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Martin Concerto No 2 for Piano
Edition for 2 Pianos 4 Hands
This work is based on Martin's personal twelve-tone technique, which allows enough space for traditional elements such as the invention of a subject and its processing, rhythm, form and, above all, tonality. "I am not just for that," said Frank Martin, "to write the solo part in a concert in such a way that it does the instrument justice; in fact, I want every instrumentalist to feel comfortable with his part in the orchestra."
This work is based on Martin's personal twelve-tone technique, which allows enough space for traditional elements such as the invention of a subject and its processing, rhythm, form and, above all, tonality. "I am not just for that," said Frank Martin, "to write the solo part in a concert in such a way that it does the instrument justice; in fact, I want every instrumentalist to feel comfortable with his part in the orchestra."
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Martin Concerto No 2 for Piano
Martin Concerto No 2 for Piano
Edition for 2 Pianos 4 Hands
This work is based on Martin's personal twelve-tone technique, which allows enough space for traditional elements such as the invention of a subject and its processing, rhythm, form and, above all, tonality. "I am not just for that," said Frank Martin, "to write the solo part in a concert in such a way that it does the instrument justice; in fact, I want every instrumentalist to feel comfortable with his part in the orchestra."
This work is based on Martin's personal twelve-tone technique, which allows enough space for traditional elements such as the invention of a subject and its processing, rhythm, form and, above all, tonality. "I am not just for that," said Frank Martin, "to write the solo part in a concert in such a way that it does the instrument justice; in fact, I want every instrumentalist to feel comfortable with his part in the orchestra."
$24.48
Original: $69.95
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$69.95
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Description
Edition for 2 Pianos 4 Hands
This work is based on Martin's personal twelve-tone technique, which allows enough space for traditional elements such as the invention of a subject and its processing, rhythm, form and, above all, tonality. "I am not just for that," said Frank Martin, "to write the solo part in a concert in such a way that it does the instrument justice; in fact, I want every instrumentalist to feel comfortable with his part in the orchestra."
This work is based on Martin's personal twelve-tone technique, which allows enough space for traditional elements such as the invention of a subject and its processing, rhythm, form and, above all, tonality. "I am not just for that," said Frank Martin, "to write the solo part in a concert in such a way that it does the instrument justice; in fact, I want every instrumentalist to feel comfortable with his part in the orchestra."
