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FRENCH TENOR TROMBONE SOLO LITERATURE AND PEDAGOGY SINCE 1836.

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Lemke, Jeffrey Jon

FRENCH TENOR TROMBONE SOLO LITERATURE AND PEDAGOGY SINCE 1.836

The University ofArizona A.Mus.D. 1983

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J FRENCH TENOR TROMBONE

SOLO LITERATURE AND PEDAGOGY SINCE 1836

Jeffrey Jon Lemke

A Dissertation Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC EDUCATION

In the Graduate College

THE UNIVERSITY OF ARIZONA

198 3

As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Jeffrey Jon Lemke entitled French Tenor Trombone Solo Literature and Pedagogy Since 1836

and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Musical Arts

Date (

Date

Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College.

I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. STATEMENT BY AUTHOR

This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. ACKNOWLEDGEMENTS

The author is indebted to many individuals for the part they have contributed toward making the study possible. Special acknowledgement is given to all the members of the University of

Arizona dissertation committee: Dr. Koste Belcheff, Chairman of the committee, for his guidance and insight both in preparation and accomplishment of the project; Professor Thomas Ervin for his encouragement and advice, and for giving so freely of his time and effort throughout the entire program of study; and

Dr. O. M. Hartsell for his conscientious help and editorial assistance.

The author also wishes to convey gratitude to Professor

Elizabeth Ervin and Mr. Dorman Smith who supplied him with infor mation which would otherwise have been completely unobtainable.

Of course, I am indebted to my parents John and Isla Mae for a lifetime of unfailing concern, help and encouragement.

Finally, for assisting me in the preparation of the final form, and for his persistent attention to details large and small,

I express my warm appreciation to my typist - Steven Crofts.

iii TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS vi

ABSTRACT viii

CHAPTER

1. INTRODUCTION 1

2. THE PARIS CONSERVATORY 5

Founding • • • • • • • • • • 5 Professors of Trombone • 8 Antoine-Guillaumie Dieppo 11 Paul Delisse • • 15 Louis Allard • • 17 Henri Couillaud 20 Andre Lafosse 25 Gerard Pichaureau 36 Conclusion • • 43

3. THE CONTEST SOLOS 45

Origin and Purpose • •••. 45 The Contest and the First Prize 48 The Trombone Contest Solos • • • • • . 53 Composers of Contest Solos • • 61 Sonatine by Jacques Casterede 71

4. ANNOTATIONS OF FRENCH TENOR TROHBONE SOLO LITERATURE •. 83

The Discussion Outline • 83 Trombone Solos 92 Discography 156 Recordings 159

iv v

TABLE OF CONTENTS--Continued

Page

CHAPTER

5. OTHER INFLUENCES ON FRENCH TRO}mONE PEDAGOGY 177

French Public School Instruction in Music 177 French National Conservatories 180 Conservatoire de Toulouse • • • 181 Conservatoire d'Angers 182 Ecoles ~iunicipales de Musique • 183 Conservatoire de Musique, Ville de Strasbourg • • 183 Trombone Instruction at the National and Municipal Conservatories . . . . 184 French Music Publishers • · · · · 185 6. SUMMARY ~~ CONCLUSIONS • . . · · · · 187 APPENDIX A: LIST OF FRENCH TENOR TROMBONE METHODS AND ETUDE MATERIALS 192 APPENDIX B: COMPOSER BIOGRAPHIES · · · · · 202 APPENDIX C: ADDRESSES OF PUBLISHERS . . . . 217 SELECTED BIBLIOGRAPHY • . . . . . · · · · · . . 223 LIST OF ILLUSTRATIONS

Figure Page

1. Henri Couillaud, Etudes de StyZe d'apres Bordogni, p. 7, no. 5, measures 1-9 ••••••••••• 21

2. Benri Couillaud, Vingt Etudes de Perfectionnement, p. 5, no. 4, measures 1-7 • • • • • • • • • • • • 22

3. Henri Couillaud, Trente Etudes Modernes, p. 2, no. 1, measures 1-9 • • • • • • • • • • • • • • • 23

4. Henri Couillaud, Trente Etudes Modernes, p. 2, no. 19, measures 1-26 • • • • • • • • • • • • • • • • • 23

5. Henri Couillaud, Methode de Trombone a CouZisse, p. 32, no. 1, measures 1-25 • • • • • • • • • • • • • 25

6. Henri Couillaud, Methode de Trombone a CouZisse, p. 44 25

7. Andre Lafosse, Vade Mecum du Trombone, p. 11, no. 11, measures 1-16 • • • • • • • • . • • • 35

8. Gerard Pichaureau, Vingt-et-une-Etudes, p. 11, no. 11, measures 10-23 • • • • • • • • • • • • 38

9. Gerard Pichaureau, Vingt Etudes, p. 20, no. 20, measures 1-15 • • • • • • • • • 38 ,,, 10. Gerard Pichaureau, Vingt Etudes, p. 10, no. J.U, measures 19-32 • • • • • • 39

11. Gerard Pichaureau, Vingt-Quatre Etudes pour Trombone (Special Legato Studies), p. 8, no. 7, measures 1-12 41

12. Gerard Pichaureau and Claude Pichaureau, Vingt Etudes AtonaZes, p. 2, no. 1, measures 1-16 ••.••• 42

13. Gerard Pichaureau and Claude Pichaureau, Vingt Etudes Ator~Zes, p. 13, no. 17, measures 1-3 • • • • 42

14. Jacques Casterede, Sonatine, movement I, measures 1-17 72

15. Jacques Casterede, Sonatine, movement I, measures 1-2 • 73

vi vii

LIST OF ILLUSTRATIONS--Continued

Figure Page

16. Jacques Casterede, Sonatine, movement I, measures 55-66 73

17. Jacques Casterede, Sonatine, movement I, measures 31-35 74 18. Jacques Casterede, Sonatine, movement I, measures 187-190 · 74 19. Jacques Casterede, Sonatine, movement II, measures 1-15 . · 75 20. Jacques Casterede, Sonatine, movement II, measures 16-25 76

2l. Jacques Casterede, Sonatine, movement II, measures 33-40 76

22. Jacques Casterede, Sonatine, movement II, measures 41-44 77

23. Jacques Casterede, Sonatine, movement II, measures 58-65 77 24. Jacques Casterede, Sonatine, movement III, measures 1-8 . · 78 25. Jacques Casterede, Sonatine, movement III, measures 28-33 · 79 26. Jacques Casterede, Sonatine, movement III, measures 48-61 · 79 27. Jacques Casterede, Sonatine, movement III, measures 62-65 · 80 28. Jacques Casterede, Sonatine, movement III, measures 108-122 81

29. Jacques Casterede, Sonatine, movement III, measures 203-206 82 ABSTRACT

This study was intended to acquaint trombonists with the vast amount of French solo literature and pedagogical materials available, as well as to promote an understanding of their origins and uses. The dissertation is divided into two major sections:

(1) the history of the Paris Conservatory and its trombone teachers;

(2) a comprehensive catalog of solos and etude materials.

The Paris Conservatory, the prototype for the modern conservatory, is an important aspect of the historical overview.

Specifically created at the end of the eighteenth century to raise the standards of French music, it has combined a conservative musical atmosphere, a faculty of artist-teachers, and rigorous requirements into a training program which has received international acclaim.

An essential part of the Conservatory's training program are annual instrumental competitions held for each instrument. In the case of the trombone, commissioned contest solos originated in 1897 with the Solo de Concert, No.2 by Paul Vidal. Since 1897, fifty-one composers have been commissioned to write a total of fifty-eight trombone solos as contest pieces. These fifty-one composers, most of whom were themselves students at the Conservatory, are among the most noted musicians France has produced. All the trombone contest

viii ix solos are listed in Chapter 4, and each solo has been graded as to degree of difficulty according to the European rating system.

The first official teacher of trombone at the Conservatory was Antoine-Guillaumie Dieppo, the most celebrated French trombonist of his time. Since his tenure as a teacher at the Conservatory

(1830-1871), all subsequent professors of trombone have been products of the system.

France's educational program is centrally administered and trains all deserving students. National examinations administered at the end of secondary study serve as the determinant factor for the eligibility of students to higher levels of education. Instru mental music study in French public schools is sorely neglected, and often requested by educators.

This literature is monumental, too little known, and largely misunderstood. It should be included in all trombone curricula. CHAPTER 1

I}'''TRODUCTION

In examining the repertoire of the brass performer, it is

obvious that only a limited choice of solo literature and pedagogical materials are available. This especially is true of the trombonist.

In recent years, the numerous books about the trombone by Vern

Kagarice, Robin Gregory, Thomas Everett, James Roberts, and Denis

Wick--to say nothing of the many doctoral dissertations, pamphlets, and articles by other writers--indicate that trombonists, both professional and amateur, have had a desire for more knowledge about their instrument. These writings, although well done, have yielded little information about the French trombone literature and pedagogy of the nineteenth and twentieth centuries and almost nothing about the famous Paris Conservatory. This institution (more accurately, the Conservatoire National Superieur de Musique) has received inter national acclaim because of its conservative atmosphere, artist

faculty, rigorous requirements, and competitive entrance auditions.

It is the principal purpose of-this study to acquaint the trombonist with the vast amount of French solo literature and pedagogical materials available to the tenor trombonist, and to promote an understanding of their origins and uses.

This study is concerned with the developments in trombone literature at the Conservatoire National de Musique de Paris, from

1 2

1836 to the present. A better understanding of music curricula and

pedagogy of France will effect a more enlightened use of the materials

presently in use in trombone studios across this nation. Most of the

French etude materials for the trombone deal in preparing the student

to comprehend and perform music from the common-practice period

(1750-1900). Hence, the performer frequently finds himself ill

equipped to meet the demands of the contemporary composer. Although

the amount of etude material related to contemporary music increases

each year, the vast majority is a result of the teachings at the

Conservatoire National de Musique de Paris or as a direct result of

the solos the Conservatory commissions. Hereafter the Conservatoire

National de Musigue de Paris will be referred to as the Conservatory.

Each year the Conservatory commissions composers to write contest solos for all the wind, string, and percussion instruments taught at the Conservatory. It is the performance of this contest solo, before a jury of eminent musicians, which determines the awarding of the Premier Prix, or First Prize. Since they have been composed with a sPQ~ific intent, to test performers, one might expect them to be simply technical showpieces. A close examination of the literature reveals that, while a few of the solos may fall into this category, most of the compositions are of a more profound nature.

In France, the composers who wrote these contest solos for trombone were closely associated with the virtuoso performers on the instrument. These composers, with few exceptions, had been students at the Conservatory and were exposed to a tradition of quality trombone playing. This tradition was established largely through the artistic 3 efforts of the professors of trombone who have included Dieppo,

Delisse, Allard, Couillaud, Lafosse and Pichaureau. These musicians called international attention to their playing and teaching. It is evident that the composers of the contest solos were influenced by these performers when writing their compositions for the trombone.

Acquainting the reader with these musical compositions, spanning a period of almost 150 years, is no easy task. In order that this study be as comprehensive as possible, it is divided into two major sections, each having a specific purpose. The first section introduces the reader to the origin and history of these compositions, necessary for a good understanding of the second. The second section presents the actual solos and etude materials which are available or have been available in the past.

The list of these materials will include only wor~," specif ically designed to be performed on the "tenor trombone". Although the use of the F attachment would make the performance easier at times, all of the compositions discussed will be performable without the

F attachment.

The collection of materials for this study was begun early in 1982 and was concluded in January 1983. A thorough search of the solo literature and etude editions for the trombone was made by researching publishers' catalogs, music periodicals, literature listings in books dealing with the trombone, and materials presently available through the International Trombone Association Resource

Library. The writer also corresponded with publishers in an effort to learn of recent publications which might contain literature 4 pertinent to this topic. From this, a comprehensive list of study and solo literature with pertinent information was compiled. Although every effort was made to make this report as complete as possible, one could assume that there may be items not discussed or presented.

Some of the materials which are discussed are out of print, either

temporarily or indefinitely. CHAPTER 2

THE PARIS CONSERVATORY

Founding

In the period preceding the French Revolution (1789-1799), the scarcity of outstanding native composers, vocalists, and instrumentalists was attributed by some authorities to the inadequate 1 system of music training existing at that time. In addition, there was a general influence on all aspects of music in France by her neighboring countries. Entire Italian opera companies toured France 2 and met with enormous popular success. France could boast of a number of remarkable virtuosi on wind and string instruments, but

Germany was regarded as the birthplace of instrumental artists, and many German musicians were imported to perform in the various opera orchestras of the day. 3 The teaching of music in France was accomplished mainly by the cathedral schools and music corps 4 attached to the various military regiments. The cathedral schools

lConstant Pierre, Le Conservatoire National de Musiaue et de Declamation; Documents Historigues et Administratifs Recuei11is ou Reconstitues Par Constant Pierre (Paris: Imprimerie National, 1900), p. 189. 2 Arthur Hervey, French Music in the XIXth Century (New York: E. P. Dutton and Company, 1903), p. 27.

3p1erre,. p. 187.

4p 1erre,. pp. 190-191.

5 6 sought to instruct students in vocal music in order to develop the proficiency needed to perform in religious rites, while the army had as its goal the development of musicians capable of ~erforming for military fetes and governmental ceremonies. Having this as a goal, 5 the music instruction was poor.

On the advice of Francois-Joseph Gossec, and in an effort to upgrade the quality of native French singers, Louis XVI founded 6 the Ecole Royale de Chant (Royal School of Vocal Music) in 1784.

With Gossec as its director, the royal school had the purpose of

Lraining singers, both men and women, for the French opera stage.

Five years later (July 17B9)~ the Garde Nationale Parisienne (Paris

National Guard) was set up by the Parisian people with Bernard Sarrette as its director. Sarrette's music corps, and the training prcgram which it included, was so superior to previous military attempts at promoting music that the grateful city government of Paris instituted the

Ecole Gratuite de Musigue de la Garde Nationale Parisienne (Free 7 School of Music of the Paris National Guard) in 1792.

By 1792, France had two established schools of music, each under government control, and each concentrated upon a particular aspect of music. The independent existence of these schools was short-lived, however, for on August 3, 1795, they merged into the

5 . p1erre, p. 190.

6Jaques-Gabriel Prod'homme and E. de Crauzat, Les Menus Plaisirs du Roi L'Ecole Royale et Le Conservatoire de Musigue (Paris: Librairie Delagrave, 1929), p. 100.

7Pierre, pp. Bl-83. 7

Conservatoire de Musique. Sarrette was appointed director of the new

institution, and Gossec was named a professor of composition and one

of five Inspecteurs de l'enseignement (Supervisors of Education).8

The main purpose of the Conservatory was "to educate artists for concerts, military bands and theatres of the French Republic.,,9

The decree which established the Conservatory also contained provisions for its organization. The Conservatory was to be composed of 115 artists and established in the commune of Paris in order to carry out the instruction of music. The duties of the institution were two-fold: performance and instruction being "entrusted with molding students in all phases of the arts of music".10 Six hundred students of both sexes were to receive free instruction, chosen proportionately from all the provinces. The supervision of all instruction and administration of the Conservatory was delegated to the Supervisors of Education, along with four additional professors named by the artists of the Conservatory. A national library of music was established at the Conservatory and was to contain a complete collection of scores and other musical works as well as a collection of ancient and foreign instruments.

8 . p l.erre, pp. 129-130.

9August Corbet, "Ccnservatory," Grove's Dictionary of Music and Musicians (New York: St. Martin's Press, Inc., 1959), II, p. 412.

lOp'l.erre, pp. 124-125. 8 Professors of Trombone

Seventy-two artist-musicians from the Garde Nationale and the thirteen professors of the Ecole Royale de Chant comprised the first faculty of the Conservatory. Their ranks were increased to the required 115 by the addition of thirty new professors selected, as authorized, by means of a competitive contest held on November 22, 11 1795. The original Conservatory faculty was organized to carry out the duties of both instruction and performance. For the purpose of instruction, the 115 professors included the following: 12

ENSEIGNEMENT (TEACHING)

Professeurs Solfege • • 14 Clarinette 19 Flute • • • 6 Hautbois (oboe) • 5 Basson (bassoon) 12 Cor (premier) (1st horn) 6 Cor (second) (2nd horn) 6 Trompette (trumpet) • 2 *Trombone • • • • • 1 Serpent • • • • • • • • 4 Buccini (long trumpet) 1 Tubae corvae (tuba) • • Timbalier (kettledrum) 1 Violin • • • • • • • • • • 8 Basse (bass) •••••••••••• 4 Contre-basse (double-bass) ••••• 1 Clavecin (harpsichord) 6 Orgue 1 Vocalisation • • • • • • • 3 Chant simple (vocal music beginning) 4 Chant dec lame (vocal music) • • • • • • • • • 2 Accompagnement (instrumental accompaniment) • 3 Composition • • • • • • • • • • 7 Total • • • • • • • • 115

11Pierre, pp. 128-129. 12p. ~erre, p. 124. 9 For public performance the 115 professors were organized in the 13 following manner:

EXECUTION (PERFORMANCE)

Professeurs Compositeurs dirigeant l'execution (Composers for Performance) • • • 5 Chef d'orchestre executant (Conductor) 1 Clarinettes • • • • • • • • • 30 Flutes ••• • • • 10 Cors (premier) 6 Cors (second) • • • • • 6 Bassons •• • • • • • 18 Serpents • • • • 8 *Trombones • • • • • 3 Trompettes 4 Tubae corvae (tuba) • • • • • • 2 Buccini • • • • • • 2 Timbaliers (timpanist) 2 Cymbaliers (cymbal-player) 2 Tambours (drummer) •••• 2 Triangles (triangle) •••• 2 Grosses caisses (bass drum) • 2 Non-executans employes a diriger les eleves chantant ou executant dans les fetes publiques (Non-Performance Employees to Direct Student Vocal Ensembles at Concerts) 10 Total • • • • • 115

The large number of professors assigned to teach a particular instrument is explained by the fact that their duties during the early days of the Conservatory were primarily those of performance rather than instruction. But as the patriotic fervor of the revolutionary period subsided, the demand for musical performance at public festivals also subsided. By 1808, the function as a performer was completely omitted from the duties of the Conservatory

13Pierre, p. 124. 10 14 professors, and their main responsibility was that of instruction.

Also occurring at this time was the standardization of orchestral instrumentation. These factors led to a reorganization of the

Conservatory professors, and by 1822 the faculty was reduced to the following: 15

PERSONNEL ENSEIGNANT (TEACHING PERSONNEL)

Professeurs Composition Lyrique et Style (Vocal Composition) • • • • • • • • • • • • • • • 3 Contrpoint et Fugue (counterpoint and fugue) 2 Harmonie (harmony) • • • . • • • • • • 1 Accompagnement Practique (Instrumental Accompaniment) • • • • • • • • • • • • 1 Classe de Basse Chiffree (Figured Bass) 1 Solfege ...... 15 Chant (vocal music) • • . • . • • 11 Declamation Lyrique (Opera Theatre) 1 Piano • • • • • 6 Orgue • • • • 1 Violin •••• 4 Violincelle 2 Flute 1 Hautbois • • 1 Clarinette • 1 Basson • • .•• • • 1 Cor • • • • 1 Declamation Speciale (Professional Opera) 6 Total 57

It should be noted that a trombone instructor was not hired following this reorganization.

14 . pl.erre, p. 237.

15Pierre. p. 418. 11

Antoine-Guillaumie Dieppo

From the date 1822, it was to be fourteen years before the

Conservatory assigned an official professor of trombone. This came 16 after:

1826: Harpe 1827: Contrebasse 1833: Cor a pistons (horn with valves) 1833: Trompette a pistons (trumpet with valves) 1836: Trombone a coulisse (slide trombone)

The first official teacher of trombone at the Conservatory was

Antoine-Guillaumie Dieppo (1808-1878), the most celebrated French trombonist of his time. However, he was not the first teacher of trombone at the Conservatory as is stated by Andre Lafosse:

It is to Cherubini that we owe the creation, in 1833, of a trombone class at the Conservatory. The first professor, Felix Vobaron, left some studies and duos concertants which, notwithstanding their somewhat mediocre musical qualities, have rendered great service in the training of trombone players. It would appear that Vobaron was only on trial as a teacher, for according to Constant Pierre, the r1rst official teacher, appointed three years later in 1836, was Antoine Dieppo, born at Amesfort (Holland).17

From a Dutch regimental band, Antoine Dieppo went to Paris as a clarinetist. However, this did not last long, and in due course he became the principal trombonist with the Paris Opera (1835-1867) and the Conservatoire concerts, solo trombonist with Musard and Jullien, and the first official professor of trombone at the Conservatory

(1836-1871). It was while in these responsible and influential

16Daniele Pistone, La Musigue en France de la Revolution a 1900 (Paris: H. Champion, 1979), pp. 36-37.

17Andre Lafosse, Traite de Pedagogie Du Trombone a Coulisse (Paris: Alphonse Leduc, 1955), p. 16. 12 positions that he guided the slide trombone through its days of peril before the challenge of valved trombones. He was an excellent player, as is brought out by Andre Lafosse:

••• Berlioz honors him with a laudatory mention in his memoirs, in connection with an important trombone solo included in his "Symphonie funebre et triomphale", performed on August 1, 1844 during a massive concert bringing together 1,022 per formers, orchestra and choirs, for the closing of the Exhibition of industrial products. I8

This concert, and in particular this selection, becomes important in the struggle between the use of the valve trombone (trombone a pistons) and the slide trombone (trombone a coulisse), a piece for which, on account of the scarcity of efficient slide trombonists, the composer felt obliged to have published as an alternative part arranged for alto valved trombone in F. Berlioz writes that the valve trombone had become popular fo~ performing solos, but on many occasions Dieppo had proved the slide trombone (tenor) was its equal in this function.

Berlioz states:

The valve trombone with valves is frequently employed for solo melodies. Well phrased, such a melody can display much charm; but it is an error to assume that the same melody would not sound just as well if played on a slide trombone- as has been frequently demonstrated with success by A. Dieppo. 19

Possibly, Dieppo's culminating triumph was in 1873 when he was able to restore teaching of the slide trombone at the Gymnase Militaire, where for some years he had been forced by the authorities to teach

I8Lafosse, p. 16.

I9Hector Berlioz, Treatise On Instrumentation, revised and enlarged by Richard Strauss, transcribed by Theodore Front (New York: Kalmus, 1948), p. 33. 13

Adolph Sax's six-valved system, exclusively. "In face of the failure

of the trombone with three valves, Sax made a trombone with six

independent valves, each one corresponding to a position of the slide

trombone, the valves not being used for the seventh position • .,20

Dieppo and his unofficial predecessor, Felix Vobaron, left two of the earliest nineteenth-century trombone methods that exist

today. Both of these methods did little to advance the trombone

technically, but both are interesting as historical works, with the method developed by Dieppo giving us insight into his teaching priorities and descriptions of the instrument on which he played.

In his Methode de Trombone (Paris, c. 1840)21 Dieppo gives some dimensions which show that he used a slide tenor trombone of small proportions: bore lcm (.4in.) and bell, l2cm (4.7ins.). The French instruments were played with a characteristic funnel-shaped mouth 22 piece. An ex~~ination of the index reveals the areas which 23 Dieppo found important to stress in his teaching.

20 Lafosse, p. 15.

2lRepr~nte . d b y Car I F'~sc hI'er, nco ~n 1902 •

22Anthony Baines, Brass Instruments: Their History and Development (London: Faber, 1976), p. 243.

23Antoine Dieppo, Dieppo's Complete Method for the Slide and Valve Trombone (Chicago: Carl Fischer, Inc., 1902), p. 1. 14 Index Rudiments of Music • • • • • • • • • • • 2 Table of Positions on the Slide Trombone • • 13 Description & Position of the Trombone • • • 14 Explanation of Signs • • • • • • • • • • • • 14-15 Lessons and Exercises • • • • .• • • 16 Scales for the Valve Trombone • • • • • • 28 Exercises for the Valve Trombone • • • • • • 29-39 Major Scales • • • • • • • • 40 Minor Scales • • • • • • • • • • • 41 Chromatic Scale • • • • • • • • • • • 42 Scales on Intervals • • • • • • • 43 Exercises ••• • • • • • 47 8 Progressive Studies • • 53 Portamento • • • • • • • • • 59 Slurs • • • • • • • • • • • 60 Notes on Several Shifts (alternate possible) • • 60 Staccato • • • • • . • • • . • • . • • 61 Appoggiatura • • • • • • • • • 62 Shake (trill) • • 62 Gruppetto • • • • • • • • • • 64 The Shade (crescendo and decrescendo) • • 64 Lesson on Art of Phrasing • 65 32 Melodies by Vobaron • • • . • • • • • . 66 6 Duets ••• • • • • • • • • • • • • • • •. 106 The Art of Phrasing (100 Classic, Operatic, and Popular Melodies) ••••• 118 9 Progressive Studies 145 3 Operatic Fantasias • 152 The Metronome 158

It is interesting to read some of Dieppo's observations concerning the following aspects of brass playing, and in particular, the trombone.

On the subject of mouthpiece placement, he wrote:

The mouthpiece is to be placed in the center of the mouth resting a little more on the upper lip, breathing from the corners of the mouth and not through the mouthpiece. To obtain the high notes press the mouthpiece against the lips, which contract themselves to allow less wind to pass than for the low notes which require more parting of the lips and less pressure.24

o 24D~eppo, p. 15 • 15 He also states his views on the subject of tongue placement during the act of tonguing (contrary to modern pedagogical teachings):

"To produce the note the tongue will press against the opening of the lips and swiftly retire, giving passage to the wind into the mouthpiece, taking care not to let it escape through the corners of the mouth; the tongue is to repeat this action for every detached note.,,25

In conclusion, Antoine Dieppo is a very important figure during the inception of the study of trombone at the Conservatory, be it slide or valve. Beginning in the year 1859 and concluding in

1870, Dieppo taught valve trombone in addition to his duties as teacher of slide tenor trombone. This was a recognized class of study at the Conservatory, complete with its own students and contest solos. To sum up Dieppo's views on the trombone, he states:

The pupil will be wise to study each lesson and exercise before attempting to play all the notes. By doing thus he will arrive at a real knowledge of his instrument; other wise he will never be able to occupy a position as a trombone player in an orchestra or band, but like a beginner, who wishes to play before knowing all the necessary terms and uses of the principals of music, he will remain--an amateur.26

Paul De1isse One of Dieppo's pupils at the Conservatory, Paul Lespagne

(1817-1888), known under his pseudonym of Paul De1isse, succeeded 27 Dieppo in 1871. An excellent musician, Delisse won his Premiere

25 . 15 D~eppo, p. •

26Dieppo, p. 16.

27Lafosse, p. 17. 16

Prix in 1841 and made his career as a trombonist with the Societe des

Concerts du Conservatoire and at the Qoera-Comigue. It was under his direction that the trombone began to emerge as a solo instrument of great flexibility and originality. This was accomplished by transcribing the works of the great composers of the past for the trombone.

