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BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE

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BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No. ) GEOFFREY SHAMU Boston University College of Fine Arts, 2009 Major Professor: Thomas Peattie, Ph.D., Assistant Professor of Music ABSTRACT Merri Franquin (1848 – 1934) left a significant legacy to the art of trumpet playing. A student of J.-B. Arban, Franquin authored a substantial method book, wrote an important historical article, invented an ascending valve system for brass instruments, and had several contest solos (morceaux de concours) dedicated to him, such as Légende by Enesco (Enescu). This dissertation represents the first comprehensive study of Franquin’s contribution to the trumpet’s pedagogy, history, instrument design, performance practice, and repertoire. Research for this document began with examination of Franquin’s Méthode complète and the entry he wrote on the trumpet and the cornet in Albert Lavignac’s Encyclopédie de la musique et Dictionnaire du Conservatoire. Investigation continued with previously untapped archival material associated with his career as a student and teacher at the Paris Conservatory. A letter to Henri Rabaud in Franquin’s faculty file vi delineates Franquin’s major accomplishments, as he himself saw them—casting light on the fundamental innovation of his method. With aid from Enoch & Cie., the author obtained primary material including manuscripts by Franquin, Enesco, C. Erlanger, G. Pierné, L. de la Laurencie, and C. Saint-Saëns. Roger Voisin and family granted interviews to the author, access to documents of René Voisin, and use of a Franquin-system Thibouville-Lamy trumpet brought from France during the 1952 Boston Symphony European tour under Charles Munch. The author obtained and translated copies of patents for the four- and five-valve trumpets of Franquin’s design. This research reveals Franquin’s role in the shift to small trumpets in France at the end of the nineteenth century. His writings helped shape the scholarly discourse on the subject and illuminate the reasons for the rise of the cornet in France. His method book, building on the works of F.G.A. Dauverné, J. Forestier, and Arban, clarifies and develops their principles, applying them to the modern trumpet. Franquin taught at the Paris Conservatory from 1894 – 1925, a fecund period for the commission of new contest solos. Those composed for trumpet bear his mark in their content. Franquin’s many students perpetuated his ideas in France and abroad. Through them, the tradition he represents has continued. vii TABLE OF CONTENTS PREFATORY PAGES ACKNOWLEDGEMENTS v ABSTRACT vi CHAPTERS 1. INTRODUCTION 1 2. THE QUEST FOR ACCURACY 4 I. THE TRUMPET IN CRISIS 4 II. THE CORNET TO THE RESCUE? 11 III. THE NEW MUSIC OUTPACES THE CORNET 14 IV. THE RISE OF SMALL TRUMPETS IN THE BELLE ÉPOQUE 16 V. NEW TRUMPETS, NEW PROBLEMS 17 3. TRADITION AND INNOVATION IN MERRI FRANQUIN’S MÉTHODE COMPLÈTE DE TROMPETTE MODERNE, DE CORNET ET DE BUGLE 20 I. THE LIBRARY OF MERRI FRANQUIN: LES PRINCIPAUX AUTEURS 21 II. ORGANIZATION OF THE METHOD 29 III. PARTIE THÉORIQUE: INTRODUCTORY MATERIAL 32 viii IV. PARTIE PRATIQUE: EXERCISES, STUDIES, AND PIECES 50 A. EMISSION STUDIES 51 B. TRANSPOSITION 57 C. RANGE AND ENDURANCE 60 D. ARTICULATION, SOUND, AND “TONGUING IN THE SOUND” 64 E. HARMONICS AND FLEXIBILITY 68 F. TRUMPET REPERTOIRE 70 V. CONCLUSION 73 4. TOWARD AN IMPROVED TRUMPET 77 I. THE PROBLEM 78 II. ARBAN AND COMPENSATING VALVE SYSTEMS 82 III. MERRI FRANQUIN AND THE ASCENDING VALVE 87 IV. THE FIFTH VALVE 91 V. RECEPTION OF FRANQUIN’S NEW SYSTEMS 95 VI. THE MOBILE VALVE SLIDE 101 VII. THE REBIRTH OF THE MERRI FRANQUIN SYSTEM IN THE UNITED STATES 107 VIII. THE TOTTLEPHONE 114 IX. CONCLUSION 119 5. TOWARD A NEW LITERATURE 121 ix I. FROM SOLOS DU PROFESSEUR TO SOLOS DE COMPOSITEUR 123 II. CONTRIBUTIONS TO THE NEW CONTEST REPERTOIRE: OVER AN APÉRO OR THROUGH A KITCHEN WINDOW? 