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Thinking Orchestrally - Frank Martin’s Etudes for Two Pianos

Dr Christine J. Logan, University of New South Wales

Both the solo piano and the music for two pianos by Swiss composer Frank Martin (1890-1974) deserve to be better known. This paper discusses aspects of the Etudes for two pianos (1956) which is Martin’s major contribution to the two piano genre, particularly in respect to transcription technique and Martin’s approach to suggesting orchestral colours on the piano.

Introduction Originally composed as Etudes for String Orchestra in 1955-6, the Etudes pour deux pianos is made up of a striking overture (with contrasted musical materials formed from dotted, forte, counter-pointed patterns and dolce material made from linear counterpoint), followed by four etudes that highlight particular aspects of string playing, namely, ‘for the linking of strokes’; ‘for rhythm and pizzicato’; ‘for expression’ and sostenuto, and finally ‘for fugal playing’. In his commentary on the work, Martin offered the following remarks on the most substantial fourth etude:

“the first subject is essentially rhythmical, the second subject [recalling the Overture] expressive. To prevent the exposition from sounding academic, I added an accompaniment which continues until the entry of the third voice, upon which it joins in free contrapuntal play. In the middle part…after a section in close canon, there is a figured chorale. Then the fugue takes over again, mixes the two subjects and leads in a broad conclusion.”1

While Martin’s harmonic language is spiced with chromatic inflections within a tonal framework, his allegiance to J. S. Bach is evident throughout, not only in the fugal 4th Etude with its B-A-C-H motive but also in the linear thinking which characterizes the work. Martin wrote the two piano version of the Etudes one year after the completion of the string orchestra work and he gave the first performance at the Köln Hochschüle with his protégé, the pianist Alexander Meyer von Bremen. Comparison of the two versions of the work raises several issues. How well can a work for strings be transferred to the piano/two pianos? What techniques does Martin employ compared to other composers who have arranged orchestral pieces for two pianos? Does knowledge of the orchestral version influence the performance? And more generally, what effect, if any does thinking orchestrally have on piano playing? Composers have approached the process of transcription from orchestra to two pianos in many different ways and there are conflicting views about whether a good transcription is one in which the original material is strictly preserved and merely transferred to the new medium or whether it is desirable to transform the

1 Adam, J. Booklet accompanying Frank Martin, Complete Piano Music ABC Classics CD- 476 2601, 2005: 9.

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musical material in order to make it suitable for the two piano medium.2 Texture and the particular layout of the original orchestral work are possibly the most significant factors in this decision. However, in considering the process of transcribing for two pianos in general, most usual in the well-known works from the two piano literature by Debussy, Ravel and Schoenberg is a reductive technique where large orchestral scores have been transferred to two pianos and a general impression of the original is conveyed. The relationship of piano version to the orchestral version can be ambiguous in that as the large range of orchestral colours available in the original work is diluted, the transcription becomes a new work for two pianos based on the material of the original piece. In many transcriptions of orchestral works for two pianos including works such as the Debussy Nocturnes and Prélude à l’Après-midi d’un faune, and Schoenberg’s Farben from the Five Orchestral Pieces, various reductive techniques are evident depending especially upon the complexity of the musical texture and the registral layout of the original work. In general, many modifications of the orchestral material are implemented by the composer in order to maximize the sonorities in the two piano medium. For example, Ravel’s reductive technique in transcribing Debussy’s Nuages from Nocturnes can be observed in Figure 1 where the harp and flute are successfully transferred to the R.H. of piano II. The string pp shimmer is set chordally on the piano, in order to accommodate the wide range in the string parts (see Figure 2). The fading of pp chords on the piano makes it difficult for continuity to be sustained as easily as in the orchestral version where the chords are set for the strings. Similarly, the numerous tremolandi which are so characteristic of the piano version of the third of the Nocturnes - Sirènes, are necessitated by the reductive technique required to accommodate the writing for large orchestra on two pianos (see Figure 3). While the complexity of the instrumentation of Farben, the third of Schoenberg’s Five Orchestral Pieces could hardly be greater, in Webern’s transcription for two pianos the reduction is based on the transparent harmonic content of the piece while some of the tonal subtleties and rhythmic details are inevitably relinquished (see Figures 4 and 5). Frank Martin’s approach in transcribing the Etudes for two pianos is qualitatively different. As a work for string orchestra, the texture is contained to divided first and second violins, plus viola, ‘cello and double bass parts. The homogenous sound of the strings, while more varied than the two piano sound, avoids the extreme challenges of re-setting the diverse large orchestra with its myriad instrumental colours. The range and disposition of the string parts gives the impression that the work might have been composed at the piano first. However, there is no evidence to suggest that it was Martin’s practice to compose at the piano. As Martin’s underlying premise in the Etudes is to explore specific aspects of string techniques, it might be supposed that it would be difficult to effect a successful transfer to two pianos. This is not the case. Martin’s transcription indicates a purist’s approach to the process. The opening of the work is indicative of the remarkable strictness and meticulousness of his transcription technique as both versions match in every detail - with the registers,

2 Philip Ash, Technique of Piano Transcribing: 1800-1954. D.M.A. diss. University of Rochester, Eastman School of Music, 1955.