As Andre Lafosse points out:

He was the first to have the idea of transcribing the works of the great composers, thus bringing within the reach of trombonists the wonderful schooling in style offered by the works of Haydn, Mozart, Beethoven and J. S. Bach- works which have contributed so much to the making of our pianists and string players.28

During Delisse's tenure as the trombone teacher (1871-1888), the course 0 f stud y was a 1most exc1 us~ve· 1 y b ase d on t h ese transcr~pt~ons... 29

Delisse was technically very accomplished as a performer and did much to increase the technical and flexibility potential of the trombone. As his predecessor and teacher before him had done, he fought hard for the supremacy of the slide trombone over the valve trombone.

At the time of the dispute between the partisans of the valve trombone and the slide trombone, he was the ardent defender of the latter instrument. With the help of his talent, he could emphasize and help emerge triumphant the incomparable tonal qualities of the slide trombone, and by his very finished technique he could demonstrate that quick passages were not entirely unattainable on it.30

28 Lafosse, p. 17. 29 Lafosse, p. 17. 30 Lafosse, p. 17. 17

Paul Delisse left no known original method or etude materials, so

it must be assumed that his teaching was based on lii~ numerous

transcriptions and possibly the use of Dieppo's or Vobaron's Methode.

There is no evidence to confirm or deny this statement, but his

transcriptions do offer difficulties found challenging even by

today's standards.

Louis Allard

Delisse's successor, Louis Allard (b. 1852), stayed at

the Conservatory from 1888 to 1925. Allard succeeded Delisse at

the Societe des Concerts du Conservatoire, the Opera-Comique, and

in the trombone class. He carried on the teachings of Paul Delisse

and applied himself to the study of works which Delisse had left 31 behind him. It was during his tenure that the solo trombone

received some of its first quality works written specifically for

trombone and piano. These works were written as contest pieces for

the instrument by commissioned composers or members of the Conservatory

faculty and were to be performed as part of the graduation requirements.

Because of their nature as test pieces, they became more difficult each year and taxed the technical capabilities of the instrument. This

greatly contributed to raising the level of performance accomplished by the trombone students at the Conservatory.

In specific reference to the teaching that was taking place during the years when Allard was the trombone instructor,

31 Lafosse, p. 17. 18

An ton Ha nsen (fat h er 0 f tromb one p 1ay1ng· 1n. Scan d· 1naV1a .) 32 g1ves. us

some insight in his own words:

Great was my delight when I got to know the French literature "pom:' Ie trombone". What music it was! Not commonplace tunes with commonplace variations, but genuine music. And it was no wonder that the works were good, because for a long time the best French composers had been commissioned to com pose solo pieces for the annual examinations of the Paris Conservatoire.33

Through correspondence, he contacted Professor Allard in 1920 and told him he was going to visit Paris the following summer to observe

Professor Allard's teaching methods and meet the French trombonists.

Hansen arrived in Paris in the summer of 1921 and visited Emile

Lauga of the Paris Opera. In the first few days after Hansen's arrival in Paris, Lauga introduced him to Professor Allard who was to give a demonstration lesson. There were five students in the class at the time, and they were all preparing the solo by Philippe

Gaubert for the forthcoming examination. Hansen writes:

What surprised me was that all the students played on the same instrlli~ent--I found it disconcerting--although they all used their own mouthpiece. What I particularly admired about these people was their fantastic endurance which came from doing many hours practice everyday.34

Other than teaching and performing, Louis Allard's greatest contribution to the study of trombone was his transcription of the valve cornet method of Jean-Baptiste Arban for the trombone. The

32 Per Gade, "Anton Hansen (1877-1947); Father of Trombone Playing i~ Scandinavia," Brass Bulletin, vol. 27 (1979) :27-40; vol. 28 (1979):13-28; vol. 29 (1980);81-94, p. 27. 33 Gade, p. 85. 34 Gade, pp. 89-90. 19 original cornet method was published in 1864, four years before Arban was appointed Professor at the Conservatory. The conclusion one comes to, in looking at the pedagogical effect the method had on the teaching of brass instruments in the latter part of the nineteenth-century, is that Arban had great difficulties in conveying his knowledge in written form. One discovers he was not able to express what actually was happening and why it worked in his own playing. On the subject of mouthpiece placement he writes: "The mouthpiece must be put in the middle of the mouth, two thirds on t h e 1 ower 11p- and one t h 1r- d on t h e upper 1-1p ••• ,,35 He only justifies this position by the fact that it personally suits him best. He adds: "To make high notes it is necessary to 'exert a certain pressure ,,36 on the lips •.• you must pu11 t h e corners 0 f t h e mout h ••• Arban's knowledge of breathing is also confusing: " ••• the stomach must not be expanded, on the contrary it must go up at one and the same time as the chest grows through the effect of inspiration.,,37

Another important project started by Allard, and one which still has a great bearing on the pedagogical materials and approaches to the trombone, is his transcriptions of many of the vocalises by

Marco Bordogni and Willent Bordogni. These vocalises did not play a role while Allard was a teacher of trombone at the Conservatory since

35Jean-Pierre Mathez, "Jean-Baptiste Arban (1825-1889)," Brass Bulletin, vol. 15 (1976), p. 17. 36 Mathez, p. 17.

37 Mathez, p. 17. 20 they were published in 1925, the year he left the Conservatory. Under the guidance of his pupil and successor, Henri Coui11aud, these voca1ises became a part of the curriculum of study at the Conservatory.

Henri Coui11aud

Henri Coui11aud (b. 1878), born at Bourg-la-Reine (Seine), was an eminent trombonist who was concurrently a soloist with the

Societe des Concerts du Conservatoire, the Opera, and the Band of the Garde Repub1icaine. He succeeded Louis Allard in 1925 as professor of trombone at the Conservatory. During his schooling at the Conservatory, he received his Premiere Prix in 1900. His performing with these ensembles continued the performer/teacher criteria for employment at the Conservatory which started with the appointment of Antoine Dieppo in 1836. His selection also follows the pattern of being a former student and graduate of the

Conservatory which started with Paul Delisse.

Coui11aud continued many of the traditions of teaching the trombone which were implemented by his predecessors. During his tenure at the Conservatory (1925-1948), his output of materials for trombone was devoted to etude studies. We don't find his name associated with solo works for trombone, largely because of the increased amount of quality solos resulting from the annual contests.

His etudes do show two distinct pedagogical qualities; one, the continuance of transcribing the voca1ises of the contemporary masters for use on the trombone; and two, starting a tradition of composing original etude mE.terials that isolate and work on specific technical problems. 21 The materials which reflect the older tradition of tran-

scribing works for use by the trombone appear during Couillaud's

early years at the Conservatory. His Etudes de StyZe d'apres Bordogni

in three volumes and his Vingt-Six Etudes Techniques d'apres Bordogni

were both published in 1927. Both of these include a variety of tonal

etudes in detached and legato tonguing style. The materials in each

edition are set up in progressive order from the moderately difficult

to difficult level.

Figure 1. Henri Couillaud, Etudes de StyZe d'apres Bordogni, p. 7, no. 5, measures 1-9.

During the next two years (1928 and 1929), he compiled the

Pieces MeZodiques in three volumes, including original pieces for

trombone and vocalises by Dukas, Gaubert, Lefebre, Paray, Buesser,

and other French composers who were contemporaries of Couillaud. This was the first volume assembled by a Conservatory teacher of trombone which incorporated a wide variety of composers and styles in a single work. This signaled the need of trombone students of the Conservatory

to expand their grasp of musical styles on their instrument. The major influence of French Impressionism characterizes these etudes, 22 including short rapid legato flourishes, legato chromatic figures and modal writing.

In 1929, Couillaud began to transcribe cello etudes for use in his trombone lessons. His work, Vingt Etudes de Perfeationnement,

is taken from the cello etudes of Dotzauer, Duport, and Lee. Each study focuses on one pedagogical problem area to be mastered by the student, such as continuous arpeggios in triplet-figures or strong, accented articulation at a slow tempo.

Figure 2. Henri Couillaud, Vingt Etudes de Perfeationnement, p. 5. no. 4, measures 1-7.

This work signifies a major crossroad in trombone education, progressing from using materials designed for vocal training to examining and using etudes designed for other instruments. Due to the increased need for technique by the trombonist at the Conservatory, looking to the other instruments was a natural idea.

Not until late in Couillaud's career at the Conservatory de we see exercises composed by him expressly for the trombone. The first of this type to be published, Exeraises Progressifs (1937), contains studies divided into three parts. Parts I and II treat 23 scales in both major and minor keys and is composed in eighth and sixteenth-note rhythmic patterns. Part III is comprised of vocalises in a tonal style and not transcribed from any known vocal studies.

With the publishing in 1946 of his Trente Etudes Moder~es, we find the diatonic scale exercises for trombone, composed by former teacher

Paul Delisse, appearing in print for the first time.

L Etudes sur la gamme de Delisse

~ > • Vt majPur EJ arc. trrnEa Ed f: roo I aT i I Ufsrrlgrltfl

Figure 3. Henri Couillaud, Trente Etudes Modernes, p. 2, no. 1, measures 1-9.

Following these exercises, Couillaud included thirty technical studies in which we find meter changes incorporated within a single study •

• ~ >- Rtf fffQnc-wrSil, Ii J'

•• ~ >. I,' IRCil' III 0 rEd ItJ1 "III

Figure 4. Henri Couillaud, Trente Etudes Modernes, p. 34, no. 19, measures 1-26. 24

As the book progresses, they become more complex by introducing unusual

meters while the melodic content becomes more angular and includes

intervallic progressions which are difficult to hear and play.

With the publishing in 1943 of Couillaud's Tpaits DiffiaiZes

Tipes d'oeuvpes Symphoniques et Dramatiques poup Tpombone begins the

study of trombone excerpts at the Conservatory. This is a collection

of ten excerpts of varying importance, ranging from Ravel's BoZepo to

works of Pierne, Schmitt, and Tomasi. 38 The majority of excerpts

represented French born composers, reflecting the nationalistic flavor

of the country.

As Dieppo had done before him, Henri Couillaud compiled a method for trombone. This work, Methode de Tpombone a CouZisse,

is different from Dieppo's in that it only covers the slide trombone

and does not mention the valve trombone in its discussion of techniques.

In addition to the material written for trombone study, intermediate

to advanced duets are also presented to be used in the course of study.

This study is similar in approach to the Dieppo method by including

positions for many of the beginning exercises; however, it progresses

well beyond the point commonly found in American methods.

38James Roberts, Annotated Guide to Orchestral Excerpts for Trombone (Lebanon, Indiana: Studio Publications Recording, 1980), p. 20. 25

En MI Mlnea... Ton re!&tif de Sol IIajeur Ne pas oablier de monter Ie Sol aigu un pea plus ha.ut que 1& 2! position. 1 :):1" nalrnrlt IrF r rIrF rt I r t rI t rr' I •• 4.4 ••• 4 :', • 4 • • a &. &_ •• 4. • __ 4 •• • _ 4_. 4 •• 4_. •• •

Figure 5. Henri Couillaud, Methode de Trombone a CouZisse, p. 32, no. 1, measures 1-25.

He includes a section on double and triple tonguing, introducing the

double tonguing exercises first and advocating a "tu-ku tu-ku" method.

Also of interest is his method of teaching slurring or legato tonguing.

The use of a unified type of tongue approach is advocated, using the

"du" tongue on every note of the phrase, including the initial attack.

j;:; .. -- B t f t f -f !z. IT II I I r- -I II :t II :'" r r :E·' f Ir r d.. dIl dIl d1I d1I d.. d .. d.. dIl d.. 4 .. dIl dIl d1I d ..

Figure 6. Henri Couillaud, Methode de Trombone a CouZisse, p. 44.

Unfortunately, the method does not always progress in a logical

progression of material difficulty. It clearly shows the author's

lack of pedagogical understanding in compiling this edition.

Andre Lafosse

Andre Lafosse, born in Marly-Ie-Roi in 1890, is the next

in the line of performer/teachers who were employed at the Conservatory

to teach trombone (1948-1960). He is the first teacher who was not a 26 direct student of his predecessor. Lafosse was a pupil of Louis

Allard in the early 1900's and not a student of Henri Couillaud, as one would suspect. In addition to his teaching duties, he also was a member of the Paris Opera and the Lamoureux Orchestra.

In conjunction with traditions which had already been established, Lafosse continued transcribing solos of other instru ments for use by the trombone student. The first of these, and perhaps the most important, is his edition of Johann Sebastian Bach's Suites

Pour VioZonceZZe SeuZ (1946). This incomplete set of suites is transposed a major fourth higher than the original notation, making the range more appropriate for greater technical and musical possibil ities. Lafosse edited the suites in terms of articulation markings, dynamic markings, and alternate positions.

P~other transcription of great importance to the trombone is his Conce~to in F Mino~ (1948), by George Fredrick Handel (originally written for oboe). This piece was transcribed during Lafosse's first year at the Conservatory (1948) and reflects the continued search for materials applicable for use by the trombone from the literature of other instruments.

Lafosse wrote his most important and influencial work twenty seven years before his employment by the Conservatory. His Methode

CompZete de Trombone a CouZisse (1921), is one of the most complete and thorough method books to be compiled by a Conservatory instructor of trombone. In conjunction with his Methode, Lafosse wrote a book to explain the various pedagogical facts contained within the Methode. 27

Entitled iraite de Pedagogie du Tpombone a CouZisse (1956), it is a

product of the Pedagogic Studies program instituted at the Conservatory

by its director Claude Delvincourt. As Lafosse states in his intro-

duct ion to the book:

••• each professor in a specialized subject was invited to instruct his pupils in a training course. The present work, which is the outcome of this exercise, aims at g~v~ng instruction to all who plan to teach the trombone. It is the sum of the observations and experience of many years of teaching. The articles in this Treatise correspond to these of my Method. Reference to the numbers and pages of the Method is made whenever necessary. This Treatise is a true guide, a sort of working plan which allows a constant pro gress, leaving nothing indefinite. It points out the faults most frequently encountered among the majority of students in certain details of their technique, and judicious means by which various faults can be corrected.39

Due to its complete explanation, this combination of Methode and subsequent guide gives us a very informative and factual insight

into Lafosse's pedagogical methods and philosophies. His view of a teacher's responsibilities and qualities include:

••• unlimited patience and the faculty of being able to repeat without ever tiring the same explanations, which although understood are rarely applied at once. To pre serve their mastery of the instrument, in order to be able to give practical examples in sound, which in some cases are more efficacious than any dissertation. Finally, to be imbued with an educating spirit, limited not only to music, but remaining besides anxious to understand the mentality of the young pupils entrusted to them for instruction. 40

Of interest to the trombonist are sections on trombone history, the instruments of the trombone family, and the invention of the valve.

39 Lafosse, p. 6. 40 Lafosse, p. 7. 28

Since the Methode is designed in a sequential progression in respect to the introduction of skills, this discussion will logically follow the same path.

In writing about the placement of the mouthpiece, Lafosse states that it:

••• is on the middle of the mouth (the mouthpiece bearing more on the upper than on the lower lip to play high notes, and more on the lower than on the upper lip to play low notes). These indications are not absolute, and the placing of the mouthpiece is a matter that often varies with the performer. 41

He further wrote that in order to produce a sound, the player must:

••• take a deep breath, stretch the lips on the teeth, place the mouthpiece on the lips, put the tip of the tongue between the lips opposite the mouthpiece, then draw the tongue sharply back while pronouncing the syllable "Tu". Next keep the tongue back, and let the breath flow out. The "Tu" should be energetic and not like "Du". The student must practice this emission, which is fundamental, and strive after the utmost sharpness of attack, which should be as clean-cut as the stroke of a hammer on a bell.42

Having the above as background and reference material,

Lafosse int.erj ects some observations on the characteristics of pupils:

To play the trombone, one should be big and strong enough to have sufficient lung capacity and length of arm to allow the use of the seventh position, which is found at the far end of the slide, and measures a span of nearly 60 cm. As in all branches of education, the trombone does not escape the following rule: the younger the pupil, the easier it is for him to assimilate what one wishes to

41Andre Lafosse, Methode Complete de Trombone, vol. I (Paris: Alphonse Leduc, 1921), p. XI. 42 Lafosse, p. XII. 29 teach him. In any case, it is as well to take this latter consideration into account, for the regulations of the Paris Conservatory for the age limit for entrance to the Trombone Class at 23 years. 43

He also explains the approach taken with someone who starts without proper tutoring or under the direction of another instructor:

When called upon to teach a pupil who started in this way, it is indispensable to make him review the very beginning of his technique, so as to correct right away the errors perceived. Thus, apart from the way in which they will react, there is little difference between taking on a beginner in the proper sense and a student who has been partly initiated.44

Lafosse advocated his technique and philosophy of building all trombone skills on a firm foundation:

Providing that the mouthpiece and the instrument are suitable, there is good cause, so as not to build on sand, to make the beginner acquire a faultless fundamental production: an attack as clear and incisive as that of a hammer on a bell, a diminuendo absolutely regular according to the note value. The practice of this production should follow, applying the same principles to all the exercises concerning the study of the chart of the seven positions. When he has arrived at this point, the student should have mastered this fundamental emission and should know the essentials of the tablature relating to his instrument.45

Following this foundation, the next step is the acquisition of technique:

43 Lafosse, Traite de Pedagogie, pp. 20-21. 44 Lafosse, Traite de Pedagogie, p. 21. 45 Lafosse, Traite de Pedagogie, p. 23. 30

The general rule in developing technique is to plan the work ahead, while continuing the study of what has gone before, according to the student's abilities. The weak points must, of course, be stressed. The best way of maintaining all that has been acquired is to add to each new emission, once acquired, the study of scales applying these various emissions. 46 .

Of importance to all trombonists, is the subject of legato playing. Lafosse comments that:

After the fundamental attack, the most important acquisition for which the trombonist must strive is Legato. On the contrary, his attention must be fixed on the necessity of playing legato well. Without a perfect legato, style remains a dead-letter, and, in spite of all the player's goodwill, he remains incapable of moving his audience. After the first note of legato, the other notes must be emitted by a special tonguing, which corresponds more or less to the syllable "Na", this syllable marking the spot in the mouth where the tongue must be placed for this production. It requires a great deal of practice to do this successfully. The natural irregularities of the column of air, harshness, and glissandi are more or less easy to suppress, and necessitate the judicious use of this syllable for their correction. All the notes comprised within a phrase should have a similar and absolutely even production. Therefore, at the beginning it is a good idea to accentuate this syllable quite clearly, in order to avoid faltering joins.47

To continue with his fundamental approach to the teaching of the trombone, Lafosse states:

The study of scales forming the most efficacious funda mental work, it is important to let the pupil know, that when arrived at that point, and during his whole career, he should consider such study the foundation of his daily task and tax himself ••• 48

A section of this Methode includes exercises designed to allow the trombonist to work on specific problems encountered in

46 Lafosse, Traite de Pedagogie, pp. 27-28. 47 Lafosse, Traite de Pedagogie, p. 28. 48 Lafosse, Methode, vol. II, p. 68. 31 the contest solos. This is the first evidence that we can document in the change from preparing a student pedagogically in terms of increasing his techniques in order to perform the contest solos to designing actual etudes to facilitate technical and musical complexities found in specific contest solos. On pages 191-208 of the Methode (Volume II) is found a series of studies on the test pieces. Lafosse states: "Any perspicacious teacher can write a few lines of music to make a difficulty more accessible, first presenting it in a simplified form, then, by imperceptible modifi cations, making it more difficult. The pupil will then be at ease before the original passage.,,49 The actual solos examined in these sections are:

SoZo de Conaours - P. ·V. de la Nux (1900. 1919)

SoZo de BaaheZet - A. Bachelet (1901, 1925)

Fantaisie - Stojowski (1905, 1914)

Pieae en Mib - H. Busser (1907, 1920)

Pieae en MiP - J. Guy Ropartz (1908)

Moraeau Symphonique - Ph. Gaubert (1912, 1921, 1937)

CantabiZe et SaherzandO - H. Busser (1913, 1924. 1936)

Etude de Conaert - H. Busser (1927)

Impromptu - E. Bigot (1931, 1943)

DoubZes sur un ChoraZ - R. Duclos (1939, 1945)

491afosse, Traite de Pedagogie, p. 47. 32

Lafosse states in relation to these exercises:

These studies are based on the principal difficulties that are to be met with in the solos the most frequently adopted for the competitions at the Paris Conservatory. All the technical difficulties therein are well developed. There, the rapid passages are more abundant, the arpeggios more extended, and sometimes the transposition compels to more suppleness of slide and to more firmness of lips. Besides excellent technical results, the practice of these studies shall lead the pupil to an easy performance of the solos to which they refer. 50

A section found at the end of Volume II is devoted to

"Difficult Passages From Symphonic and Dramatic Work" (more commonly referred to as orchestral excerpts). This continues a pedagogical technique first instituted by Henri Couillaud in his Traits DiffiaiZes

Tires d'oeuvres Symphoniques et Dramatiques Pour Trombone. Lafosse's use of many French compositions in this section is similar to what

Couillaud had done--once again reflecting the nationalistic flavor found in France.

An important aspect of a s~udents training at the Conservatory

treats the topic of sight reading. Lafosse wrote:

The study of sight-reading should be undertaken from the very beginning of learning the trombone, proportioning the difficulties according to the instrumental technique that has been acquired. The skill of the instrumental sight reader depends on hOt.. good a solfegiste he is. To sight-read well, one must be master of one's technique, and always read ahead of what one is playing, that is to say, one should read several bars at a time; this is indispensable when passing from one line to another. This facility can only be developed by constant practice. One has only to forget that one should read in advance to stumble at the first difficulty encountered. To care only about playing the notes is insufficient. One must also think of observing phrasing and expression, of giving the piece the character desired by the composer and respecting the tempo indicated. The memory should be

50 Lafosse, Methode, vol. II, p. 191. 33 trustworthy enough to forget neither the key signature nor an accidental affecting a note at the beginning of a bar, which is valid for all similar notes in' that bar. Following a mistake, one should have the presence of mind not to stop to look for its cause, but on the contrary, continue without hesitation, renewing the flow as promptly as possible. 51

In reaction to a need for a sight-reading text for use by his trombone students at the Conservatory, Lafosse compiled his SchooZ of

Sight-Reading and StyZe for Tenor Trombone in five volumes (1949).

This excellent collection ranges from relatively easy to very difficult etude material. Each volume contains thirty half-page studies written in manuscript which is sometimes difficult to decipher.

Lafosse comments in his introduction to the work:

The mastery of sight-reading demands much practice and requires a large number of exercises, particularly new ones. Unfortunately, these exercises are non-existent. The student has resorted heretofore to solfeggio or vocalise studies which are more or less adaptable to the technique of the instrument and are unsatisfactory inasmuch as they are not written in the proper keys and often are not new to the student who may have read or sung them. The aim of these five folios is to remedy this deficiency for the trombonist.52

These five books, A, B, C, D and E contain 30 lessons each:

A- Bass clef Easy B Bass & Tenor clef Medium difficult C Bass & Tenor clef Difficult D Bass & Tenor clef Very difficult E in 30 lessons Extremely difficult (10 lessons in Alto clef) (10 lessons in Alto & Tenor clef) (10 lessons in Alto, Tenor & Bass clef)

51 Lafosse, Traite de Pedagogie, p. 50.

52Andre Lafosse, School of Sight Reading, Vols. I-V (New York: M. Baron Company, 1948), p.2. 34

In discussing the approach the student should consider when approaching these exercises, Lafosse gives us a good insight into both his and the

Conservatory's view on the skill of sight-reading:

First, look at the beginning of the lesson only (key signature, tonality, measures) ascertaining the tempo, then attack, striving to read ahead; in other words, he must focus his eyes on the measure following the one played and even those further ahead if the tempo is rapid. The first reading should be completed from beginning to end with out stop, despite any errors committed during this reading. It is too late and useless to analyse what caused the errors. Looking back would only invite further mistakes in what is to follow. At all cost the student must continue on to the very last note without any alteration of tempo, which must be rigorously maintained. After this first attempt, the student will attentively look at the passages which caused him to stumble; he will study them for a few minutes, then start a second rendition which should normally be a good deal better than the first. If he does not succeed in obtaining a perfect performance this second time, he should repeat the above pro cedure, examining the troublesome passages; then begin again a third time and so on, until he achieves perfection in every respect: nuances, chromatic alterations, pure intonation, the full value of each note, breathing, style, tone quality, etc. insofar as the composer's intent. 53

Lafosse addressed the new pedagogical treatment of preparing the Conservatory student for specific technical and musical complexities found in the contest solos when he issued his Vade Meaum du

Trombone (1956). As he states in the introductory paragraphs:

This Vade Meaum is intended principally for students pre paring for advanced examinations, particularly the January Examination of the Paris Conservatoire. It will also be a valuable guide to those who, having completed their studies, wish to keep up their technique. Trombone players intending to become teachers will find in this Vade Maaum, in conjunction with the Teaching Treatise which accompanies our Grand Complete Method, texts that will be of use to them throughout their

53 Lafosse, School of Sight Reading, p. 2. 35

career; lastly~ candidates for teaching posts in the French provincial conservatories will also find in it all the data that is indispensable for the profession which they hope to take up.54

This volume is divided into three sections. Part one is comprised of technical etudes in major and minor scales~ diminished sevenths~ chromatic scales~ and scale patterns in thirds. In part two the author presents a scale of one octave in sixteenth-notes. Each degree of the scale is then the starting point for a further, sequential scale. Each scale is followed by its chords; major, minor, diminished, and augmented.

Alle"ro J~ d. 80 • tOO Vt "'.j.ur. C ,br • C.ojor 3 3 ~ ~ ~ :=. t Ii WI J i" 1J l J J" I J JlllPI'Oi• • • :> »» flFWI»> ~ :> Ilet•• .I!!::i , »»»pml f!lSI """- nrf> =f :> 3 ~ "" : f 3 3 =-

Figure 7. Andre Lafosse, Vade Meawn du Trombone, p. 11, no. 1, measures 1-16.

Part three consists of twenty-six medium-difficult studies covering the main technical areas of trombone playing. This section includes staccato exercises, legato studies, studies in varied articulations, arpeggio studies, interval studies, etc. The concluding studies include several etudes comprised of transcriptions of pieces in varied styles by Schubert, Bach, Vivaldi, and Tartini.

54Andre Lafosse, Vade Mecum du Tromboniste (Paris: Alphonse Leduc, 1956), p. 3. 36 Andre Lafosse, therefore, was a major force in the pedagogical

revolution that was going on in France. By addressing the problems

and shortcomings of trombone playing and teaching, he was able to

bring the level of both to a higher plateau not reached by any of his

predecessors. It is a tribute to him that a good portion of his

pedagogical teachings and etudes are still a major force in the field

today.

Gerard Pichaureau

The final trombone instructor of the Conservatory to be

discussed here, Gerard Pichaureau, is also the incumbent. Starting

in 1960, he took over the responsibility of educating the aspiring

trombonists attending the Conservatory. Pichaureau continued the

pattern of being an active performer in addition to his duties as an

educator. His credentials include solo trombonist with the Band of the

Garde Republicaine and Societe des Concerts du Conservatoire.

