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

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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. In 1952 , who also had excellent students during this period: Emile Raymond Sabarich gave Maurice Andr é the chance to replace Caturegli, Jean-Marie Philip, Michel Chapellier, Alfred a second trumpet in the Orchestra of the Society of Concerts Guaitolini, Franck Duterte, Jacques Mas, Roland Vincent, from the Conservatory (next to Louis Menardi) to play Les and Pierre Gabard. On June 22, 1953 , Maurice André and Pins de Rome by Respighi. Pierre Gabard obtained the first prize for trumpet with their Maurice played some op érettes at the Mogador Theatre. performance of Introduction, Tr ênes et Danse by A. Desenclos, After the records, it is audible that up until 1955 (trumpet among others. Sabarich immediately understood the excep - in D, baroques concerts, label Oiseau-Lyre), the young Mau - tional aptitudes of Maurice Andr é, and Maurice had already rice Andr é still hadn’t found the personal style that the world begun to understand what it was he wanted for himself stylis - would come to know as his. He subscribed to the French tra -

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 2 dition of interpretation—the “school” carried on by the des- under contract with Odeon for entertainment records: polkas cend ents Arban, Franquin, Foveau, Sabarich, Delmotte, and (1956L “Merle & Pinson,” “Myrto,” etc.), airs de bravoure the subsidiary American Georges Mager-Roger Voisin: “it is (“Hora Staccato,” etc.), and jazz arrangements (“Summertime,” necessary to evoke a spirit of continuity [in playing] that is lost “Caravan,” “The Man I Love,” etc.) The trumpet was an instru - in the actual époque ” (André, 1978). In 1953 , Maurice estab - ment soon embraced in entertainment with Aimè Barelli (after lished himself within the “craft” in Paris, playing with Jean- the ’40 s), and from 1954 onwards, with Georges Gouvin and Francois Paillard (who also worked with Ludovic Vaillant), the Fred Gerard 13 . At the same time he recorded for Odeon, Mau - Lamoureux Orchestra until 1960 8, and as first trumpet with rice recorded for Barclay. Pierre Thibaud, who played first the Philharmonic Orchestra of the RTF , ex-Radio symphony trumpet in the accompanying orchestra, told me that Maurice until 1963 9. During the summer of 1953 , Maurice also played, utilized a cornet embouchure with an adapter for the trumpet. for three or four months, thanks to Sabarich, in the Medrano The trumpet Jacques Jay contributed to a session with Mau - Circus (with Charlie Nicolas.) This proved to be a difficult rice as a soloist and remembered his tremendous ability to assignment, by today’s standards, with two performances in focus and concentrate on the task at hand. the morning and one in the evening. When Arthur Haneuse In March of 1956 , Maurice André married Liliane, who he resigned from performing for the radio recording of Concerti - met on the train coming back from a concert with the Nation - no by Jolivet, he recruited Maurice as a replacement. Andr é al Orchestra of Montreux 14 . Liliane would play an important accepted on the condi - role in the manage - tion that it be made ment of Maurice’s ca- dur ing the pause be- reer. On June 25, 1956 , tween the second per - Maurice gave to Vichy formance of the morn - the creation of Con - ing and the evening certino by Raymond per formance at the cir - Loucheur with the cus… and this was Phil harmonic Or ch - done! 10 . In 1954 , Mau - estra of the RTF , con - rice Andr é became the ducted by Louis de second trumpet player, Fro ment. On March after Roger Delmotte, 13, 1958 , he recorded to obtain first prize at on the radio the Con - the Geneva competi - certo no. 1, by Charles tion. He had little de- Chaynes, with the sire to compete in this Cham ber Orchestra of competition as he was the RTF , conducted by adapting to his new Pierre Capdevielle. It work with the orches - was in 1958 that he tra in Paris. It was was introduced to Ray mond Sabarich Louis Armstrong! That who dreamed up for same year he recorded Andr é the career of a for the first time with soloist. Maurice con - two trumpets and an tinued to improve his organ: “I recorded the “craft.” He accompa - trumpet and organ re- nied singers like Luis cital with Pierre Co ch- Mariano, Tino Rossi, ereau… around 1958 , Edith Piaf, and Henri a recording that caused Salvador (at the Etoile Maurice André us a lot of anxiety [be- Theatre), per form anc- cause] we weren’t able es of music for film and for records like “National 7” by to harmonize, [since] the organ of Notre-Dame was too low. Charles Trenet with the Orchestra of Guy Luypaerts in 1955 This record sold very well.” ( 1972 , Diapason )15 . The year 1958 (Maurice played the cornet solo). During this time Maurice marked an aesthetic turning point for Maurice. That year, at performed on a number of projects for Pierre Boulez, but Erato, he recorded two transcriptions that became staples in against his wishes: “contemporary music scares me, to tell you the trumpet repertoire thanks to his interpretations: a Concer - the truth… I worked for ten years on the radio, at TNP … And to by Tartini and another by Stoelzel. But above all, from this I can assure you that when I had a concert to play afterwards, point onward, Maurice André found the characteristics of his delicate, well, je m’enquiquinais [I had troubles]… je ne savais style that would continue to develop over time. From then on, plus où était l’embouchure, les attaques (rires) [I no longer knew it was not strictly the “French style,” but that of Maurice where the mouthpiece was to make the attacks… (laughs)] André that established itself as the model for many aspiring (André, 1978 )11 . trumpet players. André adopted the petite trompette under the When Rafael Méndez came onto the scene in Paris, at the influence of Adolf Scherbaum who recorded the Magnificat in Ahlambra in 1954 , Maurice must have thought, “now, that I 1955 (Kurt Redel, Erato) and the second Concerto Brandebour - can do” 12 . And he proved he could. From 1956 to 1959 , he was geois in 1956 (Paul Kuentz, National House of Records). As we

