Frank Martin, while assimilating many of the features of serial technique, found other of its features incompatible to his temperament. The Eight Preludes for Piano mark a point of decision regarding these features. While rejecting the twelve-tone row, he extracted prime cells from the octatonic scale and subjected them to the serial approach. One of these cells, G-flat - F - A - A-flat, evokes the B-A-C-H motive. In view of Martin's admiration for Bach, this similarity is probably not accidental. In any event, this four-note motive permeates the preludes and binds them into a coherent and unified set. Along with some evidence of partial form in the preludes, the concept of continuous variation is the compelling force molding the overall form. Martin disdained atonality on personal and artistic premises. Despite their contemporary textural qualities, the listener perceives c-sharp as a tonal center for the set. Tempo, rhythm, and texture contrasts and complementation between the preludes reveal an obviously preplanned format for the fulfillment of set unity. The consummate knowledge of pianism demonstrated in the preludes places them as a major contribution to twentieth-century piano literature.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc331301 |
| Date | 05 1900 |
| Creators | Collins, Geraldine T. |
| Contributors | Walz, Larry G. |
| Publisher | North Texas State University |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | xi, 30 leaves : music, Text |
| Rights | Public, Collins, Geraldine T., Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved. |
Page generated in 0.0037 seconds