130 III. CONCLUSION 136 6. CONCLUSION 139 APPENDICES APPENDIX 1 1908 COPY OF BIRTH CERTIFICATE 144 APPENDIX 2 1913 PATENT 145 ENGLISH TRANSLATION 148 APPENDIX 3 1921 PATENT 150 ENGLISH TRANSLATION 154 APPENDIX 4 c. 1913 CATALOGUE ADVERTISEMENT FOR FOUR-VALVE C/D TRUMPET 157 BIBLIOGRAPHY 158 VITA 163 x Merri Franquin, 1900 (Collection of the Bibliothèque nationale de France, public domain). xi CHAPTER 1 INTRODUCTION Outside of France, Merri Franquin remains best known to trumpet players as the dedicatee whose name appears atop Georges Enesco’s popular Légende pour trompette avec accompagnement de piano (1906). That Enesco felt no compunction to specify “chromatic trumpet” or “trumpet in C” (en Ut) in his work’s title—as might have been the case just a few years earlier—bears testament to the influence of Merri Franquin. As will be seen in the pages that follow, many of the musical elements present in this piece and other French solo trumpet works composed for the terminal trumpet competitions at the Paris Conservatory during the belle époque represent Franquin’s particular pedagogical, instrumental, and musical preferences. These grew from a continuous tradition of high brass performance dating at least to the eighteenth century, and shaped the sound of the trumpet as heard during the twentieth century and beyond. Merri Jean Baptiste Franquin was born to Jean Baptiste Etienne Franquin, a farmer in the small Provençal commune of Lançon, in 1848. At the age of fifteen, he discovered an old cornet at home and began to play. Within four years he made his way to Marseille, where he started to perform professionally in the Casino Musical, the Palais Lyrique, and the Théâtre Chave until called to military service in 1870.1 Merri Franquin came to the French capital in 1872 to study at the Paris Conservatory with cornetist Jean- 1 Gaston Andrieu, “Merri Franquin, 1848 – 1934,” published obituary of unknown origin, photocopy in the collection of the author. 1 Baptiste Arban.2 After two years of study with Arban, three with his temporary replacement Jacques Hippolyte Maury, and several attempts at the annual terminal competition, Franquin, aged 28 years, 11 months, received his premier prix de cornet in 1877.3 From these inauspicious beginnings, Franquin rose to become the scion and standard-bearer of the brass dynasty that can be traced in France to the eighteenth century and trumpeter David Buhl.4 Franquin assumed the chair of Principal Trumpet (Premier trompette solo) in every major Parisian orchestra of his time: Les Concerts Populaires (Pasdeloup, 1876 – 1884), Les Concerts Colonne (1884 – 1892), La Société des Concerts du Conservatoire (1892 – 1901), L’Opéra Comique and Le Grand Opéra (Théâtre National de L’Opéra, 1880 – 1901).5 Franquin performed as a trumpet soloist (in Baroque works)—which was uncommon during this period—with such orchestras as the Concerts populaires de Pasdeloup (1882) and the Grands Oratorios de St.-Eustache (1899 – 1901).6 He also championed the trumpet in contemporary chamber music, frequently performing the septets of Camille Saint-Saëns, (Victor) Alphonse Duvernoy, 2 1908 birth certificate (Extrait du Registre des Actes de Naissance) in the collection of the author, reproduced in Appendix 1; Class Rosters (Tableaux des Classes), 1872 – 1873, Paris Conservatory Archive Collection, No. AJ37 96, French National Archives, Paris, France. 3 Tableaux des Classes, 1876 – 1877, AJ37 101, French National Archives, Paris, France. 4 Buhl was uncle and teacher to François Dauverné, who taught Franquin’s teacher Jean-Baptiste Arban. François Dauverné, Méthode pour la trompette (1857; repr., Paris: International Music Diffusion, 1991), 7. 5 Merri Franquin, Curriculum Vitae, c. 1925, original manuscript in the collection of the author; The dates for his orchestral appointments can be found in Gaston Andrieu, “Merri Franquin : 1848 – 1934,” and Constant Pierre, Le Conservatoire national de musique et de déclamation : documents historiques et administratifs, recueillis ou reconstitués par Constant PIERRE, Sous- chef du Sécretariat, Lauréat de L’Institut. (Paris: Imprimerie Nationale, 1900), 757. 6 Merri Franquin, “La Trompette et le cornet,” Encyclopédie de la musique et dictionnaire du Conservatoire Part III, vol. II, ed. Albert Lavignac and Lionel de la Laurencie (Paris: Delagrave, c. 1925), 1611; Merri Franquin, Curriculum Vitae, c. 1925; 2 Vincent D’Indy, and Gabriel Pierné for concerts held by Parisian societies including the Cercle Volney and the Cercle Militaire.7 As a teacher, Franquin held the post of Professor of Trumpet at the Paris Conservatory (first occupied by Dauverné, in 1833) for thirty-one years, from 1894 until 1925.
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