zx: Con molo

Ex. 31. Martin, piano score, Gigue, m.1-2

Ex. 32. Martin, Leeb manuscript, Gigue, m.1-2

The A section of the Gigue reaches its climax in bar 26

with the return of the opening motive. Again, the published

Universal Edition score selects the lower register, whereas

the Leeb manuscript utilizes the guitar's twelfth position

placing the high F# on the fourteenth fret. Examples 33-34

demonstrate both versions of bar 26 while example 26, bar 26

of the piano score, is shown for reference.

Ex. 33. Martin, Universal Edition, Gigue, m.26

46

Ex. 34. Martin, Leeb manuscript, Gigue, m.26

sr

Ex. 35. Martin, piano score, Gigue, m.26

y* xemprr -

As shown in example 34, the "Leeb" chord exhibits a fuller

texture compared to the Universal Edition example. The notes

are doubled in accordance with Martin's piano score. And,

the guitar's fourteenth fret F# transpositionally matches the

pitch of the piano's fifth-line F#. This chordal format

emphasizes the climax in bar 26 and more accurately complies

with the piano version.

It is my assumption that due to the difficulties of the

upper register chord placement Universal Edition opted for

the easier, second position alternative. However, if the

fifth-line F# is omitted, the chord, while still difficult,

is much more attainable. Example 36 illustrates the revised

bar.

47

Ex. 36. Martin, revised edition, Gigue, m.26

f itmprr

The final comparison takes place in bar 82, the return of

the Gigue's modified A section. The following examples will

demonstrate the significant differences between the Universal

Edition ending, Leeb, and piano endings.

Ex. 37. Martin, Universal Edition, Gigue, m.82-end

piuf

>

Plus lent Ir^ dKlamt

48

Ex. 38. Martin, Leeb manuscript, Gigue, m.82-end

Tempo I

m a'r'rv fv |'f n. Pf'fe W W W p

ifuirvatu Jeclame rail, crrtc.

Ex. 39. Martin, piano score, Gigue, m.82-end

Tempo 1

w w w N J

. o esprrss.

U t j 1 J J [ 1' = = f = r ^ j 1

Plus lent >

As evident in example 37, Universal Edition extends the

ending of the movement. Essentially, the additional nine

49

bars act more as a recapitulation of the original A material.

Whereas, the endings of the Leeb manuscript and Martin's

piano score function more as a coda rather than an

abbreviated, restatement of the A section. Nevertheless,

either version completely changes the conclusion of the

movement.

The justification for Karl Scheit's extended ending of the Gigue remains a matter of speculation. Certainly, as shown

in the previous examples, it does not comply with Martin's

original piano score or the Herman Leeb manuscript. And, it

is assumed that Martin saw and approved Scheit's Universal

Edition score prior to publication. Then, who was

responsible for this editorial decision? Unfortunately,

there is no documented evidence of this editorial choice and

what role Martin may have played in this decision.

It is possible that Karl Scheit (Universal Edition guitar

editor for Quatre Pieces Breves' 1959 publication) may have

initiated this adaptation. Or, as discussed in chapter 1,

Scheit may have simply recopied the Gigue's ending from Jose

de Azpiazu's version of Quatre Pieces Breves. However,

without concrete documentation, this question, like many

other questions regarding Martin's Quaere Pieces Breves

remains something of a mystery. Therefore, due to the

inconsistencies found within the published edition, it is

imperative for performers to examine the other available

sources prior to making final, interpretive decisions. And,

50

it is the goal of the present study to initiate further

interest and acceptance towards Frank Martin's 1933 piano

score, which may easily regarded as Quatre Pieces Breves'

original, interpretive model.

Example 40 illustrates the revised ending of the Gigue,

bars 82-end:

Ex. 40. Martin, revised edition, Gigue, m.82-end I I I I

Tempo I

ffspms.}

UhUt! It J

plui tent' Je'clamf

CaiCLUSION

Frank Martin's Quatre Pieces Breves is one of the most

innovative guitar works of the early twentieth century. It's

complex tonal and harmonic design, which incorporates

Schoenberg's 12-tone techniques, distinguishes Quatre Pieces

51

Breves from earlier, more conservative guitar works.