3 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild know, Maurice had a high voice, and in 1986 he said to performer. He participated nevertheless in a recording session Charles Colin: “ I prefer the piccolo because it corresponds to for Duke Ellington ( 1963 ) next to Louis Menardi and Alex a soprano voice, a high-pitched voice. In the opera, the higher Caturegli on the trumpet. That same year, he recorded brass voices have more success than the lower. It’s a wonderful ensembles for Erato with Pierre Pollin (not credited in the sound; even though it is difficult to find the sound on a little record sleeve), and, most notably, his first version of Concerto trumpet, the impact on the public is formidable.” Maurice by Joseph Haydn (Erato). From 1963 onwards, he became André was, thanks to Sabarich, an very highly sought after to per - advisor to Selmer. It was Arthur form the Bach cantatas and Haneuse who sold him a Scherzer worked with conductors includ - piccolo trumpet that he bought to ing Karl Ristenpart ( 1964 , Mag - play the second Concerto Brande - nificat with Menardi and DeAn - bourgeois. It was this instrument toni), Karl M ünchinger (filmed (and not a Couesnon!) that served version of Haydn’s Concerto ), as the prototype for the creation of and Karl Richter (from 1964 the Selmer piccolo trumpet. The onwards). In retrospect it was instrument, developed in 1959 , fortunate that Maurice had had had three pistons. In 1967 Maurice eight to ten years (beginning in added the fourth piston to expand 1955 ) to master his solo playing! the lower register. Thanks to Mau - Amongst other historic record - rice, this short model made a tour ings, in 1964 he recorded his ver - of the world. As a side note, it is sion of Concertino and the second well known that Maurice André Concerto by Jolivet (conducted by abundantly utilized fake fingerings the composer), the Concerto by in his performing on piccolo trum - Tomasi 17 , and then, in 1965 , the pet! Concerto by Hummel. In a con - Between 1960 and 1961 , Mau - versation with Maurice in Nov- rice recorded for Erato, under the ember 2011 , I recalled that Jol - direction of Jean-Francois Paillard, ivet had advised him to get inspi - the original versions of Water ration from Louis Armstrong, Music and Royal Fireworks Music Maurice André Maurice’s response to me was, by Handel. He was pursuing a “Tomasi too!” diversified career. It was Maurice who played the admirable When Pierre Thibaud returned to France in 1963 after three Cavatine by Michael Legrand in the soundtrack for the film Le years spent in Israel, he found the situation radically different Cave se Rebiffe, or The Counterfeiters of Paris (1961 ). For than when he’d left: Maurice André had brought the trumpet another film, he recruited Billy Byers to accompany the trum - to the fore as a solo instrument! The instrument was now con - peters Louis Menardi, Roger Delmotte, and Vincent Casino. sidered first rate! In May of 1962 , Maurice recorded his first version of the sec - ond Concerto Brandebourgeois , but of course there were many 1967 – 1980: Ascension and Momentum more! I debuted in the study of trumpet with a preliminary and In 1963 , Maurice made his return to the Philharmonic exclusive knowledge of the masters of jazz. One day in 1967 , Orchestra, having demanded a bonus to play the part of the my professor, Ga êtan Berton, 18 told me to come to the theatre soloist in the second symphony by Ditilleux! But from 1962 to (in Tours) and listen to a trumpet player: it was Maurice 1967 , Maurice was fourth trumpet in the Opera-Comique Andr é, age 34 , in the second Concerto Brandebourgeois ! 19 : a dis - next to Raymond Sabarich (who died in 1966 ), Louis Menar - covery that established performing as a complementary pas - di, and Charles DeAntoni. Other players with which he per - sion to jazz. Thank you, Maurice! In jazz, one searches to have formed during this time included Fernand Bouillon, with a personal style, and from 1969 I searched for alternatives such Charles DeAntoni ( 1901 – 2011 )16 . as the “Maurice André style,” which I loved, and I discovered On March 31 , 1963 , Andr é participated as featured soloist that Maurice was a part, with a brilliance out of the ordinary, at a Gershwin Festival at the Pleyel School of Paris with the of a mouvement mondial of the rebirth of the trumpet thanks Association of Lamoureux Concerts—the same orchestra in to contributions equally respectable in the domain of records which Jean-Luc Ponty was found amongst the first violins (as by Roger Delmotte ( 1950 – 61), Contrepoint; 1960 – 62, well as the trumpeters Yves Cou ëff é, Marcel Steffe, and Jean- Westminter), Roger Voisin (1959 – 63, Kapp), Armando Ghi - Jacques Greffin)— Concerto en Fa, Porgy and Bess (grand sym - talla (1963 – 69, Cambridge), the veteran Adolf Scherbaum phonic suite), and An American in Paris were all on the pro - (1960 – 70 , DG ), and Walter Holy and his cowbell (record gram. appeared in France in 1966 with Philips) 20 . Starting in 1970 , That same year, Andr é was invited to participate as a mem - there was more competition on the scene but Andr é remained ber of the jury for a trumpet competition in Munich. In com - the imperial master. The international notoriety of Maurice paring the compensation offered to the members of the jury Andr é also benefitted from his appointment as professor of with the prizes offered to the competitors, he opted to sign trumpet and cornet at CNSMP (1967 – 1980), following Ray - himself up for the competition (and won first prize!). From mond Sabarich. He was assisted by Jean Piroet (1967 – 76), then on, Maurice progressively left the “craft” for the life of the and then Marcel Lagorce (1977 – 80 ). His teaching, which he

