20th century
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Martin Frank
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Sonata Da Chiesa for flute and piano
Sonata Da Chiesa for flute and piano
Frank Martin: Sonata Da Chiesa for flute and piano was written in 1938 and dedicated to Elsa Barraine, a French composer and close friend of Martin who won the Prix de Rome in 1929. Originally composed for flute and organ, the piece was premiered in 1939 in Geneva by the flautist André Jaunet and organist Enid Barry.
The title Sonata da Chiesa invokes the Baroque tradition of Corelli and Bach, but the language is modern. It is characterized by rhapsodic, improvisational cadenzas for the flute and a massive, quasi-orchestral role for the keyboard.
In 1938, Martin was deeply immersed in his "great period of synthesis." This was the year he began work on his secular masterpiece Le Vin herbé. The Sonata da Chiesa (Church Sonata) represents the sacred side of this creative burst, reflecting Martin's Huguenot (Calvinist) heritage and his fascination with the architectural space of the church.
That year, Martin was finalizing his unique method of using Schoenbergian twelve-tone rows within a tonal framework. In this piece, the row is used to create an "aura" of ancient, modal mystery rather than dissonant angst.
The Flute and String Orchestra arrangement was made by Frank Martin in 1941 and premiered in 1944 by the Orchestre de la Suisse Romande, conducted by Ernest Ansermet, with André Jaunet as the soloist.
Tobias Berndt (organ), 2012, Musiques Suisses / MIGROS / iMusician Digital AG
Sonata Da Chiesa
Strings of the Orchestre de la Suisse Romande, 2012, Musiques Suisses / MIGROS / iMusician Digital AG
Sonata Da Chiesa
Martin Frank
Frank Martin (1890-1974) was a Swiss composer who achieved international stature by synthesizing the harmonic innovations of Arnold Schoenberg with the rhythmic vitality and tonal sensibilities of the French tradition. He is regarded as a master of refined, aristocratic expression and structural logic.
Born in Geneva, Martin was the youngest of ten children in a family of French Huguenot descent. His father, Charles Martin, was a prominent Calvinist minister, a background that deeply influenced Frank's philosophical and ethical approach to composition.
His formal musical education began relatively late, yet he was composing by age eight. A transformative moment occurred at age twelve when he heard a performance of J.S. Bach’s St. Matthew Passion, which became the lifelong foundation of his musical faith and contrapuntal rigor.
To satisfy his family's wishes, he spent two years studying Mathematics and Physics at the University of Geneva. However, he simultaneously studied piano and composition privately with Joseph Lauber, a student of Massenet, who introduced him to the French Impressionist school.
In the 1920s, Martin worked closely with Émile Jaques-Dalcroze, becoming a teacher of Eurhythmics. This experience profoundly sharpened his complex rhythmic language and sense of musical timing.
By the late 1930s, he developed a unique method of incorporating twelve-tone rows while maintaining a firm tonal grounding.
From 1946 until his death, he lived in the Netherlands, where he taught at the Cologne Academy of Music. His pupils included the noted composer Karlheinz Stockhausen.
Frank Martin is mostly known for his orchestral works. His Petite Symphonie Concertante (1944) helped to gain international recognition.