Editing Frank Martin (composer) (section)

== Works ==
Martin's music was often inspired by his Christianity. In this regard, his compositions stemmed from "the individuality rather than universality of his faith ... certainly broader than Calvinism".<ref name="Wilson-Dickson1996"/>

The ''[[Petite symphonie concertante]]'' of 1944–45 made Martin's international reputation, and is the best known of his orchestral works, as the early ''Mass'' is the best known of his choral compositions, and the ''Jedermann'' monologues for baritone and piano or orchestra the best known of his works for solo voice. Other Martin pieces include a full-scale symphony (1936–37), two [[piano concerto]]s, a [[harpsichord concerto]], a [[violin concerto]], a [[cello concerto]], a concerto for seven wind instruments, and a series of six one-movement works he called "ballades" for various solo instruments with piano or orchestra.

Among a dozen major scores for the theater are operatic settings of [[William Shakespeare|Shakespeare]]'s ''[[Der Sturm (opera)|Der Sturm]]'' (''[[The Tempest]]'') in [[August Wilhelm Schlegel]]'s German version (1952–55) and of [[Molière]]'s ''Monsieur de Pourceaugnac'' (1960–62), and the satirical fairy tale ''La Nique à Satan'' (''Thumbing Your Nose at Satan''; 1928–31). His works on sacred texts and subjects include the large-scale theater piece ''Le Mystère de la Nativité'' (''The Mystery of the Nativity''; 1957/1959) and are widely considered among the finest religious compositions of the 20th century. Swiss musician [[Ernest Ansermet]], a champion of his music from 1918 onwards, recorded many of Martin's works, including the [[oratorio]] ''In Terra Pax'' (1944), with the [[Orchestre de la Suisse Romande]].<ref>{{cite web |url=http://www.gramophone.net/Issue/Page/June%201964/36/756189/MARTIN.+In+terra+pax.+Ursula+Buckel+%28soprano%29,+Marga+Hiiffgen+%28contralto%29,+Ernst+Haefliger+%28tenor%29,+Pierre+Mollet+%28baritone%29,+Jakob+Stimpfli+%28bass%29,+Union+Chorale,+Lausanne+Womens+Choir,+Suisse+Romande+Orchestra+conducted+by+Ernest+Ansermet |archive-url=https://web.archive.org/web/20111027004645/http://www.gramophone.net/Issue/Page/June%201964/36/756189/MARTIN.+In+terra+pax.+Ursula+Buckel+%28soprano%29,+Marga+Hiiffgen+%28contralto%29,+Ernst+Haefliger+%28tenor%29,+Pierre+Mollet+%28baritone%29,+Jakob+Stimpfli+%28bass%29,+Union+Chorale,+Lausanne+Womens+Choir,+Suisse+Romande+Orchestra+conducted+by+Ernest+Ansermet |url-status=dead |archive-date=27 October 2011 |title=Martin: In Terra Pax |year=1964 |access-date=26 June 2010 |publisher=gramophone.net }}</ref>

Martin based his mature style on his personal variant (first used around 1932) of [[Arnold Schoenberg]]'s [[twelve-tone technique]], but he did not abandon [[tonality]]. Lean textures and habitual rhythmic vehemence distinguish his style from Schoenberg's. Some of Martin's most acclaimed music comes from his last decade. He worked on his last [[cantata]], ''Et la vie l'emporta'', until ten days before his death. He died in [[Naarden]] in the Netherlands, and was buried in Geneva at the [[Cimetière des Rois]].

Martin's music is widely performed in continental Europe, and to a much lesser extent, in the United Kingdom.<ref name="Wilson-Dickson1996">{{cite book|last=Wilson-Dickson|first=Andrew|title=The Story of Christian Music: From Gregorian Chant to Black Gospel|year=1992|publisher=Lion Publishing|location=Oxford|isbn=0-7459-2142-6|page=220}}</ref>