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 4 loved, was not really compatible with his career as a performer, wave Maurice Andr é created starting in 1970 . Whatever the which was at the time full and still developing. 21 Among his talent, the whole world benefited from a veritable style started 110 students, one can name Richard Giangiulio, Guy Tou - up by Roger Delmotte/Pierre Cochereau, and Maurice vron (prize 1968 and 1969 ), Bernard Gabel, Ren é Caron, Luc André/Marie-Claire Alain, for the concerts of trumpet and Capouillez, Jacques Jarmasson, Mineo Sugiki, Jean-Paul Leroy, organ. Thanks to them, one could play in any church with a Philippe Hechler, Bernard Soustrot (prize 1975), Eric A ubier popular success that is almost impossible to imagine today! In (prize 1976 and 1977 ), Gérard Boulanger, Thierry Caens 1972, there were about 18 professional and regular duos in (prize 1977 and 1978 ), Patrick Fabert, Jean-Luc Dasse, etc… France 24 . The celebrity duo Maurice Andr é and Marie-Claire John Wilbraham passed one year with Maurice Andr é. The Alain played everywhere beginning in 1970 —at the Tours historic role of Maurice is the legacy he creating in having Cathedral and in Harlem where they were filmed. Not to men - introduced the instruction of the piccolo trumpet to CNSMP 22 . tion appearances on television like that of February 21, 1970 , The influence of Maurice Andr é was such that all trumpeters in which the duo appeared “face to face” in Notre-Dame of the generation born between the years of 1940 and 1960 (playing Purcell and Gervaise), in the Roger Guerin quartet were students of him. As a personal testament, it is the inter - (“Woody ’n’ you”). In 1971 , Maurice received the Classic Edi - pretations of Maurice Andr é that Ga êtan Berton taught me son prize. Maurice traveled around by car, a Mercedes 280 SL sport, equipped with a stereo system: “When I drive, I listen to my playing and I correct myself. And I drive a lot: 100,000 km per year. I’m obliged to make all my travels by car so that I can rehearse. Because the trumpet at the hotel, it’s not possible… So, in general, I escape into the country with my car” (March 1971 , L’Aurore Spectacles). In 1972 , Maurice went on a tour with his brother, Raymond Andr é, a fellow trumpeter (born in 1940 , who followed his uncle in the N îmes conservato - ry), and an organist. One of his successes in records was the Suite pour fl ûte en si mineur by Bach (recorded in 1969 ): “I had been working on it for three or four years as an exercise, and then one day the idea came to me to record it… And Erato accepted my proposition” ( 1972 , Diapason). On January 31, 1971 , he played Hummel’s Concerto and Telemann’s Sonate de Concert (Oubradous) with the Concerts Lamoureux Orchestra, conducted by Paul Capolongo (Pleyel school, in Paris). If Maurice Andr é was unenthusiastic over a certain musique contemporaine, he loved musiques modernes like that of Jolivet and Tomasi from whom he had commissioned new works. For trumpet and organ, there was Semaine Sante a Cuzco by Tomasi and Arioso Barocco by Jolivet ( 1971 ). Jolivet dedicated Heptade pour trompette et percussions to Mau - rice in 1972 . Maurice told me that he didn’t have many rehearsals of this formidable work, but he had a solid preparation 25 . In November 2011 , he told me that Jolivet never asked him for advice in writing his difficult works 26 . Maurice Andr é is the dédicataire for more than twenty works of the 20th century (Landowski, Werner, etc.). It was in 1972 that Timofei Dokshizer visited Maurice Andr é in his class at the CNSMP . Maurice declared to the press: “the Bolcho ï trumpet solo was played very, very 27 Maurice André well” ( 1972 , Diapason). Abroad, in conforming to his international stature, Maurice Andr é returned to Denver when I learned the Haydn and Hummel’s concertos in E-flat 23 , (1972 ). David Hickman, of whom Andr é appreciated the style, using, of course, the Radial model of trumpet in E-flat that he participated in Andr é’s masterclass. As a side note, Andr é acquired from Selmer. Many have inquired about the quality recorded in horn, next to Tassin (second horn), the first Con - of Maurice Andr é’s teaching. I assisted in one of his master - certo Brandebourgeois with Jean-Francois Paillard (Erato). classes in 1979 , and I can attest for his communicative enthu - Maurice Andr é searched for the right equilibrium between siasm and the results obtained by mimicking his demonstra - nobility and popularity. From the beginning, Maurice never tions on the trumpet. cut himself off from the masses—he loved people. He record - A whole new generation (students Touvron, Soustrot, Caens, ed Discorama by Denise Glazer for a TV broadcast, a theme Jarmasson, and extending on to René Périnelli, André Bernard, song conceived for him by Jean-Michel Defave: an adaptation Pierre Dutot, Jean-François Dion…) still finds itself riding the with a rhythmic jazz section of the old song “J’ai du bon tabac”

5 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild (I have good tobacco), after Michel Corrette. The record edi - beginning of a trusted and durable friendship. 30 Thus, it was tion ( 1971 , Trompettissimo , Erato) was a grand success 28 . In Maurice who put at our disposal the Leopold Bellan school of 1973 , returning to his roots, Maurice reunited with his Paris, on June 19, 1979 , for our first General Assembly. It was Aubertin trumpet to record Légende by Enescu and Sonate by there that the first International Maurice Andr é Competition Hubeau with the composer on piano (Erato). That year he was held, at which Roger Guerin, who spoke English well, par - recorded a beautiful trumpet duo, transcribed by an Aria of the ticipated in the capacity of interpreter! 31 Cantate &% by Bach, with his son, trumpeter Lionel Andr é (1959 – 1988 ). The accidental death of his mountaineering 1980 – 2011: The International and Popular Star son was a tragedy for Maurice and Liliane. In 1974 , Maurice On November 27, 1980 , a television show devoted to Mau - recorded a premier album with EMI records with the Berlin rice Andr é with Jacques Chancel called Le Grand Echiquier Philharmonic conducted by Herbert von Karajan (Hummel, L. (The Grand Chessboard), was telecast. Maurice recounted his Mozart). Karajan must have thought, “He is from another career back to the beginning including his work in the mines world”; however, Maurice’s abilities as an instrumentalist did - and performed a full program—the show of the Orchestral n’t fail to impress him. From 1977 onwards, Maurice record - Ensemble of Paris conducted by Jean-Pierre Wallez and the ed regularly for EMI . Big Band of Claude Bolling (Maurice Thomas 32 , Patrick It was from 1973 to ’74 when I sent questionnaires to trum - Artero, the Verstraetes—father and son—on the trumpet). It peters around the world that I was able to record the almost unanimous respect for Maurice Andr é, notably in the United States. Artists as diverse as Lester Remsen, Harold Mitchell, Albert Mancini, John Madrid, Dick Sudhalter, and Uan Rasey indicated to me that Maurice Andr é was among their favorites 29 . Let’s also note William Vacchiano: “Maurice André has opened up a new horizon for the trumpet as a solo instrument. His expertise has made the public aware of its great poten - tial.” And “our” Roger Voisin: “I remember hearing his performance on records for the first time and how my ears did become acute! What articulation! What playing! What sound! What musicianship! What phrasing! There are many good trumpet players around the world, but Maurice is at the top.” That says it all! Roger Voisin was frequently invited by Maurice to serve as a member of the jury of his competitions. Maurice Andr é, who didn’t participate in the first International Brass Congress in Montreux ( 1976 ) to the general disappointment of all, received volunteers at his house, around his celebrity pool, friends of the “craft” (Michel Decourri ére, Loulou Vezant Jr., etc…) and the elite (Thomas Stevens, Pierre Thibaud, Jean-Pierre Mathez, etc.) It was a golden era for brass players and Maurice was a much-loved king! After the Suite for Fl ûte by Bach, Maurice measured him - self by taking on the role of “coloratura of the trumpet” including such works as the air of La Reine de la Nuit by W. A. Mozart, which he recorded for the first time in 1977 . His work in this area was a fabulous success. Showing that he too was capable, he recorded in 1978 “Le Canari,” an ancient success by Maynard Ferguson, with the double-high E: “I blew it out à plein tube [at full power] with the standard B-flat trumpet… one can do it in classical music too, the super high-pitched; it is not what most impresses me, frankly” ( 1978 ). When in March of 1978 I established with Roger Del - motte and Henri Van Haeke (famous lead trumpet), the French Guild of Trumpeters, it was unanimously evi - dent that Maurice Andr é had to be the Honorary Presi - André soloing in 1985 dent, which he accepted. Even better, thanks to a gener - ous donation, the guild was able to get underway. It was was during this recording that Maurice Andr é and Dizzy Gille - December 10, 1978 , that I met with Maurice Andr é in the the - spie played a duo (Orfeo Negro), a sequence that was heard atre box of the Tours Theatre where he was rehearsing around the world! 33 . Maurice and Dizzy played again together Haydn’s Concerto and that of Stoelzel, for the first interview on the Mermoz steamship in 1983 , accompanied by Michel with which he would honor me. That day, would mark the Legrand 34 .

