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Laplace, Michel: Maurice André, Trumpet Master of the Xxth Century

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Laplace, Michel: Maurice André, Trumpet Master of the Xxth Century Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet MAURICE ANDRÉ , TRU MPET MASTER OF THE XXTH CENT URY BY MICHEL LAPLACE June 2012 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. http://www.trumpetguild.org Please retain this cover sheet with printed document. MAURICE ANDRÉ , TRU MPET MASTER OF THE XXTH CENT URY BY MICHEL LAPLACE thank the heavens for having shared musical and intimate the violin, and the piano in the eyes of music lovers. This is moments with a genius such as the trumpeter that was due to hard work, determination, and the progressive adjust - Maurice Andr é. ment of a style of interpretation—the style of Maurice Roger Demotte, February DE, DBCD André—founded in elegance of phrase and quality of timbre: Maurice Andr é passed away during the night between the “Maurice André dominated the scene of trumpet with his days of February 25 and 26, 2012 . The world of trumpet was enormous charm. I do not know a person who wasn’t capti - saddened by his death. Maurice Andr é came from humble vated by his tone, his execution” (Edward H. Tarr, February beginnings and like all the great French trumpet players 28, 2012 ). Masterful, natural, present, generous—like Louis (Roger Delmotte, Pierre Thibaud, Roger Gu érin…) he got Armstrong—Maurice Andr é was embraced by the masses as his start playing in bands. Like others, who have remained well as the experts. He didn’t search for an “international more humble, there was in Andr é the familiar brass tradition. style”: his style became one. “If I want to know a particular Maurice Andr é didn’t only have exceptional dispositions style of a piece or get an idea about a piece I haven’t played, immediately encouraged by his father and MM . Barthelemy or maybe one of my students is learning something I haven’t and Sabarich, however; he also had in him the experience of played, if I have a Maurice André recording of that piece, an artisan who had the ability to dabble in all genres, all sit - that recording is the standard.” (Frank Kaderabek). With uations, even before launching into the career of a solo artist grieving trumpeters there is a shared sentiment: “He was in 1955. His career truly took off in 1963 , and never slowed simply the spiritual father of all.” (Antoine Acquisto), “…my down once it got going. It is thanks to André’s perseverance spiritual and musical father…” (Guy Touvron February 26), that we have an instrument henceforth as noble as the voice, “we have lost our father…” (Thierry Caens, March 2, 2012 ). 1947 – 1967: The beginning His father, Marcel-Jean André ( 1901 – 1967 ), who was born Born in Al ès, 1 in the Tamaris quarter, on May 21, 1933, Saint-André-Capc èze in Loz ère, hired Maurice to work in the Maurice Andr é spent his childhood in a community of miners mines with him, where Marcel had been working for 34 years. with whom he lived in an amiable environment. His origins Marcel had two daughters (Georgette and Simone) and two are humble. In 1948 , during a mine strike, his father sent him sons (Maurice and Raymond). Maurice went to primary to eat his meals at a Catholic aid house. school in the Tamaris quarter, and then in Rochebelle. From 1943 – 45 , during the war, Maurice lived in Meymac (Corr èze) and Couffour (Loz ère). Marcel and his brother Jean André (four years his junior) played the trumpet. Marcel played in local groups and for popular balls 2. In 1944 , Maurice started studying solf ège . In 1945, his father began to encourage him to study further, and in 1947 of - fered him an old Couesnon cornet: “I used it about three months and then my professor, Mr. Barth èlèmy, had me pass directly on to the trumpet” ( 1992 ). From 1947 to 1951, Maur ice spent his time in the back of mining tunnels, and in July of 1951 , he ob - A miner’s lamp from the home of Maurice André tained a certificate of voca - 1 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild tional training to authorize his tically: a compromise between the work as a miner. During that time, finesse of Foveau and the lyricism of he also studied the trumpet with Sabarich. Lèon Barth èlèmy, a former student When Sabarich demanded André of Merri Franquin, former conduc - to play as he did, with a distinguish - tor of the Al ès chorus. Barth èlèmy ed vibrato, André refused 5. Sabarich taught Maurice using the “Arban” made him use the Balay method, method, as well as the book Métho - the Etudes Caractéristiques by Arban, de Complète de trompette moderne, and the studies of Charlier. Sabarich de cornet à pistons et de bugle , by was the number one support for Franquin (Enoch and Cie) from Maur ice, and he recommended him which the concept of radio broad - everywhere. For his part, Maurice casting thoroughly influenced was eager to get out and participate Maur ice . Barth èlèmy insisted on a in the scene of the times. And so he sensitivity of sound. Maurice play - soon found himself serving as an ed on an Aubertin trumpet 3. At this extra for a radio show in the orches - time, Maurice (on the trumpet, cor - tra of Wal-Berg, next to Louis Men - net, and bugle!) played in the en - ardi, Alphonse Cox, and Georges semble “l’Harmonie des Mines d’Al ès” Jou vin, a good environment in as well as the ensemble “l’Harmonie which to learn “comment ça se pas - de Salindres .” In 1948 , he played in se .” 6 There were two who deserve the orchestra at “The Troubadours” cred it for having given Maurice his ball, with the accordionist Fr èdo 4 In initial opportunities: Roger Del - 1949 , in Canaules, his first impor - motte and Louis Vezant Sr. Roger tant cachet was created at 100°F ! Del motte, first prizewinner of the The progress of Maurice was such Geneva competition ( 1950 ), was a that Barth èlèmy recommended him pioneer in making recordings for for Paris’s National Superior Con - solo trumpet and did so in great servatory of Music ( CNSMP ). The abundance. This was thanks to the only way to provide for his needs “boom” of the pace of records being was to enlist in the army. Maurice produced, and of the change over entered with the cornet into the from 78 rpm records to 45 rpm , Harmony of the 8th Regiment of which required companies to pro - Transmission, which was directed duce new recordings for customers by Fi èle and Mersenne (at Mount who wished to acquire recordings Val èrien). He remained in military based on the new format. service for two years; simultaneous - When in 1952 Roger Delmotte ly, he studied at the CNSMP in the was asked to record the Concerto for class of Raymond Sabarich. This Two Trumpets P by Vivaldi, period in his life began in Novem - Sabarich advised him to consider his ber of 1951 . He bought a Selmer young student for the gig, none cor net and obtained first prize as other than the 19 -year-old Maurice well as a prize of honor for his tal - André. These two artists, essential ent on the cornet on June 20, 1952 , to the history of the trumpet, re - during which he played, amongst corded this work for the first time other pieces, Variations on a Theme (45 rpm , label Symphonium) 7. by Scarlatti , by M. Bitsch. Other They recorded the concerto on students of Sabarich included Jean trumpets in C! Louis Vezant Sr. rec - Pirot, Emile Imbert, Marcel (An - Early picture of Maurice André ommended Maurice André as a re - toine) Lagorce, Marcel Avril, and placement for Michel Decourriére Jean Pol. There were two classes of trumpet and cornet at at the strip club Nouvelle Eve . In 1952 Vezant Sr. also made CNSMP ; the other was under the instruction of Eugène Foveau, Andr é a member of the orchestra of Guy Luypaerts.
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