Pichaureau's pedagogical output consists of original etude materials designed specifically for use in the trombone studio. Since

the quality and quantity of trombone solo materials had greatly

increased because of the yearly contest competitions, it was not necessary for Pichaureau to compose or transcribe solo materials from

other instrument groups. He also did not need to transcribe etude materials from other instrument groupings since his predecessors and

other French trombonists had left a large wealth of materials for

the trombone. 37

Pichaureau's major output for the trombone is etudes designed to increase a player's technical expertise, in direct relation to the advanced skills needed to perform the newly composed contest solos.

His first work, published during his first year at the Conservatory, is entitled Trente Re~reations en Forme D'Etudes (30 Recreative

Studies, 1960). It consists of short etudes written in every major and minor key. The melodic writing contains irregular phrase-lengths and unusual melodic turns, developing both legato technique and detached playing. The last five exercises of this study are preparatory work designed to introduce the next etude book produced in

1960. As Pichaureau states: "The studies no. 25 to 30 will help the student to achieve the level of the 21 Studies for Trombone -

General Technique, which could be considered as the compulsory sequel to this book.,,55

The next study in Pichaureau's pedagogical plan, Vingt-et-une

Etudes (Twenty-one Studies - General Technique, 1960), is set up progressively and concentrates on technical studies in all keys and in many different styles. Although the melodic content of these studies is basically tonal, several of them involve contemporary techniques, including: odd meters, irregular divisions of the beat, uneven note groupings, disjunct melodic passages and wide intervals.

55Gerard Pichaureau, 30 Recreations en Forme d'Etudes (Paris: Alphonse Leduc, 1963), p. 14. 38

f rnarcalo ma 606in1WtO cresCo

i l J I~J dJJ-r riur I J 1111?iJ JJ ,I

Figure 8. Gerard Pichaureau, Vingt-et-une Etudes, p. 11, no. 11, measures 10-23.

Pichaureau maintained a sense of pedagogical progression when he produced his next etude book, Vingt E~~des (Twenty Studies,

1963). It is suggested in the second half of the complete title of this work that it be used following completion of the Vingt-et-une

Etudes. These studies progress from medium difficult to difficult, taking the trombonist to extreme technical limits. They are written in unusual meters and often include difficult, superimposed rhythmic patterns. There are several etudes in odd meter, including meter 332 signatures such as l' 16 and 16·

Figure 9. Gerard Pichaureau, Vingt Etudes, p. 20, no. 20, measures 1-15. 39 The most obvious usage of contemporary melodic style includes wide

intervallic skips and disjunct melodic contours.

"!f crt' _

~ '0 OJ} D

Figure 10. Gerard Pichaureau, Vingt Etudes, p. 10, no. 10, measures 19-32.

Pichaureau also extended the range requirements and tessitura of

the etude material, therefore, challenging the trombone player in

ways similar to the trends of the contest solos.

Also appearing in 1963 is his Trente Etudes Dans Tous Les

Tons (Thiry Studies in Every Tonality). As he states about these exercises:

These thirty studies, technically very difficult, are meant for students of the highest degrees. Each study should be practised slowly and thoroughly, meaning that one should not try to master it perfectly in a few days, but go on to the next and then to the following, as all of them, each written in a different tonality, hold the same difficulties concerning rhythm and technique. I suggest they should be practised by one per week and, the cycles finished, one will be surprised by the results when taking up again those studies which could only be attacked superficially a few months before. 56

56Gerard Pichauieau, Trent Etudes Dans Tous Les Tons (Paris: Alphonse Leduc, 1963), p. i. 40

Pedagogically, he deals with rapid legato passages, multiple tonguing, extreme ranges (both high and low), unusual meters, changing meters, rapid chromatic passages, and wide skips.

The next material composed by Pichaureau, PreambuZe (Preamble,

1971), concentrates on the younger or less experienced trombonist. It contains traditional lip slurs, scale patterns and a daily routine complete with warm-up studies. Towards the end of the book, changing meters are introduced in conjunction with relatively difficult intermediate passages requiring good flexibility and control.

The latest edition produced by Pichaureau, Vingt-Quatre

Etudes Pour Trombone (Special Legato Studies, 1978), is a book of slur and legato studies arranged in a non-progressive order.

Pichaureau's purpose for this material is to: " ••• keep the player

'in form' through the suppleness of lip, of tongue and of arm. It is directed to trombonists already in possession of the technical fundamentals of 'LEGATO,."S7 Designed for players who already possess good fundamentals of legato playing, each etude deals with one legato problem, and that explains why it can be used in any progression of exercises.

57 Gerard Pichaureau, Vingt-Quatre Etudes Pour Trombone Tenor (Special Legato Studies) (Paris: Alphonse Leduc, 1978), p. 1. 41

Mt ad Ub. ADdaal2. Alle&reno 7 :", i1fs!ijfiDjIPfrjt,Q;tifidJtfiJnl P''''' -==::::.. ====--- l' ,tiftiJ%tiiBO ffliU',1lij[ A ~ I

Figure 11. Gerard Pichaureau, Vingt-Quatre Etudes Pour Trombone (Special Legato Studies), p. 8, no. 7, measures 1-12.

With the use of more "Twentieth-century" techniques being

employed in the contest solos, Gerard Pichaureau collaborated with

Claude Pichaureau58 to produce Vingt Etudes AtonaZes (20 Atonal

Studies, 1972). The twenty atonal etudes in this volume acquaint

the student with a wide variety of techniques prevalent in contemporary music. Starting at a moderate level of difficulty, the first several

etudes present few rhythmic or metric difficulties.

58 See page 212 under Claude Pichaureau in Biographies of Composers for a description. 42

M__ AQra_ce J. III 1

It. A A. 'e f If I r d t 1 /

It. F I

• Simile Ie f Ilf ~t; r

Figure 12. Gerard Pichaureau and Claude Pichaureau, Vingt Etudes AtonaZes, p. 2, no. 1, measures 1-16.

As the book progresses, the writing includes: frequent and abrupt

dynamic changes, "new" notation, quarter tones, aleatoric effects,

special mutings, complex rhythms, and rapid articulation changes.

Buff'onesca I Caprld_ Flatt. + ( ••",p~."I_) ...1I:!: ±g+ 0 « ,,«. "/Ii « p- ' ••Ii- • • Ii + e! j* • I~ ID' ~ /1'.... I l' =1 / Plunger (~ns Saurd. stc"~)

+0 +0 ~ ; •• M • !i:i :a , ;; : Ii * -f P~r / 11' /1' l' / ==--z.:= Plunle< rapidemenl Dedah·o. \'1m 1- ,. ~ ,;- « «:> « ,. • ) ®~ II": ~. "b+~. l' I l' Sourd.P l'khe

:> >- ... ~-----~ ) ; ; : ;

Figure 13. Gerard Pichaureau and Claude Pichaureau, Vingt Etudes AtonaZes, p. 13, no. 17, measures 1-3. 43 Several of the etudes involving more unusual contemporary techniques are preceded by editorial comment relating to that technique:

"These 'vectorial' alterations indicate quarter tones lower or higher.

It is advisable to begin by practising without taking them into 59 account. 11 It is with this book that the trombonist is brought up to date with recent pedagogical materials.

Many other French composers and trombonists have produced materials which are of invaluable worth to the study of the trombone.

It is true that they could be placed in logical order and have been used to show the progression of French etude and method materials for the trombone from 1836 to present. However, they have merely been a reflection of the work done at the Conservatory and are usually a product of a writer who was directly associated with the Conservatory as a student of trombone, composition or some other instrument. It was therefore important to trace the pedagogical progression of study materials for the trombone to take it from the starting point of few technical demands to the level of technical and musical competencies required by the trombone student of the Conservatory in the 1980's.

Conclusion

We have seen the professors of trombone at the Conservatory being products of the system that they went back into to teach in, all performers in their own right, and progressing the pedagogical trend of the trombone--using only those materials of his predecessor that would be of value. The materials, themselves, have developed

59Claude Pichaureau and Gerard Pichaureau, Vingt Etudes Atonales (Paris: Alphonse Leduc, 1972), p. 8. 44 from methods designed for both slide and valve trombone, to transcribing the solos of other instruments for the trombone, to transcribing etude materials from other instrument families for use by the trombone student. This was followed by designing original etude exercises for the trombone, based on the technical and musical competencies required to perform the various contest solos of the time, and going from simple tonal etudes to very complex and difficult etudes requiring knowledge and skill dealing with atonal music. It has always been the teacher/performer trombone instructors at the Conservatory that have realized and implemented these pedagogical innovations.

One last comment about the French method books. French method books tend to progress very quickly and usually include a similar format of scales, lip slurs, interval studies, and arpeggios.

French publishers such as Alphonse Leduc have generally made little attempt to make their books appealing for the very young player in terms of color design format, interesting "song" material, or a slow progression of material. This may be due to the nature of having

French students studying music theory before the instrument, or it may be that the French are not as concerned with motivational factors or student drop-outs. CHAPTER 3

THE CONTEST SOLOS

While the Conservatory may be dedicated to the ideal of instructing students in all phases of music, it appears it has achieved its most productive results in the area of instrumental performance. 60 Its' conservative atmosphere, artist faculty, and competitive entrance auditions all have contributed to the excellence of its instrumental_training program. A major part of this program is the use of various instrumental solos known as the "contest solos".

Origin and Purpose

The culmination of a student's study at the Paris Conservatory is the attempt to win a Premier Prix (First Prize) within the limit of five years' time or before reaching the maximum age. Although it has varied through the years, the age of admission to the Conservatory has been very low in comparison to American standards for higher education. In 1878 the minimum age was set at nine and the maximum 61 at twenty-two. Presently the minimum age of admission is ten and the maximum varying according to the particular specialization, the

60JosePh"John Caringi, "The Clarinet Contest Solos of the Paris Conservatory With A Performance Analysis of Selected Compositions" (Columbia University, 1963), p. 27.

61p:l.erre," p. 262. 45 46 trombone being twenty-five. Each specialization also has a maximum length of time for completion:62

Maximum Maximum length Course age of course

Solfege 17 4 years Harmony: Test section, 16 4 Elementary section, Advanced section 22, 24 4, 5 Counterpoint 26 4 Fugue 28 4 Composition 32 5 Piano accompaniment 25 5 Organ and improvisation 30 5 History of music 32 3 Singing: men, women 28, 25 4 Dance: men, women 20, 18 5 Piano: elementary section, 19 4 advanced section 20 5 Harp 22 5 Violin: elementary section, 19 4 advanced section 20 5 Viola 24 5 Cello: elementary section, 21 4 advanced section 22 5 Double bass 26 5 Flute, oboe, clarinet, saxophone 20 5 Bassoon, horn, trumpet, trombone 25 5 Kettledrum and percussions 24 3 Conducting 32 4 Chamber music 32 ?

At the completion of a course, the student is not eligible for graduation, as the term is employed in the United States. Instead, he will enter a contest held each year for all courses offered at the

Conservatory and competes for a First Prize in his specialty. The student may, on his professor's recommendation. take part in the contest before the limit of his course has expired, but he will not

62C .. 28 ar~ng~, p. • 47 63 be allowed to compete after the time period has eXPired. A trombonist, then, admitted to the Conservatory at the age of twenty, would have to attain his First Prize by the age of twenty-four.

A First Prize is awarded, in the case of the piano, harp, string, woodwind, brass and percussion instruments, on the ability of the student to pe~form a selected solo before a jury. The solo used in· the competition is termed either morceau de concours (contest piece) or solo de concours (contest solo). (The word morceau meaning bit, piece or morsel, thereby used to denote a shorter composition.)

Originally, the compositions selected as contest solos were either chosen from existing literature or composed by the professor in charge of teaching that particular instrument. More recently, however, 64 composers have been commissioned to write the contest Pieces.

The earliest contest solos documented for use at the

Conservatory were in the year 1818. They were for piano (Concerto in

E-fZat by Dussek), violin (Conce~to in D minor by Viotti) and cello

(First Concerto by Romberg).65 Contest solos probably were used for earlier competitions than this since First Prizes were awarded in 1797 o6 in clavecin, violin, cello, oboe, clarinet, flute, horn and bassoon. Although the original use of the contest solos was limited to their performance at the annual competitions, in recent years they have served another purpose. Mar.y of the contest solos are now

63 . . Car1ng1, p. 28. 64 . . Car1ng1, p. 29. 65 . p1erre, pp. 584, 607, 615.

66p1erre,. p. 511. 48 included in the required material studied by the instrumental students at the Conservatory. An American bassoonist enrolled at the Conserva- tory noted the solos studied by the bassoon class in a half year's time. Of the ten compositions he listed, five of them were composed speC1"f" 1ca 11 y as contest p1eces."67

The Contest and the First Prize

Throughout the history of the Conservatory, various subjects or classes have been occasionally introduced to the instrumentalist.

These subjects have included the history of music, musical analysis, orchestral classes, and chamber music classes, in addition to so Ifegg10 " and t.e h stu d y 0 f"an 1nstrument. 68 These diverse activities have only enjoyed brief periods of acceptance at the Conservatory with the study of solfeggio and the students instrument being stressed.

Presently, the young student is given three lessons weekly on his instrument, each about three hours in length. All the students of a particular instrument report to the teacher at the same time, observing each other from a sitting position on a bench while the professor teaches one student at a time. The individual student and professor both stand during the approximate thirty minutes of lesson time devoted to each student. 69

67 Ben Spieler, "From Par"is," l.J"oodwind, vol. 3 (}farch 1951), p. 13.

68Car1ng1, "" p. 31 .

69 George E. WaIn, "Conservatoire National de Paris; Impressions Gained From A Recent Visit," Instrumentalist, vol. 12, no. 1 (September 1957), p. 98. 49

In addition to his weekly sessions on his instrument, the student also has three classes in solfeggio, each one hour in length, 70 and an hour of music history, meeting once a week. The French word for solfeggio (an Italian term, meaning an exercise for voice using syllables) is sOlfege and it has a much different meaning from the 71 original Italian word. In the French context, it includes reading mUS1C,. ear-tra1n1ng.. and t h e rud· 1ments 0 f·mUS1C. 72

The culmination of a Conservatory student's studies is the attempt to win a First Prize. Before a student is permitted to perform in the final competition, he must first qualify in solfege, mUS1ca. 1 ana1· YS1S and· S1g h t-read· 1ng W1t. h t h e 1nstrument. . 73 The first year students are required to take solfege and musical analysis in addition to the master classes for their instrument. The ideal goal is for the student to pass these courses at the end of the first year, in order to have more time to spend on sight-reading and the per f ormance requ1rements. 0 f t h·e1r c h·osen 1nstrument. 74

70Car1ng1, .. p. 31 •

71Car1ng1, .. p. 31 •

72Eric B10m, "Solfege," Grove's Dictionary of Music and Musicians (New York: St. Martin's Press, Inc., 1959), VII, pp. 877-878.

73 Harry R. Gee, Clarinet Solos de Concours, 1897-1980: An Annotated Bibliography (Bloomington, Indiana: University Press, 1981), p. 1-

74Harry R. Gee, "A Survey of Diploma Solos Used for Clarinet at the Paris Conservatory," School Musician, vol. 50, no. 10 (June/July 1979), p. 10. 50

When the professor feels a student has the necessary skill, he is entered in the annual competition held in the ~a~ly part of

June, and performs the selected solo before a jury.75 If the jury fails to award the student a First Prize, he may be granted a Second

Prize, a Premier Accessit (first honorable mention), or a Deuxieme

Accessit (second honorable mention) and must wait until the following year to compete again. Generally, a student who wins a

Second Prize is expected to win a First Prize in the next competi 76 tion. Paul Delisse, a professor of trombone at the Conservatory, won a Second Prize in 1840, and attained the First Prize the following year. 77 Charles-Michel Blanchere, one of France's outstanding trombonists, won a Premier Accessit in 1872, a Second Prize in 1873, 78 and a First Prize in 1375.

Occasionally, a very gifted student may be awarded a First

Prize after only a short period of study at the Conservatory. 79

Phillipe Gaubert, a distinguished flutist and composer, accomplished this feat, attaining a First Prize in flute in his first attempt at ·f 80 t h e age 0 f f ~ teen. Gaubert's case is more the exception than the

75 Gee, Clarinet Solos, p. 1. 76 .. 33 Car~ng~, p. • 77 . p ~erre, p. 736. 78 . p ~erre, p. 701. 79 .. 33 Car~ng~, p. • BOp. ~erre, p. 761. 51 rule, for it normally takes the full length of a course to win a 81 First Prize, with many students never attaining this goal.

The French consider the annual competitions an essential

· f· d . 82 part 0 f t h e~r system 0 mus~c e ucat~on. An extract from the - Journal of Paris (1799), quoted by Constant Pierre, states, "the distribution of prizes among the Conservatory students each year gives proof of their progress and of the merit of the professors who direct them.,,83 In 1818 a Committee of Instruction composed of

Conservatory professors declared: "The Committee is unanimously of the opinion • that the annual contests are an indispensable necessity • • • they are a sort of reckoning which the administration gives to the public, and without them there would no longer be a school. ,,84-

George WaIn puts the competition in perspective when he states: "Trying for the coveted First Prize and a First Prize with

Honors is a grim and serious business because the students' future professional careers depend largely upon the outcome. A First Prize

. d .. .. f hI·· ,,85 car.r~es tremen ous prest~ge ~n atta~n~ng a uture ore estra pos~t~on.

In accordance with tradition, the students who enter the competition are given the selected solo one month before it is to be

81C .. 33 ar~ng~, p. .

82Car~ng~, .. pp. 33 - 34 . 83 . p ~erre, p. 761. 84 . p ~erre, p. 322.

85WaIn, p. 99. 52 performed. They must learn the solo, memorize it and rehearse it with the piano accompaniment all during this one month period of time.

Unlike some compositions, the professors help the students as much as

possible. The professors are being indirectly tested, since the number of First Prize winners turned out by a professor must certainly

refl ect upon h1S· teach' 1ng. 86

Students participating in the final competition are judged on

their musical interpretation, technique, sonority, and intonation.

On the day of the competition, the audience (classmates, present and

former pupils and professional musicians) gathers to listen to the

sessions. All of the candidates play the selected contest solo for

the jury. The jury usually consists of one administrator, the

composer (if possible) and five instrumentalists of whom at least

two have no connection with the Conservatory. They first decide whether or not to award each prize, with the jury chairman announcing

the results. The First Prize winner leaves the Conservatory ready to

start on a professional career and leaves one place in the class vacant (there are only twelve students of trombone at the Conservatory

at anyone time). This vacancy will be filled by a contest for 87 admission held in early October.

The First Prize winners before 1817 received, in addition to

t h e h onor 0 f t h e P r1ze,. a mater1a. 1 rewar.d 88 This reward took the

86Car1ng1, .. p. 34 •

87Michel DeBost, "Woodwind World's Paris Correspondent," Woodwind World, vol. 4, no. 11 (1963), p. 12.

88Car1ng1, .. p. 35 • 53 form of musical instruments of French manufacture. 89 Beginning in

1818 the rewards were reduced, and while the string players still received instruments, all of the other First Prize winners were

presented with varying amounts of money: 90

Instrument Number of Francs Violin • · . · · · · 200 Violoncello · · · · 300 Piano 100 Flute 100 Oboe . · · · . 100 Clarinet · . · · · · 100 Horn . . · 100 Bassoon 100

In 1892 rewards were eliminated, and the First Prize has 91 since remained an award of honor. While the First Prize no longer includes material rewards, it still is viewed as the highest goal of the Conservatory students.

The Trombone Contest Solos

The custom of using a particular work annually has been in 92 practice fer the trombone class at the Paris Conservatory since 1842.

The titles of these early contest solos, as well as the names of their composers are still know~ today. However, most of these contest solos

89 . p ~erre, p. 234. 90 . p ~erre, p. 323.

91Pierre, p. 387. 92p. ~erre, p. 652. 54 (1842-1897) are not obtainable, except Cavatine by Jules Demersseman which was the required solo in 1877 and 1888.93 While neither World

War I nor World War II interrupted the annual competitions (except the

trombone and several other instruments), the Franco-Prussian War caused

a suspension of all the contests in 1871, and no contest solos were 94 employed for that year.

Below are listed the examination pieces from 1842 to 1896.

An asterisk indicates solos which were used more than once.

Year Title Composer

1842 *SoZo Antoine Dieppo 1843 Air Varie Joseph Klose 1844 *SoZo Andre Verroust 1845 Fantaisie Antoine Dieppo 1846 *SoZo Andre Verroust 1847 *SoZo Andre Verroust 1848 *SoZo Andre Verroust 1849 Fantaisie Andre Verroust 1850 *SoZo Andre Verroust 1851 *SoZo Antoine Dieppo 1852 Concertino Louis Girard 1853 SoZo Bello in 1854 *SoZo Antoine Dieppo 1855 SoZo Charles Gounod 1856 SoZo Theodore LaBarre 1857 *SoZo Henri Potier 1858 Concerto Charles Gounod 1859 *SoZo Antoine Dieppo 1860 *SoZo ~toine Dieppo 1861 *SoZo Henri Potier 1862 *SoZo Henri Potier 1863 SoZo en mi flat Jules Demersseman 1864 *SoZo Antoine Dieppo 1865 *SoZo Antoine Dieppo 1866 BoZo Francois Bazin

93Glenn P. Smith, "Paris National Conservatory Contest Pieces for Trombone," Journal of the International Trombone Association, vol. 5 (1977), p. 23.

94Pierre, p. 511. ~.. 55 Year Title Composer

1867 *SoZo Antoine Dieppo 1868 *SoZo Antoine Dieppo 1869 SoZo Cressonnois 1870 Concerto Jules Metra 1871 ------no aontest------1872 SoZo de Concours Alexandre Fessy 1873 Ail' Varie Sur "Za Pirate" Georges Berr 1874 SoZo de Concert en si flat Jules Demersseman 1875 *SoZo de ConcoU!'s Jules Demersseman 1876 *ler SoZo de Concert Jules Demersseman 1877 *Cavatine Jules Demersseman 1878 *"Le CarnavaZ de Venise 11 Jules Demersseman 1879 Concerto (leI' SoZo) Jules Demersseman 1880 *SoZo de Concours Jules Demersseman 1881 Ail' Var. Sur. Naahabee G. F. Handel 1882 *SoZo de Concours Jules Demersseman ::'883 se SoZo Jules Demersseman 1884 *ler SoZo de Concert Jules Demersseman 1885 *SoZo de Concours Jules DeL'.ersseman 1886 SoZo (Andante et AUegro) Hedwige Chretien ·1887 *ler SoZo de Conaert Jules Demersseman 1888 *Cavatine Jules Demersseman 1889 SoZo de Concov~s Grat Barthe 1890 *ler SoZo de Concert Jules Demersseman 1891 Grand SoZo Hedwige Chretien 1892 *"Le CarnavaZ de Venise" Jules Demersseman 1893 Cavatine en SoZ Jules Demersseman 1894 SoZo de Concours en re flat Grat Barthe 1895 leI' SoZo de Concours Jules Demersseman 1896 SoZo en si flat mineur Hedwige Chretien

Between the years of 1859 and 1870, the valve trombone was recognized as having its own set of contest pieces. They included - . 95 teoh f 1 .l.ow~ng:

95pierre, p. 682. 56

Year Title Composer

1859 So 1,0 en fa Andre Verroust 1860 So 1,0 en ut Antoine Dieppo 1861 So 1,0 Andre Verroust 1862 Air Varie Retch 1863 So 1,0 en mi mineur Jules Demersseman 1864 So 1,0 Jules Demersseman 1865 So 1,0 Henri Potier 1866 So 1,0 Francois Bazin 1867 So 1,0 Jean Baptiste Arban 1868 *So7,o Antoine Dieppo 1869 *SoZo Antoine Dieppo 1870 *SoZo Antoine Dieppo

The earliest qualifications noted in the annals of the 96 Conservatory governing the choice of contest pieces was in 1817.

In that year Perne, then Director of the Conservatory, and Cherubini, serving as a professor of composition, recommended that the contest pieces for the various instruments be selected by the respective professors and approved by a Committee of Instruction composed of the

Director and the Professors of Composition. 97 The early contest solos for wind instrume~ts weroe, for the most part, composed by their professors, at least until the latter part of the nineteenth century.

It appears that many of the early professors of wind instruments were not only expected to be performers and teachers, but in addition, were ca11 e d upon to compose contest p1eces. f or t h"e1r 1nstruments. 98

Historians agree that opera occupied the great interest in the eighteenth and nineteenth centuries in Paris. Although the

96Car1ng1, .. p. 39 • 97Pierre, p. 321.

98Car1ng1, .. p. 40 . 57

Franco-Prussian War generated a lot of patriotic feeling toward military bands and a great deal of pedagogical activity at the

Conservatory during the second half of the nineteenth century, the amount of wind instrumental composition is rather small. 99 Most of the solos chosen for the examinations at the Conservatory between

1897 and 1918 reflected the taste of the operatic and vocal composers.

The year 1897 marked the most significant change in the contest solos at the Conservatory, for this was the first year in which a composer was specifically commissioned to write a solo expressly for use as the trombone Morceau de Concours. The commissioned work was

SoLo de Coneert~ No. 2 by Paul Vidal, a noted French composer. The trombone solos from 1897 to 1918 are as follows:

Year Title Composer

1897 SoLo de Coneert~ No. 2 Paul Vidal 1898 *Pieae Conaertante Samuel Rousseau 1899 *SoLo de Trombone Georges-Jean Pfeiffer 1900 *SoLo de Conaours Paul V. de la Nux 1901 *Moraeau de Coneours Alfred Bachelet 1902 *Moraeau Symphonique Alexander Guilmant 1903 SoLo de Coneours B. Croce-Spinelli 1904 Moraeau de Conaours Edmond J. Missa 1905 *Fantaisie Sigismond Stojowski 1906 *SoLo de Trombone Georges-Jean Pfeiffer 1907 *Pi~ae en mi b~moL~ Ope 55 Henri Busser 1908 Pi~ae en mi b~moL J. Guy Ropartz 1909 SoLo de Coneert Theodore Dubois 1910 Pi~ae de Conaertante Carlos Salzedo 1911 ALLegro de Conaert~ Op. 81 Eugene Cools 1912 *Moraeau Symphonique Philippe Gaubert 1913 *CantabiLe et SaherzandO Henri Busser 1914 *Fantaisie Sigismond Stojowski 1915- 1917 ------no aontest------ 1918 *Pi~ae Coneertante Samuel Rosseau

99Gee , Clarinet Solos, p. 17. 58 Myers wrote:

From 1900 to the beginning of the second World War, France, more than any other country, represented all that was best and most vital in twentieth-century music. It would indeed be no exaggeration to say that during this period French music and modern music had. become synonymous; and the period saw a rare flowering of genius as well as of many great and varied talents. 100

The trombone solos used between World War I and World War II 101 are as follows:

Title Composer

1919 *SoZo de Conaov~s Paul V. de la Nux 1920 *Pieae en mi bemoZ~ Gp. 55 Henri Busser 1921 *Moraeau Symphonique Philippe Gaubert 1922 Davatine~ Gp. 144 Camille Saint-Saens 1923 *Pieae en mi bemoZ Joseph Ed. Barat 1924 *CantabiZe et Saherzando Henri Busser 1925 *Moraeau de Conaours Alfred Bachelet 1926 *Pieae Conaertante Samuel Rousseau 1927 Etude de Conaert Henri Busser 1928 *Moraeau Symphonique Alexander Guilmant 1929 *Pieae en mi bemoZ Joseph Ed. Barat 1930 Legende Charles Tournemire 1931 *Impromptu Eugene Bigot 1932 Fantaisie Yvonne Desportes 1933 Phoebus VaPiations~ Gp. B? Henri Busser 1934 SoZo de Conaours Jules Marzellier 1935 *Andante et AZZegro Joseph Ed. Barat 1936 *CantabiZe et Saherzando Henri Busser 1937 *Moraeau Symphonique Philippe Gaubert 1938 Impromptu Jean Clergue 1939 *DoubZes sur un ChoraZ Rene Duclos 1940 *Andante et AZZegro Joseph Ed. Barat 1941- 1942 ------no aontest------ 1943 *Impromptu Eugene Bigot 1944 BaUade Eugene Bozza 1945 *DoubZes sur un ChoraZ Rene Duclos

100Rollo H. Myers, Modern French Music, From Faure to Boulez (New York: Praeger Publishers, 1971), p. 199.