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 6 In 1981 , due to this broadcast, Maurice recorded with the was a regular and beloved quest on television shows of the ani - Harmony of Al ès (under the direction of Claude Lagrange), mator Jacques Martin who had become his friend 38 . In 1992 , and created the Toot Suite by Claude Bolling, a virtuoso piece Stephen Jones gave to Maurice André the International Trum - with a rhythmic jazz section that is now considered indispen - pet Guild’s Honorary Award at the concert of the Rotterdam sible to the trumpet repertoire. From 1981 onwards, he Conference. In October 1998 , he played Tartini’s Concerto loved—with ever increasing intensity—to play the bugle, on from 40 years before, with the Philharmonic Orchestra of which he developed an incredible range and great tonal beau - Monte-Carlo, conducted by the prestigious Georges Pr être ty. In May 1982 , during a session produced with RCA , (who was a trumpeter!). trompette et o r 35 ), he played the Millereau bugle by Loulou The EMI records of Maurice André during this time repre - Vezant, Jr., with an accompanying orchestra. But in April sent maturity in his mastery of technique and artistic expres - 1982 , he played also, for TV , the Pavane pour une infante sion he’d searched for and was able to bring to re-recordings of defunte (Pavane for a Dead Princess) by Ravel on the corno da works that had made his career, such as Haydn’s Concerto at caccia —”hunting horn”—along with a Neapolitan Song! the Venice Carnival (incredible version on the bugle with the On October 28, 1987 , a second show with Le Grand orchestra of Garde Republicaine , conducted by Roger Boutry). Echiquier was broadcast, a marathon of endurance in which An excellent selection of works in six CD s was edited under the Maurice played different genres on trumpet, cornet, and bugle. title les Chefs-d’oeuvre de la trompette (100 greatest master - In Olympian form he played with the Chamber Orchestra of pieces for trumpet) ( EMI Classics 377 926 2 ). Auvergne and Claude Bolling’s Big Band (Kako Bessot, When I found Maurice on October 11, 1998 , by accident, Michel Delakian, Patrick Artero, and Fernand Verstraete on he was a simple spectator of a big bands concert at a Jazz festi - trumpet), with the same popular success… at this point it val in Marciac, and his record had just released with Michel seemed that everyone on the street knew Maurice Andr é! He Legrand (recorded in February 1997, EMI )39 . The arranger played, notably, a “unique” arrangement by Francois Rauber wrote for him simulated “improvisations.” I was able to, once of Trumpet Voluntary by Jeremiah Clarke, for orchestra and more, measure the intensity of affection his American col - big band that he wanted to play again at Bourges on May 10, leagues had for him. When we went into the room to intro - 1992 , with two soloists: himself (Yamaha piccolo in A) and his duce to him Roy Hargrove (very surprised!) from whom he son, Nicolas (trumpet in G), in harmony. For me this was (in loved the tone of the bugle 40 , all the students of the Duke his role as part of a big band) an occasion to see Maurice in his Ellington School of Arts as colleagues of Vanguard Jazz element: relaxed, convivial, finding the words to create a pleas - Orchestra (Glenn Drewes in particular), rushed to him with urable environment… and very encouraging towards the admiration! trumpeters of the or - chestra (he created a true spirit of family!). One knows that Maurice always played with a score in front of him, even the works that he possessed in the min- utest detail 36 . And yet there, his score disap - peared between the rehearsal and the con cert. Maurice play ed that night flawlessly from mem - ory… and also with great passion! At the peak of his physical and artistic form, With Michel Laplace in 1998 Maurice was gener - ous with his encores 37 . Maurice always showed much interest and respect for the From the second airing of Grand Echiquier , Maurice played jazz trumpet. The trumpeter Laurent Rieu remembers having regularly with his son Nicolas (born in 1972), notably with crossed paths with Andr é, a simple spectator, outside of a con - Paul Kuentz in 1988 (and his daughter B éatrice on oboe). cert by the Count Basie Orchestra. In November 2011 , he Starting in 1992 , Nicolas participated in the recordings of his confirmed to me that which he’d already said in the review father. Nicolas started his study of the trumpet at the age of Jazz Hot in 1970 about Louis Armstrong: “every note sings five and B éatrice, that of oboe, when she was twelve. and lives… every note signifies something… one is flabber - The nuances of sound Maurice created during this time, gasted by a mastery such as this and by something so natural! included the same seducing timbre, but even more sweetness … Before everything, Louis Armstrong, he is a natural man, of tone: the most round, the most warm, and the most somber and he also is nature like we say of certain students and certain qualities based on his interpretations. In those years, Maurice virtuosos… that is to say that everything he plays or sings, and

