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University of Cincinnati UNIVERSITY OF CINCINNATI DATE: May 23, 2003 I, Leanna Booze , hereby submit this as part of the requirements for the degree of: Doctor of Musical Arts in: Oboe Performance It is entitled: The Overlooked Repertory: Twentieth-Century French Oboe Etudes Approved by: Mark Ostoich William Winstead Lizabeth Wing THE OVERLOOKED REPERTORY: TWENTIETH-CENTURY FRENCH OBOE ETUDES A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Performance Studies of the College-Conservatory of Music 2003 by Leanna Booze B.M., Vanderbilt University, 1997 M.M., San Francisco Conservatory of Music, 1999 Committee Chair: Dr. Mark S. Ostoich ABSTRACT At one time or another, every collegiate oboe student has toted the thick, yellow Barret Oboe Method, the bible of oboe study, to his or her lesson. Surveys of teachers in the United States reveal that this is the most commonly used etude book, even though it was first published in 1850 for an oboe with key work different than our modern one. Barret’s Oboe Method is part of a tradition of pedagogical materials that have been generated by oboe professors and students at the Paris Conservatory. When oboists travelled from Europe to fill positions in U.S. Orchestras in the early twentieth-century, this etude tradition was transplanted but did not grow, even though it continued in France. Because teachers in the United States lost touch with twentieth-century French etude output, these valuable studies never became a part of mainstream American pedagogy. If American teachers continue to rely heavily on the nineteenth-century etudes that were passed down to them, then potentially valuable twentieth-century etudes could be lost to future students. In order to avoid such a calamity, I have made the case for resuscitating these overlooked gems. Chapter One provides a brief history of the etude tradition in France from the seventeenth through the nineteenth centuries. Seventeenth- and eighteenth-century tutors cater to an amateur audience with collections of simple tunes. Nineteenth-century methods and etudes reflect a more specialized audience with their progressive nature, and demonstrate the latest mechanical developments of the oboe. Chapter Two traces the twentieth-century etudes that were produced in France but not transferred to the United States. These etudes reflect developments in twentieth-century music, and satisfy the need to equip oboists for difficult orchestral repertoire. Chapter Three ties twentieth-century French etudes to the preparation of standard orchestral excerpts. Many oboe students in the United States plan to seek orchestral jobs, and these pedagogical materials may be used to prepare them for orchestral auditions. That the most prevalent etudes in use today were written for the oboe in different stages of mechanical development is troubling, and I hope to remedy this situation by exposing other options. ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Mark Ostoich, and my reading committee, William Winstead and Lizabeth Wing, for their support and assistance. I wish to thank my family for their continued encouragement and my friends, especially Jeremy Blanden, Amanda Roggero, Kate Bolton, and Brian Cook, for their enthusiastic support. I am extremely grateful to Amber Cook, who served as my most valuable reader and continually offered emotional support and wise advice. Finally, I would like to express my gratitude to my former teacher John de Lancie, who provided the inspiration for this paper. 1 CONTENTS LIST OF FIGURES . 2 INTRODUCTION . 6 Chapter 1. HISTORICAL SKETCH OF OBOE ETUDES . 8 Seventeenth- and Eighteenth-Century Tutors Nineteenth-Century Methods Oboe Methods and Etudes at the Paris Conservatory Conclusion 2. THE TWENTIETH-CENTURY ETUDE TRADITION . 36 Influence of Georges Gillet Discontinuity in the United States Twentieth-Century Pedagogical Materials Associated with Paris Conservatory Conclusion 3. THE APPLICATION OF ETUDES TO ORCHESTRAL EXCERPTS . 70 Rhythm Articulation Finger-Technique Conclusion CONCLUSION . 112 BIBLIOGRAPHY . 113 Appendix . 120 2 LIST OF FIGURES Figure Page 1. Ravel, Le Tombeau de Couperin, movement 1 . 74 2. Debondue, Vingt-Cinq Études, No. 11 . 75 3. Debondue, Vingt-Cinq Études, No. 19 . 75 4. Debondue, Vingt-Cinq Études, No. 7 . 75 5. Debondue, Vingt-Cinq Études, No. 15 . 76 6. Lamorlette, Douze Études, No. 6 . 76 7. Debondue, Douze Études, No. 7 . 77 8. Debondue, Douze Études, No. 5 . 77 9. Ravel, Le Tombeau de Couperin, movement 1 . 77 10. Debondue Trente-Deux Études, No. 15 . 78 11. Debondue, Trente-Deux Études, No. 16 . 78 12. Debussy, La Mer, movement 2 . 78 13. Debondue, Vingt-Cinq Études, No. 11 . 79 14. Debondue, Vingt-Cinq Études, No. 5 . 80 15. Debussy, La Mer, movement 2 . 80 16. Loyon, Trente-Deux Études, No. 24 . 80 17. Ravel, Le Tombeau de Couperin, movement 2 . 81 18. Beethoven, Symphony No. 7, movement 1 . 