101Glenn P. Smith, "Paris National Conservatory Contest Pieces for Trombone," Journal of the International Trombone Association, vol. 5 (1977), p. 24. 59

Creativity in France was not slowed by the events of World

War II. The rationing of gas, electricity,· and other items brought the public in closer contact with music events during the occupation of Paris, where a brilliant musical life flourished; although it was 102 understandably more German than French. The contest solos became quite intricate, and they made more strenuous technical demands.

Of these solos, Joseph Caringi expresses this opinion:

The extreme difficulties encountered in the more contemporary contest solos may, of course, be attributed to the simple fact that standards of performance are consistently being raised. But a more subtle reason may account, in part, for the complex and demanding characteristics of the recent competition pieces. The French school of wind playing, which formerly stressed beautiful tone and phrasing, has now placed its emphasis on the more mechanical aspects or performance. 103 During this time, the composers of the contest solos were

allowed to write longer works with greater technical demands.

Due to their nature as test pieces, these solos tended to become

longer, more difficult, and further taxed the technical capabilities

of the trombone. Because this emphasis on greater length and

difficulty, it is only natural that composers began to think in

terms of larger compositional forms. In the last forty years, an

increased number of concertos for trombone and orchestra were

written by French composers.

In addition to the commissioned works for the Conservatory's

solo de concours, several worthwhile solo and chamber music compositions

102Gee , Clarinet Solos, p. 63. 103 .. 88 Car~ng~, p. • 60 were written for the trombone. One of these, Sonatine by Jacques

Casterede for trombone and piano, will be examined more closely starting on page 71.

The trombone" contest solos for the years 1946 and 1976

~nc. 1 u d e teo h f 11 ow~ng:. 104

Year Title Composer

1946 Capriccio Paul Bonneau 1947 Hialmar Raymond Loucheur 1948 Sa Majeste le Trombone Rene Duclos 1949 Variations Eugene Bigot 1950 Choral~ Cadence et Fugato Henri Dutilleux 1951 Concertina Michel Spisak 1952 Pastorale Heroique Claude Pascal 1953 Petite Suite Serge Baude 1954 Concertino Jose Berghmans 1955 Piece de Concert Pierre Lepetit 1956 Concerto Henri Tomasi 1957 Capriccio Roger Boutry 1958 Fanfare~ Andante et Allegro Maurice Franck 1959 BaUade Frank Martin 1960 Fantaisie Lyrique Jules Selmer-Collery 1961 Introduction et Allegro Geroges Hugon 1962 Rhapsodie Jeanine Rueff 1963 Concerto Roger Boutry 1964 AZlegro (1st mvt. of Concerto) Alain Weber 1965 PZain-Chant et Allegretto Alfred Desenclos 1966 Mouvements Claude Arrieu 1967 CouZissiana Marcel Dautremet 1968 Largo et Toccata Pierick Houdy 1969 Scherzo et Final Jean Aria Aubain 1970 Ricercare Marcel Bitsch 1971 Impulsions Charles Chaynes 1972 Mouvement Jean-Michel Defaye 1973 M.A.sique Edith Lejet 1974 Chant et Danse Jacques Bondon 1975 Parcours Pierre Durand 1976 Silences Jean-Paul Rieunier

104Sm~L. '-h , p. 24 . 61 After 1970, the contest format was changed. The competition now consisted of two works: one contemporary which has been commissioned for the competition and will have its first performance on the day of the competition, and one "classical" work from the list of competition pieces drawn up some years ago. The works required for the trombone competition for the school year 1980-1981 included:

Var'iations by Eugene Bigot ("Classical", 1949)

Trois Car'aateres by Odette Gartenlaub (contemporary)

It should be noted that, whether for financial reasons or because of the number of candidates, works were commissioned in 1982 only for the following brasses: trumpet, cornet and trombone.

Composers of Contest Solos

In France, the composers who wrote the contest solos for

trombone were closely associated with virtuoso performers on the

instrument. These composers, with few exceptions, had been students

at the Paris Conservatory, and were exposed to a tradition of super-

1at1ve· tromb one p1· ay1ng. 105 Since 1897, fifty-one composers have

been commissioned to write a total of fifty-eight trombone solos as

contest pieces. Of the fifty-one composers, many were recipients

of the Prix de Rome. France's "supreme reward" for musical composition.

Thirteen of the composers of the trombone contest solos

produced works which, apparently because of their suitability as

contest pieces, were used in two or more competitions.

105 Caringi, p. xi. 62 Composer Contest Solo Competitions

Samuel Rousseau Pieae Conceptante 1898,1918,1926 G.-J. Pfeiffer SoZo de Tpombone 1899,1906 Paul V. de la Nux SoZo de Concoups 1900,1919 Alfred Bachelet Mopaeau de Concoups 1901,1925 Alexander Guilmant Mopaeau Symphonique 1902,1928 Sigismond Stojowski Fantaisie 1905,1914 Henri Busser Pieae en mi bemoZ~ op. 55 1907,1920 Philippe Gaubert Mopaeau Symphonique 1912,1921,1937 Henri Busser CantabiZe et Sahepzando 1913,1924,1936 Joseph Ed. Barat Pieae en mi bemoZ 1923,1929 Eugene Bigot Imppomptu 1931,1943 Joseph Ed. Barat Andante et AZZegpo 1935,1940 Rene Duclos DoubZes SUP un ChopaZ 1939,1945

In addition to composing, some of the composers have been noted conductors, organists, concert artists, critics, accompanists, and professors. A more detailed description about the composers of the contest pieces will be found in Appendix B.

With a new contest solo commissioned nearly every year, the list has expanded until it constitutes one of the main sources of repertory for the present-day trombone student. Naturally, there are mixed opinions regarding the musical merits of some of these 106 contest solos. The extreme musical and technical demands placed upon the trombonist in these compositions make their performance pos~ible by only the most highly skilled musicians. This is not to suggest that all the contest solos are of such great difficulty.

Indeed, the writer has successfully taught several of the solos to students of junior high school age. Rather, the suggestion here is that some of the solos are of such a degree of difficulty, especially

106 . h Sm~t , p. 23. 63 those commissioned since 1960, that their appeal would be only to a limited number of trombonists.

During the 1971-1972 school year, Merrill E. Brown collected information about the music being performed on student recitals. The data gathered from the recital programs was analyzed, tabulated and published under the title of Wind and Percussion Literature Performed in College Student Recitals (1971-1972). In examining this list, it provides a convenient and comprehensive method of determining what contest solos are being performed. It also indicates a basic repertoire for the trombone recitalist.107 The solos listed are in order of frequency of performance. The following information about each solo is recorded:

1) Total number of performances.

2) Number of performances on "general" recitals. These

were programs which gave no indication of being either

a "senior" or "gr"aduate" recital.

3) Number of performances on recitals specified as a

"senior" recital.

4) Number of performances on recitals specified as a

"graduate" recital. These included both masters and

doctoral recitals. No breakdown was attempted because

of the limited number of such programs and the inability

107Merrill E. Brown, Wind and Percussion Literature Performed in College Student Recitals; 1971-1972 (Toledo, Ohio: Merrill E. Brown, 1974), p. 7. 64

many times to determine which level of performance was 106 represented.

5) Contest solos have been identified with an asterisk (*)

before the name of the composer-composition, with the

date(s) it was used as a contest solos.

6) Non-contest solos, but written by French composers, have

been identified with a plus (+) before the name of the

composer-composition.

Trombone Solos

Number of Performances 994 Number of Different Compositions 292 Number of Different Composers 202

Listed in order of frequency of performances

Total Composition Perf Gen Sen Grad

Hindemith, Sonata 41 23 11 7 *Guilmant, 110rceau Symphonique, Op. 88 34 23 10 1 (1902, 1928) *Barat, Andante et Allegro (1935, 1940) 26 19 7 Jacob, Concerto 22 12 8 2 Sanders, Sonata in E~ 21 10 10 1 McKay, Sonata 20 12 6 2 Rimsky-Korsakov, Concerto 19 16 3 Davison, Sonata 18 10 4 4 Gailliard, Sonata No. 3.in F Major 17 11 5 1 Serocki, Sonatine 17 13 2 2 Galliard, Sonata No. 1 in A Minor 16 12 3 1 Blazhevich, Concert Sketch (Piece) No. 5 14 11 2 1 *Bozza, Ba'.lade, Ope 62 (1944) 14 9 3 2 Bernstein, Elegy for }lippy II 13 9 4 Telemann, Sonata in F Minor 13 6 3 4 +Casterede, Sonatine 12 6 2 4 Haydn, Adagio, from Concerto for Cello 12 9 3

106 Brown, pp. 9-10. 65 Total Composition Perf Gen Sen Grad

Larsson, Concertino, Ope 45, No. 7 10 5 1 4 Marcello, B., Sonata in F Major . 10 8 1 1 *Saint-Saens, Cavatine, Ope 144 (1922) 10 6 4 Giffels, Sonata 915 3 +Handel, Concerto in Fa Mineur 9 9 Marcello, B., Sonata in A Minor 963 Presser, Sonatina 954 Wagenseil, Concerto 9 414 Galliard, Sonata Nc. 5 in D Minor 871 Galliard, Sonata No. 6 in C Major 844 Jones, Robert W., Sonatina 852 1 Stevens, Sonata 833 2 Corelli, Sonata in F Major, Ope 5 752 Creston s Fantasy, Ope 42 743 David, F., Concertino, Ope 4 761 Marcello, B., Sonata in G Minor 734 Monaco, Sonata 7 412 Nelhybel, Suite 732 2 VIvaldi, Sonata No. 3 in A Minor 734 Weber, C. M., Romanza Appassionata 734 Whear, Sonata 743 Bassett, Sonata 6 213 Faure, G., Apres un Reve (After a Dream) 641 1 Galliard, Sonata No. 4 in E Minor 641 1 Hartley, Sonata Concertante 622 2 Krenek, Five Pieces 6 213 Marcello, B., Sonata in E Minor 624 *Tomasi, Concerto (1956) 6 312 Vivaldi, Sonata No. 5 in E Minor 624 Vivaldi, Sonata No. 6 in BD Major 6 312 Bach, J. S., Haste, Ye Shepherds 532 Bach, J. S., Suite No.4 for Unaccompanied Cello 513 1 Bach, J. S., Tis Thee I would Be Praising, from Christmas Oratorio 531 1 Berio, Sequenza V 531 1 Berlioz, Recitative and Prayer, from 2nd Mvt. of Grand Symphony for Band, Ope 15 522 1 Blazhevich, Concerto No. 2 5 5 Druckman, Animus I for Trombone and Prepared Tape 5 212 Grafe, Grand Concerto 541 +Milhaud, Concertino d'Hiver 532 Mozart, Concerto in Bb Major (Bassoon) (KI91) 522 1 +Ropartz, Andante et Allegro 5 5 Shostakovich, Four Preludes 541 AlDrechtsberger, Concerto 421 1 66

Total Composition --Perf Gen Sen Grad Bach, J. S., Arioso, from Cantata No. 156 4 3 1 Beach, Suite 4 3 1 +Bozza, Allegro et Finale 4 4 Corelli, Sonata No. 7 in D Minor, for Cello 4 2 2 +Defay, Jean-Michel, Deux Danses 4 1 3 *Dutilleux, Choral, Cadence et Fugato (1950) 4 1 2 1 Frackenpohl, Pastorale 4 3 1 Galliard, Sonata No. 2 in G Major 4 2 2 Grondahl, Concerto 4 2 2 Kreisler, A. von, Sonatina 4 2 2 Marcello, B., Sonata in G }~jor 4 1 3 *Missa, Morceau de Concours (1904) 4 3 1 Racbmaninioff, Vocalise, Ope 34, No. 14 4 3 1 Takacs, Sonate fur Tenorhorn und Klavier, 1 Ope 59 4 3 Vivaldi, Concerto in A Minor 4 3 1 Whi~e, Donald, Sonata 4 1 3 Alary, Marceau de Concours (Concert Piece) 3 2 1 Boda, Sonatina 3 2 1 Cimera, Concerto 3 3 Corelli, Sonata in G Minor 3 1 2 Denmark, Scene de Concert 3 2 1 *Gaubert, Morceau Symphonique (1912, :;21, 1937) 3 3 Gillis, Don, Dialogue 3 3 Magnan, Concerto 3 2 1 Marcello, B., Sonata in ~ Y~jor 3 2 1 *Martin, Frank, Ballade (1959) 3 1 1 1 +Morel, Piece in F Minor 3 2 1 *Nux, de la, Concert Piece (1900, 1919) 3 3 +Porret, 6 Esquisses (selections from) 3 3 Presser, Wm., Part ita for Solo Trombone 3 2 1 Ravel, Piece en forme de Habanera 3 2 1 Reiche, Eugen, Concert Piece No. 2 3 2 1 Roy, K. G., Sonata, Ope 13 3 2 1 *Stojowski, Fantaisie (1905, 1914) 3 1 1 1 Telemann, Sonata in A }linor 3 3 Tcherepnin, Andante 3 2 1 +Tomasi, Danse Sacree 3 2 1 Uber, Autumn Sketches, Ope 56 3 3 Vivaldi, Sonata No. 1 in BO Major 3 2 1 Watson, Walter, Sonatina 3 2 1 Alexander, Sonata 3 2 *Aubain, Aria, Scherzo et Finale (1969) 2 1 1 Bach, J. S., Arioso, from Piano Concerto in F Minor 2 2 *Barat, Piece en Mi Bemol (1923, 1929) 2 1 1 67 Total Composition Perf Gen Sen Grad

Bassett, Suite 2 1 1 Bozza, New Orleans 2 1 1 +Bozza, Prelude et Allegro 2 1 1 Bozza, Theme Varie 2 1 1 Brown, N. K., Sonata 2 1 1 Bruckner, Ave Maria 2 1 1 *Busser, Piece en Mi Bemel (1907, 1920) 2 2 Busser, Trois Etudes Melodiques 2 1 1 +Clerisse, Priere 2 2 +Clerisse, Theme de Concours 2 2 Corelli, Prelude and Minuet 2 1 1 Cowell, Hymn and Fuging Tune No. 13 2 2 Domazlicky, Concerto, Op. 35 2 1 1 +Dondeyne, Cantabile and Caprice 2 1 1 *Dubois, T., Solo de Concert (Concert Piece (1909) 2 2 Erb, ••• and then, toward the end ••• for Trombone and Tape 2 2 Erickson, B., General Speech for Trombone Solo (costume and lighting effects) 2 2 *Franck, Fanfare, Andante et Allegro (1958) 2 1 1 Frescaboldi, Toccata 2 1 1 Gliere, Nocturne, Op. 35, No. 10 2 1 1 Handel, Every Valley, from the Messiah 2 2 Handel, Sonata No. 6 for Violin and Piano 2 2 Hindemith, Trauermusik 2 2 Hutchinson, Sonatina 2 2 Imbrie, Three Sketches 2 1 1 Johnson, C. W., Monophonic Mural 2 2 Jong, de, Aanraking (Contrast) for Solo Trombone 2 1 1 Koepke, Prelude and Fanfaronade 2 1 1 Marcello, B., Sonata No.3 2 2 *Mazellier, Solo de Concours (1934) 2 2 }1endelssohn, It is Enough 2 2 Ostransky, Concertino 2 2 Ostransky, Concerto Miniature 2 2 Pryor, Blue Bells of Scotland 2 1 1 Pryor, Thoughts of Love 2 1 1 Ross, Cryptical Triptych 2 1 1 *Rousseau, Piece Concertante (1898, 1918, 1926) 2 2 Russell, Sonata (in One Movement), Op. 24 2 2 *Salzedo, Piece Concertante, Op. 27 (1910) 2 2 Simons, G., Atlantic Zephyrs 2 2 Stevens, Sonatina 2 1 1 Telemann, Sonata 2 1 1 Whatley, Contrasts 2 2 68 Total Composition Perf Gen Sen Grad

Wilder, Sonata 211 Zador, Concerto 211 Adair, Sonata 1 1 Adam, Antique Airs (Posti11ians Air) 1 1 Alschausky, Mephisto 1 1 Alette, Sonata 1 1 +Ame11er, Kryptos 1 1 Arne, Sonata No. 5 1 1 Bach, C. P. E., Unaccompanied Flute Sonata in A Hinor 1 1 Bach, J. S., Air from Suite No.3 1 1 Bach, J. S., Air 1 1 Bach~ J. S., Endure, Endure 1 1 Bach, J. S., Sarabande 1 1 Bach, J. S., Suite No.1 for Violoncello 1 1 Baka1einikoff, Meditation 1 1 Barta, Koncertino 1 1 Beaucamp, Cortege 1 1 Be11stedt, Napoli 1 1 Berlioz, H., Unknown Isle 1 1 Blatter, Five Sketches 1 1 B1azhevich, Concerto No. 10 1 1 B1azhevich, Concert Etude, No. 17 1 1 Bocca1ari, Fantasia di Concerto 1 1 *Bonneau, Capriccio (1946) 1 1 +Boutry, Choral Varie 1 1 Boutry, Le Style 1 1 Brown, C., Meditation 1 1 Brown, P., Abredis 1 1 Bruch, Kol Nidrei 1 1 Bucci, Concerto for a Singing Instrument 1 1 B~rgstah1er, Ricercata Secondo, Ope 1 1 1 Casterede, Fantaisie Concertante 1 1 Cage, Solo for Sliding Trombone 1 1 Childs, Sonata for Solo Trombone 1 1 Chopin, Nocturne in F Minor 1 1 Cimera, Hungarian Concertino 1 1 Concone, Vocalise 1 1 Cords, Romanze 1 1 Core11i, Preludio (Violin Sonata in F) 1 1 *Croce-Spinel1i, Solo de Concours (1903) 1 1 Debussy, Air de Lia (L'Enfant Prodigue) 1 1 Debussy, Mando1ine 1 1 +Defossez, Concerto 1 1 Dillon, Concertpiece 1 1 +Dubois, P. M., Cornemuse 1 1 +Dubois, P. H., Cortege 1 1 69

Total Composition ---Perf Gen Sen Grad +Dubois, P. M., Deux Marches 1 1 +Dubois, P. M., Suite 1 1 *Duclos, Sa Majeste Le Trombone (194~) 1 1 Duquesne, Elegie 1 1 Fasch, Sonata 1 1 Faure, G., En Priere 1 1 Faure, G., Pavane, Op. 50 1 1 Faure, G., Sicilienne, Op. 78 1 1 Finney, Elegy aI?-d }farch 1 1 Galliard, Adagio-Allegro-Adagio 1 1 Galliard, Siciliano and Menuet 1 1 Galliard, Trombone Sonatas 1 1 Gardner, Romanza 1 1 Gatlin, Sonata 1 1 George, Concerto Grosso No.3, N. 149 1 1 Germani, Sonata 1 Gerschwin, Blues, from An American in Paris 1 1 Geissler, Sonatine 1 1 Glazounov, Troubadour 1 1 Gower, Sonatina 1 1 Gower, Three Short Pieces 1 1 Handel, Adagio Cantabile 1 1 Handel, The Enemy Said, Air from Israel to Egypt 1 1 Handel, Aria 1 1 Handel, Arm, Arm, Ye Brave, from Judas Maccabaeus 1 1 Handel, Baroque Suite 1 1 Handel, Sarabande and Vivace 1 1 Handel, Sonata for Viola de gamba and Cembalo Concertato 1 Handel, Where E'er You Walk, from Semele 1 1 1 .Hasse, Hasse Suite 1 Haydn, Aria and Allegro 1 He~ry, Passacaglia and Fugue 1 1 Hindemith, Drei Leichte Stucke 1 1 Hostetter, The Seventh Seal 1 1 Jackson, Dance 1 1 Jannery, Three Essays 1 1 Kai, Legende 1 1 Kelly, Sonata, Op. 19 1 1 Kunkel, Concertino 1 1 +Leclercq, Concertino 1 1 Link, Sonatine 1 1 Liszt, Consolation 1 1 Luening, Sonata 1 1 Massenet, Elegie 1 1 Masso, Suite for Locise 1 1 70

Total Perf Gen Sen Grad

McKay, Arietta and Capriccio 1 1 McKay, Concert Solo Sonatine 1 1 Moran, Bombardments No. 4 for Trombone and Tape 1 1 Mouquet, Legende Heroique 1 1 Mozart, Concert Aria 1 1 Mozart, Concerto No. 1 in D Major (Horn) 1 (K412) 1 Mozart, Sonata 1 1 Muller, Praeludium, Chorale, Variatons and Fugue 1 1 Nestico, Reflective Mood 1 1 Novakovsky, Concertino 1 1 Ott, Toccata 1 1 +Pares, Crepusclue (Twilight) 1 1 Paudert, Fantasie Y~zaile 1 1 Phillips, Concert Piece 1 1 +Poot, Impromptu 1 1 Pryor~ Loves Enchantment i 1 Purcell, Suite in F 11ajor 1 1 Purcell, When I Am Laid to Earth 1 1 Rawlings, A Hiatus 1 1 +Reutter, Ostinato 1 1 Rivard, Sonata 1 1 *Rueff, Rhapsodie (1962) 1 1 Saint-Saens, Amour viens aider, from Samson and Delilah 1 1 Satie, Gymnopedie No. 1 1 1 Schubert, Pause (An Art Song) 1 1 Schubert, Suite of Lieder 1 1 Schumann, Seven Songs from Dichterliebe 1 1 Semler-Collery, Barcarolle et Chanson Bachique 1 1 Serocki, Koncert 1 1 Simon, S., Sonatine 1 1 Spillman, Concerto 1 1 Stekke, Variations, Ope 24 1 1 Stevens: Three Pieces 1 1 Stout, D., Allo Circo 1 1 Stroede, Recital Piece 1 1 Tanner, Aria 1 1 Tartini, Adagio, G Major 1 1 Telemann, Vivace and Allegro 1 1 Tenaglia, Aria 1 1 Townsend, Chamber Concerto No. 2 1 1 Trevarthen, Sonata 1 1 Tuthill, Phantasy Piece, Ope 10, No. 2 1 1 Uber, Four Sketches 1 1 71 Total Composition Perf Gen Sen Grad

Underwood, Theme and Variations 1 1 Vaughan Williams, Six Studies in English Folk Song 1 1 Vi11a-Lobos, Aria (Cantilena), from Bachianas Brasi1eiras No. S 1 1 Vincent, Elegy 1 1 Vivaldi, Sonata No. 2 in F Major 1 1 Vivaldi, Suite in C Minor 1 1 Wagensei1, Concerto in A Major 1 1 Wagner, R., Evening Star 1 1 Webber, Suite in F }~jor 1 1 Weber, A., Concerto 1 1 Yoshioka, Extase 1 1

It can be seen by thi"s study that trombone solo literature produced by the French, and more specifically the solos resulting from the annual competitions, plays a major role in the literature being used by American trombonists on recital programs.

Sonatine by Jacques Casterede

Even though the contest solos produced a great influence on the literature of the trombone, the writer feels the most significant work to come out of France for the trombone was not commissioned for use at the annual competition. It is Sonatine, written by Jacques

Casterede in 1958. This intense composition is musically and physically demanding, but one which is extremely rewarding to perform.

Jacques Casterede won the Prix de Rome in 1954 and is currently a professor of music at the Paris Conservatory.

The title, Sonatine, does not refer to a small scale work, but perhaps to a composition with a lighthearted treatment of thematic material. Mr. Casterede provides the following commentary on his work: 72 The Sonatine for trombone and piano is a part of a series of sonatas for wind instruments and piano that I wrote between 1955 and 1958. The title Sonatine is indicative of the fact that it is not only a trombone solo with piano accompaniment, but a dialogue in which the two instrumentalists are equals- the piano part being just as difficult and important as the trombone part. Each movement brings to the fore a particular aspect of the trombone: The brilliance of sound of the first movement projecting a gay, robust music with a vigor that is sometimes rugged. The softness and melodic continuity show that the trombone can sing with just as much sensitivity as a stringed instrument. Finally, in the third movement, one hears the influence of jazz. Syncopated rhythms are superimposed over a chorale, tying together through the episodes two very different aspects of this magnificent instrument. 108

The first movement, AZZegpo vivo, opens with a stately "2 t h eme ~n 2 meter ~t"h t h ree ~nterm~ttent"" measures ~n" 43 an d a f"~na 1 • 5 measure ~n 4.

Uri r r r r hY ff J II r r r r I

~ .. r t 1m r

Figure 14. Jacques Casterede, Sonatine, movement I, measures 1-17.

Casterede activates the harmony of his first movement by use of contrary motion in the outer voices. In the following example from the opening measures, the ascending bass line (G, A, B, C) combined

' , " 108J acques Casterede, Jacket Notes, M"~~ves And epson p~vays H~s SZide Tpombone Again, Crystal Records, S385, n.d. 73 with t,he descending treble line establish the key center of C major.

The bass line is harmonized with quartal harmony arranged in fifths and the treble line with quartal harmony in fourths.

AllelrJ"o vivo J= tsZ ~

PIANO f

Figure 15. Jacques Casterede, Sonatine, movement I, measures 1-2.

The second theme is much more sustained and expressive than the first, which provides an effective contrast. A device used in this Lheme by Casterede is a rhythmic motive in the accompaniment part which compliments the melodic motive o·~ the trombone part. This occurs starting in measure fifty-five with unexpected entrances of a four- note motive in the piano part.

p espress. e $ost.

Figure 16. Jacques Casterede, Sonatine, movement I, measures 55-66.

