ROBERT MARTIN
ROBERT MARTIN
Robert Martin (b. 1952, Hagerstown, MD) began composing at age 10. He wrote his first music for orchestra and concert band while still in high school and received performances from local musicians in western Maryland. In fact he wrote the graduation march played at his own high school graduation ceremony. The following summer he spent some time at a scientific commune in central Virginia. Then, after receiving Bachelor’s and Master’s degrees in Music Composition from the Peabody Conservatory of Music, he worked at various jobs, including as an apprentice in pipe organ restoration.
In 1976, the American Academy of Arts and Letters awarded him the Charles Ives Scholarship for outstanding music composition, allowing him to continue post-graduate studies in New York, where he survived by copying music for other composers. In 1979, he received a Fulbright Scholarship in music composition to Vienna studying Berg’s recently completed opera Lulu. He also traveled throughout the eastern block countries making many contacts and friends, notably Durko Zsolt in Budapest. His travels took him to Istanbul, and finally to Israel, where he lived in a fortified Kibbutz outside Nahariyha.
Returning to New York in 1980, he turned his attention to Wall Street, rising to the position of Senior Vice President in investment banking at a leading firm, and serving as financial advisor to the City of New York. His office was on the 100th floor of the World Trade Center.
Throughout his career, he worked on financings for hospitals and universities primarily in the U.S. and its territories. He also became an expert in optimization techniques for certain financial structures which he used to purchase and sell over $12 billion in various bonds. Finally, he worked in the area of new financial products, designing a highly successful security, the name of which carried his initials.
After his retirement in the early nineties, he began to travel in Asia, focusing first on Korea, then Taiwan and Hong Kong. As the 1999 recipient of the Japan-U.S. Creative Artist Fellowship in music composition, he spent six months living and traveling throughout Japan, visiting hundreds of temples and gardens and attending over 60 Noh plays. He returned to New York to find the tech market exploding with growth and through a number of investments, he was able to set up a novel funding approach for contemporary music called the Zethus Fund.
Robert Martin’s music is published by the Theodore Presser Company, and is recorded on the North/South Consonance, Furious Artisans and CRI record labels. |
 | Summer 1997: Summer Music Festival, Composer in Residence (1 month), Sarah Lawrence College, NY | | Summer 1978: Aspen Summer Music School, Scholarship (9 weeks) | | Summer 1978: UNESCO, University of Toronto, Workshop in Computer Music (1 week) | | Summer 1976: Yale Summer Music School, Stoeckel Fellowship | | Summer 1974: Composers' Conference, Johnson State College, Scholarship | | November 1998: Dorland Mountain Arts Colony, Composer in Residence (1 month), CA | | May 19, 1976: American Academy of Arts and Letters, Charles Ives Scholarship | | July 2001: Global Seminar (1 week) for Flute Music, Composer in Residence, Wagner College, Staten Island, NY | | February-March 1996: Dorland Mountain Arts Colony, Composer in Residence (2 months), CA | | 2002: Composers Guild of New Jersey Commission, annual commissioning endowment fund | | 2001: Christopher Finckel, cellist, commission for solo cello | | 1999: Japan-U.S. Creative Artist Fellowship (6 months), Music Composition, travel throughout Japan | | 1998: Knight Foundation Award, Theatre Chamber Players, Washington, DC | | 1996-1997: Cygnus Ensemble, Composer in Residence, Manhattan, NY | | 1996: Tolly National Composition Contest, finalist | | 1988-present: Kentucky Colonel, appointed by Governor | | 1979-1980: Fulbright Scholarship, Hochschule für Musik, Music Composition, Vienna, Austria | | 1978-2001 (various): Meet the Composer, New York State Council for the Arts | | 1973-1974: Phi Mu Alpha Sinfonia Composition Contest Winner, Peabody Chapter | | 1972: National Endowment for the Humanities, Dartmouth College, Electronic Music (4 weeks) | | 1972: National Endowment for the Humanities, University of New Hampshire, Computer Music (4 weeks) | | 1972: Sykes Composition Contest Winner, first prize | | 1970-1975: Peabody Conservatory, annual scholarships and various awards |
Achernar for Alto Saxophone Solo in A-flat (1997) -- 6' 45"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40309
Premiere Information: Paul Cohen, saxophone, for Furious Artisans recording Nine Stellar Pieces (FACD 6803)
Across the Open Land for Flute and Violin (1991) -- 4' 15"
Published: #144-40346
Premiere Information: Furious Artisans recording
