Frank Martin, born in 1890 in Eaux-Vives, the youngest of ten children of a pastor, began composing as a child and decided early on to pursue a career in music.[3][2] After abandoning his studies in mathematics and physics at the University of Geneva, he continued his musical training with Joseph Lauber, where he received instruction in piano, composition, and harmony.[2] Martin's works were first performed at a festival for Swiss composers, with conductor Ernest Ansermet playing a significant role as a promoter. Although initially reserved, Martin achieved his artistic breakthrough in 1941 with the oratorio "Le vin herbé," which was followed by a particularly productive period.
Frank Martin was known for his meticulous compositional style, holding back his works until they were fully developed. His musical expression was shaped by diverse currents: he combined elements of the Italian Renaissance, German Romanticism, Impressionist influences from France, and Schoenberg's twelve-tone music into a distinctive, unique musical language. Despite this stylistic breadth, Martin's expression always remained unmistakable.
His early compositions, including the Violin Sonata and the Mass for Double Choir, already testify to his artistic independence. While "Le vin herbé" and the later "Et la vie l'emporta" exhibit only minor stylistic differences, both works impress with their expressive power. Martin's deep Christian conviction is reflected above all in his religiously themed pieces; he withheld his Mass for a long time and only published it after the persuasion of a conductor.
Johann Sebastian Bach profoundly influenced Frank Martin, both as a source of inspiration and as a benchmark for humility in artistic creation. His arrangement of Bach's Passacaglia for solo piano demonstrates Martin's appreciation for the musical tradition. His engagement with Schoenberg's twelve-tone music led to a further maturation of his style.
Ildebrando Pizzetti, on the other hand, turned away from opulent melodies early on, favoring Gregorian chants and polyphonic structures. His talent was particularly evident in choral music, and his "Messa di Requiem" reveals a profound spiritual depth. Despite their different backgrounds and working methods, both Martin and Pizzetti were deeply connected to music and shaped the musical landscape of their time in their own unique ways.