Casterede uses accents and subtle changes of meter to create his rhythmic style for this movement. The first theme, Figure No. 14, is completely symmetrical, except for the fourth and eighth measures 74 having one less beat than the other measures, thereby setting the G in the fourth measure as a completion of the first phrase and a pick-up to the next, creating an elision. He also uses strong accents in passages of the same meter to create a metric feeling different from that which is indicated.

Figure 17. Jacques Casterede, Sonatine, movement I, measures 31-35.

The final measures of this movement again uses the technique of harmonic extension by use of converging outer lines. The bass line, harmonized in fourths, ascends chromatically from G to C. Over this progression a single descending chromatic motive unfolds, also ending on C. The trombone ascends from the middle of these two lines diatonically to a high C.

Figure 18. Jacques Casterede, Sonatine, movement I, measures 187-190. 75

What Casterede has achieved in this passage is a three-part texture

in which all of the voices are differentiated by reason of timbre,

composers. The complete tonic triad is withheld and reserved for the

conclusion of the final movement.

The second movement, Andante, is in binary form and capitalizes on the lyrical possibilities of the trombone. It is the writer's opinion that it is one of the most beautiful slow movements in the entire trombone repertoire. The harmonies are exclusively tertian and present an effective contrast to the mixed sonorities of the outer two movements. The principal theme in the key of A is twenty-four measures long and contains two parts. The first half of the theme opens slowly in a fifteen measure double period.

r ;dffj ltil Ir ern fr , ·01 tj1

Figure 19. Jacques Casterede, Sonatine, movement II, measures 1-15.

The second half of this theme (nine measures) completes the full statement of the melody and is constructed around sequential state- ments of motives derived from the first eight measures. 76

I -S. j =

Figure 20. Jacques Casterede, Sonatine, movement II, measures 16-25.

This nine-measure theme is then repeated on a different tonal level by the piano. This completes a small binary statement of thirty-three measures, made up of two similar but complimentary themes. This first section is just part of a much larger binary scheme.

The second section begins with the original melody transposed down a whole step~ This corresponds to the first eight measure period, although its presentation is now more complex, occurring in canon at the fifteenth.

Figure 21. Jacques Casterede, Sonatine, movement II, measures 33-40.

At this point, instead of the expected second period, a new inverted version of the first four measures appears. 77

Figure 22. Jacques Casterede, Sonatine, movement II, measures 41-44.

The phrasing ceases to remain regular and a small development section takes place, using sequences and new combinations of old motives. This development section continues for eighteen measures, at which time the second period enters. This period concludes the movement with a complete eight measure statement combined with a motive taken from the first measure of the original melody.

Figure 23. Jacques Casterede, Sonatine, movement II, measures 58-65. 78

The last movement, AZZegro, begins with a motive that incorporates a mordent. The first theme, which is somewhat chromatic,

establishes C as a tonal center. It is accompanied by the piano with

a rhythmic motive which enters on an upbeat and finishes on the downbeat .

..-...... - ",-..- ..

Figure 24. Jacques Casterede, Sonatine, mo~ement III, measures 1-8.

Part of the rhythmic drive in this movement results from the independent development of this motive, with a partial or complete statement of it occurring at irregular intervals of time. While the first motive has

melodic and rhythmtc direction, the second motive is entirely

percussive and acts as a total contrast to the legato statement of

the second theme in the trombone. 79

Figure 25. Jacques Casterede, Sonatine, movement III, measures 28-33.

After a brief transition,the trombone begins what appears to be the first theme accompanied by motive one, but five measures later the material changes into an expressive legato passage which resembles the general contour of the second theme.

-.------.--

..------,-,-----=- ~

Figure 26. Jacques Casterede, Sonatine, movement III, measures 48-61. 80

In measure sixty-two, the piano enters with the varied second theme and accompanies itself with motive two.

Figure 27. Jacques Casterede, Sonatine, movement III, measures 62-65.

The original second theme returns once more in the exposition accompanied by motive two in a legato presentation, but with a more dissonant harmony.

The development section concerns itself neither with the rhythmic motives nor the second theme which has already had elaborate treatment. Rather, the piano accompaniment contains a complex, contrapuntal development of the first theme over a new chorale theme in the trombone. 81

- r r

Figure 28. Jacques Casterede, Sonatine, mov"ement III, measures 108-122.

The recapitulation brings back the first theme together with motive one, and the variant of the second theme combined with the original, percussive version of motive two. The very last notes of the trombone part contain the essential rhythmic aspects of both motives, while the piano accompaniment ends with a complete C major triad. 82

Figure 29. Jacques Casterede, Sonatine, ~ovement III, measures 203-206.

It is interesting to note that Casterede reserves the complete tonic triad for the very end in order to achieve a total sense of finality. CHAPTER 4

ANNOTATIONS OF FRENCH TENOR TROl1BONE SOLO LITERATURE

This study presents the published solos for trombone since

1836 written by French trained composers, or written by composers of other c01lntries, specifically for use as a Contest Solo of the

Paris Conservatory. Despite the attempt to provide a complete listing, there may be works that have been unintentionally omitted.

Unfortunately, it was impossible to obtain some compositions due to lack of response from publishers and composers.

The compilation of materials should be an asset to both trombone teachers and performers in selecting literature for solo performance. At the time this project was begun, there was little information available to the performer/teacher about the Contest

Solos, not to mention annotated bibliographic=. Because of a lack of knowledge, the teacher and performer may be reluctant to order new materials, sight unseen. As a result, many worthy solos may have been exclused from the trombonist's repertoire simply because of omission.

The Discussion Outline

The discussion of each work included herein is presented in three main sections (A, B and C). The first section contains infor mation of a descriptive and dedicatory nature, the second contains

83 84 analytical information, with the third being used for general comments concerning the particular work. The following outline provides a detailed description of the study/discussion outline with an explana tion of each item covered in the main sections.

A. Descriptive and Dedicatory Information

1. Composer (composer's dates where available) and Editor:

gives composer's name and dates plus othe~s responsible

for the editing or arranging of the work.

2. Title: gives complete title of the work with opus number

and any subtitles.

3. Publisher and Publishing Date: gives publisher of the

work and the date of publication or copyright. The

addresses of the publishers are listed in Appendix C

This appendix includes a cro·ss-reference of foreign

publishers and their United States agents, as well as

publishing companies that have changed names and/or

ownership. In cases where details are incomplete, an

indication of "No Date" is given.

4. Duration: gives approximate length of time, in minutes

and seconds, required to perform the work. Although

the works have been timed, utilizing indicated metro

nome markings and observing all repeat signs, timings

should be considered approximate. 85

5. Range: gives the following pitch designation system employed

in the Harvard Dictionary and "widely used elsewhere".109

• ~ • Ii 2: n , eo 2 c) gva •0 oJ C c' c (Pedal) C. C

This section is only concerned with the highest and lowest

pitches in the work, and not the general tessitura of the

work. Notes in parenthesis indicate optional high or low

notes that some composers include.

6. Degree of Difficulty: this space contains the assigning of

a grade level for the trombone part. The grading system

used is the European method of assigning degree levels.

It is as follows:

Easy Grade 1-3 Moderately Difficult Grade 4-6 Difficult Grade 7-9

Breakdown by American School Levels

Elementary Grade 1-2 Junior High Grade 2-3" Senior High Grade 3-6 College and Conservatory Grade 6-8 Professional/Virtuoso Grade 9

The trombone with an F attachment is not necessary for the

solos annotated in this category. While all the tenor

trombone solos can be handled with a straight tenor

109Willi Apel, Harvard Dictionary of Music (Cambridge, }fussachusetts: Belknap Press of Harvard University Press, 1969), p. 679. 86

trombone, the F attachment will prove helpful for many of

the works, particularly those in the advanced grade levels.

Following the number designation, the "+" will indicate that

the degree of difficulty was assigned by the publisher and

not the author.

7. Clefs Used: gives the name of the clefs used in the

work.

8. Mutes: gives the name of the mutes required in the

performance of the work.

9. Unusual Performance Techniques: gives a listing of the

performance techniques encountered in the piece of a

difficult or unusual nature. Included within this section

will be indications of a cadenza employed within the solo.

Because of the great number of new performance techniques

associated with new music today, a listing of the tech

niques found in the works of this document should facilitate

the understanding of not only the various terms used but

also the performance of these works. They are used by

composers to achieve new colors and textures which other

wise would not be possible. The following is an alphabetical

listing of the performance techniques of an unusual nature

that may be found in the works represented in this study:

a. Approximate Pitch: (also termed indeterminate pitch)

pitches that approximate, or are close to regular 87

pitches and are usually notated with an "X" or similar

mark on the staff. 110

b. Cadenza: a passage or section in the style of a

brilliant improvisation, giving the performer a chance 111 to exhibit his technical mastery.

c. Flutter-tonguing: a rough, growling sound produced

by a fluttering movement of the tongue as the tone

is sustained. 112

d. Glissando: moving from one pitch to another through

all the intermediate pitches without an articulated

interruption. Glissandos may be even ( )

or contoured ( ~ ). The glissando is a

simple and effective maneuver on the trombone,

provided the pitches involved are within the same

partial and slide direction. If not, however, they

may be approximated by two separate slide movements.

Glissandos may be up or down but the majority are in

the upward direction. While portamento is the correct

term for this effect, glissando is in more common usage. 113

1l0Thomas E. Senff, "An Annotated Bibliography of the Unaccompanied Solo Repertoire For Trombone," (University of Illinois at Urbana-Champaign, 1976), p. 7.

1l1Apel, p. 40.

112Senff, p. 8.

113Senff, p. 8. 88

e. Lip Shakes: same as lip trills but are usually of

wider intervals.114

f. Lip Trills: trills played solely with the lip between

two closest harmonics in the same slide position. lIS

g. Mordent: a term used "for two ornaments involving

the alternation of a main note with its upper or

lower neighbor.

h. Multiphonics: the simultaneous production of two or

more tones by playing one pitch and singing another.

Two pitches may be heard easily and often three or

four pitches will result from certain intervals

correctly tuned to produce the different tones. It

is much more usual to have the pitch to be sung above

the played pitch, as the reverse situation with the

sung pitch below the played pitch is extremely difficult

and in some cases impossible due to the limited vocal

range. 116

i. Quarter-tones: pitches of a quarter-step between the

sem~tones. 0 f t h e Western d'·~aton~c sea1 e. 117

Il4Senff, p. 9.

I1SSenff , p. 9.

116 Senff , p. 9.

117 Senff, p. 9. 89 j. Quarter-tone Bends: the bending or altering of pitch

a quarter-tone away (usually lower) from the original

pitch while sustaining the tone.118

k. Random Pitch Selection: playing pitches at random,

either from a set of given pitches or any pitches of

the performer's choice.

10. Recordings: this space is for any commercial recording(s)

of the work, having a number which refers to the discog

raphy found starting on page 159 of this document.

11. Dedication: this space is for indicating whom, or for

what purpose, these solos have been commissioned. The

dedications have been included, when they exist, as a

possible means of helping to identify the general purpose

of the solo.

B. Analytical Information

1. Style: used to indicate what style(s) the various movements,

or if only one movement, the various types within the move

ment, will be encountered by the performer. This will

indicate such terms as andante, largo, allegro, etc.

2. Meter: indicates the meters used within t~e movement or

section being discussed.

3. Tempo Indicaticn: indicates the metronome markings when

noted.

118Senff, p. 9. 90

4. Measures: used to show the number of measures contained

within each section or movement of the selection in discussion.

5. Total Measures: used to show the grand total of all the

measures of the selection in discussion.

C. General Comments: this space is for the author's comments

concerning the difficulty of the work and any facts or observa

tions not covered in other discussions.

Example: Many of the published transcriptions for

trombone and piano were originally composed with

orchestral or band accompaniment. The annotation

includes a listing of the instrumentation of the band

or orchestra scores in the cases when that information

was available.

When an asterisk (*) precedes the composer's name, it indicates this was one of the Solo de Concours or contest solos of the Paris

Conservatory. The dates for which it was used will be indicated within the General Comments section of the discussion outline.

In presenting the solos surveyed, labels for each item have been omitted in the interest of space and to avoid redundancy. To clarify items which appear for each solo listing, the following sample comp1et~ format is presented:

Composer (birth and death dates, when known)

Bozza, Eugene. (1905- ).

Title

BaZZade 3 Gp. 62 91

Publisher and Publishing Date

Alphonse Leduc, 1944

Duration

9 min.

Range

F to ~2

Degree of Difficulty

D7+ (D stands for Difficulty)

Clefs Used

Tenor & Bass

~lutes

Straight Mute

Unusual Performance Techniques

Cadenza/Glissandi

Recordings

R34,36 (R stands for Recording)

The above information will appear as follows:

*BOZZA, Eugene. (1905- ). B~ZZade~ Gp. 62. Alphonse Leduc, 1944. 9 min. F to dP2. D7+. Tenor & Bass. Straight Mute. Cadenza/Glissandi. R34,36.

Dedication-:- Henri Couillaud, Professeur au Conservatoire National de Paris. 92

Style/Meter/Tempo!Mea5~res

Andantino Ma Non Troppo/~,~/ J = 66/56 measures 4 Maestoso/ /12 measures 4 Dolce/: / ) = 108/30 measures Allegro MOderato/:/ J= 96-100/34 measures 4 Large/ /5 measures 4 Total: 137 measures

Since the majority of the earliest solos do not exist in any form, this study will only deal with those solos which can be documented as having been published for use by trombonists outside of the Paris

Conservatory. There is a new output of solos still being published, but those works contained within this section comprise works issued before February 1, 1983.

Trombone Solos

AMELLER, Andre. (1912- ) . Hauter-ive. Alphonse Leduc, 1973. 2 min., 30 sec. E, to ep1. D2. Bass. Dedication: Cordialement a Jean Arnoult. Andante Espressivo/~/ J= 60-66/54 measures.

This piece was originally composed for the bass trombone, but it is annotated here since it can also be played effectively on a tenor trombone.

AMELLER, Andre. (1912- ). Kr¥ptos. Hinrichsen Edition, 1958. 5 min, 45 sec. B~1 to bb. D7. Tenor & Bass. Straight Mute.

Dedication: Paul Bernard, Professeur au Conservatoire National Superieur de Musique de Paris. Rene Poinsard, Professuer au Conservatoire National de Musique Dijon. Maurice Smith, Trombone Professor at the Royal College of Music, London. 93

Largamente - feel free Largo/~/ }= 63/19 measures SCherzando/;/ J= 104/60 measures 6 Lento Espressivo/ / J'= 92/24 measures 3 5 4 S -b Come Prima/4 '4'4/ ,= 63/34 measures Total: 137 measures

AMELLER, Andre. (1912- ). Ohio. Editions Billaudot, 1977. 1 min., 20 sec. Bi- (Bb1 opt.) to gl. D2. Tenor & Bass. 3 --\ Allegro Moderato/ j= 126/18 measures 41 Anante Espressivolt/ J= 76/22 measures Total: 40 measures

AMELLER, Andre. (1912- ) . OUvet. Editions Philippo, 1977. 2 min. F to Fl. D2. Bass. Dedication: Cordialement a Monsieur Roland Beaulieu. Andante Fieramente/: / J= SO/40 measures

AMELLER, Andre. (1912- ). Riviere du Loup. Alphonse Leduc, 1973. 2 min. A to c~2. -D3. Bass & Tenor. Dedication: Cordialement a Claude Claquesin. Marcato Assai MOderato/t/ 1;= 84/46 measures

AMELLER, Andre. (1912- ). Utah. Editions Billaudot, 1977. 2 min. G to fl. Dl. Bass. Moderato/:I J= 92/20 measures Calmo, Con Espressione/:/ J= 72/8 measures MOderato/il J= 92/12 measures - Total: 40 measures 94

ARRIEU, Claude. (1903- ). Conte D'Hiver. Editions Billaudot, 1976. 1 min. f to ~2. D6. Tenor & Bass.

Allegretto/~/ J= 104/32 measures

*ARRIEU, Claude. (1903- ). Mouvements. Amphion Editions Musicales, 1966. 7 min., 30 secs. G to c 2 . D7. Tenor & Bass. Quasi/ Cadenza •.

Dedication: Gerard Pichaureau. 3 2 4 6 J Andante/i '4'4'4/ = 56-60/56 measures Allegro/~ / ;1 = 80/32 measures 5 3 2 J Moderato/4 '4'4/ = 108/32 measures 4 3 2 I Allegro/4 '4'4' / ~= 80/65 measures Total: 185 measures

This was the Paris Conservatory contest piece for 1966.

*AUBAIN, Jean Marie. (1928- ). Aria~ Scherzo et FinaZe. Alphonse Leduc, 1969. BpI to b l • D8+. Tenor & Bass.

Aria Scherzo/V d. = 80 . 11 8 9 . F~nale/16'16'16,etc.

This was the Paris Conservatory contest piece for 1969. The Aria is legato throughout, with some difficult intervals and sustained soft playing. It is harmonically, rhythmically and melodically very conservative for its time. The Scherzo is technically very difficult, including meter changes and a legato middle section. The FinaZe moves along with many meter changes, but is not as difficult as it may first appear.

*rACHELET, Alfred. (1864-1944). Morceau de Concours (Concertpiece). Alphonse Leduc/International Music Company, n.d. 7 min., 30 sec. G to c2• D6+. Tenor & Bass. 4 Andante Moss/ /75 measures 4 Maestoso/4 /32 measures 4 2 Tempo Moderato/ /56 measures 2 Total: 163 measures 95 This was the Paris Conservatory contest piece for 1901 and again in 1925.

*BARAT, Joseph Edouard. (1882-1963). Andante et Allegro. Alphonse Leduc/Cundy-Bettoney/International Music Co./Southern Music Co. - arr. by 11arsteller, 1964/Neil A.LKjos Co. - arr. by Forrest Buchtel, 1967. 8 min. F to bpI. D7+. Bass. R7,14,15,22,26,28.

Dedication: H. Ccuillaud, Professeur au Conservatoire.

Lent/:/ J= 52/24 measures Tempo I, Piu ViVO/:/ .J= 72-76/34 measures Allegro/~/ )= 144-152/111 measures This was the Paris Conservatory .contest piece for 1935 and again in 1940, and has since become an established solo in the trombone repertoire. Characterized by elegant harmonic and melodic writing, this piece has two main contrasting sections. The solo opens with a slow, cantible section that gradually builds and becomes more complex. The calm section again appears to conclude the first part. The second section opens with a fanfare-like theme in total contrast to what has come before. Following this statement, a more lyrical style returns which intensifies and eventually leads back to a final statement of the fanfare-like theme, which con cludes the piece.

This frequently performed solo is one of the better examples of nineteenth-century trombone writing in the repertoire. A band transcription of the accompaniment can be obtained from Southern Music Company.

*BARAT, Joseph Edouard. (1882-1963). Pieae en M. Bemol (Pieae in E FZat). Alphonse Leduc. 6 min. F to cb2 . D6+. Tenor & Bass. R2.

Lento/3 /24 measures 4 6 Andante/8/22 measures Allegro/3 /122 measures 4 Total: 168 measures

This was the Paris Conservatory contest piece for 1923 and again in 1929. This two-part composition is made up of a lento introduction, an andante section in e-flat minor, and a contrasting allegro in the parallel major. In the slow 96 first section, the melodic and harmonic materials are chromatic and sonorous, with several subtle tempo changes. The second part of the piece shifts to a fast allegro, containing many eighth note scale patterns. This piece is recommended for the trombonist ,:"ho is developing a lyric style, as well as technical facility, but who lacks the endurance to perform a long piece. A band transcription of the accompaniment, made by Joe Berryman, can be obtained from the University of Southern Mississippi.

BARILLER, Robert. (1918- ). L'Enterrement de Saint~ean. Alphonse Leduc, 1960. 5 min. Al(A) to el • DI-2. Bass.

Dedication: Paul Bernard.

Tempo di Marcia Funebre/!/29 measures 2 Un Poco Piu Vivo, }~ Quasi Maestroso e Marcato/ /25 measures 4 Coma prima/:/21 measures

Total: 75 measures

This piece was originally composed for the bass trombone, but it is annotated here since it can also be played effectively on a tenor trombone.

BARRAINE, Elsa. (1910- ). ~ento. Editions Grass, 1967. 1 min., 30 sec. Gb to a;1. DS. Tenor & Bass.

Dedication: Collection "Villa Medicis" Par Les Premiers Grands Prix de Rome de Musique.

Lent/2 /37 measures 4

*BAUDO, Serge. (1927- ). Petite Suite. Editions Selmer, 1953. R35.

This was the Paris Conservatory contest piece for 1953. It is currently out of print.

BAUDRIER, Emile. ReZax. Editions Billaudot, 1977. D2+. 97

*BERGHMANS, Jose. (1921- ). ~oncertino. Alphonse Leduc, 1954-55. 13 min., 30 sec. E to d. D8+. Bass & Tenor. Lip shakes/ Glissandi. Aria-AllegrO-Vivace/!,:(~) This was the Paris Conservatory contest piece for 1954. This solo is organized in three continuous movements, utilizing driving rhythmic figures and wide melodic leaps. The work begins with a section entitled Aria, set in a lyric, chant-like style. This leads to a rhythmically active allegro section whi-: t·, makes use of lip shakes as part of the melodic coloration. The final section, marked vivaae, is similar in rhythmic style and character to the middle section. Performance of the solo requires excellent range and control. The most difficult part of the solo is its high tessitura. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instru mentation of the accompaniment is as follows:

two flutes tuba two oboes three timpani two clarinets percussion two bassoons xylophone two horns piano obligatto two trumpets strings two trombones

*BERGHMANS, Jose. (1921- ). La Femme a Bea>be (The Beea>ded Lady). Alphonse Leduc, 1958. 6 min. A to a 1 • D6+. Tenor & Bass. Cadenza. R32. 3 4 Lent/4 '4 4 325 Allegretto/4 '4'4'8 4 Tempo 1/4

This solo is part of a collection of solos for various wind instruments entitled TabZeaux Forains (Saenes From a TraveZZing Ciraus). The parts of the complete suite are as follows:

I. WrestZers (for horn in F) II. The Tight-Rope WaZker (for clarinet in Bb) III. The Maze (for oboe) IV. The Bearded Lady (for trombone) V. The SuZtan's Favorites (for flute) VI. Perfor.ming Beea>s (for bassoon) VII. The CaterpiZZea> (for trumpet in Cor B') 98

The one-movement work begins in a slow chant-like lyrical style. The middle section is in a stately, moderate tempo circus march, featuring a cadenza at its conclusion. This cadenza acts as a connecting link, and brings back the opening chant-like theme. The slow, smooth melody ends the solo quietly. Although quite conventional when compared to most twentieth-century works, it represents a style similar to that of Francis Poulenc. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

two timpani two percussion players strings (minimum of 6-4-3-3-2)

*BERNAUD, Alain. (1932- ). ExponentieZZes. Societe Editions Musicales Internationales, 1980. 7 min., 20 sec. G1 to d2• D8. Tenor & Bass. Cup/Straight Mute. Flutter/Glissandi.

Dedication: Gerard Pichaureau. Recitativo, Tempo RUbato/1i,~,:,li,~/ J= 72/24 measures

Lent/:,~/ J= 66/58 measures 0 . . 4 17 13 3 11 7 2 14 12 I Tempo G~usto Dec~so/4'16'16'4'16'16'4'16'16/ 0,= 96/68 measures Lent/:/ J= 66/20 measures Total: 170 measures

This was the Paris Conservatory contest piece for 1980. It contains many twentieth-century techniques, but it uses traditional notation.

BERTHELOT, Rene. (1903- ). Le Roi Renaud, Variations. Alphonse Leduc. D4+.

BERTHOLON, L. Varietes. Alphonse Leduc. D6+.

BESSONET, Georges. Comme Un Air D'Opera. Editions Billaudot.

*BIGOT, Eugene. (1888-1965). I~romptu. Alphonse Leduc, 1927. 4 min., 30 sec. E to c2• D7-8+. Bass & Tenor. R33.

Dedication: Andre LaFosse. 99 Allegro/~ Recitative/ ~ Allegro Agitato/ ~ Andante/t Allegro/~

This was the Paris Conservatory contest piece for 1931 and 1943. The first section begins with two short recitativo passages for solo trombone with a homophonic accompaniment, followed by an allegro agitato section. The agitation occurs in the broken chord patterns of the piano, while the trombone plays a smooth, expressive melody made up of whole and half notes. The second section is a through-composed andante, also in a smooth~ legato style: The third section consists of an articulated allegro section in § meter, which provides the soloist with an area for technical display and a flashy ending. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

two flutes two trumpets two oboes two timpani two clarinets harp two bassoons strings two horns

*BIGOT, Eugene. (1888-1965).. Variations. Alphonse Leduc, 1949. 5 min., 30 sec. F to d~2. D7+. Tenor & Bass. Straight Mute. Glissandi/Trills.

Dedication: Andre LaFosse.

Cantabi~e/~ i J = 56/25 measures Comodo/ / _ = 92/41 measures 4 GraCioso/~/ J = 80/44 measures SCherzando/~/ ~= 184/52 measures Impetuoso/~,~/ J,= 168/77 ~easu~es Total: 239 measures

This was the Paris Conservatory contest piece for 1949. 100

*BITSCH, Marcel. (1921- ). Ricercare. Alphonse Leduc, 1970. 6 min., 30 sec. E to bbl. DS-9+. Tener & Bass.

Dedication: Gerard Pichaureau.

Andante Maestoso/~/ J= 54/47 measures Allegro/~/ J= 104/63 measures ViVO/~/ J,= 112/40 measures Allegro MOderato/~/ J= 96/70 measures Total: 220 measures

This was the Paris ConseTvatory contest piece for 1970.

BLEGER, Marcel. Le Reve de Jeanne D'Arc. Rene Margueritat, ca. 1900.

BLEUSE, Marc. (1937- ). AccZamation Conaertino. Editions Choudens.

BON, ~~dre. Canr.one. Amphion Editions Musicales, 1977. Varies. Gil to db2 • D7. Bass, Tenor & Treble. Plunger Mute. Glissandi/Trills/Slide Clicks.

This is one of a very few solos written by a French composer for unaccompanied trombone. It features many techniques which place it into an "avant garde" category. The notational system is proportional, although relative note values are used.

*BONDON, Jacques. (1927- ). Chant et Danse. Editions Max Eschig, 1974. 5 min., 30 sec. E to dP2. D7. Tenor & Bass. Cadenza.

Adagio/Z,!,t/ J = 5S/25 measures Allegro/2,Z,z/ ; = 116-11S/90 measures

Total: 115 measures

This was the Paris Conservatory contest piece for 1974.

*BONNEAU, Paul. (1918- ). Capriccio. Alphonse Leduc, 1946. 8 min. E to db2 • DS-9+. Tenor & Bass. Straight Mute. Cadenza/Glissandi. 101 Dedication: H. Couillaud, Professeur au Conservatoire National de Paris.