Unfortunately, due to Segovia's rejection and several score alterations from various collaborators, Quatre Pieces Breves

did not achieve immediate recognition. Additionally, it is

the author's opinion that many of Martin's original

interpretive and notational intentions were lost as a result

of this process. Therefore, the purpose of this study has

been to address the discrepancies between the various sources

of Quatre Pieces Breves, define the role of the

collaborators, and to justify the new critical edition which is based upon the author's conclusions.

In my new edition I have used Martin's 1933 piano score of

Quatre Pieces Breves as the primary interpretive model

because I believe it preserves his original intentions

regarding this work. I have also combined the best ideas of

Martin's illustrious collaborators, creating a new, more

authentic interpretation of this work. I am confident that

this new edition has clarified many of the long-standing

interpretive issues and will serve as an alternate to the

current, published edition.

52

APPENDIX A

NOTATIONAL REVISIONS AND ADDITIONS FOR QUATRE PISCES BRBVSS

BASED ON FRANK MARTIN'S 1933 PIANO SCORE

PRiLUDE

Bars 1-3: included accent symbols, cresc. markings.

Bar 4: added Piano marking.

Bar 7: added en elargissant from the Leeb and piano scores.

Bar 8: added forte and accent marks.

Bar 10: added rinf. and accent marks.

Bar 11: tres chante over beat 4 and a flat on last A.

Bar 13: dim. under fourth beat.

Bar 27: a sf under the ninth beat.

Bar 29: a sf under the first beat and a dim. under the sixth

and seventh beat.

Bar 3 5: a mf under the fourth beat.

Bar 39: accent mark on the first beat, C.

AIR

Bar 6: the first beat F is has been changed to a quarter

note; omit the rest under the second eighth note.

Bar 8: added a 8va. E to the second beat chord.

PLAINTE

Bar 1: added tres en dehors and mf.

Bar 2: added sempre arpegg.

53

Bar 10: added staccato symbols.

Bar 11: the rest over first beat has been omitted.

Bar 24: accent mark and sf on the third beat.

Bar 25: a sf on the second beat.

Bar 26: a Tempo 1 indication has been added and a piano

symbol under the second beat.

Bar 29: accent on the first beat and rail, above the fourth

beat.

Bar 31: the first chord has been changed to whole notes with

a hold symbol above. A hold symbol has been added to the E

harmonic and the half-note rest has been omitted.

Bar 32: A ppp symbol.

Bar 35: added quasi gliss., cresc., and tres sourd et tres

href.

GIGUB

Bar 2: added non legato.

Bar 17: added cantabile.

Bar 2 6: added forte sempre.

Bar 36: added tres chante.

Bar 7 9: added sempre.

Bar 84: added espress.

Bar 8 6: added cresc. Mark.

Bar 88: added dolce.

54

APPENDIX B

NEW CRITICAL EDITION

QUATRE PIECES BREVES Dour la Guitare Ntmm ^ 1933

cdiitfd by L Prelude Brent Pue McCahe

VI Lent

Plus vile

crrsc.

un peu rrtenu

trrs chante

III tres rrtenu

tiim.

The rmmbers indicated throughout this score represent editorial revisions. The corresponding letters (P, L, U) indicate Piano, Leeb, Universal Edition scores, which the revisions are based upon. The reference examples may be found at the end of this edition, -editor.

ii: 111

f<

56

n >

^ [Jf f f f f f

nun.

LLI UJ UJ f

p I p I

II. Air

57

Lent cl bitn rythm<

=iili

^P^doux

iJ d LJ

mains

58

HI. Plainte

Sans Icntcur

"!/ semptr arpegg-

j^n n^j> u .-ra^rsn JTOS-Jm

j i J b j i a i i j j i j ' j j j / j j j i l l b j . i:.. 2 J . i'-i

^ - ' ' 4 } b ' -n=rr ^un pnca nten.

iri ' l'J 5=1 ^g j '' P 1 n r "V

^ x:ii-. XII

. ' i H l i r a J T l J T O

jjlT] rr-j"3 , , mo/m string.

