Guide to the Jean Martinon papers, 1923-1994

Born on January 10, 1910 in Lyon, the French conductor and composer, Jean Martinon entered the Lyon and Paris conservatoires to study the violin. At Lyon, his teacher was Maurice Foundray and at the Paris Conservatory, he studied violin technique with Jules Boucherit. While at the Paris conservatory, Martinon took composition with Albert Roussel and Vincent d’Indy. After completing the composition courses, he studied conducting with Charles Munch and Désormière. He graduated from the Paris Conservatory in 1928, winning a premier prix.

Martinon’s familiarity with conducting started in France, followed by various appointments in Europe, the Middle East, and the United States. In 1946, he embarked on a conducting career directing the Concerts du Conservatoire in Paris and the Bordeaux Symphony. The successful debut with the LPO led to his appointment as associate conductor of the orchestra in 1947. From 1947-1950 Martinon directed the Radio Eireann orchestra, Dublin and in 1951, he returned to Paris to conduct the Concerts Lamoureux until 1957. From 1957-1959, Martinon conducted the Israel Philharmonic. His appointment as the next conductor of the Düsseldorf Symphony occurred in 1959. Martinon was in Düsseldorf until 1963 when the Chicago Symphony Orchestra selected him as their music director, a position he held until 1968. During that same year, he returned to France to direct the French National Radio Orchestra and served as the principal conductor of the Hague Residentie–Orkest from 1974 until shortly before his death in 1976.

Martinon’s extensive experience as a composer led to his approach to conducting. The Symphoniette pour orchestre á cordes, piano, harpe et timbales, op. 16, from 1935, is one of three first attempts at composition. After enlisting in the war, Martinon’s imprisonment in a German camp, Stalag IX A, resulted in several new compositions, Psaume 136, le Chant des Captifs, Musique d’Exil, Sonatina No.3, Sonatina No. 4 for wind instruments, and various choral works. In 1946, the city of Paris awarded a prize to his composition le Chant des Captifs. After the war, other notable compositions include Symphonie no. 3 (Irlandaise), the Concerto no. 2 pour violin et orchestre, op. 5, dedicated to Szeryng, and the Concerto pour cello et orchestre, op. 52, composed for Pierre Fournier. For the stage Martinon composed two works, the ballet Ambohimanga ou la Cité Bleue and in 1949 the opera Hécube with a libretto by Serge Moreux. Symphony no.4 Altitudes was the outcome of a commission from the Chicago Symphony to commemorate its 75th anniversary.

Martinon had recently taken on a position at the Paris Conservatory to teach conducting when he died from a serious illness on March 1, 1976.

The materials were donated to the Northwestern University Music Library by Martinon's widow, Nery Martinon, beginning in December 29, 1986.

Ivan Moreno; edited by Janet Olsen and Morris S. Levy.

The status and copyright on these materials are governed by the Copyright Law of the United States (Title 17, U.S.C.). All requests for use of any kind of these materials must be made in writing to the Head Music Librarian.

Open to researchers under library restrictions. All access to these materials is strictly controlled. Permission of the Head Music Librarian is required.

Jean Martinon Papers, Northwestern University Music Library.

The materials in the Jean Martinon Papers span the years 1923-1994. Reflecting the origin of the materials, the collection has been organized into eight series: Ephemera (Manuscript), Ephemera (Printed), Correspondence, Jean Martinon Society Records, Association Jean Martinon Publications, Published Scores, Unpublished Scores, and Arrangements. In most cases, original folder titles have been retained. Materials within folders are arranged chronologically.

Series I, II, and III consist of Martinon's own papers, writings, correspondence, and other documents. Items in Series I include Martinon's articles, lectures, and poetry; of particular note are the materials illuminating Martinon's interest in mountain climbing. Series II includes programs from Martinon's own performances and from performances of his works. The correspondence files in Series III consist of individual folders of letters to and from fifty friends and colleagues. The folders are arranged alphabetically by surname of the correspondent. Topics include questions posed to Andre Malraux from a group composed of Martinon, Dutilleux, Ohana, and others who disliked the Viennese School and electronic music. Correpsondence dates from 1959-1976, with the bulk of the letters dating in the early-to-mid 1960s.

Series IV consists of materials donated to the Music Library by the Jean Martinon Society when the group disbanded in 1993. The publications in Series V provide much information about Martinon's life and work, including volumes of photocopied interviews and articles, reviews of recordings and performances, and a catalogue raisonée of his recordings. Much of the Association Jean Martinon material is in French.

Series VI contains fourteen folders of published scores. Two scores have the same opus number, Introduction et toccata, op. 45 and Symphonie no 3 "Irlandaise", op. 45. The Jean Martinon Society lists the first composition as op. 44. However, in examining the score of Introduction et toccata, it clearly is marked as op. 45.

Five boxes constitute Series VII, consisting of unpublished scores, including two compositions that were never published, En Promenade and Déchiffrage pour hautbois.

Series VIII contains three folders of Martinon's arrangements of music by Bach, Beethoven, and Paganini.