Moderement Anime/!/ )= 126/57 measures 4 3 Mouvement de Blues/4'4/54 measures Anime!~/ J =132/ J = 120/40 measures Legerement Plus Vif/~/ J= 126/28 measures Vif/~/ J= 138/Cadenza/11 measures Lent/:/ J = 60/3 measures Vif/~/ e1 = 132-138/31 measures

Total: 224 measures

This was the Paris Conservatory contest piece for 1946. It is a work typical of the French Impressionistic style common during the first half of the twentieth-century. This three part single movement piece opens with a detached quick moving section. The middle section, entitled BZues, is a smooth slower section, with the soloist playing in a swinging manner, thus interpreting the notation as though it was a jazz tune. The final section returns back to the quick detached style of the beginning. The solo part requires a good command of the low and high register.

BONNEAU, Paul. (1918- ). Fantaisie Conaertante. Alphonse Leduc, 1950. 5 min., 30 sec. B to c2• D7+. Tenor & Bass. Robinson Mute. Flutter-Tonguing.

Dedication: H. Couillaud, Professeur au Conservatoire National de Paris. 2 3 Moderato/4'4/94 measures 4 Lento/4/22 measures Marche / 4'42 3/ 45 measures- Moderato/ ¢/18 measures 2 Allegro/ /16 measures 4 Vivace/t/46 measures

Total: 241 measures

This sole utilizes chromatic materials, both melodically and harmonically, thus suggesting an influence from the Impressionistic era. The principal motive, an interval of a third, appears in the first bar of the solo as part of a fanfare-like introduction. Interspersed within the 102 fast sections of this work are short legato or moderato sections. A Robinson mute is required during the 1ento section of the solo. This mute is similar in appearance and tone quality to a solo-tune mute. The fast section of the piece returns in a march-like style, utilizing f1utter tonguing, and this style prevails to the end of the solo. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompani ment.is as follows:

two flutes three trumpets celesta two oboes three trombones glockenspiel two clarinets tuba vibraphone two bassoons four timpani harp alto saxophone percussion strings three horns BOUNY, Jean-Pierre. Chanson D'Autrefois. Editions Bi11audot, 1973. 3 min.~ 30 sec. c to fl. D2. Bass. Cadenza.

Dedication: Prix de Composition de 1a Confederation Musicale de France. Andante/!/ J - 60/20 measures Andantino/:/ J= 69/16 measures Andante/~/ J= 60/18 measures Total: 54 measures

*BOUTRY, Roger. (1932- .iii ). Capriccio. Alphonse Leduc, 1957. 6 min. Bb 1 to ~2. D7+. Tenor & Bass. Cadenza. R32.

Dedication: Andre laFosse, Professeur au Conservatoire National de Musique.

Al1egro/~/ J.+J = 50/24 measures Andante/~,~,~/ J = 66-69/37 measures Vivace/~/ ~ = 120-126/16 measures vivace/~,~,2/ J = 96-104/114 measures presto/~/ J,= 104-108/68 measures A Tempo/~/ J. = 120-126/38 measures Total: 297 measures

This was the Paris Conservatory contest piece for 1957. It is very fragmented, both melodically and rhythmically. As might be expected, the player must be skilled in displaying lyrical playing, accuracy of articulation, possess a good range, and understand many varied rhythmic patterns. 103

Andantino Ma Non Troppo/:,Z/ J= 66/56 measures I 4 }~estoso/4/12 measures Dolce/:/ .J= 108/30 measures Allegro MOderato/:/ J = 96-100/34 measures Large/!/5 measures

Total: 137 measures

This modern French showpiece has definite Impressionistic connotations through its harmonic and melodic language. The entire work is through-composed, with the melodies being constructed in phrases. The trombone part is soloistic throughout, with much of the accompaniment being homophonic, thus more important as rhythmic ostinato under the solo line than as melodic counterpoint. This work is, at the same time, a parody on several symphonic works and a serious piece. Following three short sections in contrasting styles and characters, a long involved cadenza appears. A long blues section, providing an effective contrast, leads into a typical bozza-style fast section, featuring repeated rhythmic and pitch patterns. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

flute two horns percussion oboe trumpet harp clarinet trombone strings bassoon timpani

A band transcription of the accompaniment, made by Dennis Smith, can be obtained from the University of Michigan.

BOZZA, Eugene. (1905- ). Ciaccona. Alphonse Leduc, 1967. D6+.

BOZZA, Eugene. (1905- ). Hommage a Bach. Alphonse Leduc, 1957. 5 min. F to c2• D5+. Tenor & Bass.

Dedication: Monsieur Bourez, Professeur au Conservatoire National de Valenciennes. 4 Maestoso MOderato/ /8 measures 4 Allegro Moderato/4 /28 measures 4 4 Moderato/ /19 measures 4 Allegro Ma Non TropPo/~/72 measures

Total: 127 measures 104

BOUTRY, Roger. (1932- ). ChoraL Varie. Alphonse Leduc, 1956. D4-5+.

BOUTRY, Roger. (1932- L). Concerto. Alphonse Leduc, 1963. 7 min. Bb 1 to d~2. D8+. Tenor & Bass.

Dedication: Gerard Pichaureau, Professor at the Conservatoire Superieur de Uusique.

The term concerto generally carries the implication of having an orchestral accompaniment. However, this piece was composed for trombone and piano and no orchestral accompani ment exists. Alphonse Leduc lists this solo as a contest solo of the Paris Conservatory, but the author could find no supporting data to verify this statement.

BOUTRY, Roger. (1932- ). Piece Breve. Editions Salabert.

BOUTRY, Roger. (1932- ). Trombonera. Alphonse Leduc, 1956. D6+.

BOZ2..<\, Eugene. (1905- ). ALLegro et FinaLe. Alphonse Leduc, 1953. 5 min. E to a 1• D5+. Bass.

Allegro Deciso/~/59 measures Andantino/;/23 measures 2 Allegro/ /18 measures 4 Moderato/~/ J = 72/18 measures Allegro Deciso/~/23 measures

Total: 141 measures

This piece was originally composed for the bass trombone, but it is annotated here since it can also be played effectively on a tenor trombone. This French showpiece is a standard part of the bass trombone repertoire. It is in an A B A form, with extended unaccompanied passages throughout.

*BOZZA, Eugene. (1905- ). BaZZade~ Gp. 62. Alphonse Leduc, 1944. 9 min. F to d'2. D7+. Tenor & Bass. Straight Mute. Cadenza/Glissandi. R34,36.

Dedication: H. Couillaud, Professeur au Conservatoire National de Paris. 105

The title of this work suggests a tribute to Johann Sebastian Bach, but the music is not in the style of J. S. Bach. "Neo-Baroque" with many melodic motifs similar to some Bach materials. Harmonies are not similar, but phrases, rhythms and texture are. The opening measure is similar to Bach's Partita No.3 for solo violin (Preludio). The work contains three sections; fast, slow, fast with an introduction.

BOZZA, Eugene. (1905- ). Prelude et Allegro. Alphonse Leduc, 1953. 5 min. E to a 1. D5+. Bass. Cadenza.

Dedication: Monsieur Mou1ard, Professeur de Contrebasse au Conservatoire National de Valenciennes.

Moderato/4 /21 measures 4 Allegro Moderato/4 /47.measures 4 Al1egro/:/29 measures

Total: 97 measures

This piece was originally composed for the bass trombone, but it is annotated here since it can also be played effectively on a tenor trombone. This work is in three sections, allegro, allegro moderato and allegro. The trombonist has the opportunity to display his technical virtuosity, initiative and imagination.

BOZZA, Eugene. (1905- ). Trois Essais. ~~phonse Leduc, 1977. 14 min. E to d2 • D7-S+. Tenor & Bass. Straight Mute. Flutter/Glissandi. 43523 I. Al1egro/4 '4'4'4'S/126 measures 4 II. Calme/ /32 measures 4 3 3 5 2 measures III. Allegro Con MotO/S'16'16'S/73 (Scherzando) Total: 231 measures

This piece is for trombone solo accompanied by percussion ensemble. The instruments in the percussion ensemble include:

three chinese blocks large tam-tam three cow bells gong two wood blocks bass drum with foot pedal two suspended cymbals snare drum two bongos triangle tambourine 106 BREUIL, Helene. Essai. Editions Billaudot, 1978. Dl+.

BROWN, Charles. (1898- ). Meditation. Alphonse Leduc, 1955. 2 min., 45 sec. c to £.1. D3+. Bass.

Dedication: Rene Bellet.

Andaute/2 /85 measures 4

*BUSSER, Henri. (1872-1973). CantabiZe et Saherzando~ Gp. 51. Alphonse Leduc/Belwin Mills. 4 min. E to bl • D7+. Tenor & Bass. Trill. 7 6 9 J Molto Moderato/4 '4'4/ = 72/26 measures 4 3 I Allegro/4 '4/ ~= 126/9 measures Piu Allegro/~/ d.= 66/80 measures Total: 115 measures

This was the Paris Conservatory contest piece for 1913, 1924 and 1936. The composition gives the performer the opportunity to demonstrate his ability in musical interpretation, technique, sonority, and intonation. The CantabiZe, written mostly in Z, is both expressive and sentimental. The Saherzando, built around hard-driving rhythms, is an effective contrast to the proceeding movement.

*BUSSER, Henri. (1872-1973). Etude de Conaert3 Gp. 79. Alphonse Leduc, 1927. 3 min., 30 sec. E to ~2. D8+. Tenor & Bass. Cadenza/Lip Trill.

Dedication: H. Couillaud~ Professeur au Conservatoire.

Moderato Maestoso/~/ J = 80/46 measures Piu MOder;dO)/9 ,~/ ,J. = 72/26 measures Tempo I /4' = 80/21 measures

Total: 93 measures

This was the Paris Conservatory contest piece for 1927. 107

*BUSSER, Henri. (1872-1973). Phoebus Variations~ Gp. 87. Alphonse Leduc, 1965. 3 mi~.> 50 sec. E to c2• D7+. Tenor & Bass. Cadenza.

Dedication: Roger Tudesq. MOderato Maestoso/~/ J= 92/10 measures Plus Anime/:/ J = 112/8 measures }foderato Marcato/~/ J= 88/12 measures Andante/:; J= 72/14 measures Poco Allegro/:/ J = 120/17 measures Piu Largo/~/ ~= 84/13 measures Total: 74 measures

This was the Paris Conservatory contest piece for 1933.

*BUSSER, Henri. (1872-1973). Pi~ae en mi BemoZ (Eb FZat)~ Gp. 55. Evette et Schaeffer, ca. 1907/Alphonse Leduc/International, 1973. 4 min., 10 sec. E to cb2 • D6+. Tenor & Bass. Trill.

Andante Poco Adagio/~/ J = 72/58 measures Allegro/~/ J = 144-152/83 measures Total: 141 measures

This was the Paris Conservatory contest piece for 1907 and again in 1920.

CAPDEVILLE, Pierre. (1906-1969). Sonate Conaertante. Alphonse Leduc, 1966. D6+.

CASINIERE, Yves d~ la. (1887- ). Theme Varie. Alphonse Leduc, 1958. D7+.

CASTEREDE, Jacques. (1926- ). Sonatine. Alphonse Leduc, 1958. 13 min. E to c2• D7+. Tenor & Bass. Cup Mute. Mordent/ Trill. R17 ,27.

I. Allegro ViVO/~,~,~/ J= 112/190 measures 4 II. Andante sostenuto/J ,~/ }I = 72/66 measures 2 5 7 3 III. Allegro/2 '4'7'2/ = 92/206 measures Total: 362 measures 108

This composition is both musically and physically demanding, while at the same time being a very interesting and enjoyable piece to listen to. The work is in three movements, the outer two dealing with shifting meters and requiring excellent tonal security and outstanding lip flexibility. The second movement is one of the most beautiful slow movements in the trombone repertoire. It deals with a high tessitura and concludes with a cup muted passage. The third movement begins with a motive that incorporates a mordent, which can become a problem for some players to execute effectively throughout the movement.

CHARLES, Claude. Cortege et Danse. Editions Musicales Trans atlantiques, 1973. 4 min. F to eil. D3. Bass. Cadenza.

Dedication: Paul Bernard, Professeuer au-Conservatoire National Superieur de Musique de Paris. Adagio/2,g'j2/ J = 66/23 measures Allegro/g/ = 144/94 measures

Total: 117 measures

This piece was originally composed for the bass trombone, but it is annotated here since it can also be played effectively on a tenor trombone.

*CHAYNES, Charles. (1925- - ). ImpuZsions. Alphonse Leduc, 1971. 7 min. BpI to db--·2 D8+. Cup/Harmon/Straight Mute. Random Pitch Selection/Approximate Pitch/Flutter-Tonguing/ Multiphonics. R17.

This was the Paris Conservatory contest piece for 1971. Mr. Chaynes comments on ImpuZsions:

The work falls into four distinct sections: Slow fast-slow-fast, reminiscent of the sonata de chiesa. The slow sections make much use of various effects, such as singing through the instrument, tapping on the bell or mute, and inhaling and exhaling through the instrument. The first fast section (Allegro) makes use of an ostinato pattern of 3 + 2 + 2 + 3 in eighth notes, from which as the section unfolds the music deviates into slightly different varia tions of the pattern. The climax of the section is a semi- _mprovisational section made up of two boxes o~ pitches, the first lasting eight and the second fifteen seconds. The second box also serves 109

as a transition back to the softer and more relaxed atmosphere of the opening. The return to the final fast section is realized by a steady buildup that seems to achieve a high level of tension rather quickly, but doesn't achieve release until the new tempo is reached, backed again by an ostinato pattern. The contrasts between the two sections of fast and slow is based not only on tempo but also in the use of materials: The slow movements are also most arhythmical, very free, improvisational- the fast very pattern-oriented, one could say neoclassical and obstinate.

CHRETIEN, Hedwige. (1859-1944). Grand SoZo. Millereau, ca. 1886.

*CLERGUE, Jean. (1896-1966) • . I~romptu. Henry Lemonie et cie., 1938. 5 min., 10 sec. E to c2• D6. Tenor & Bass. Straight Mute.

Dedication: Henri Couillaud, Professeur au Conservatoire National de Paris. Allegro/~/ J = 120/66 measures Andante/~/ J = 60/34 measures Allegro/~/ J = 120/74 measures Piu ViVO/Z/) = 138/42 measures

Total: 216 measures

This was the Paris Conservatory contest piece for 1938.

CLERISSE, Robert. (1699- ). IdyZZe. Southern Music Co., 1973. 2 min., 45 sac. G to eb 1 • D3. Bass. MOderato/2/ J. = 80/50 measures MOderato/~/ J =80/36 measures Total: 86 measures

, CLERISSE, Robert. (1899- ). Poeme. Editions Billaudot. 110 CLERISSE, Robert. (1899- ). PreZude et Dive~tissement. Editions Musicales Andrieu Freres/Rubank, Inc., n.d. 4 min., 30 sec. Gp to gl. D4. Bass.

Andante/3 /52 measures 4 Allegretto (Quasi Allegro)/~/102 measures

Total: 154 measures

CLERISSE, Robert. (1899- )~ Priere. Alphonse Leduc, 1959. 3 min., 30 sec. d to ~1. D3+. Bass.

Dedication: }iorceau de Concours des Federations, Division Elementaire.

Andante MOderato/~/68 measures

CLERISSE, Robert. (1899- ). The~e de Concours. Alphonse Leduc, n.d. 4 min. B~ to ~1. D5+. Bass.

Dedication~ Morceau de Concours des Federations, Division superieure. 4 Large et Soutenu/ /40 measures 4 Allegro/ f /41 measures

CLOSTRE, Andrienne. (1921- ). Dia~ogue II. Editions Choudens.

-, COHEN, Jules. (1835-1901). Andante (MUsique du XIXe SieaZe). Editions Billaudot.

CONSTANT, Marius. (1925- ) • Concerto "GU EZementi". Editions Ricordi, 1977.

This piece was especially written as the final test piece for the International Trombone Competition held in Toulon, France from ~~y 22 to May 27, 1977. The concerto is in four movements, taking its title "Gli EZementi" from the four medieval elements--water, air, earth and fire. This piece encompasses every technical and musical demand that could be required of the well-schooled trombonist. III CONSTANT, Marius. (1925- ). PZaisance. Editions Billaudot, 1978.

*COOLS, Eug~ne. (1877-1936). AZZegro de Concert~ Op. 81. Editions Billaudot, n.d. 4 min., 10 sec. E to c2• D5. Tenor & Bass. R14.

Dedication: Allard, Professeur au Conservatoire. Allegro RisolutO/¢ / J = 80/52 measures Allegro/ ~ =84/120 measures Total: 172 measures

This was the Paris Conservatory contest piece for 1911.

CORIOLIS, Emmanuel de. Aria. Alphonse Leduc. D3-4+.

CORIOLIS, Emmanuel de. Quartre Piecettes. Editions Billaudot, 1973.

CORIOLlS, Emmanuel de. Quartre Recreations. Editions Billaudot, 1976. 4 min. C to Fl. D2+. Bass. I. MOderato/:/ J = 72/19 measures II. MarZiale/~ / J = 80/40 measures III. Andantino/~/.J = 84/36 measures IV. Allegro/:/; = 120/24 measures

Total: 119 measures

This solo is in four movements. The rhythmic structure is simple with the work being highly tonal and diatonic. This work is well constructed and would be an excellent intro duction for the young trombonist to the "French School" of trombone playing.

*CROCE-SPINELLI, B. (1871-19 ). SoZo de Concours. Evette et Schaeffer/Alphonse Leduc/Belwin-Mills, ca. 1903. 5 min. F to c2• D6+. Tenor & Bass. Lip Trill. R20.

Lento/4 /17 measures 4 4 2 Andante/4'4/36 measures ~~legro MOderatoi:i46 measures Total: 99 measures 112 This was the Paris Conservatory contest piece for 1903. The solo demonstrates both legato control and detached technical facility.

*DAUTREMET, Marcel. (1906-19 ). CouZissiana. Editions Choudens, 1966. 7 min., 45 se~ Bb1 to c2• Tenor & Bass. Straight/ Cup Mute. Flutter-Tonguing/Glissandi/Trills. Lent/:/ J= 54/36 measures Vif/:,~/ J = 160/41 measures MOderato/Z':'~/ J = 88/38 measures Vif/Z,:/ J = 138/46 measures Lent/~/ ; = 50/18 measures Vif/: ,~/ J = 160/5 measures Total: 184 measures

This was the Paris Conservatory contest piece for 1967.

DEFAYE, Jean-Michel. (1932- ). Deux Danses. Alphonse Leduc, 1954. 8 min. A to F2. D8+. Tenor & Bass & Treble. Cup Mute. Cadenza/Glissandi. R6,12,17,32,35.

Dedication: Gabriel Masson, Soloist for Orchestra of the Paris Opera.

I. Danse Sacree, ~ent/~/ J = 60/76 measures 2 II. Danse Profane, Movement de Samba/ /44 measures 2 Total: 120 measures

About Deux Danses Mr. Defaye writes: These two dances, dating from 1954, were written especially for Gabriel Masson, then soloist for the Orchestra of the Paris Opera. My main purpose was to demonstrate the great possibilities of the trombone. The first dance, Danse Sacree, has a rather classical style and includes many technical difficulties, such as large intervals, long phrases, rapid detached notes, and overall endurance. Danse Profane is a brilliant piece par excellence and was inspired by jazz. Over a samba beat, the trombone soars in the highest tessitura of the instrument. As in the first dance, this movement poses the problems of suppleness and endurance. 113 There is also an edition for bass trombone by Donald Knaub and published by Alphonse Leduc.

*DEFAYE, Jean-Michel. (1932- ). Mouvement. Alphonse Leduc, 1972. 6 min. E to d2• DS+. Tenor & Bass. Straight Mute. Cadenza/Glissandi.

Dedication: Gerard Pichaureau. 2 3 3 I 4'4'S/ • = 132/164 measures MOderato/!! J = 92/34 measures Total: 198 measures

This was the Paris Conservatory contest piece for 1972.

DEFOSSEZ, Rene. (1905- ). Concerto. Editions Metropolis, 1951. 11 min., 30 sec. G to c2 (d2). D6. Tenor & Bass. I. Scherzando Allegro/~/ J= 96-104/99 measures II. "Elegie" Adagio/!'~/'J = 60/54 measures III. Rondo/~/) = 200/201 measures Total: 354 measures

This solo is in three movements, combining a romantic expressiveness with modern harmonies and dissonances. The first movement is an ABA form, starting with a scherzando-like introduction, followed by a slower section consisting of block chords over a free legato line, and concludes with a return of the opening. The second move ment resembles the middle section of the first movement in terms of legato style, harmonic texture, and general expressiveness. The final movement resembles the first movement, consisting of melodic materials based on fast scale passages with added chromatic alteration. The orchestral accompaniment parts are available on rental from Henri Elkan music publisher.

DELBECQ, Laurent. (1905- ) • Tromboni te • Robert Martin Editions Musicales. Dl+.

Dedication: Serie Tres Facile Pour Debutants. 114

DELCROIX, Leon. (1880-1938). Legende~ Ope 64. Evette et Schaefer! Alphonse Leduc, 1921. D6+. Tenor & Bass.

Dedication: Morceau de Concours du Conservatoire de Liege (1921).

DELERUE, Georges. (1925- ). Conaerto. Editions Billaudot, 1980. 16 min. E to d2 • D6+. Tenor & Bass.

Dedication: Michel Becquet.

This solo is in three movements, containing many features not typical of many of the other compositions in the "French School" of trombone literature. There are virtually no tempo changes, little use of changing meter, and a lower tessitura than usual. However, it does contain its share of running sixteenth notes that make great technical demands, and also contains awkward leaps in either direction. This solo seems most appropriate for the student who has above average technique and moderate endurance, but who doesn't possess a solid high register. The orchestral accompani ment parts are available on rental from Editions Billaudot.

DELGIUDICE, Michel. (1924- ). Serenite. Robert ~~rtin Editions Musicales, n.d. D3+.

Dedication: ~lorceaux de Forces Diverses.

DELISSE, Paul (ed.)/Felix Mendelssohn. (1817-1888). Capriaaioso BriUant~ Op. 22. ~lillereau, ca. 1886.

DELISSE, Paul (ed.)!Frederic Chopin. (1817-1888). Noaturne. ~tillereau, ca. 1886.

DELISSE, Paul (ed.)/Ludwig Van Beethoven. (1817-1883). Trio~ Ope 20. Millereau, ca. 1882.

DELISSE, Paul (ed.)/Joseph Haydn. (1817-1888). Trio Extrait du Deuxieme Quatuor~ Op. 64. Millereau, ca. 1881. 115

DELI SSE, Paul. (1817-1888). 12 Transcriptions Pour Trombone et Piano. Auguste O'Kelley, ca. 1878.

1. Sonate en si Bemol de Mozart 2. Andante et Menuet de Haydn 3. Theme Varie de Beethoven 4. Theme Varie en re Mineur de Mozart 5. Adagio de Mozart 6. Sonate en fa de Mozart 7. Theme Varie en Sol 8. Sonate en fa de Beethoven 9. Theme Varie Sur Judas Macchabee 10. Ariette de Mozart 11. Theme Varie en La 12. Theme Varie en Fa

DELISSE, Paul (ed.). (1817-1888). TyroZean Air.

DEMERSSEMAN, Jules. (1833-1866). Cavatine~ Ope 47. Editions Billaudot, n.d.

DEMERSSEMAN, Jules. (1833-1866). Introduction et PoZonaise~ Op.30 . Editions Billaudot/Belwin-Mills, n.d.

DEPELSENAlRE, Jean-Marie. (1914- ). Ce Que Chantait L'Aede. Editions Choudens.

DEPELSENAlRE, Jean-Marie. (1914- ). PunambuZes. Editions Musicales Transatlantiques, 1961. 3 min. A to gl. D3. Bass.

Moderato/2 /100 measures 4

DEPELSENAlRE, Jean-Marie. (1914- ). Impromptu. Schott Freres.

DEPELSENAlRE, Jean-}~rie. (1914- ). Jeux Chromatiques. Editions Philippo.

DEPELSENAlRE, Jean-Marie. (1914- ). Legende Nervienne. Editions Philippo. 116 DEPELSENAIRE, Jean-Marie. (1914- ) . Le Vieux Berger Raaonte. Editions Philippo.

DEPELSENAlRE, Jean-Marie. (1914- ). Prelude et Danse. Alphonse Leduc. D4+.

*DESENCLOS, Alfred. (1912- ) . Plain-Chant et Allegretto. Alphonse Leduc, 1965. 8 min. BOI to bl • D8+. Tenor & Bass. Quasi-Cadenza.

Dedication: Gerard Pichaureau, Professeur au Conservatoire de Pa4'is.

Andante Molto MOderato/:,~/J = 66/57 measures . 56423 n Allegretto Non Troppo V~vo/8'8'8'4'4/ ~f= 144/105 measures Total: 162 measures

This was the Paris Conservatory contest piece for 1965.

DESPORTES, Yvonne. (1907- ). Des Chansons Dans Za CouZisse. Editions Billaudot~ 1981. 5 min. G to ale DS. Tenor & Bass.

Moderato/~/ ; = 72 3 Meno/ / Allegro MOderato/~/ J = 92

Tempo P:imo/t/ ~ = 72 ~ > '. .'. ~------,- This solo is one movement and constrQcted in binary form. The melodic material is modally based, primarily mixolydian and aeolian. The challenges for the trombonist exist in clearly defining the articula~ion patterns, and alternating between staccato and legato passages.

*DESPORTES, Yvonne. (19D7- ). Fantaisie in Bb. Carl Fischer, Inc. 4 min., 30 sec. BpI to cb 2 • D6+. Bass. Cadenza.

Andante/:/ J = 58/14 measures 12 6 3 4 ·1 Allegro Scherzando/ 8 '8'4'4/ tJ = 112/52 measures Piu Lento/:/ J = 63/18 measures l Allegro SCherzando/ i/J= 112/20 measures Total: 104 measures 117

This was the Paris Conservatory contest piece for 1932.

DESPORTES, Yvonne. (1907- ). Un Petit Air Dans Le Vent. Editions Billaudot, 1981.

DESTANQUE, Guy. Romance en re (D) MineUI'. Alphonse Leduc. Dl-2+.

DEWANGER, Anton. Humoresque~ Ope 89. Alphonse Leduc, 1954. D4-5+. Bass.

DONDEYNE, Desire. (1921- ) • Cantabi le et Capriae. Alphonse Leduc, 1958. D7+.

DORSSELAER, Willy Van. A Longahamp~ ~. 117. Editions Billaudot, 1972. 2 min., 30 sec. d to d. Dl+. Bass.

Dedication: Louis Potters, ex. trombone-solo au Stadttheater de Colmar/Prix de Composition de la Confederation Musicale de France, 1972.

Maestoso/2 /75 measures 4

DORSSELAER, Willy Van. Le Grand Dua. Editions Billaudot, 1971. 2 min., 10 sec. c to d1• D2. Bass.