82 19. Handel, Rinaldo, Overture . 82 20. Loyon, Trente-Deux Études, No. 11 . 82 21. Debondue, Vingt-Cinq Études, No. 12 . 83 3 22. Mendelssohn, Symphony No. 3, movement 2 . 83 23. Schubert, Symphony No. 9, movement 2 . 84 24. Rossini, Italian in Algiers, Overture . 84 25. Berlioz, The Damnation of Faust, Menuet des Follets . 84 26. Loyon, Trente-Deux Études, No. 21 . 85 27. Debondue, Trente-Deux Études, No. 11 . 85 28. Lamorlette, Douze Études, No. 12 . 85 29. Ravel, Le Tombeau de Couperin, movement 4 . 86 30. Beethoven, Symphony No. 3, movement 4 . 86 31. Stravinsky, Petroushka, Russian Dance . 86 32. Loyon, Trente-Deux Études, No. 29 . 87 33. Debondue, Trente-Deux Études, No. 9 . 87 34. Debondue, Douze Études, No. 10 . 88 35. Tchaikovsky, Symphony No. 4, movement 3 . 88 36. Debondue, Vingt-Cinq Études, No. 14 . 89 37. Lamorlette, Douze Études, No. 11 . 89 38. Strauss, Don Juan . 90 39. Rossini, Italian in Algiers, Overture . 90 40. Debondue, Vingt-Cinq Études, No. 2 . 90 41. Debondue, Vingt-Cinq Études, No. 16 . 91 42. Debussy, La Mer, movement 2 . 91 43. Rimsky-Korsakov, Scheherazade, movement 2 . 91 44. Rossini, Italian in Algiers, Overture . 91 4 45. Rossini, La Gazza Ladra, Overture . 92 46. Loyon, Trente-Deux Études: No. 22 . 92 47. Loyon, Trente-Deux Études, No. 10 . 92 48. Loyon, Trente-Deux Études, No. 17 . 93 49. Debondue, Douze Études, No. 8 . 93 50. Debondue, Douze Études, No. 9 . 93 51. Debondue, Douze Études, No. 11 . 94 52. Smetana, The Bartered Bride, Overture . 94 53. Mozart, Symphony No. 41, movement 4 . 94 54. Rossini, La Gazza Ladra, Overture . 95 55. Mendelssohn, Symphony No. 3, movement 2 . 95 56. Beethoven, Symphony No. 6, movement 3 . 95 57. Debondue, Trente-Deux Études, No. 10 . 96 58. Debondue, Trente-Deux Études No. 13 . 96 59. Lamorlette, Douze Études, No. 6 . 96 60. Loyon, Trente-Deux Études, No. 32 . 97 61. Rossini, La Scala di Seta, Overture . 97 62. Mendelssohn, Symphony No. 3, movement 2 . 98 63. Stravinsky, Petrouchka . 98 64. Smetana, The Bartered Bride, Overture . 98 65. Berlioz, The Damnation of Faust, Menuet des Follets . 99 66. Handel, Rinaldo, No. 29, Sinfonia . 99 67. Debondue, Vingt-Cinq Études, No. 24 . 100 5 68. Lamorlette, Douze Études, No. 12 . 100 69. Lamorlette, Douze Études, No. 10 . 101 70. Debondue, Douze Études, No. 10 . 101 71. Debondue, Trente-Deux Études, No. 3 . 102 72. Loyon, Trente-Deux Études, No. 13 . 102 73. Mussorgsky, Pictures at an Exhibition, Tuileries . 103 74. Verdi, Otello . 103 75. Mendelssohn, Symphony No. 3, movement 2 . 103 76. Debondue, Trente-Deux Études, No. 28 . 104 77. Debondue, Trente-Deux Études, No. 6 . 104 78. Debondue, Trente-Deux Études, No. 5 . 105 79. Debondue, Vingt-Cinq Études, No. 22 . 105 80. Loyon, Trente-Deux Études, No. 5 . 106 81. Loyon, Trente-Deux Études, No. 23 . 106 82. Lamorlette, Douze Études, No. 4 . 107 83. Strauss, Don Juan . 107 84. Lamorlette, Douze Études, No. 6 . 108 85. Loyon, Trente-Deux Études, No. 1 . 108 86. Lamorlette, Douze Études, No. 5 . 109 87. Loyon, Trente-Deux Études, No. 10 . 109 88. Ravel, Piano Concerto, movement 1 . 109 89. Lamorlette, Douze Études, No. 11 . 110 90. Loyon, Trente-Deux Études, No. 26 . 110 6 INTRODUCTION At one time or another, every collegiate oboe student has toted the thick, yellow Barret Oboe Method, the bible of oboe study, to his or her lesson. Surveys of teachers in the United States reveal that this is the most commonly used etude book, even though it was first published in 1850 for an oboe with different key work than our modern one. In researching and accumulating etude books, I discovered an abundance of twentieth-century etudes that are virtually neglected by teachers and students. I began to wonder why all of these twentieth- century etudes, which are intended for our modern oboe, are passed over for older ones? Shortly after the development of the oboe in France in the late seventeenth century, instructional books appeared. Over the next 200 years, these evolved from simple tutors to technical method books containing etudes. Since the establishment of the Paris Conservatory in 1793, oboe professors and their students have been active in generating pedagogical materials for oboe. The oboe etudes of Barret, Brod, and Gillet in particular have served as enduring teaching tools at conservatories. When oboists (mainly Gillet students) travelled from Europe to fill positions in U.S. orchestras in the early twentieth century, the etude tradition was transplanted but did not grow, even though it continued in Paris. If American teachers continue to rely so exclusively on nineteenth-century etudes that were passed down to them, potentially valuable twentieth-century etudes could remain in disuse. An understanding of twentieth-century etudes and what they offer is crucial to help complete the picture of available pedagogical materials for oboe.
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