What Do We Talk about When We Talk about Community? Commentary on “It Takes a Village to Sustain a Village” by Christina Hertel, Sophie Bacq, and Frank-Martin Belz

2020 ◽  
Vol 6 (4) ◽  
pp. 721-725
Author(s):  
Ewald Kibler ◽  
Pablo Muñoz
Keyword(s):  
Frank Martin

Frank Martin

1998 ◽  
pp. 380-382
Author(s):  
Michael Heinemann
Keyword(s):  
Frank Martin

Record Review

Tempo ◽  
1996 ◽  
pp. 54-71
Keyword(s):  
Real Time ◽  
Piano Music ◽  
American Music ◽  
List Type ◽  
Violin Music ◽  
Record Review ◽  
Frank Martin

Schnittke's ‘Faust’ (Hamburg version) Ronald WeitzmanHolmboe and Rautavaara Guy RickardsLigeti piano music Mike SearbyPeter Serkin in real time Nicolas HodgesFrank Martin Peter PalmerSchreker operas Erik LeviEstrada and Nunes Ian PaceMiklós Rózsa Bret JohnsonErkki-Sven Tüür and other Estonians Mike SeabrookRecent Rubbra Peter PalmerViolin music of Benjamin Lees Bret JohnsonAmerican Music Calum MacDonald

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

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