Aldebaran for Tuba Solo (1994) -- 5' 45"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40298
Premiere Information: Steven Forman, tuba, for Furious Artisans recording Nine Stellar Pieces (FACD 6803)
Along the River for Violin and Viola (1986) -- 5'
Published: #144-40345
Premiere Information: Furious Artisans recording
Antares for Trumpet Solo in C (1990) -- 6' 15"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40296
Premiere Information: Raymond Mase, trumpet, for Furious Artisans recording Nine Stellar Pieces (FACD 6803)
• Reviews
Antique Forms for Flute and Viola (1972) -- 6'
Published: #144-40344
Premiere Information: Svjetlana Kabalin, flute; Sarah Clarke, viola, at Peabody Conservatory, Baltimore, MD, April 30, 1973
Arcturus for Bassoon Solo (1987) -- 6' 15"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40294
Premiere Information: Martin Kuuskmann, bassoon, for Estonian Classical Radio Broadcasts, November 1999 - 2000
• Reviews
Autumn Light for B-flat Clarinet and Viola (1996) -- 4'
Published: #144-40343
Premiere Information: Furious Artisans recording
Cello in the Universe for Cello Solo (2001) -- 12' 30"
Not yet released (in prep: #144-40446)
Commission Information: Cellist Christopher Finckel
Charred Beloved for Flute w/ Piccolo and Alto Flute, Oboe w/ English Horn, Violin, Cello, Guitar (1998) -- 7' 15"
Published: #144-40406
Premiere Information: Cygnus Ensemble, Merkin Hall, Manhattan, NY, December 17, 1998
Available Separately:Set of parts (#144-40406P)
Full Score - Large (#144-40406S)
Chrysolith for Alto Flute/Piccolo, Viola and Harp (1977) -- 9'
Published: #144-40445
Premiere Information: Diane Kern, flute, Marilyn Smith, viola, Rebecca Flannery, harp, Berkeley Hall, Yale University, March 7, 1977
Diary of A Seducer a Collection of Solos, Duos, and Trios for Guitar (1995) -- 42'
Premiere Information: Cygnus Ensemble, Manhattan, NY, January 25, 1997, William Anderson, Oren Fader, Mark Delpriora, guitars
• Recordings
• Reviews
Diary of a Seducer Volume 1: Guitar Solos -- 15'
Published: #144-40281
Diary of a Seducer Volume 2: Guitar Duos -- 15'
Published: #144-40282
Diary of a Seducer Volume 3: Guitar Trios -- 12'
Published: #144-40283
Four New York Pieces for Two Trumpets (2002) -- 8'
Not yet released (in prep: #144-40447)
Commission Information: Christopher O'Hara
From The Green Mountains for Flute and Oboe (1977) -- 4'
Published: #144-40342
Premiere Information: Susan Deaver, flute; Susan Barrett, oboe, Madison Avenue Presbyterian Church, Manhattan, NY, April 16, 1978
Garden of Flutes for Flute Solo and Five Alto Flutes (2000) -- 16'
Premiere Information: Adelphi University Faculty Recital, New York, NY, October 23, 2000, Linda Wetherill, flute
Garden of Flutes Book 1 (2000) -- 6' 30"
Published: #144-40431
Garden of Flutes Book 2 (2000) -- 9' 30"
Published: #144-40432
In the Shade for English Horn and Viola (1977) -- 4' 15"
Published: #144-40341
Premiere Information: Susan Barrett, English horn; David Sills, viola, Long Island University, Greenvale, NY, March 7, 1978
Japanese Gardens for Alto Flute and Guitar (2001) -- 5' 15"
Published: #144-40439
Premiere Information: Linda Wetherill, flute, Marc Wolf, guitar, Global Seminar for Flute Music, Wagner College, Staten Island, NY, July 30, 2001
Lakeside for B-flat Clarinet and Violin (1989) -- 4'
Published: #144-40340
Premiere Information: Furious Artisans recording
Minutiae for Piccolo and Piano (1976) -- 4'
Published: #144-40428
Premiere Information: Svjetlana Kabalin, flute; Branko Opacic, piano for WQXR, Artists in Concert Series, New York, NY, December 1, 1976
Sirius for Flute SoloVega for Oboe SoloSpica for Solo Clarinet in B-flatArcturus for Bassoon SoloRegulus for Solo Horn in FAntares for Trumpet Solo in CShaula for Trombone SoloAchernar for Alto Saxophone Solo in A-flat
Regulus for Solo Horn in F (1988) -- 6' 15"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40295
Premiere Information: William Purvis, horn, for Furious Artisans recording Nine Stellar Pieces (FACD 6803)
Shaula for Trombone Solo (1993) -- 6'
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40297
Premiere Information: Michael Powell, trombone, for Furious Artisans recording Nine Stellar Pieces (FACD 6803)
Sirius for Flute Solo (1981) -- 7' 15"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40291
Premiere Information: Linda Wetherill, flute, Nicholas Roerich Museum, Manhattan, NY, February 28, 1999
• Reviews
Spica for Solo Clarinet in B-flat (1984) -- 6' 45"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40293
Premiere Information: Michiyo Suzuki, clarinet, Gaudeamus Festival, Rotterdam, The Netherlands, October 17, 1999
Summer Quiescence for Flute and B-flat Clarinet (1974) -- 4'
Published: #144-40338
Premiere Information: Svjetlana Kabalin, flute; Annette Fickel, clarinet, North Carolina School of the Arts, Winston-Salem, NC, May 29, 1975
• Reviews