7 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild probably everything that he does in life, is marked by a pres - served as his impresario at the end of his career. ence… formidable… monstrous!… And he has a big heart in The former professor of trumpet at the Bayonne conservato - the same way! And then this tone… It is unique… you see… ry Jean Sibra helped Maurice to find a house in the southwest. this tone, it is all of his generosity, the grandness, the simplic - In his retirement he practiced woodcarving. He sometimes ity and the nature of this man.” I believe that this description gave lessons to Reuben Simeo at his house. And he wrote also perfectly fits Maurice Andr é! When he was young, he lis - twelve études for young trumpet players. It was at his house in tened to Harry James on the radio: “I love listening to Harry Urrugne that Maurice received Jean Sibra, Steve Chenette, and James. He was very good, but he served with this vibrato for myself on November 3, 2011 . He was very happy being with classical music, right!” “I loved Dizzy Gillespie, and Clark Terry. I think Doc Severinsen is great and I was an admirer of Bill Chase” (interview de Jeffrey Silberschlag, 1986 ). He told us, “I was very good friends with Bill Chase ”(1978 ). In addition, he confided to Steve Chenette: “Clark Terry is marvelous… Clifford Brown! Oh if only I could improvise like that, I would love it.” (ITG Journal, 2001 ) The affection of jazzmen for Maurice is equally true: “As for me, he has been, since I was 14 , my idol—at the same level as Louis Armstrong—for that matter, what difference?” (Alain Bouchet, February 26, 2012 ). The adopted son of Roger Guerin, Pat Stevens, testified: “I remember that I listened to different concertos for trum - pet with Roger Guerin at the house when I was an ado - lescent.” (February 26, 2012) On August 5, 2006 , Mau - rice and Roger Guerin played a duo— Tenderly —in Najac with the accompaniment of Jean-Michel Defaye. 41 The cousin of Wynton Marsalis, Rodney Craig Mack, remembers: “ When I was 11 years old, my cousin Wyn - ton Marsalis put a recording on the stereo system and said, ‘This is the greatest trumpet player in the world.’” It is to Maurice Andr é that Marsalis listened from the age of 14 at the suggestion of his professor, John Longo. Later, Wynton Marsalis would become the receiver of the best publicity when Maurice Andr é said that he was: “Potentially the greatest trumpet player of all time.” 42 One remembers the vote of musicians organized by Brass Bulletin at the end of the twentieth century: in the Top 12 , placed as the top brass players of the century were the following, in this order: Maurice Andr é, Louis Arm - strong, Wynton Marsalis, and finally, Arturo Sandoval, who was scandalized by the fact that CNN didn’t announce the death of Maurice Andr é: “a real true artist” (February 26, 2012 ). With age, Maurice faced some dental problems. A spe - cialized dentist found a way, at the end of the 1980s , to correct a gap between his middle upper incisors: a ceramic compound. “It’s not very aesthetic, but terribly André playing piccolo in 2006 effective. My sound production has been considerably ameliorated since” (Andr é, Brass Bulletin 60 .) In addition to his trumpet friends, and delivered his secrets of interpretation the dental problems, a grave case of Diabetes progressively of Jolivet’s second Concerto and Heptade following their handicapped Andr é. recording. In 2003 , Maurice André gave a goodbye tour. But the true Maurice André played on all the continents except Australia. concert d’adieux was in October of 2008 . Indeed, in January He loved to play for Herbert von Karajan, Karl Böhm (no 2008 , he confided to me his intention to continue playing. recordings), Seiji Ozawa, Riccardo Muti, Neville Marriner. But in January of 2009 , he told me he’d stopped playing con - His favorite and preferred composer was J.S. Bach. Maurice certs due to his dental problems. In November 2008 , a beau - André produced more than 285 records, of which 35 were tiful televised autobiography by Frank Chaudemanche was modern music. In 2008 , he told me his doubts about what aired, Maurice André intime (Morgane production). In 2005 , would remain, indicating his version of the second Concerto Maurice produced his final recording at the cathedral of Al ès Brandebourgeois with Riccardo Muti ( 1985 ) as it was, for him, with his kids, Nicolas and B éatrice, and the organist Jean- a success worthy of duration 44 . Maurice loved also his version Claude Francon. His cousins, Jean and Christiane Polge 43 , with the organ of l’Adagio attributed to Albinoni ( 1978, EMI )

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 8 which I recorded: pa f! This attack bothered me… So I learned to blow the notes” ( 1978 ). 45 Maurice André, who had a light vibrato, made contrary declarations on the subject: “That is the beauty of each one… a vibrato of good taste, one can bring about” (1978 ). “To obtain perfection in the high notes, the staccato, the phrases… Hours and hours are necessary” ( 2007 , publibook). Maurice André practiced four to five hours a day. Then he reduced the length to two and a half hours. At the conservatory, he taught using the Arban method, the etudes of Charlier and Bitsch, and of course, the Concertos (Haydn, Hummel, Arutun - ian…) The position of the mouthpiece was of central and utmost importance to Maurice André. He made a movement of the tongue to verify if the position was right. He practiced his buzz in the embouchure. And he massaged his lips (with warm water, or even with butter). Asymmetrical mouthpiece design used by André Maurice André served as an advisor to Selmer to create an historic piccolo and the Toot Suite with Claude Bolling. He regretted that his trumpet in B-flat/A (four piston model, 360 BL ), the special recording of the suite by Jean-Michel Defaye would remain issue Radial with the pistons disposed in V (notably E-flat/D unreleased. 360 E , and C or B-flat), and the mouthpiece with asymmetric edges ( 1979 ). A Bit of Technique Between 1992 and 1995 , Maurice André served as an advi - In the space of the glory of Maurice Andr é, the trumpet sor to Stomvi (developing a series of trumpets, cornets, bugles, became a noble (yet still popular) instrument, enjoying the and a mouthpiece on the side: Stomvi-Combi) and Couesnon same status in the classical milieu as the violin (“You know, the dynamic range of the trumpet is actually greater than that of the violin,” said Maurice) and the piano (“I modeled my staccato after the piano.”) He was influenced by the oboe and the lyricism of the human voice. Asked about the principles of his fundamental style, he re - sponded: “There are three things that are important on the trumpet: the attack, the tone, and the musicality” (1978 ). The sound is that which he worked on the most. For broadcast: “I learned to attack with the #$ , but attack with the !$ , according to the phrase, according to the high notes… Even no attack at all… And that which made me evaluate my approach to the attack, was the recording; I listened every time to that André’s desk in November, 2011 • Photo by Stephen Chenette

(clarion, natural trumpets). He also introduced a “multimute.” trumpet (in 1992 ). In November 2011 , on his desk, he had a Outside of the Selmer trumpets (K-modified, Radial) and the Courtois bugle and a Vincent Bach trumpet in C (“I got a lot small bore Aubertin trumpet, Maurice André played the of use out of it!”) along with a 12½ Stomvi mouthpiece (which Selmer cornet, a number of Vincent Bach trumpets, the he helped to create), “Foveau” number 3 Couesnon (during Schilke E-flat trumpet (in 1985 ), and the Yamaha piccolo his teaching years at the CNSMP ) and during his Selmer period,

Michel Laplace, Jean Sibra, Steve Chenette, Maurice and Liliane Andre , 03.11. 2011 photo by Be atrice Andre , collection M. Laplace ́ ́ ́ © 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 10 L – R: Thierry Caens, Maurice André, Marcel Caens

