In his work, Frank Martin creates his own original style, using the principles of dodecaphony, but without rejecting the classical tonal system and fills his scores with ingenious rhythmic variety. He has composed in all genres – Requiem, Mass, oratorios (“Golgotha ”,“ In terra pax ” and others.), symphonic and chamber works for various solo instruments and ensembles, vocal works (“Sechs Monologe aus Jedermann”,“Et la vie l’emporta”), the opera Tempest after Shakespeare’s play , a lot of theatrical scores based on religious texts („Le Mystère de la Nativité” and others.). Among his sixteen concert opuses for all instruments, the Petite Symphonie Concertante (for harp, harpsichord, piano and two string orchestras) and the Concerto for seven wind instruments, timpani and other percussion instruments and string orchestra made Martin’s international reputation.
His is also highly praised for his VIOLIN CONCERTO (1950). After the premiere performance by Hansheinz Schneeberger under the baton of Paul Sacher in Basel on January 24, 1952, the work was immediately recorded for DECCA performed by Wolfgang Schneiderhan under the direction of Ernst Anserme, Paul Kling with the Louisville Orchestra, Josef Szigeti and other famous violinists. The critics wrote: ” Frank Martin’s Violin Concerto must be counted one of the finest 20th century works in the genre. It’s a very beautiful, lyrical work. The opening orchestral tutti alone instantly establishes an unforgettable, magical atmosphere, an amalgam of impressionism, jazz, modal harmony, and a touch of 12-tone technique.”
Frank Martin’s Violin Concerto is a work of great beauty … Max Harrison spoke of its ”clarity, restraint, and dignity” and Martin’s skill in ”combining and contrasting unobtrusively original sonorities”.. The textures are marvellously luminous and have a translucence and limpidity all their own.
The author himself shared: “Begun directly following the composition of the Five Songs of Ariel (after The Tempest of Shakespeare) the violin has retained from it – especially at its beginning – the same kind of mysterious and somewhat fairy tale-like atmosphere; it even borrows from them a motif, introduced by the horns at the sixteenth measure. Other elements enter, more lyrical and even emotional; yet always the character of Ariel reappears, distantly mysterious, at the end of the first movement as well as the entrance of the violin in the second; or else live and fantastical, as at the beginning of the Finale. Here, however, there is nothing ‘concerted’: I had simply remained somewhat spellbound by the charms of Prospero’s island.”