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articulations, dynamics and note values all being preserved in the transfer process (see Figures 6 and 7). As the work continues, the only changes between the two versions are in relatively few minute and subtle details of articulation, expressive markings and dynamics which serve to clarify the score, assisting the pianists to realize the expressive content of the original work. Study of the subtle changes Martin has made in the transfer process can provide an imaginative stimulus to performers, helping to shape an interpretation in the light of the performance directions and their implications for string playing. Two examples which clarify this point are found in the Overture firstly where a slight thinning of the original doubled ‘cello and double bass octaves appears in piano II at rehearsal number 4 plus 2 measures and also when Martin indicates slight changes of performance directions such as dolce cantabile in the piano part replacing dolcissimo ma cantabile in the ‘cello line at rehearsal number 5, also in the Overture (see Figures 8 and 9). The apparent seamlessness required at the opening of the 1st Etude is informed by a conception of the sound of the smooth, transparent transition which strings can make in presenting a musical line which is divided between all the instruments (see Figure 10). Also, clarification of the grouping of the notes intended by Martin is provided by a knowledge of the way in which the string parts are distributed (see Figure 11). In the 3rd Etude, “for expression,” the sustained quality achievable on the strings cannot be matched on two pianos. Again, awareness of the string writing provides an imaginative point of reference for the pianists, particularly when noting that this movement is scored only for violas and ‘celli, and the rich yet slightly veiled sound colour that this implies (see Figs. 12 and 13). The 4th Etude presents the greatest challenges to the pianists as the fugato writing sometimes breaks into up to seven independent parts. While such a texture can have transparency in the strings, it is quite dense in the two piano writing. By noting the layout of the string writing and the roles of the various instrumental parts, the pianists’ attention can be directed towards achieving maximum clarity and balance (see Fig. 14). In the 4th Etude, Martin has made quite a number of adjustments to the dynamics in the transfer process which assist with the balancing of all the voices in the two piano version. Fig. 15 shows the opening of the 4th Etude in the piano version. The original score of the Etudes is extremely detailed in diacritical markings. Not only does examining the small changes made from one version to the other highlight the composer’s concern with attention to detail in performance, but there are also quite a number of places in the work where knowledge of the string setting clarifies Martin’s intentions with respect to tonal balance and texture. Knowing for example, that a motive was scored for viola might suggest a richer, more covered sound than might first come to mind in the context of a piano piece. Comparing the string orchestra and piano versions of Martin’s Etudes demonstrates that his transcription is as strict as it can possibly be. Almost without exception, the entire pitch and rhythmic content is transferred from one medium to the other. The meticulous approach to dynamics and expressive indications is carried through in transcription so that the clearest indication of the content of his

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score is given to the performers. For the pianists performing this work, the opportunity to study the orchestral version offers an imaginative window which can encourage the search for a wider range of subtle tone colours which does justice to the spirit of the original orchestral version while maximizing the work’s effectiveness for two pianos. About the Author Dr Christine Logan, currently Head and Senior Lecturer, School of Music and Music Education, University of New South Wales, Sydney. As pianist, she has performed and broadcast extensively as soloist and with leading ensembles in Australia. With pianist Julie Adam, she performs the complete duo piano music of Frank Martin on an ABC Classics CD released 2005. She is a contributor to the Revised New Grove, Currency Companion to Music and Dance in Australia and has published on aspects of Australian music and the piano music of Gabriel Fauré. Contact Details Dr Christine Logan School of Music and Music Education, UNSW Sydney 2052. Email: c.logan@unsw.edu.au.

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Fig. 1 – Debussy, Nuages, un peu plus animé, Ravel two piano arrangement

Fig. 2 – Debussy, Nuages, un peu plus animé, orchestral version

Fig. 3 – Debussy, Sirènes, opening, orchestral version

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Fig. 4 – Schoenberg, Farben, rehearsal letter I, Webern’s two piano reduction

Fig. 5 – Schoenberg, Farben, rehearsal letter I, orchestral version

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Fig. 6 – Martin – Etudes– Overture, opening: string orchestra version

Fig 7 – Martin – Etudes– Overture, opening: two piano version

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Fig. 8 – Martin – Etudes – Overture, rehearsal letter 4, string orchestra version

Fig. 9 – Martin – Etudes – Overture, rehearsal letter 4, two piano version

Fig. 10 – Martin – 1st Etude, string orchestra version, opening bars

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Fig. 11 – Martin – 1st Etude, piano version, opening bars

Fig. 12 – Martin – 3rd Etude, string orchestra version, opening bars

Fig. 13 – Martin – 3rd Etude, piano version, opening bars

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Fig. 14 – Martin – 4th Etude, string orchestra version, opening bars

Fig. 15 – Martin – 4th Etude, two piano version, opening bars

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References

Adam, J. (2005) Frank Martin: The Complete Piano Music. Booklet. ABC Classics CD: 476 2061.

Ash, P. (1955) Technique of Piano Transcribing: 1800-1954. D.M.A. diss. University of Rochester, Eastman School of Music.

Debussy, C. Nocturnes (1899)) Eulenburg Miniature Scores: New York, 1955.

Debussy, C. Nocturnes (1909) Transcription for two pianos by M.Ravel, E. Fromont, Paris.

Debussy, C. (1894) Prélude à l’après-midi d’un faune. Eulenburg Miniature Scores: New York, 1955.

Debussy, C. (1895) Prélude à l’après-midi d’un faune. Oeuvres complètes pour deux pianos Vol. 8, Durand: Paris.

Martin, F. (1956) Etudes pour deux pianos. Universal Edition: London.

Martin, F. (1957) Etudes pour orchestre à cordes. Universal Edition: London.

Martin, F. (2005) The Complete Piano Music. ABC Classics CD 476 2601.

Martin, F., Martin M. (1977) Un compositeur médite sur son art: écrits et pensées recueillis par sa femme. Neuchâtel: Lausanne: La Bacconniere; Diff. Pavot.

Frank Martin, composer 1890-1974 (n.d.). Retrieved November 18, 2005. URL http://frankmartin.org/english.

Ravel, M. Rapsodie espagnole. (1907) Two pianos. Durand: Paris

Ravel, M. Rapsodie espagnole. (1908) Orchestra. Durand: Paris