Dedication: Albert Ehrmann/Prix de Composition de la Confederation Musicale.

Maestoso/4 /30 measures 4 Allegro Decido (Grandeur)/:/ J= 92/12 measures Total: 42 measures

DORSSELAER, Willy Van. Introduation et Allegro Martial. Editions Billaudot, 1964. 2 min., 30 sec. F to fl. D3. Bass.

Dedication: Henry Dessauvage, Professeur a L'Ecole Nationale de Musique de Mulhouse/Prix de Composition 1964 de la Confederation Husicale de France. 118 4 Moderato/ /24 measures 4 4 \ Allegro Martial/ / 112-126/44 measures 4 ,= Grandioso/:/7 measures

Total: 75 measures

DORSSELAER, Willy Van.' Jericho. Vitgave Molenar N. V.

DORSSELAER, Willy Van. Pour Za Promotion. Editions Billaudot, 1971. 2 min. d to d1• D2. Bass.

Dedication: Prix de Composition de la Confederation Musicale de France, 1971. 2 Maestoso/ /78 measures 4

DOUAY, Jean and Christian Gouinguene. Divertissement. Editions Bi1laudot, 1976. B~ to gpl. D·4. Tenor & Bass.

This solo is a short composition that is tonal in style. Its rhythmic struc~ure is very simple and relies on sequential repetition to develop its material. The composition is without tempo markings or style indications.

DOUAY, Jean and Christian Gouinguene. Theme et Variations. Editions Billaudot, 1976. 3 min. F to Fl. Bass.

3 Variations

This piece consists of the statement of the theme, followed by three variations, and a restatement of the opening theme. The first variation uses canonic imitation, while the second variation uses the trombone as an extension of the ideas presented in the piano. In the third variation the trombone arpeggiates the theme in quarter notes, while the piano plays a running eighth note figure.

DUBOIS, Pierre Max. (1930- ) • Concerto Di t tTL' Irrespectueu:x:" • Alphonse Leduc, 1970. 16 min. Gl to d2. D7+. Tenor & Bass. Lip Trills/Lip Smears/Flutter-Tonguing.

Dedication: Pierre Ambach, Professeur au Conservatoire de Bescancon. 119 I. Al1egro/Z/ J= 104/51 measures MOdere/:,~,t/ J = 86/70 measures II. Vivo/t,~/ J = 88/160 measures 4533 f\ III. Andante/4 '4'8'4/ _" = 76/45 measures IV. Allegretto TranqUi110/:,~,~,~/ J= 88/163 measures Total: 489 measures

This solo is in four movements, lacking the usual impressionistic tendencies found in many of the other solos of the "French School". The first movement, Allegro, has two principal themes, each being repeated, to form an ABBA pattern. The accompaniment of this movement is totally with percussion instruments. The second movement requires excellent tonguin~ facility, with meter changes moving frequently between 4 and~. The third movement, Andante, has a slow harmonic pattern in addition to the legato approach of the trombone part. The final move ment is similar to the second movement, featuring short phrases as well as a delicate style. The performer needs excellent technique, range, and flexibility to peiform this virtuoso work. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

timpani percussion strings

DUBOIS, Pierre Max. (1930- ). Cornemuse. Alphonse Leduc, 1961. 3 min., 30 sec. E to ab1• D4. Bass. 4 Allegro Ben Moderato!4

This piece was originally composed for the bass trombone, but it is annotated here since it can also be played effectively on a tenor trombone.

DUBOIS, Pierre Max. (1930- ). Cortege. Alphonse Leduc, 1959. 4 min., 15 sec. Ab to gl. D6+. Tenor & Bass. 35233 I Maestoso/4 (8'4'8'2)/ .. = 92 This one movement solo provides the young trombonist with an introduction to music with variable time signatures. The melodic content of the solo is very simple, being based generally in diatonic lines. 120

DUBOIS, Pierre Max. (1930- ). Deux Marahes. Alphonse Leduc, 1960. 6 min. F to c2 • D6+, D7+. Tenor & Bass. 4 I. Lento/ /SO measures 4 4 II. Allegro Moderato/ /63 measures 4 Total: 113 measures

DUBOIS, Pierre Max. (1930- ). En CouZisse. Editions Rideau Rouge, 1969. 2 min., 30 sec. G to gl. D3. Bass. 4 Maestoso/ /4S measures 4 This solo begins with a march-like theme, based in C major. This is contrasted by a short, soft, legato section which then returns to the opening theme.

DUBOIS, Pierre Max. (1930- ). Histoire da Trombone. Editions Billaudot, 1978. F to bbl. D5+. Tenor & Bass. Straight Mute.

I. Rumba: Andante 2 3 II. Parade: Allegro Moderato/4'8 This solo is comprised of two movements, entitled Rumba and Parade. The RUmba consists of a stepwise lyrical theme in the trombone with the piano playing a chordal syncopation underneath. The middle section has the trombone and piano exchanging rhythmic patterns, with a return of the original theme. The Parade is march-like in character, featuring trombone fanfares. Shifting ~ and ~ meters shape much of this movement, adding a lopsided feeling to its march-like form.

DUBOIS, Pierre Max. (1930- ) . Menuet D'Automne. Editions Bi1laudot. D2+.

DUBOIS, Pierre ¥~x. (1930- ). Pour Ze Tror.~one EZementaire~ 9 Pieaes en un ReaueiZ. Alphonse Leduc, 1967. 12 min., 40 sec. D2+, D3+.

1. Polka 2. Romance 3. Intermezzo 4. Berceuse 121

5. Air Ecissais 6. En Fanfare 7. Passepied 8. Petite Valse 9. Sicilienne

DUBOIS~ Pierre Max. (1930- ). Pour Ze Trombone Moyen 3 8 Pieces en Fo~e D'Etudes en un RecueiZ. Alphonse Leduc~ 1967. 10 min.~ 45 sec. D5+.

1. Humoresque 2. Ritournelle 3. Fanfare 4. Vocalise 5. Burlesque 6. Tango 7. Slow 8. Tambourin

DUBOIS~ Pierre Max. (1930- ). Pour Ze Trombone Preparatoire3 Dix (10) Pieces Progressives Avec Accompagnement de Piano. Alphonse Leduc~ 1967. 20 min. (2 min./piece). BP to fl. Dl+. Bass.

Dedication: Pierre Ambach~ Prof~sseur au Conservatoire de Besancon.

1. Entree - ~faest~so/:/ J = 100/32 measures 2. Lai - Lent/:/ J = 76/28 measures 3. Virelai - MOderato/4/ J= 80/32 measures . 4 ~ I 4. Suite a L'Ancienne - Allegro/4/ , = 120/57 measures 5. Cortega - TranqUille/~/ J = 72/48 measures 6. Canon - AlIa Breve/~/ d = 69/34 measures . 7. Intermede - Allegroltl J= 104/45 measures 8. Passepied - Allegretto/~/)= 72/41 ~easures 9. Berceuse - Lento/* / J = 80/40 measures 10. Marche - Allegretto/~/ ~ = 63/48 measures Total: 405 measures 122 DUBOIS, Pierre Max. (1930- ). Suite. Alphonse Leduc, 1965. 9 min. E to c2 • D6+, D7+. Tenor & Bass.

I. Humoresque Allegretto II. Galop-Fantaisie Presto III. Pastourelle Andante IV. Complainte Molto Lento V. Rondeau Allegro Moderato

*DUBOIS, Theodore. (1837-1924). So~o de Concert (Concertpieee). Evette et Schaeffer/Alphonse Leduc/International Music Co., 1907/1965. 5 min., 50 sec. Ab to c2. D6-7+. Tenor & Bass. Dedication: L. Allard, Professeur au Conservatoire.

Andante/i/ J = 72 measures 4 min. All. Vivo/t/ .I = 152/90 measures 1 min., 50 sec. Total: 162 measures, 5 min., 50 sec.

This was the Paris Conservatory contest piece for 1909.

*DUCLOS, Rene. (1899-1964). Doub~es Sur un Chora~. Alphonse Leduc, .1939. 4 min., 45 sec. E to b1. D7+. Tenor & Bass •

Dedication: H. Coui1laud, Professeur au Conservatoire. 4 Allegro MDderato/4/29 measures Allegro Scherzando/4 /16 measures 4 Andante Cantabile/t/29 measures 12 4 . Allegro Moderato/ '4/26 measures 8 Total: 100 measures

This was the Paris Conservatory contest piece for 1939 and again in 1945. 123

*DUCLOS~ Rene. (1899-1964). Sa Majeste Ze Trombone. Alphonse Leduc~ 1948. 5 min., 10 sec. E to dV 2• D7+. Tenor & Bass.

Dedication: Henri Couillaud. Molto Lento Ed sostenuto/~/ J = 40/37 measures Allegretto/;/ ) = 104/20 measures Moderato/~/8 measures Allegro/~ / cJ. = 100/49 measures Total: 114 measures

This was the Paris Conservatory contest piece for 1948.

*DURAND, Pierre. Paraours. Editions Rideau Rouge, 1975. 5 min. Bb1 to cf2. D8. Tenor, Treble & Bass. Cadenza.

Dedication: Gerard Pichaureau. 4 564 J Andante/2'2'2'1/ " = 48/26 measures Allegro/~/ J = 112/50 measures Andante/~/~ = 48/5 measures Total: 81 measures

This was the Paris Conservatory contest piece for 1975.

*DUTILLEUX, Henri. (1916- ). ChoraZ, Cadence et Fugato. Alphonse Leduc~ 1950. 5 min. Bb 1 to c 2• D8+. Tenor & Bass. Cadenza.

Dedication: Andre LaFosse.

This was the Paris Conservatory contest piece for 1950. The ChoraZ opens with a soft, legato statement of the melody. In the Cadence section of the solo, the accompani ment sets up some of the subject ideas which will be developed in the Fugato. The subject of the Fugato utilizes a series of intervals widening from a minor second to a minor ninth. The enG of the Pugato builds to an exciting conclusion by the use of rapid triplets and repeated pitches in duple groupings. 124 FICHE, Michel. (1939- ). EaUet POza' un Kangoza'ou. Editions Billaudot, 1977. D2+.

FICHE, Michel and C. Pichaureau. (1939- ) • En Vacanaes. Editions Billaudot. Dl+.

Dedication: Collection de la Federation Nationale Des Unions de Conservatoires Municipaux de Musique.

FIEVET, Paul. (1892- ). Legende CeZtique. Editions Billaudot.

*F&'lliCK, Maurice. (1892-19__ ). Fanfare~ Andante et AZZegro. Editions Salabert, 1958. 8 min., 50 sec. B~1 to d2 • D7. Tenor & Bass. 4 Allegro MOderato/ ,2/J = 88/11 measures 4 3 -, 4 4 Large/4 '2/ J = 60/13 measures Lent/~/ ~ = 50/75 measures Allegro Non Troppo/~/ ; = 100/148 measures Total: 247 measures

This was the Paris Conservatory contest piece for 1958 •

GABAYE, Pierre. (1930- .). CompZainte. Alphonse Leduc, 1957. 1 min., 30 sec. d to e~l. D2+. Bass.

MOderato/~/ J= 80/60 measures

GABAYE, Pierre. (1930- ). SpeaiaZ. Alphonse Leduc, 1969. 6 min., 15 sec. E to d2• D8+. Tenor & Bass. Cadenza. Tres Vif/~/ J = 152/94 measures /!/ J = 66/25 measures Tempo Primo/~I J = 152/52 measures COda'!' ; = 152i19 measures

Total: 190 measures

This solo is a one movement work, structured in an ABA-Coda form. The A sections feature fast tempos, with melodic materials requiring double-tonguing as well as good slide technique. The B section features a beautiful cantabile 125

melody, including a totally improvised cadenza. This cadenza, appearing near the end of the cantabile section, must be considered a unique point in the trombone solo literature. The accompaniment, scored for chamber orchestra, is available on rental from Alphonse Leduc. The instrumen tation of the accompaniment is as follows:

two horns celesta (or piano) three trumpets harp three trcw.bones guitar (ad libitum) timpani strings jazz set -cymbals, bass drum, snare drum, and triangle

GAGNEBIN, Henri. (1886-1977). SQPabande. Alphonse Leduc, 1953. DI-2+. Bass.

GALIEGUE, Marcel. Essai I. Alphonse Leduc, 1976. 1 min., 45 sec. A to d1• D2+. Bass.

This solo is basically a two-part song form, the first being in d minor and the second in D major. The waltz like melody is lyrical and slow.

GALIEGUE, Marcel. Essai II. Alphonse Leduc, 1976. 2 min., 30 sec. G; to gl. D3+. Bass. Cadenza. 12 \ 8/ ,. = 60 ~/ ) = 66-72 This solo appears to be in a type of three-part form, an A section of a sweeping melodic nature, a B section in a more toccata-like structure, then a cadenza, followed by a return to A, but this time in a maestoso style. The cadenza is noteworthy because of its avoidance of rhythmic notation and meter. This utilizes a type of symbolic notation where note lengths and speed are graphically indicated by place ment and by relative length lines following the longer tones. However, style and dynamics are conventially shown.

GALIEGUE, Marcel. Essai III. Alphonse Leduc; 1976. 2 min., 30 sec. E to bpI. D4+. Tenor & Bass. Cadenza.

2/ ~ = 72 ~/ J! = " ~/ J = 72 126

This solo appears to be in a type of three-part form, opening with an A section of sustained legato, followed by the B in a light staccato style, then a cadenza utilizing A motifs with a closing section also utilizing A material. The cadenza uses conventional rhythmic notation in contrast to that of Eeaai II.

GALIEGUE, Marcel. Essai IV. Alphonse Leduc, 1976. 3 min. D5-6+. Tenor & Bass.

GALIEGUE, Marc el. Que 7,ques Chants, Hui t Pieaes en Quatre Cahiers. Alphonse Leduc. Dl-2+.

Cahier I - 1- Fleur de Choral 2. Trialogue Cahier II 3. Canzone 4. }fanege Cahier III - 5. Petit Choral 6. En Syncope Cahier IV - 7. Romance 8. Deux Sur Trois

GALLET, Jean. Legende. Editions Billaudot, 1973. 1 min., 30 sec. c to d1• Bass.

Dedication: Prix de Composition de la Confederation Musicale de France 1973.

Moderato/2 /36 measures 4 Poco Piu Lento/~/ll measures Tempo I/~/17 measures .

Total: 64 measures

GALLOTS-MONTBRUN, Raymond. (1918- ). Aria. Alphonse Leduc, 1952. D5+. Bass.

GARTENLAUB, Odette. (1922- ). Rite. Editions Billaudot, 1977. D2+. 127 GAUBERT, Philippe. (lS79-1941). CantabiZe et Scherzetto. Carl Fischer, Inc., 1939. 5 min., 30 sec. A; to gl. Bass. Triple Tonguing. 6 9 Lento/S 'S/lS measures . 12 6 2 Un Peu Plus VJ..te/ S 'S'4/S1 measures Un Peu Moins Vite/l/33 measures Tempo I Vif/~/57 measures Moins Vite/\2/14 measures

Total: 203 measures

*GAUBERT, Philippe. Morceau Symphonique. Alphonse Leduc/Southern Music Co. International, 1912. 5 min. Ab to b~l. D7+. Tenor & Bass.

Lento/ d = 72 Allegro Moderato

This was the Paris Conservatory contest piece for 1912, 1921 and 1937. It is set in the traditional slow-fast concept of the French Contest solos. The opening section is in a slow legato style. The faster section, allegro moderato, needs caution in spacing the notes. This thematic material develops toward the concluding slow legato opening theme.

GEDALGE, Andre. (1S56-1926). Edited by Christopher Jones. Contest Piece. International Music Co./Editions Salabert, 1972. 5 min., 30 sec. Bb to c2 • D6. Tenor. 4 . Maestoso/ /11 measures 4 Andante/4 /33 measures 4 Allegro MaestosolZ/S4 measures

Total: lIS ~easures

GOTKOVSKY, Ida. (1933- ) • Concerto. Editions Billaudot, 1975. 14 min., 30 sec. E to dP2. DS. Tenor & Bass. Cup Mute. Cadenza.

I. Lyrigue Allegro Agitato Tumultuoso II. Dolcissimo Dolcissimo Con Anima III. Final Ostinato 128 GOUINGUENE, Christian. Air. Editions Billaudot.

GOUINGUENE, Christian. Concerto. Editions Billaudot, 1975. 8 min. B to d1• D6+. Tenor & Bass. R4,11.

1. .lUlegro II. Sicilienne III. Allegro Vivo

This piece is in three movements and is based upon themes by Johann David Heinichen (1683-1729). The work is Baroque-like in style with sequences, strong fifth relationships, and running sixteenths used throughout. Unfortunately there are no articulation markings contained - within this piece. GOUINGUENE, Christian. Ostinato. Editions Billaudot.

GOUINGUENE, Christian. Trombone Circus. Editions Billaudot.

GUIDE, Richard de. (1909-1962). Suite "Les Caracteres au Trombone"~ Op. 32~ No.3. Alphonse Leduc, 1958. 8 min. Bb1 to b1• D6+. Tenor &-Bass. Straight Mute. Glissandi. Rl.

Dedication: Jules-de Haes, Trombone Solo de L'Orchestra National de Belgique, Professeur de Trombone au Conservatoire Royal D'Anvers. 1. Solennel 12 J Intrada Dans Ie Style ~cien/ 8 / ,= 66/23 measures II. Funebre 4 1 Largo/ / • = 50/24 measures 4 III. Burlesque 2 i Andantino/4/ ~ = 76/20 measures Menu MOss/~/ J. = 56/16 measures Tempo I/~/ ~ = 76/16 measures IV. Sentimental I Largo/§,~2/ ,.= 46/22 measures V. Triomphant I 4 Deciso/4/ _ = 69/25 measures Total: 146 measures 129

GUILMANT, Alexandre. (1837-1911). Concert Piece~ Op. 88. Inter national Music Co., n.d./G. Schirmer, Inc., 1963.

*GUILMANT, Alexandre. (1837-1911). Edited by E. Falaguerra. Morceau Symphonique~ Op. 88. Warner Brothers Publications, Inc./Belwin-Mills, 1937. 6 min. BpI to c.2• D5. Bass/ International Bass & Tenor. Cadenza. R8,9,13,15,16,19, 28,32. Andante sostenuto/:/ -1 = 63/38 measures Allegro MOderato/Z/ .)= 104/120 measures Total: 158 measures

This was the Paris Conservatory contest piece for 1902 and again in 1928. This solo represents one of the most frequently performed compositions in the trombonist's repertoire. The single-movement work, in two principal parts, restates each theme in a condensed version at the end. The opening section establishes a lyrical, cantabile character in e-flat minor. Following a short cadenza, the allegro section drastically changes the style to a more disjunct feeling. This is an excellent work for the development of endurance, style, articulation, and rhythmic stability. A band transcription of the accom paniment by W. Sheppard can be obtained from Carl Fischer. Inc. Two other publications are also available from Pro-Arte Publications and Big Hill Music Press. An orchestral version of the accompaniment is available from Interlochen Press.

*HOUDY, Pierick. (1929- ) . Largo et Toccata. Alphonse Leduc, 1968. 4 min., 10 sec. E to c.2• D7-8+. Tenor & Bass.

~/ cal = 40/25 measures ~I 6= 56-60/40 measures ~/ d = 40/6 measures ~/ J = 64-76/37 measures Total: 108 measures

This was the Paris Conservatory contest piece for 1968. 130

HUGON, Georges. (1904- ). Elegie. Editions Musicales Trans- atlantiques.

*HUGON, Georges. (1904- ). Introduction et Allegro. Editions Musicales Transatlantiques, 1961. 13 min. A~l to d2 • D8. Tenor & Bass. Straight Mute. Flutter Tonguing/ Glissandi/Cadenza. 4 2 3 5 6 , Lent/4'4'4'4'4/* = 52/25 measures 3 2 4 I Allegro/4'4'4/ , = 144/44 measures /~,z,t/ J 126/25 measures /4'4'4/" 2 41 _ 104/52 measures Allegro/2,~/ ) = 144/34 measures Total: 180 measures

This was the Paris Conservatory contest piece for 1961.

KATARZYNSKI, Raymond (ed.)/Johann Sebastian Bach. Suites Pout' Violoncelle SeuZ. Alphonse Leduc, 1977. FtOC4. D7. Bass.

This edition contains Suites I through IV, all in the bass clef. Suite I bas been transposed up a fourth from G to C major. Suite II is transposed up a third from the original. Suite III is transposed up a fourth from C to F major and Suite IV is transposed up a fourth from E-flat to A-flat major. Suite IV contains the Sarabande and Gigue of Suite V and the Cout'ante of Suite VI. Suites V and VI are not included in their entirety. This edition is very similar to the·one of Andre LaFossess, only it is totally in the bass clef.

LAFOSSE, Andre (ed.)/George Frederic Handel. (1890- ). Concerto en fa Mineur. Alphonse Leduc/Southern ~lusic Co., 1948. 9 min. 30 sec. F to ~1. D7+. Tenor & Bass.

I. Grave/:/ P= 72/28 measures II. Allegro/:/ J = 104/48 measures III. Largo/t/) = 52/42 measures IV. Allegro/~/; = 100/70 measures Total: 188 measures 131

Composed in 1703 by George Frederick Handel (1685-1759), this concerto was originally for oboe and chamber orchestra and played in G Minor. This transcription is presented in F Minor as a more practical key for the trombone. This concerto is a comparatively early work, composed when Handel was playing t~e violin in the Hamburg Opera House and beginning to think of composing Italian-style operas, such as were popular in Hamburg. Handel throughout his career would be little interested in the three-movement concerto form, as taken up by Albinoni, Vivaldi and Bach. This work is in the more conservative four-movement form, as developed by Corelli, but at the same time it has a typically Handelian solidity, inspiration and melodic strength. The opening Grave, in typical dotted rhythm, leads into an Allegro which is imitative in form and not strictly fugal. A Sarabande of symmetrical phrase lengths is followed by a final Allegro, the opening theme of which is basically the same as that of the Organ Concerto~ Op. 4~ No.3, second movement. It is a combination of fugal and concerto grosso principals structurally.

LAFOSSE, Andre (ed.)/Johann Sebastian Bach. (1890- ). Suites de J. S. Baah Pour VioZonaeZZe SeuZ. Alphonse Leduc, 1946. E to c2• Tenor & Bass.

This edition of the suites is transposed a major fourth higher than the original notation and incomplete. LaFosse has edited the suites in terms of articulation markings, dynamic markings, and alternate positions.

LAFOSSE, Andre (ed.). (1890- ). Trois Pieaes de StyZe. Alphonse Leduc, 1956. 5 min., 30 sec. Bb to c2• D7+. Tenor & Bass. Mordents.

I. Giuseppe Tartini - Andante Cantabile/!/19 measures II. Franz Schubert - AdagioJ~/36 measures III. Antonio Vivaldi - Sonate (Fragments) Largo/i/ J = 56/35 measures Allegro/V J = 100/25 measures Total: 115 measures 132

LAMY, Fernand. (1881-1966). Cho~aZe V~ie. Alphonse Leduc, 1949. D3+. Tenor & Bass.

LANCEN, Serge. (1922- ) . Menuet Pour Un Oza>s. Editions Billaudot, 1965. 3 min., 45 sec. G to gl. D4. Bass. Glissandi.

Dedication: Prix de Composition de la Confederation Musicale de France (1965). Andante/~/ J = 42/18 measures Menuet-Allegretto/~/ J = 86/78 measures Total: 96 measures

LECLERCQ, Edgard. Conee~tino. Alphonse Leduc. D7+. Tenor & Bass.

Dedication: Morceau de Concours du Conservatoire D'Anvers.

LEGRON, Leon. G~ave et CantiZene. Editions Billaudot, 1977. 3 min., 30 sec. B, to e 1. D2. Bass.

Dedication: AMichel Fiche. Grave/t/ J= 52/32 measures Cantilene/~/ J = 96/32 measures Grave/~/ J = 52/12 measures Total: 76 measures

This short work is in the common one movement style of slow-fast-slow. The major emphasis of the piece concerns itself with controlled legato playing. The key of B-flat major predominates with a short piano interlude in D-flat major.

*LEJET, Edith. (1941- ). MUsique. Editions Francaises de Musique, 1974. 4 min., 30 sec. ApI to indefinite. D9. Bass. Plunger Mute. ~ Tonal/Flutter-Tonguing/Glissandi/Large Vibrato/Approximate Rhythms.

Dedication: Gerard Pichaureau. 4 5 4'4/80 measures 133

This was the Paris Conservatory contest piece for 1973. It is a difficult piece requiring many changes of mood and the ability to project them through the instrument. It is also made more difficult due to the extreme range, frequent large intervallic skips, and changes from traditional notation to proportional notation.

LEMAIRE, Jean. (1854-1928). Reait Pour un Debutant. Editions Bi1laudot. D1+.

Dedication: Collection de la Federation Nationale des Unions de Conservatoires Municipaux de Musique.

*LEPETIT, Pierre. (1893-19 ). Pieae de Conae~t. Alphonse Leduc, 1955. 6 min. E to-d2• D7+. Tenor & Bass.

Dedication: Andre LaFosse.

MOderato/! / J = 76/14 measures Tres Lent/!/ ; ~ 80/39 measures Allegro Tres MOdere/~/ J = 96/64 measures Un Peu Plus Vitae/Z/ J = 112/20 measures Plus Vite/~/ J = 116/35 measures Total: 172 measures

This was the Paris Conservatory contest piece for 1955.

LLAGRE, Dartagnan. Souvenir de CaZais. Editions Billaudot.

LOUCHEUR, Raymond. (1899-19__ ). HiaZmar. Editions Durand & CIE., 1947.

LOUVIER, Alain. (1945- ). Hydre A Cinq Tetes. Alphonse Leduc, D3+.

MARIE, Jean-Marie. (1917- ). Labyrinthes (Au. Grde). Amphion Editions Musicales, 1975. 134

*MARTIN, Frank. (1890- ). BaZZade. Universal Edition, 1940. 7 min., 30 sec. BpI to d2. D7. Tenor & Bass. RI0,24.

Dedication: Concours National Suisse D'Execution Musicale Geneve 1940. Largamente/Andante/~,~/ J= 72/17 measures TranqUillo/~,~/ J= 54/39 measures Allegro Giusto/~i ~ = 116/142 measures Vivace Assai/~/ ; = 184/72 measures Grandioso/ZI ~ = 160/24 measures Piu Mosso/~I ~,= 66/42 measures Molto Largamente/~/ )= 76/11 measures Total: 347 measures

This was the Paris Conservatory contest piece for 1959, written for trombone and piano in 1940 and transcribed for orchestra in 1941. The work opens with an accompanied passage for trombone in a fanfare-like style. Although the solo features ballad qualities, it also provides some technical sections. The melodic construction is often motivic, but phrases can be found in passages of the slower tempi. The accompanying textures are contra puntal, but much of the accompaniment is more important as rhythmic foundations for the solo line than as linear counterpoint. The.orchestral accompaniment parts are available on rental from Theodore Presser Company. The instrumentation of the accompaniment is as follows:

two flutes two trumpets two oboes two trombones two clarinets timpani two bassoons piano two horns strings

MASSIS, Amable. (1893- ). Impromptu ~Version A: Facile, Version B: Moyenne Force, Version C: Difficite). Alphonse Leduc, 1949. 3 min., 50 sec. B to af1/F to all E to btl. D3/D5/D7. Tenor & Bass. Cadenza.