(S

59

^ Tempo I

Mu/otin FPP

p S L 9 : 4 p 9

(trh sour4 tt trH bn/J

^!ii:4l i 3 ^ ^ Iquati glut. I

60

IV. Comme une Gigue

4 VI

Con moio

2 ' 6^ 0 ^ 0 4 )

non

i .'4 ^ 4 i T r r i

JJ J p j'siir-'^ 'j'm;-r ,a'

p*f

-j J.j. .' -J,: -J-J a pa

V I

/

^ %emprr

61

chtuue

pp tempre

Lirr r rr

o:t t

rr rjr

s )[ "" ^.. J.Td .1 "I'.'I ^,. 1| il.a Vj a'^c = i = = = = 1* 3 ^

-r ' rr r r r-r r r r r r-^ =/

VII r-viii

62

ti/i poco nt d tempo . J J

" i i tr ifmpre ff jn subito

raiUnt.

s m m m m m m .nni fii! [CT .nn m ICT m rn p

pffiietuJiisi

Lent

3) P.L Tempo 1

r-III

i A If. f^r'T-r. iempir

r r p [esprruj

I' h' ['"''r-r |f nr g'Ff |f,' ,, j-m^l ==:ir mf ' ' '"/

plus lent' dedame

0 2\ iS ^ , I } t. iid %J' ,,-J

63

REFBRBMCE BXiVMPLKS

PRELUDE

[1] P

Piano score, bars 3-4

[2] P,L

Piano score, bar 21

Pliu vile

Leeb manuscript, bar 21

* piKo crrsc.

[3] P

Piano score, bar 38

menu

64

[4] P

Piano score, bars 39-44

Lent

[1] p

Piano score, bar 6

AIR

PZAINTB

[1] P,L,U

Piano score, bars 16-20

65

Leeb manuscript, bars 16-20

J J J J J-=

itccel.

Universal Edition 2, bars 16-20

II

66

GIGOB

[1] P,L

Piano score, bars 1-2

J ^ i J V wS '

"!/ non Itjtato

Leeb manuscript, bars 1-2

[2] P,L

Piano score, bars 26-27

Tff f C F -r

y umprr s ^ f

f gi*

1^r r ^

Leeb manuscript, bars 26-27

ULT

67

[3] P,L

Piano score, bars 82-end

Tempo I

m ;4_J ,J

O - i - ] * > ^ i 1

" "/ ^. dokr crrKT.

rr ^ rp if

Ptiu lent (Wclam<

Leeb manuscript, bars 82-end

Tempo I

68

RBFBRKMCES

Austin, William W. "Frank Martin." In Dictionary of Contemporary Music, 453-454. New York: Button, 1974.

Austin, William. In Music in the 20th Century from Debussy through Stravinsky, 496-497. New York: Norton, 1966.

Billeter, Bernhard. In The New Grove Dictionary of Music and Musicians, 715-718. New York: Macmillan, 1980.

Garner, Mosco. "Music in the Mainland of Europe: 1918-1939, (Switzerland) ." New Oxford History of Music, 10: 320-321. New York: Oxford UP, 1974.

de Kloe, Jan. "FRANK MARTIN'S QUATRE PIECES BREVES: A Comparative Study of the Available Sources." Soundboard 20 (Summer 1993): 19-27.

. "FRANK MARTIN'S QUATRE PIECES BREVES: A Comparative Study of the Available Sources." Soundboard 21 (fall 1993): 21-27.

Evans, Peter. "Music of the European mainstream: 1940-1960." New Oxford History of Music, 10: 419-420. New York, Oxford UP, 1974.

Evans, Tom and Mary Anne. "GUITARS," p.124. Facts on File, New York, NY: 1977.

Greene, David Mason. Greene's Biographical Encyclopedia of Composers. Garden City, NY: Doubleday, 1985.

Hamilton, Ian. "Swiss Contemporary Music." In European Music in the Twentieth Century, 121-22. Routledge & Kegan Paul, London: 1957.

Jonkers, Hans. "The Guitar in Switzerland." Classical Guitar 11 (July 1997): 14-21.

Kilvington, Chris. "Eliot Fisk plays Scarlatti, Martin, Ponce, Raffman, Paganini." Classical Guitar 3 (March 1985): 65-66.

69

King, Charles W. "Frank Martin: A Bio-Bibliography." New York: Greenwood Press, 1990.

Kozinn, Allen. "The Guitar Literature: Beyond Segovia's Influence." Guitar Review 58 (Summer 1984): 10-13.

Reich, Willi. "On Swiss Musical Composition of the Present." Musical Quarterly 51 (1965): 78-82.

Tupper, Janet Eloise. "Stylistic Analysis of Selected Works by Frank Martin." Ph.D. diss., Indiana University, 1964.