Symphonie pour grand orchestre

Symphonie pour grand orchestre
Symphony for full orchestra

Year of composition

1937

Duration

27'

Scored for

orchestra: 3 0 3 1 - 0 3 3 1 - timp. - perc. - 2 pianos - cel. - sax(3) - strings
I. Allegro molto agitato
II. Largo
III. Scherzo: Allegro molto - Trio: Meno mosso
IV. Finale: Largo

Publication information

Universal Edition (UE16846)

Commentary

Symphonie pour grand orchestre
In the autumn of 1936 it was about two years after I had started to summarise the problems of the constraints of Schönberg’s 12-note system, intended as a basis and order in atonal music, and also of my conviction that all music can only be true music if it is based on hierarchical relations between the notes, thus, in the widest meaning of the term, on a certain sense of tonality.
The Symphonie and the Trio à cordes which preceded it are the two works in which I followed the rules of the 12-note system most closely, without, however, engaging in atonality.
Ernest Ansermet wrote the following in the programme for the first performances of this symphony, which he conducted in Geneva and Lausanne on March 7 and 9, 1938: *

[…], short of a special effort to write purely decorative music, it is probable that the composer was inspired by an idea or image, according to his mood while working on his music, which occupied and directed his sentiment. This idea could be formed in his mind and remain artistically unfulfilled, in a state of dream, the realisation being purely musical. It could also be that the composer was obsessed by the main idea of a literary work, without considering the details. It would be interesting to know what was going on in his mind while composing.
In this case, the opposing elements were the Apocalypse on one hand and Shakespeare’s La Tempête on the other hand; two very different lines of thought, linked by only one point: the contrast in one between the divine and the devilish, and in the other, between Ariel and Caliban. This simple fact is quite significant and refutes any question of emotional or passionate contingency in the drama. For that matter, the only times a relationship is clear between this symphony and one of the two literary masterpieces are the beginning of the first movement, which starts with a raging storm, as in Shakespeare’s play, and the end of the movement, when nature regains an indifferent calm after the ship’s sinking. However, searching for exact matches would be in vain and only mislead the listener.

After the tempestuous beginning, the first part develops long melodic lines over a lively harmonic base. After a pause which marks the end of the first classical reprise, a cello recitative introduces a march movement, a constant progression from a distant pianissimo to a violent outburst, a kind of downfall or clash. Then the beginning reappears but without its dramatic quality: a calm sea after the shipwreck.
 The second part comprises two elements: a long, expressive melody introduced by the flutes which is taken over by the violins, and a somewhat mystical phrase announced by the trumpets. These two elements are then played in various combinations.
 The scherzo has no dramatic characteristics, no harshness or violence; perhaps even hardly any humanity: spirits’ dances and bell play, interrupted by a short chorale in the style of a Trio.
 The dramatic elements reappear in the finale: a recitative for the piano, a violent dance which calms down gradually and leads into a slow melody in the form of a canon, played by the strings only, and an extensive conclusion.

The orchestra used in this symphony is characterised by the choice of instruments that are played everywhere in our day and not only in symphony orchestras. These are stringed instruments, trumpets and trombones, two pianos and some percussion instruments, such as the vibraphone and the big marimba xylophone, also flutes, clarinets and a group of three saxophones. Finally, for those curious about technique, we can say that the musical language of this symphony, while approaching the 12-note school with some elements of writing, on the other hand resolutely deviates from it by its harmonic character which, in consequence, rejects atonality. If we want to give it a label, the most suitable without any doubt would be: polytonal harmonic music, as its basis is melody accompanied by chords.

* As it is highly probable that Ernest Ansermet obtained the information from Frank Martin himself concerning the literary works that influenced several parts of his composition of this symphony, we felt that it is justifiable to reproduce this commentary here, even though it was written by Ernest Ansermet.

Published in A propos de… commentaires de Frank Martin sur ses œuvres (Neuchâtel, 1984) | English translation by Rachel Ann Morgan

Premiere

World première: Lausanne/Geneva 7/9 March 1938. Ernest Ansermet, conductor

Recordings (selective list)

  • London Philharmonic Orchestra
    Matthias Bamert, conductor
    CHANDOS CHAN 9312 ℗ + © 1994 (FMS115)

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