Vincent Bach 1½C mouthpieces (for the B-flat mouthpieces, itage” (Thierry Caens, March , ). C, E-flat/D) and 7DW (for the piccolo) along with the On February 6, 2010 , I promised this article to Maurice Selmer 1 (for the Brandebourgeois ). In 1972 , he played on a André, when the time came… –M ichel Laplace mouthpiece by Rudy M ück, a 7e. Then, he played on a Thein, Images provided with this article are from the personal collec - V. Bach 7D 46 , Yamaha (copies of 1½C and 7DW ), and Stomvi 46 . tion of Michel Laplace. Maurice André died on February 25, 2012 at 11:45 p.m. at Bayonne. The funeral ceremony was held at the Ales Cathedral, Endnotes March 2, at 10:30 in the morning. Beginning at 8:00 a.m. , 1 Multiple biographies of Maurice André indicate Roche- many were present for the service. Father Gabriel Niel played belle as his place of birth. the organ at the ceremony for the 1500 people in the cathedral. 2 His brother Jean became cornet soloist of the Musique des The music was entrusted to 70 choristers and to the organist Equipages de la Flotte in Toulon, and a professor at the Jean-Claude Françon . Musical selections included the Adagio con servatory of N îmes. attributed to Albinoni, Schubert’s Ave Maria , and a Bach 3 “The B flat medium was impeccable, the B natural right, chorale. Among those present were the conductors Michel the low D had no need to be corrected” (André). Maurice Plasson, Claude Lagrange, trombonists Michel Becquet, Jean- André hesitated to buy the house in Aubertin. Pierre Mathieu, and of course many trumpet players—notably 4 The style Musette was very much in fashion (Maurice David Guerrier, Reuben Simeo, Sergei Nakariakov, Marcel would use it in later recordings), the success Swing and Lagorce, Patrick Fabert, Christan Pollin, Albert Calvayrac, “Beyond the Sea” (song by Charles Trenet). Jacques Jarmasson, Laurent Rieu 47 , Jean Sibra, René Périnelli, 5 Maurice confirmed this on November 4, 2011 . Pierre Dutot, Guy Touvron, Bernard Soustrot, and Thierry 6 Roughly, “How things work” -LM Caens. Flowers were donated by the City of Paris, the Repu - 7 It was the first recording of this work. They re-recorded it blican Guard, the Opera of Paris, and friends in the southwest each at their own turn. Demotte that same year with of France. The March of Aida was played by 40 trumpet play - Albert Adriano (Contrepoint/Mode). Maurice from 1958 ers and directed by André Bernard. Afterwards, Maurice André (two versions) with Marcel Lagorce (Erato and Musidisc). was buried in the garden of the Saint-André Presbyterian 8 Notably in concert in Bienne in 1956 next to Ludovic church of Capc èze, next to his father and his son, Lionel, and Vaillant. at the foot of the Loz ère mountain. 9 A remarkable section completed by Marcel Lagorce and We will now live with the memory and the immense work that Jacques Mas. he accomplished, and each in his own way will pass on this her - 10 Le Concertino by Jolivet was little played in this period. 11 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild There was Haneuse to thank for this creation ( 1950) and re Sellin, Georges Gay, Roger Deblock) and french classi - Roger Delmotte (in 1952 with the Concerts Lamoureux). cistes of many generations (Albert Adriano, Raymond 11 Boulez: “whom I admire for his talent of conducting but Tournesac, Emile Baudrier, Pierre Piton, Albert Calvayrac, not for his own compositions” (autobiography). Lucien Picavais, Jean Pirot, Gérard Roussel, Gérard Mil - 12 Méndez, who influenced Foveau, came to visit Sabarich lière, Gaêtan Berton). who gave lessons to his students introducing them to 30 There were other official meetings ( May 10, 1992; Janu - many pieces (“Hora Staccato,” “Flight of the Bumblebee,” ary 14, 2008 ) and numerous encounters always very sym - etc.). pathetic and enriching through to the last one on Novem - 13 It wasn’t until 1958 that Pierre Thibaud also recorded ber 3, 2011 . entertainment records. 31 The masterclass of Maurice allowed us to listen to him 14 Maurice André taught Dominique, Liliane’s daughter play the 3rd trumpet of a Bach Oratorio with Nassim from a previous marriage, whose son Frederic Bouc is a Maalouf and Sakai. trumpet player (broadcast on TV with Maurice André in 32 Maurice Thomas ( 1928 – 2012 ), former student of 1993 ). Foveau, was buried the day before Maurice André. 15 Two Bach chorals, “Erbam dich mein, O Herre Gott” and 33 Maurice André confided to me that Dizzy wasn’t very “Herzlich tut mich Verlangen” represented on the disc enthusiastic to collaborate with him but when he heard Grandes Orgues and Fanfares at Notre-Dame of Paris André play, he had no more doubts. (Philips). They were my models when I debuted the con - 34 Maurice André did fifteen musical cruises on the liners certs on trumpet and organ in 1973 , with those of the “Renaissance” and “Mermoz” with stars like Isaac Stern, recording by Roger Delmotte and Pierre Cochereau ( 1964 , Mstislav Rostropovich, Jean-Pierre Rampal, James Gal - Grandes Orgues et Trompette à Notre-Dame de Paris , way. Philips). 35 The choice of the title was made so as not to disturb his 16 At 108 years old! Charles DeAntoni always had a photo of friend Georges Jouvin, celebrated player of “the gold Maurice André with him! (visited on October 7, 2009 ) trumpet.” 17 Maurice was not the creator of these works: the Concerti - 36 I filmed, with his consent, a rehearsal of Hummel’s Con - no by Jolivet was created by Arthur Haneuse (June 10, certo . It was he and not the conductor (excellent abroad) 1950) and that of Tomasi by Jas Doets in Hilversum who gave all the indications of interpretation, going so far (1948 ). as to play (by memory) a passage of the cornet and anoth - 18 In 1964 , Gaetan Berton (who didn’t have a piccolo trum - er, on the trumpet, to demonstrate what he wanted by pet) played the Concerto by Vivaldi with Maurice André. example. 19 Florian Hollard, Georges Savoy (flute), Gilbert Flory 37 At his concert in Bouges on February 7, 1985 , after the (oboe), Lucien Dubruille (violin), Didier Aubert (cello). Concerto by Haydn and by Tartini (programs), he gave a 20 Walter Holy indicated to us that Maurice André was his series of encores: the air of the Reine de la Nuit by favorite trumpet player. Mozart(!), a danserie by Gervaise, l’Andante by Haydn, 21 Absent from 1974 to ’75 , he would be deprived of the title and Ave Maria by Schubert. “professor.” Pirot, replacing him, wouldn’t touch the inter - 38 When both were retired in the Pays Basque , they met fre - im salary. Before Maurice André, Arban had the same quently, most notably in a restaurant near the sea in experience. Bidart. 22 Maurice André edited Etudes Caprices in the Baroque 39 In the big band: Christian Martinez, Kako Bessot, Tony Style (1973 , Billaudot). He co-signed with Michel Ric - Russo, Claude Egéa on the trumpet! (not indicated in the quier an edition of the Arban method. book jacket) Jean Sibra and Charles DeAntoni assisted 23 Subsequently I took the initiative to work on the edition with the session. Edward Tarr in E major on the trumpet in D. 40 A bugle by Thomas Inderbinen. 24 The brothers Couëffé , Yves and Paul, were amongst the 41 Maurice told me that Roger had stage fright, and Roger pioneers. confirmed it! 25 Maurice André didn’t play Heptade in public, it was Fran - 42 Maurice André, according to his own words, predicted he cis Hardy who first did this, with Sylvio Gualda, May 24, would not always be able to play classical and jazz music. 1971. In November 2011 , Maurice again emphasized to Which is what ended up happening. me his respect for Francis Hardy and Marcel Lagorce. 43 Jean Polge, trumpet player, has for his great grandmother 26 Inversely, Jolivet solicited the advice of Roger Delmotte Marie-Clementine who is the sister of Augustin André, for the 2nd Concerto father of Marcel André, and father of Maurice André. Jean 27 As for Sabarich, Maurice expressed a reserve concerning Polge was the student of Marcel and Jean André. Chris - his vibrato. tiane was his wife. 28 He had from 1961 recorded this “crossover” for Polydor 44 During an interview on February 3, 2001 , Pierre Thibaud (airs of Bach, Vilvaldi, Telemann) with a rhythmic section. expressed that he too had doubts over what would remain 29 In this poll ( 1973 – 74 ), Maurice was the favorite of of André’s work, and he too thought that his version of numerous British trumpeters (Alan Stringer, Michael the 2nd Concerto Brandebourgeois (with Karl Richter, in Laird, Philip Jones, Elgar Howarth, David Mason, Den - 1967, DG ) would survive. nis Clift, Denis Egan, Eddie Blair), and a multitude of 45 In November 2011 , Maurice confirmed this and he jazzmen (Ack van Rooyen, Jan Vleeschouwer, Manfred demonstrated after his recordings. Schoof, Charles Green, Guy Longnon, Fred Gérard, Pier - 46 Always with asymmetric edges, the thickest ( 2 mm) was © 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 12 positioned on his upper lip. M. Laplace: Trompette, Cuivres & XXe Siècle , CD-Rom , 2008 47 Who represented besides himself, Georges Jouvin, Roger J.-P. Mathez: “Maurice André,” Brass Bulletin 24, 1978 ; 25, Delmotte, Piere Pollin, Fred Gerard, and myself. 1979 J.-P. Mathez: “Maurice André,” BB 66, 1987 , p66 Bibliography J.-P. Mathez: “Maurice André, nouvelles orientations,” 87 , M. André, Th. Martin: Le soleil doit pouvoir briller pour tout le 1994, p58 monde (2007 , publibook) J. Préteseille: “Maurice André, sa trompette et le disque,” Dia - M. Laplace: “Maurice André” (interv. Tours, 10 déc 1978 ), pason 168, juin/juillet 1972, p6 Bulletin GFT no 3, avril 1979, p2 M. Cullaz: “Maurice André,” Jazz Hot 263, 1970, p22 M. Laplace: “interview Maurice André” (Bourges, 10 mai J. Silberschlag, Ch. Colin: “interview with Maurice André,” 1992 ), Gazette des Cuivres no 12, 1992, p23 "' for Scholarships feat. Maurice André , 1986 M. Laplace: “des faits et des hommes. Les trompettistes de St. Chenette: “Interview with Maurice André,” ITG Journal , Tomasi et Jolivet en 1946 – 1956 ,” Gazette des Cuivres March 2001 no 14, série 2, 2009, p22

