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Frédérick Martin |
éditions musicales européennes | ||||||||||||||||||||||||||||||||||
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"Soon after my birth in March 1958, I took off to Africa where music was waiting for me. Since there were no conservatories in the countries where I lived, I was entirely self-trained. Back in France, I quit high school. Up until 1989, most of my life in society consisted of copying music for various publishers, all while continuing to write in my own corner (2nd Cantata, Concerto for violin, Lug...). At this point, I now strive to use everything available to composers in terms of sounds, forms, grammatical sources, paradoxes, impulses and breakthroughs."
Thus, Frédérick Martin defines his career. His personal sensitivity, like a Richter Scale, unveils human misery in a vast repertoire of works, all very refined, even if some titles, forms or expressive means seem to shock. It would be an understatement to say that Frédérick Martin is a committed composer.
1989-91 : Residence at the French Academy in Rome
1992-93 : Follows computer music course at IRCAM
1993-94 : Villa Medicis beyond the walls (California)
Commissions : French Government, Radio-France (1986, 87, 94, 98), Fondation Royaumont, Ensemble InterContemporain, "Aujourd'hui Musiques" Festival in Perpignan, "Association of the Friends of the Organ" in Angoulème, private commissions from performers and sponsors.
In 2006 Cultural task for Russia under french Ministère des Affaires Etrangères.
Since 2005, lecturer at Marne-la-Vallée university.
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Frédérick Martin's music is essentially intense : extreme ranges and registers, contemplated organization of performance constraints, exploration of an instrument's extreme possibilities, mobilization the orchestra's energy in terms of eruptive and/or incandescent sonorities... These are the characteristics of his compositional style which is entirely focused on the efforts required for performance. However, there is nothing unpleasing or repellent in the audible result. His virtuositic writing is manifest in every detail of his instrumentation and follows strict insistence on meticulous articulations. A sound universe evolves upon listening, in a painterly way, and seems to be shared between transgressive violence and a will to purify. Frédérick Martin's musical architectonics combines an effervescent mobility with a primal momentum. Outcries, shrills, deflagrations in sound all punctuate an irresistibly rising dynamic scale. Encore un style de l'acier or One more style in steel : this emblematic title regroups the strange relationship in Frédérick Martin 's music between calculation and impulse, made of vehemence and cold rage.
Hugues Dufourt
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Unpublished :
Wu, for tape,
1993
String Quartet, 1995
Symphony n° 1, for orchestra, 1996
Symphony n° 2, for orchestra, 1997
Souvenir des justes, for vl., vlc., pno, 1997
Sonata for solo violin, 1997
Published by Editions Billaudot :
Lug, for
orchestra, 1987
Concerto for trombone and 28 instruments, 1989-91
Unknown Pleasures, for electric' cello,1990-91
Encore le style de l'acier, (One more style in steel) for vibraphone,
1992
Pilote, for bass clarinet, 1993
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Villa Medicis 1990: Macles - Concerto for clarinet, Adès
Hommage à Dominique Troncin: Siticen for trombone, MFA-Radio France
Trio Polycordes: Honor, Gradus et Dignitas, La Follia Madrigal (LFM 11101)