The Rock Ledge for Oboe and Violin (1977) -- 4' 30"
Published: #144-40339
Premiere Information: Susan Barrett, oboe; David Sills, violin, Long Island University, Greenvale, NY, March 7, 1978
Through the Mist for English Horn and B-flat Clarinet (1992) -- 4' 15"
Published: #144-40337
Premiere Information: Furious Artisans recording
Vega for Oboe Solo (1982) -- 6' 30"
Part of Nine Stellar Pieces For Solo Winds
Published: #144-40292
Premiere Information: Robert Ingliss, oboe, for Furious Artisans recording Nine Stellar Pieces (FACD 6803)
• Reviews
Violet Air
Published: #144-40456
Winter Shadows for Alto Flute, Violin and Guitar (1998) -- 8' 45"
Published: #144-40405
Premiere Information: William Anderson, guitar and Cygnus Ensemble members, The Ninth Raritan River Music Festival, NJ, May 23, 1998
Available Separately:Set of parts (#144-40405P)
Full Score - Large (#144-40405S)
Furious Artisans FACD 6803: Robert Martin: 9 Stellar Pieces
Michiyo Suzuki, clarinet; William Purvis, horn; Martin Kuuskmann, bassoon; Raymond Mase, trumpet; Linda Wetherill, flute; Paul Cohen, saxophone; Steven Forman, tuba; Robert Ingliss, oboe; Michael Powell, trombone
"And Robert Martin's Emerson Songs - delicate, to my ears somewhat Asian-influenced - were the favorite of many in the audience."-Bruce Hodges, Seen and Heard -www.musicweb.uk.net
"…an extraordinary composition …it keeps catapulting you forward in a great monograph of energy of our time."-Linda Wetherill (flutist), The Flutist Quarterly
"Vega… is the first star of Lyra, the lyre of Orpheus and Apollo, inventors of music. Early civilizations… saw this constellation as an eagle or vulture, and the piece seems to accept both connotations. Most of it is eloquent melody, and most of it is in flight."-Paul Griffiths, New York Times
"The multi-voicing possibilities of the bassoon were presented, sometimes in an apparent manner, sometimes hidden, but always subtly manipulated… Beautifully articulated details form a vignette, surrounded and supported by the carefully chosen tones of this composition – it's a very strong work."-Igor Garsnek, Sirp ("The Sickle")
"Antares is simply an extraordinary piece of music. Martin masterfully uses repeated motivic patterns to bind the piece into true musical poetry. While the piece lacks a tonal center, the sensible structure creates a wonderful sense of balance and symmetry. Though challenging, the work is accessible to the advanced undergraduate student."-Bryan W. DePoy, International Trumpet Guild Journal"Belonging to a series of duets for various instruments, these works are free and imaginative in rhythm, harmony, and thematic design."-Flute Talk
"Belonging to a series of duets for various instruments, these works are free and imaginative in rhythm, harmony, and thematic design."-Flute Talk
"…the pieces are admirably guitar friendly, offering plenty of room for rich, sonorous interpretation… The performance notes suggest the volume need not always be performed in its entirety. A practical suggestion… though I feel a complete rendition would be far more successful, the quiet thoughtfulness of many of the pieces surely being lessened in isolation."-Classical Guitar Magazine"…a series of short pieces, diverse in character and mood, after the initial solo pieces, the duos sounded quite full, after which the trios seemed like a large ensemble… The pieces are quite fascinating."-Leo Kraft, The Music Connoisseur"…an especially fascinating moment…"-Kremser Zeitung (Austria)"The title of the work is taken from that of a painting by Arshile Gorky, but Martin's interest was apparently not so much in the subject matter of that particular picture as in the general notion of what gives an abstract image wholeness and presence. How can the [guitarist's] speaking hand be felt to have said something meaningful, to have said it completely, and to have said nothing redundant along the way? Here are thirty-six answers to that question."-Paul Griffiths, New York Times
"The [Nine Stellar Pieces] are not overt showpieces, but the massive challenge to the technical skill of the performer cannot go unnoticed by the listener… Nowhere do I detect any particular influences at work, the score coming from a personal musical voice that has an instinctive relationship with each of the instruments used."-David Denton, Fanfare"Their vigorously modernist style places them in a contemporary world of quantification, precision, and disinclination to accept received ideas without acute analysis. But their sound-poetry also pursues the stars' ancient associations, besides taking account of their appearance-the luster that has stayed the same through the millennia, all nine subjects being among the brightest in the sky… The pieces are virtuoso items, 'stellar' for sure…"-Paul Griffiths, New York Times
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