SÉLECTION D’ENREGISTREMENTS HISTORIQUES DE MAURICE ANDRÉ (M. L APLACE )

Roger Delmotte, Maurice André (tp), Collegium Musicum Un Americain à Paris (Gershwin) of Paris, cond. by Roland Douatte. Summertime (Gershwin) (+) (**) (°) Paris, 1952 Serenata (Anderson) (°) 45CL7 - Concerto P75 (Vivaldi) Caravan (Tizol-Ellington) (°) Symphonium (45rpm) 1107 The Man I Love (Gershwin) (°) Note: Maurice was still a student at the CNSMP at the Vol du Bourdon (Rimsky-Korsakov) (*) (**) (+) (°) time. They play on trumpets in C. Hora Staccato (Dinicu-Heifetz) (+) (**) (°) Granada (Lecuona) (°) Charles Trenet (voc), Guy Luypaerts Orchestra, incl. Mau - Carnaval de Venise (Arban-Petit) (+) (**) (°) rice André (solo cnt). Les Feuilles Mortes (Kosma) (°) Paris, 1955 Myrto (Petit) (++) (**) (°) 7TCL568 - Route Nationale 7 Odéon 0S 1104/CBS 52019, (cassette) 4053193 Pathé (45rpm ESRF 1079 (*) CBS cassette 4053211 (°) Ild CD EAN 335115642300 Maurice André (tp), Oiseau-Lyre Orchestral Ensemble, Madeleine (Petit) (++) cond. by Pierre Colombo. Hylda (Reynaud) (++) (**) 1955 Eva (Petit) (++) Concerto no1 (R. Mudge) Odéon (45rpm) 3144 Suite de Clarke (J. Clarke) Note: Maurice André plays here on a small bore Aubertin Concerto no1 (C. Bond) trumpet. Guy Carrière told the author that Maurice Oiseau-Lyre (LP) OSL 160 bought him his Aubertin.

Maurice André et Marcel Lagorce: à la Guinguette Maurice André (tp), P. Pierlot, J. Chambon (oboes), Sar - Maurice André, Marcel Lagorce° (tp), Orchestra cond. by rebrück Chamber Orchestra cond. by Karl Ristenpart. Jacques Mas 1958 Paris, 1956 Concerto (Stoelzel) Pierre et Pierrette (G. Allier)° (mx7 ARE 1019 21/M3 1904 Concerto (Tartini) 27) Erato 70290, 3390, 50290, Merle et Pinson (J. Reynaud)° (mx7 ARE 1019 21/M3 Electrola 95061 1904 27)(°) Musical Heritage Soc 755 Coucou Polka (J. Mas)° (mx7 ARE 1020 21/M3 1904 28) Concerto for tp, 2ob, str (Telemann) Polichinelle (Busoni) (mx7 ARE 1020 21/M3 1904 28) Club Français du Disque 1156 Odéon (45rpm) 7 SOE 3363 Nonesuch 1132, 71132, Note: (°) « Les Années Odéon », Ild EAN 335115642300 Countrepoint 612, 5612

