217:. A 12-note row is apparent at the opening of the first movement, though Martin treats it as he does any other thematic or motivic material: it appears in various transpositions (all twelve, if fragmentary statements are included) but is never used in inversion, retrograde or retrograde-inversion forms, and is by no means present throughout the work. The row also demonstrates some other characteristic features of the composer's 12-tone technique, including the use of constant rhythmic values, no octave transpositions within the series, and the row's use frequently as an accompanimental
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in outlook, and his approach reflects Martin's adoration of Bach. Martin's style draws elements from both the musical styles and traditions of France (such as the use of harmony to create local colour and the freer formal organisation) and Austro-Germany (such as the generally polyphonic style and
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genre to be composed in the twentieth century. 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".
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is in two movements, separated by the briefest of pauses. Each movement may then be divided into two 'halves', though the relationship between each part differs considerably between the two: the first comprises a slow introduction of forty-six bars out of which the following
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divided into two groups, though all accounts suggest the final choice of instruments was the composer's own. Using all of the common stringed instruments available, Martin desired to use the harp, harpsichord and piano not as accompanying, or
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and others, of 'telescoping' his row forms, that is, the final note of one statement is also the first of the next at a different transposition, though unlike these composers, Martin only uses fragments of each row form.
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derives all of its motivic material; the second begins with an Adagio which showcases the three solo instruments (harp, piano, then harpsichord) before breaking into a lively march.
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The piece was intended for the so-called "revival harpsichord", the large early-20th-century instruments built in the piano tradition by makers such as
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175:' instruments (as is often their role) but as solos, thus being a distant echo of
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Concerto for seven wind instruments, timpani, percussion, and string orchestra
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the dense motivicism). The work also demonstrates Martin's use of the
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was completed the following year and received its premiere in
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189:. The work gained Martin international recognition.
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297:Suisse Romande Orchestra, composer (Jecklin), 1970
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106:Learn how and when to remove this message
150:on May 27, 1946, under the direction of
241:. It is one of the few pieces in the
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500:Compositions for piano and orchestra
44:adding citations to reliable sources
505:Concertos for multiple instruments
301:Academy of St Martin in the Fields
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365:. New York; Hill and Wang, 1959.
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135:, one of his best-known works.
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510:Music dedicated to Paul Sacher
55:"Petite symphonie concertante"
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363:Encyclopedia of Concert Music
341:London Philharmonic Orchestra
490:Compositions by Frank Martin
415:Petite symphonie concertante
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480:Concertante symphonies
311:NDR-Sinfonie Orchester
215:Second Viennese School
187:symphonie concertante
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243:sinfonia concertante
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267:Deutsche Grammophon
250:Selected recordings
127:composition by the
485:1945 compositions
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336:Rescored version
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351:), 1993
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