During the first half of the twentieth century, many Swiss Romandy composers received parallel training in Germany and then in Paris, maintaining often afterwards, respective ties with both the Latin and German poles of their homeland. This was the case of Frank Martin. For the Genevan Pierre Wissmer, it was France, and this country alone, which would be his home base, in his life as in his creative aesthetics.

Born in Geneva, Pierre Wissmer (1915-1992) studied music at the Conservatory of his native city, before leaving for Paris in 1935. He first worked with Roger-Ducasse, then acquired an authentic professional experience in Daniel-Lesur’s class of counterpoint at the Schola Cantorum. Over the years his style, which could be defined as neo-classical, tended to move away from tonality and take on a more introspective language, particularly evidenced by his last symphonies. However, within this evolution, the perfection and refinement of contrapuntal writing and instrumentation are ever present in Wissmer’s art.