Le Prodigieux Trompettiste (**) Maurice André (tp), Pierre Cochereau (org). ça c’est de la trompette Paris, Notre Dame, 1958, (P)1962-3, 1965 Maurice André (tp, cnt), (studio) Orchestra Jean Faustin Choral BWV 727 (Bach) (Faustin Jeanjean) Choral BWV 721 (Bach) Paris, 1956 (+), 1957 (++), reissued c1961 Philips 6517002 Rhapsody in Blue (Gershwin) -Pierre Cochereau (org), Ensemble Armand Birbaum Divertissement from Concerto in F (Gershwin) collective personnel: Maurice André (solo tp), Marcel Lagor -

13 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild ce, Bernard Jeannoutot, Jean Pirot, Jacques Lecointre (tp), Maurice André (tp), Jean-François Paillard Orchestra. Gabriel Masson, André Gosset, Raymond Katarzynski 1963 (tb), Elie Raynaud (tu) Concerto (J. Haydn) Notre Dame, Paris, (P)1962, 1963 & 1965 Erato 3261, 50161, 70161, 70371, Choral Jésus que ma joie demeure, BWV 147 EFM 18018 Choral du veilleur Wachet auf, BWV 645 Christophorus 75796, 75797, Sinfonia de la Cantate BWV 29 Wir danken Dir, Gott Musical Heritage 533 Choral Nun komm der Heiden Heiland BWV 659 Erato 2564 69066-6 (6 CD) Passion selon Saint Jean: Choral final Philips 6517002, CD 442473-2 Choral ‘Num freut euch, lieben Christen g’mein’ (Bach) (°) Maurice André (tp), Annie d’Arco (p), René Allain (tb), Philips 6517002 Concerts Lamoureux Orchestra cond. by André Jolivet. Note: (°) 2 trompettes & orgue, prob. M. André ne joue 1964 pas. Concertino (Jolivet) Erato 3301, 50201, 70201, 70691 Maurice André, Sa Trompette et les Grandes Orgues Westminster 19118, 17118 Maurice André (tp), studio orchestra. Second Concerto (Jolivet) Paris, 1961 Erato LDE 3301, 50201 La Cavatine, Barbier de Seville (Rossini) (2) (a, b) Erato 70201, 70691, 70439, 70363 La Cavatine, Le cave se rebiffe (M. Legrand) (2)(a) Westminster (US) 19118, 17118 (a) Polydor 657014, (b) Triumph 2472023 Maurice André (tp), Jean-François Paillard Orchestra. Six Brandenburg Concerti 1964 Maurice André (tp), Pierlot (ob), Redel (fl), Barchet (vln), Concerto (M Haydn) Munich Pro Arte Orchestra cond. by Kurt Redel. Erato 3310, 50210, 70210, 70371, 1 – 6 May 1962 70439, 70739 2d Brandenburg Concerto (Bach) Musical Heritage Soc 720 Erato LDE3229/30, 50129/30,70130, Erato 2564 69066-6 (6 CD) EFM 8017 Christophorus 70307, 70308 Maurice André (tp), Luxemburg Radio Chamber Orchestra cond. by Louis de Froment. Jean Cocteau (speaker), Peter Ustinov (the devil), J.M. 1964 Fetey (the soldier), Maurice André (cnt), Roland Erato 3327, 50227, 70227 Schnorhk (tb), Ulysse Delécluse (cl), Hury Heberts Musical Heritage Soc 829 (bsn), Manoring Parekian (vln), Jo Gut (b), Charles Concerto (Tomasi) Peschier (perc) cond. by Igor Markevitch. Erato 3327, 50227, 70227, 70373 Vevey, October 1962 Musical Heritage Soc 829 A soldier’s tale (Stravinsky) Note: some sources give 1956. Philips 2306, 835181, 6500321 Philips (US) 500046, 900046 Maurice André (tp), Concerts Lamoureux Orchestra cond. by J.B. Mari. Duke Ellington 1965 Cat Anderson, Cootie Williams, Roy Burrowes (tp), Ray Concerto en mi majeur (Hummel) Nance (tp, vln), Lawrence Brown, Buster Cooper (tb), Erato 3368, 50268, 70268, 70372, 70439 Chuck Connors (btb), Russell Procope, Johnny Hodges, Electrola 95056, Jimmy Hamilton, Paul Gonsalves, Harry Carney (reeds), Musical Heritage Soc 746 Billy Strayhorn (p), Ernie Shepard (b), Sam Woodyard Erato 2564 69066-6 (6 CD) (dm) + Paris Symphonic Orchestra incl. Louis Ménardi, -Maurice André interprète J.S. Bach Maurice André, Vincent Casino, Alex Caturegli (tp), Maurice André (tp), Fernandez (vln), Jean-François Paillard Georges Barboteu (horn), Raymond Fonsèque (btb), Jean- Orchestra. Pierre Wallez (vln), strings from Opera. 1969 Paris, salle Wagram, February 1963 Suite no 2 for fl BWV1067 (Bach) Night Creature Erato 70511 Harlem Suite Reprise R6097, RV 6024

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 14 Maurice André (tp), Hedwig Bilgram (org). Maurice André (tp), Monte-Carlo National Opera Germany, 1971 Orchestra cond. by Marc Soustrot. Semaine Sainte à Cuzco (Tomasi) Monte-Carlo, June 1977 Sonata (Genzmer) Flûte Enchantée, KV 620: Erato 70689 -Air de la reine de la nuit no14, acte 2 Arioso Barocco (Jolivet) -Air de la reine de la nuit no4, acte 1 Erato 70689, 70691 (WA Mozart) Casta diva, che inargenti, Norma (Bellini) Lakmé (Delibes) Maurice André (tp), Sylvio Gualda (perc). Erato 71132 Paris, 1972 Heptade (Jolivet) Maurice André (tp), Claude Bolling (p), Guy Pedersen (b), Erato 70691 Daniel Humair (dm). Paris, 1981 Toot Suite Maurice André (tp), ORTF National Orchestra cond. by CBS Masterworks CD 36731 Maurice Suzan. 1972 Concerto (Arutunian) Maurice André plays Bach, Haydn, Telemann & Torelli Concerto (Planel) Maurice André (tp), Philharmonia Orchestra cond. by Ric - Concerto (Zbinden) cardo Muti. Erato 70714 1985, reissued 25 oct 1990 2d Brandenburg Concerto (°) EMI 7473112 Maurice André (tp), Jean Hubeau (p). Note: (°) Maurice André’s favorite version (with Warren 1973 Green, Gordon Hunt, Kenneth Smith, Leslie Pearson). Sonata (Hindemith) Légende (Enescu) Intrada (Honegger) Sonata (Hubeau) Erato 70730 Note: Maurice André plays his old small bore Aubertin trumpet here.