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by
Brent Foe McCabe
Copyright 2000 by
McCabe. Brent Poe
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TABLE or CONTENTS
LIST OF EXAMPLES
ABSTRACT
CHAPTER 1
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
STRUCTURAL ANALYSIS OF QUATRE PIECES BREVES
CHAPTER 3
21
24
31
COMPARISON OF SCORES
CONCLUSION
APPENDIX A
33
50
52
52
52
52
52
53
54
54
63
63
64
64
66
68
5
LIST OF EXAMPLES
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 OP EXAMPLES -
Continumd
40
41
41
42
44
45
45
45
45
46
46
,47
,47
.48
.48
.50
ABSTRACT
This
GUITARE-Quatre Pieces
The
CHAPTER 1
INTRODOCTION
lessons.
two years, as a teacher of rhythmic theory at the JacquesDalcroze Institute, working closely with its founder and
director.
In 1946 he moved to
10
It also
For this
11
cind
serialism.
It also provides a
Quatre Pieces
12
Editorial
It is imique
Tom and Mary Anne Evcins. "GUITARS." New York: Facts on File,
1977.
13
This music
Segovia's rejection of
14
As a result
Nevertheless,
Prior to
Ibid., p.21
15
The
fact that Martin wrote the same material for different media
indicates that he considered the essential material to be
malleable.
Bream used
Apparently, he and
Some
16
Due to the
Prominent changes
17
staff,
mains doux
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.
18
(Ms3a)
Edition.
(Ms4) Martin prepared a final version of Quatre Pieces
Breves to be submitted for the 1959 publication.
Karl
19
In 1959,
He presumably
published.
It is likely that Martin sent Azpiazu's setting of Quatre
Pieces Breves to Universal Edition rather than his own.
This
Therefore, it is a strong
Jan de Kloe
"FRANK MARTIN'S QUATRE Pli:CES BRiVES: A
Comparative Study of the available Sources." Soundboard 21 (Fall 1993):
p. 26.
20
21
CHAPTER 2
The compositional
22
It was also
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
23
in mathematics,
indisputable.
In art there
Ibid., p. 13.
Ibid., p. 13.
Ibid., p. 14.
24
trhexpreuif
The piano
25
Theme
P4
Puna
Canon Cncronce
26
-i-r-ii
in
'
1,
. ar
Poco ilringcndo
ft
*it H
J'
j -j_
B J
#:
J = "J-J'
gj
-R-n'
K yJ|J ^
O (t
<
J ff 1* ir-rM
-8-^^
is
r r ~ ~T=
r.T
' j
27
In
There are
ILL
trrs rrtenu
tlim.
28
29
'-F
'
femprr urpegg.
I n . n ^ i . - n ^ r a i J!n?3-JTn
-4-
' a.11
J'jjuiH
un piKo mm
pi" p
30
See example 8:
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
Transposition
The first
semprr
31
CHAPTER 3
He hoped Segovia
Universal Edition 1,
The
32
Karl
33
COMPARISON OF SCORES
34
Karl Scheit
35
In bar 3 the
Plus vile
36
nnfz.
At a
37
i'
r
nnfz.
However,
unlike the piano score. Universal Edition does not double any
38
However, when
38 of the Prelude.
39
\emprr
Vite
Ldit
sr
This is unfortunate
40
revised section.
following excerpts.
II
>
.t lempit
1=
"F
j i jjJQ-
jJQ-' i j i
J J
= = = =^
i f - 9 = 1,^ =-JS = -
7 f
raciel.
42
55,
The second
upper register.
However, I believe
43
This
This
The revised
44
/T1 J"T3
^'.
XT
'
'L
"
1' .f
Universal
Therefore, the
45
zx:
Examples 33-34
46
sr
y* xemprr
-
And,
However, if the
47
itmprr
piuf
>
48
a'r'rv
fv |'f n. Pf'fe
ifuirvatu
Jeclame
rail,
crrtc.
N
w
o
esprrss.
U tj 1
f
J
=
[ 1'
r ^ j1
49
Nevertheless,
Certainly, as shown
Unfortunately,
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
Tempo I
ffspms.}
UhUt! It J
plui tent' Je'clamf
CaiCLUSION
It's
51
Additionally, it is
I am confident that
52
APPENDIX A
NOTATIONAL REVISIONS AND ADDITIONS FOR QUATRE PISCES BRBVSS
BASED ON FRANK MARTIN'S 1933 PIANO SCORE
PRiLUDE
AIR
PLAINTE
53
GIGUB
54
APPENDIX B
NEW CRITICAL EDITION
QUATRE PIECES BREVES
Dour la Guitare
Ntmm
1933
cdiitfd by
Brent Pue McCahe
L Prelude
VI
Lent
Plus vile
crrsc.
un peu rrtenu
trrs chante
III
tres rrtenu
tiim.
ii:
111
f<
56
>
[Jf f f f f f
nun.
LLI UJ UJ
f
<
i
m 11
Large
J mbito
umprt y
57
II. Air
Lent cl bitn rythm<
=iili
iJ
^P^doux
LJ
mains </r;u.r
JV'
rrrs Jaux
j'lVrTn..nrm m
"
(a
ij=^
i
58
HI. Plainte
Sans Icntcur
"!/
semptr arpegg-
j^n n^j>u
.-ra^rsn JTOS-Jm
a i i j j i j ' j j j / j j j i l l b j .
i:..
' '
4 }
J . i'-i
b ' - n=rr^
un pnca nten.
g
j
'' P n
1
'
^ x:ii-.
iri
l'J
5=1
r "V
XII
. ' i H l i r a J T lJ T O
jjlT] rr-j"3 , ,
(S
mo/m string.
59
^ Tempo I
Mu/otin FPP
^!ii:4l i 3
^^
Iquati glut.I
60
IV. Comme une Gigue
Con moio
4 VI
'
6^
0
0 4)
non
i .'4T
^ 4
r r
JJ
p j'siir-'^
'j'm;-r ,a'
p*f
-j J.j.
.'
-J,: -J-J
VI
%emprr
pa
61
chtuue
pp tempre
Lirr
rr
o:t t
rr rjr
s )[ "" ^..
a'^c
-r ^
r-viii
VII
=
= 1* 3 ^
r
= /r r-
62
ti/i poco nt
d tempo
" i i tr
ifmpre ff
.J
jn subito
raiUnt.
mm m
m rn p
pffiietuJiisi
Lent
r
iempir
r-III
3) P.L
Tempo 1
2\
} t. iid
iS ^
, I
%J' ,,-J
If. f^r'T-r.
[esprruj
63
REFBRBMCE BXiVMPLKS
PRELUDE
[1] P
Piano score, bars 3-4
Pliu vile
[2] P,L
Piano score, bar 21
* piKo crrsc.
[3] P
Piano score, bar 38
menu
64
[4] P
Piano score, bars 39-44
Lent
AIR
[1] p
PZAINTB
[1] P,L,U
Piano score, bars 16-20
65
J
=
itccel.
II
J-
66
GIGOB
[1] P,L
Piano score, bars 1-2
J
V
^ iJ
wS
'
non Itjtato
"!/
[2] P,L
Piano score, bars 26-27
Tff
f C
F -r f
gi*
y umprr
s ^ f
^1r r ^
Leeb manuscript, bars 26-27
ULT
67
[3] P,L
Piano score, bars 82-end
Tempo I
;4_J ,J
O-i-]*
"
>
^
dokr
"/ ^.
rr
^ rp if
i1
crrKT.
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: 320321. 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.
New York, NY: 1977.
Facts on File,
69