Version A,B,C - Allegro MOderato/1,ZI J = 88/78 measures This solo is very unique due to its three versions for use by the trombonist. The first version is labeled "easy", the second "medium", and the third "difficult". 135

Each version becomes progressively more difficult through the use of rhythmic, melodic and range complexities. The piano accompaniment remains the same for each trombone version of the solo.

~\t~~T, Edmond. (188i- ). Petites Inventions3 Op. 213 No. S. Editions Max Eschig, 1966.

~MAZELLIER, Jules. (1879-1959). SoZo de Concours in B Minor. Alphonse Leduc/International, 1960. 6 min., 50 sec. P' to b l • D7+. Tenor & Bass. Straight Mute. Dedication: Henri Couillaud, Professeur au Conservatoire National de Musique de Paris. Andante EspresSiVo/~/ J= 54/62 measures Allegro RiSOlutO/:/ J = 100/84 measures Total: 146 measures

This was the Paris Conservatory contest piece for 1934.

MEYER, Jean-Michel. (1910- ). CordeZineete. Henri Lemoine et Cie.

MIGNION, Rene. Andante et-AZZegro. Editions Billaudot, 1972. 3 min. c to gl. D2. Bass.

Dedication: Prix de Composition de la Confederation Musicale de France 1972. Andante/!/ J = 63/30 measures Allegro/~/) 100/50 measures

Total: 80 measures

MIGNION, Rene. CantabiZe et Minuetto. Editions Billaudot, 1978. 4 min. A to fl. D3+. Bass.

Dedication: Dupart, Professeur au Conservatoire de Bordeaux.

I. Cantabile - Andante/:/ ) = 60/30 measures II. Menuetto/~/; = 96-100/65 measures Total: 95 measures 136

While this is not a major work for trombone, it has many pedagogical values. The rather narrow range and rhythmic simplicity make this selection accessible to the young trombonist.

MIGNION, Rene. Reverie et BaZade. Editions Billaudot, 1966. 3 min., 50 sec. cf to £fl. D3. Bass.

Dedication: Prix de Compos~tion de la Confederation Musicale de France 1966. Andantino/~/ ) = 65/44 measures MOderato/~/ J= 85/50 measures Total: 94 measures

MIGNION, Rene. Serenade et BaZade MoseZZanes. Editions Billaudot, 1978. 3 min., 15 sec. Bp to fl. D2+. Bass. Dedication: Gilles Senon, Professeur au Conservatoire de Metz. Andante/:/ J = 60/24 measures MOderato/~/ J = 80-84/44 measures Total: 68 measures

MILHAUD, Darius. (1892-1974). Conaertino D'Hiver. Associated Music Publishers, Inc., 1955. 11 min., 30 sec. E to c 2• D7. Tenor & Bass. Straight Mute. Flutter/Glissandi. R18,23,25.

Dedication: Davis Shuman and Hunterdon County Art Center.

Anime/~/~ = 86/104 measures Tres MOdere/~/ ; = 86/84 measures Anime/;/~ = 86/104 measures Total: 292 measures

Although performed as a continuous one-movement piece, its three large sections function as three separate movements. The movements are entitled, Anime, Tres Modere, and Anime, in terenary form. The first and third movements use the same melodic material and are in a highly disjunct, non-diatonic intervallic style. The melodic 137

construction is phrase oriented, but the phrases are not always clearly defined because of the disjunct nature of the intervallic style. The middle section is quite slow and long because of the slow rhythmic motion. The two strong features of this work are its audience appeal and the technical challenge it presents to the trombonist. Written with string accompaniment. the parts are available from Robert King Music Company. The specific instrumen tation of the accompanying string orchestra is as follows:

violin I and II violoncello viola double bass

*MISSA, Edmond Jean Louis. (1861-1910). Morceau de Concours. Evette et Schaeffer/Alphonse Leduc, 1904/1959. 3 min., 30 sec. BP to c 2• D7+. Bass & Tenor.

Dedication: Louis Allard. 4 Moderato Ben Marcato/ /13 measures 4 Plus Lent et Expressif/t/22 measures 2 Allegretto/ /30 measures 4 Plus Lent et Expressif/t/20 measures

Total: 85 measures

This was the Paris Conservatory contest piece for 1904.

MOREL, Florentin. (1926- ). Piece en Fa Mineur. Editions Billaudot, 1933. 5 min. G~ to c2 • D5. Tenor & Bass. Lip Trills. R15,26.

Dedication: Morceau Impose au Grand Concours International de Solistes de Lille (1933).

Allegro Deciso/~/25 measures Allegro Moderato/9 /45 measures 8 Andante/~/37 measures Allegro Deciso/~/33 measures

Total: 140 measures 138

MULLER, J. P. Concertino~Op. 6. J. Maurer Editions Musicales, 1957. 2 min., 30 sec. Er{D) to db 2• D7. Bass & Treble.

GiOCOSO/:/ J= 120/36 measures sostenuto/if J = ~ /20 measures Tempo 1/:/ J = 120/32 measures Total: 88 measures

MULLER, J. P. Concerto Minute~ Op. 4. J. Maurer Editions Musicales, 1960.

NIVERD, Lucien. (1879-1967). Chant MeZancoZique. Editions Billaudot.

Dedication: Six Petites Pieces de Style - No.5.

NIVERD, Lucien. (1879-1967). CompZainte. Editions Billaudot. 1 min., 10 sec. E to b. D3. Bass.

Dedication: Six Petites Pieces de Style - No.3. Andantino/~/ ; = 80/33 measures

NIVERD, Lucien. (1879-1967). Historiette Dramatique. Editions Billaudot. 1 min., 10 sec. F to d1• D3. Bass.

Dedication: Six Petites Pieces de Style - No.4. '4 I Modere, Melancoli ue/ / _ = 76/24 measures Q 4

NlVERD, Lucien. (1879-1967). Hymne. Editions Billaudot.

Dedication: Six Petites Pieces de Style - No.1.

NlVERD, Lucien. (1879-1967). Legende. Editions Billaudot. 1 min., 10 sec. E to gil. D3.

Assez Lent/:/ J = 46/12 measures Largement/4 /8 measures 4 Total: 20 measures 139

N1VERD, Lucien. (1879-1967). Romance SentimentaZe. Editions Billaudot. 1 min., 45 sec. G to c1• D3. Bass.

Dedication: Six Petites Pieces de Style - No.2.

MOderato/:/ ; = 76/36 measures

N1VERD, Lucien. (1879-1967). Saherzetto. Editions Billaudot. 45 sec. A to eb 1• D3. Bass.

Dedication: Six Petites Pieces de Style - No.6.

Vif et Leger/t/ J = 200/48 measures

N1VERD, Raymond. (1922- ). Maestoso et Saherzando. Georges Delrieu & CIE, 1969. 5 min. E to d~2(e2). DB. Tenor & Bass.

Dedication: Maffei, Professeur au Conservatoire de Troyes. 2 I. Maestoso/ /73 measures 2 3 II. Scherzando/ /52 measures 4 Plus Lent/3 /35 measures 4 Tempo 1°/3/20 measures 4 Total: 180 measures

*NUX, Paul V. de lao (1853-1928). SoZo de Concours (Concert Pieae). Evette et Schaeffer/Alphonse Leduc/Southern Music Co., 1903/1961. 5 min. G to b~l. D6+. Bass. Cadenza/ Lip Trills. R7,14,21.

Andante/4/514 measures Allegro/~/ J.= 60/16 measures /~/ J. = 72/44 measures Total: 111 measures

This was the Paris Conservatory contest piece for 1900 and again in 1919. This solo contains the typical slow legato section followed by a fast articulated portion. A band accompaniment is available from Carl Fischer, Inc. 140

PARES~ Gabriel. (1860-1934). Grepusaule. Editions Billaudot/ Belwin-Mills. 2 min., 15 sec. c~ to gpl. D4. Bass.

MOderato/:i68 measures

PASCAL, Claude. (1921- ). Improvisation en Forme de Canon. Editions Durand & CIE, 1959.

*PASCAL, Claude. (1921- ). Pastora~e Heroi~ue. Editions Durand & CIE, 1952. 5 min. BPI to cf. D5. Tenor & Bass. Cadenza.

Dedication: Andre LaFosse, Professeur au Conservatoire National de Husique. Allant/~/ J = 126/312 measures This was the Paris Conservatory contest piece for 1952.

PASCAL, Claude. (1921- ). Sonate. Editions Durand & CIE, 1958. 6 min., 30 sec. Fl to b 1• Tenor & Bass.

PERRIN, Jean. (1920- ). Introduction et Allegro. Editions Billaudot.

*PFEIFFER, Georges-Jean. (1835-1908). SoZo de Trombone. Southern Music Company, 1941. 7 min. F to c 2• D6. Tenor & Bass. Trills. Cadenza.

Dedication: U. S .A. School }lusic Competition-Festivals.

Adagio/:/66 measures Allegro Eroico/~/102 measures

Total: 168 measures

This was the Paris Conservatory contest piece for 1899 and again in 1906. The work, in two large parts, begins with a series of adagio sections, incorporating recitative like cadenzas at the beginning and end of the first part. The fast section begins with an articulated technical passage, followed by a short expressive phrase. Following a cadenza, a final statement of the fast theme and a short coda complete the piece. A band trenscription of the piano accompaniment, made by Lee Hope, is available from the music department at the University of Notre Dame. 141

PICHAUREAU Claude. Marine. Editions Rideau Rouge, 1969. 8 min. Bb r to ~2. D7. Tenor & Bass. Plunger/Harmon/Velvet Mutes. Quarter Tones/Trills/Glissandi.

This solo is accompanied by violin and piano. The work is sectional, harmonically tertian oriented, with chromaticism and an abundance of thirteenth chords. The texture is contrapuntal with frequent meter changes being employed throughout. Proportional notation is employed in some sections of the work.

POOT, Marcel. (1901- ). Etude de Conaert. Alphonse Leduc, 1958. 3 min., 30 sec. F to g. D6+. Tenor & Bass. 4 3 2 ., Andante/4 '4'4/ ,= 72/17 measures Allegro Deciso/;,~/ d = 126/116 measures Andante/!I J = 72/9·measures Allegro/~,~/ J = 126/18 measures Total: 160 measures

POOT, Marcel. (1901- ). Impromptu. Edition Andel Vitgave/ Editions Max Eschig, 1933. 4 min. G to b1• D6. Tenor & Bass.

PORRET, Julien. (1896- .). Conaerti~ No.7. Editions Billaudot, 1950. 5 min., 30 sec. Bb to £#1. D3. Bass.

Dedication: Rene Dhaene, Profeb=~l..!!" ::m Conservatoire de Lille.

Andantino Sans Lenteur/!/41 measures Dolce e Poco Piu Lento/!/45 measures

Total: 86 measures

PORRET, Julien. (1896- ). Conaertino No. X. Editions Billaudot, 1950. 5 min., 30 sec. A to ale D4. Bass.

Dedication: Louis Delforge, Professeur au Conservatoire de Tours 142

Moderato e Energicamente/!/32 measures Andantino semplice/~,!/76 measures

Total: 108 measures

PORRET, Julien. (1896- ). Concept No. 23. Editions Billaudot.

PORRET, Julien. (1896- ). Conceptino No. 24. Editions Billaudot.

PORRET, Julien. (1896- ). Six Esquisses. M. Baron Company, 1935. 10 min., 40 sec. E to all. D7. Bass & Tenor. R19.

Dedication: Baron, Musique de Chambre No.3. I. Andantino/~!.J.= 60/42 measures II. Andantino, DOlce/t/ J = 60/52 measures I III. Andantino, Dolce e Con Espressionei~/ ,-= 63/26 measures IV. MOderato/~/ J. = 88/42 measures V. Andantino/4/ J = 60/33 measures VI. MOderato/:,~/) 96/36 measures Total: 231 measures

PORRET, Julien. (1896- .). SoZo de Concoups No. 15. Vitgave Molenaar N.V., 1963. 2 min., 50 sec. c to e1. D2. Bass.

Dedication: Pierre Ambach, Soliste au Theatre et Professeur au Conservatoire National de Musique de Besancon.

Moderato/4 /65 measures 4

PORRET, Julien. (1896- ). SoZo de Concoups No. 16. Vitgave Molenaar N.V., 1964. 5 min., 45 sec. F to gl. D3. Bass. Allegro MOderato/t/ ~ = 120/70 measures Allegro MOderato/~/ :J = 76/18 measures Andantino/t/ J = 72/36 measures Andantinod/ J= 120/43 measures Total: 167 measures 143

PORRET, Julien. (1896- ). SoZo de Concours No. 2.9. Vitgave MOlenaar N.V., 1964. 5 min. c to gl. D3. Bass.

Dedication: Pierre Goigou, Professeur au Conservatoire de Musique de Rennes.

Andantino semPlice/:/100 measures

PORRET, Julien. (1896- ). SoZo de Conaours No. 30. Vitgave Molenaar N.V., 1964. 6 min., 45 sec. BpI to d1• D4. Bass. Cadenza.

Dedication: Henri Dupart, Professeur au Conservatoire, Soliste au Grand Theatre de Bo.:deaux. Allegretto/:/ J= 88/18 measures Lento/~/.J8= 50/57 measures Alleg=etto/;/,J.= 96/120 measures

Total: 195 measures

PORRET, Julien. (1896- ). SoZo de Conaours Ro. 31. Vitgave Molenaar N.V., 1966. 4 min., 45 sec. c to fl. D3. Bass.

Dedication: Robert Bouffier, Professeur au Conservatoire de Musique de Toulon.

MOderatoi:/52 measures Poco Piu Lento/:/20 measures Moderato/4 /25 measures 4 Total: 97 measures

PORRET, Julien. (1896- ). SoZo de Conaours No. 32. Vitgave Molenaar N.V., 1966. 5 min., 45 sec. A to ap1. D4. Bass.

Dedication: Henri Borel, Professeur au Conservatoire National de Musique D'Arras. Allegretto/:/ J = 88/60 measures Andantino/:/ .J= 80/40 measures Allegretto/i/ ) = 88/22 measures

Total: 122 measures 144

RASSE, Francois. (1873-1955). Concertino. Ev~tte et Schaeffer/ Alphonse Leduc, 1921. 8 min. A~1 to bl'l. D5. Bass.

Dedication: Morceau de Concours du Conservatoire de Bruxelles. 4 Moderato/4 Andantino/2 Cantabile/~ Allegro Deciso/~

This work consists of four connected sections, all of which are through-composed. The intervallic style used through out is non-diatonic, often outlining chords, while the melodies are constructed in- phrases which are not disjunct. The orchestral accompaniment parts are available from the Fleisher Collection, Catalog #748m. The instrumentation of the accompaniment is as follows:

two flutes two horns two oboes two trumpets two clarinets timpani two bassoons strings

REICHEL, Bernard. (1901- ) . Choral 3 Canon I & II. Editions Billaudot, 1973. D3.

REUTTER, Hermann. (1900- ) . Etude Polyphonique. Alphonse Leduc. D4+.

REUTTER, Hermann. (1900- ) • Ostinato. Alphonse Leduc, 1957. 3 min. F to db l • D3+. Bass. Poco Grave/t/ J= 60/60 measures

*RIEUNIER, Jean-Paul. (1933- ). Silences. Alphonse Leduc, 1976. 8 min. A,l to f2. D8+. Bass & Treble. Plunger Mute. Multiphonics/Quarter Tones/Glissandi.

Dedication: Gerard Pichaureau. (Circa)/:/ J= 60 This was the Paris Conservatory contest piece for 1976. It is an expressive piece requiring a sensitive performance to bring out the contrast of material. This piece utilizes 145 many of the new music devices for trombone in a most cohesive way, with the materials flowing together smoothly. It will require an experienced player who has had some experience with this idiom, multiphonics in particular. This is the first contest piece to employ the technique of multiphonics. It is notably late when comparing it to the compositions of Berio, Alsi~a, and Globokar; which used th~ technique in the mid-1960's.

RIVIERE, Jean-Pierre. (1929- ). Burlesque. Alphonse Leduc, 1958. D7+.

ROBERT, Jacques. Air Noble. Editions Billaudot, 1970. 2 min. Bb to fl. D2+. Bass.

Dedication: Prix de Composition de la Confederation Musicale de France 1970. Allegretto/i/ J = 104-108/20 measures Un Poco Piu MOSSO/~/ J= 116/47 measures Allegretto/!/ J = 104-108/11 measures Total: 78 measures

ROCHE, G. L'Olympienne. Rene Margueritat, ca. 1886.

ROPARTZ, J. Guy. (1864-1955). Andante et Allegro. Carl Fischer, ,- ,I,nc. 5 min. 'A~ to a 1• Bass. R7.

*ROPARTZ, J. Guy. (1864-1955). Piece en Mi BernoZ (E FZat Minor). Alphonse Leduc/International ~usic Co./Belwin-Mills, 1908/ 1953. 8 min. F to c2 (ep2). D6+. Tenor. Lip Trill. R32. Lento/!/ J= 56/48 measures Allegro/i/ ; = 132/118 measures

Total: 166 measures

This was the Paris Conservatory contest piece for 1908. The work contains two connected sections, marked Lento and AlZegro. The intervallic style of the composition is non-diatonic and the melodies are constructed in phrases. There is little contrapuntal writing with the accompaniment generally involving ostinato rhythmic patterns. Only the 146 orchestral score is available from the Fleischer Collection, Catalog #747m. The instrumentation of the accompaniment is as fJllows:

two flutes four horns two oboes two trumpets two clarinets timpani two bassoons strings

ROUGERON, Philippe. Pieae en Fa. Editions Billaudot, 1978. 3 min. F co Fl. D3. Bass.

*ROUSSEAU, Samuel-Alexandre. (1853-1904). Pieae Conaertante. Heugel et CIE/Carl Fischer, Inc. s ca. 1898/1938. 5 min., 30 sec. Ft to c2• D6. Bass. Cadenza. R15,21. Allegro MOderato/~/86 measures Larghetto/3 /42 measures 4 Allegro MOderato/~/52 measures

Total: 180 measures

This was the Paris Conservatory contest piece for the years 1898, 1918, and 1926 •

*RUEFF, Jeanine. (1922- .) . Rh.a~sodie . Alphonse Leduc, 1962. 7 min., 10 sec. B,l to d~. D8+. Tenor & Bass. Cadenza.

Quasi Recitativo/g/23 meefures Lento Expressivo/i,~,:/ .J.= 92/31 measures Allegretto SCherzando/~/:J.= 66/110 measures Allegro Energico/~,g/ ~ = 104/76 measures Presto/~/44 measures Total: 284 measures

This was the Paris Conservatory contest piece for 1962.

*SAINT-SAENS, Camille. (1835-1921). Cavatine~ Op. 144. Editions Durand & ClE, 1915. 5 min. ApI to d;2. D6. Tenor & Bass. R32. 147 3 A1legro/4/70 measures Andantino/t/52 measures A1legro/~/98 measures Total: 220 measures

This was the Paris Conservatory contest piece for 1922.

*SALZEoO, Carlos. (1885-1961). Pieee Concertante~ Op. 27. Alphonse Leduc/International Music Co., 1958/n.d. 6 min., 10 sec. c to c2• D7+. Tenor. Straight Mute. R17,32,34.

Largo/~/ ) = 96/34 measures Piu ViVO/~/ J= 168/40 measures Molto Piu Lento/~/ .J = 168/28 measures Piu Vivo/Z/ ~.= 72/72 measures /%/ J.= 138/41 measures Total: 215 measures

This was the Paris Conservatory contest piece for 1910. This is one of the few compositions of Salzedo that does not include a harp. The main theme, Largo is stated by the trombone after a short piano introduction. Upon its immediate return, the second measure of the theme under goes a rhythmic variation which later becomes the principal motive of the following Piu Vivo section. The Piu Vivo ends abruptly and the opening section returns MoZto Piu Lento, the trombone now muted. The second Piu Vivo leads to a true virtuosic ending.

SCIORTINO, Patrice. (1922- ) . Ergies (A Paraitre). Editions Billaudot. D5+.

*SELMER-COLLERY, Jules. (1902~ ). Fantaisie Lyrique. Editions Max Eschig, 1960. 7 min. BpI to 012• D6. Tenor & Bass. Robinson Mute. Cadenza.

Dedication: Andre LaFosse.

Tempo Guisto Tempo Piu Lento Tempo Guisto Vivo-Coda 148

This was the Paris Conservatory contest piece for 1960. The one-movement solo begins with a long unaccompanied cadenza in a free, improvisatory style. The composer has created themes that sound rhyt~~cally free and improvisatory by mixing duple and triple rhythmic figures together, and incorporating them with a smooth melodic style.

SENON, Gilles. (1932- ). Ambiances. Editions Billaudot. D6+.

SENON, Gilles. (1932- ). Chevauahee. Editions Billaudot, 1977. 2 min., 15 sec. E to gl. D3+. Bass. 6 2 9 \ 104/73 measures Allegretto/8 '4'8/ ~ = This short piece utilizes a mixture of quartal and triadic harmonies. There are numerous passages of a fanfare-like nature with a moderate amount of chromaticism and disjunct intervals.

SENON, Gilles. (1932- ). MeZodie. Editions Billaudot, 1977. 2 min., 20 sec. G to apl. D3+. Bass. 4 2 \ Andan:e/4'4/ ~ = 66/39 measures

SENON. Gilles. (1932- ). Friere. Editions Billaudot. D6+. Rll.

This work is unusual in that the accompaniment is written for the organ, as opposed to the traditional piano accompaniment.

SIGNARD, Pierre (ed.)/Gioacchino Rossini. (1829-1901). Air de Pharaon Dans "Moise". Millereau, ca. 1885.

This work is edited for use by the valve trombone.

*SPISAK, Michel. (1914-1965). Concertino. Alphonse Leduc, 1951. 10 min. BpI to d2• D8+. Tenor & Bass. Straight Mute. Cadenza.

Allegro MOderato/Z/ ) = 96-100 Andante TranqUillo/~/ )= 72 Allegro MOderato/ZI J = 96-100 149

This was the Paris Conservatory contest piece for 1951. It is a one movement work structured into an ABA formal pattern. The work begins with a fast section which exploits the performer's tecr~ical facility. The B section utilizes materials from the beginning, but with a much slower smoother style. The fast A section returns, and following a short coda, the solo ends. The soloist can ease some of the difficulty of this solo by using a trombone with an F attachment. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

flute trumpet oboe tuba clarinet two timpani bassoon strings horn

*STOJOWSKI, Sigismond. (1869-1946). Fantaisie. Evette et Schaeffer/ International/Alphonse Leduc, 1905/1972/1953. 6 min. Bb1 to b~l. D7+. Tenor & Bass.

Allegro Risoluto Poco Maestoso/4 /25 measures 4 Lento/4 /39 measures 4 4 Tempo 1/4/62 measures

Total: 126 measures

This was the Paris Conservatory contest piece in 1905 and again in 1914.

TAMBA, Akira. Fantaisie. Alphonse Leduc, 1965. D4+.

TISNE, Antoine. (1932- ). EZegie et BurZesque~ Op. 32. Alphonse Leduc, 1965. D3+.

*TOMASI, Henri. (1901-1971). Concerto. Alphonse Leduc, 1956. 14 min. F to d2• D8+. Tenor & Bass. Straight/Cup Mutes. Cadenza. I. Andante et Scherzo-Valse J Lento Assai Rubato/1l,~,~/ .= 54/66 measures Allegro/f/ d= 80/4 measures 150 Tempo di valse/~ / J.= 60/158 measures o 12 3 9 6 I Tempo I / 8 '4'8'8/ _.= 54/5 measures Subtotal: 233 measures

II. Nocturne 4 3 5 2 I . Andante/4 '4'4'4/ .. = 60/36 measures Tempo di Blues/:,~,~/28 measures 4 Lent/ / 52/10 measures 4 J= Subtotal: 74 measures III. Tambour in J Allegro GiOCOSO/:,~,~/ = 144/161 measures

Total: 468 measures

This was the Paris Conservatory contest piece in 1956. The work is in three movements, and reflects a strong Impressionistic influence through its melodic and harmonic organization. The first movement is composed in two connected sections and is through-composed, except for a five measure restatement of the opening theme at the end. The second movement, with a slow tempo involving several short sections, is in ternary form. A tempo di blues section, similar to some of Gershwin's writing, appears near the end of this movement. The third movement, in a quasi-rondo form, consists of a fast movement in an articulated style. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

two flutes percussion two oboes celesta two clarinets vibraphone two bassoons xylophone two horns harp two trumpets strings two timpani

TO¥~SI, Henri. (1901-1971). Danse Saaree. Alphonse Leduc, 1960. 3 min. (11 min., 30 sec. total). G to apl. D5. Bass & Treble. 151

Lent/~,~,l/ J= 52/17 measures 4 2 3 3 J Con Moto/4 '4'4'8/ = 60/16 measures Tempo I (Lent)/t,~,~,~/ J= 52/9 measures Total: 42 measures

This work represents one part of a collection of pieces entitled Cinq Danses Profanes et Sacrees (Five Secular and Ritual Dances. The five pieces for examination and per formance represent five levels of difficulty that correspond to the five years of study, according to the programs of the Paris Conservatory and High Schools of }1usic in France. The solo for the trombone represents the third level:

I. Danse Agreste (Rustic Dance) - for oboe II. Danse Profane (Secular Danae) - for horn in F III. Danse Sacree (Ritual Dance) - for trombone IV. Danse Nuptiale (Bridal Dance) - for clarinet V. Danse Guerriere (War Dance) - for bassoon

Although the solo requires only a limited amount of technical facility and range, a mature and sensitive musician is needed for an effective performance of this piece. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The'instrumentation of the accompaniment is as follows:

piano percussion three timpani strings (minimum of 6-5-4-3-3)

TOULON, Jacques. Collection Enfants - Decide. Robert 14artin Editions Musicales, 1978.

TOULON, Jacques. Collection Enfants - Enfant de Choeur. Robert Martin Editions Musicales, 1978.

TOULON, ~acques. Collection Enfants - Gai. Robert Martin Editions Musicales, 1978.

TOULON, Jacques. Collection Enfants - Reveur. Robert Martin Editions Musicales, 1978. 152 TOULON, Jacques. CoZZeation Enfants - Triste. Robert Martin Editions Musicales, 1978.

*TOURNEMIRE, Charles. (1870-1939). Legende. Alphonse Leduc, 1920. 2 min. B~1 to c2• D7+. Tenor & Bass. Straight Mute. Lip Trills.

Dedication: Henri Couillaud. Assez Largement/ii J= 54i12 measures Retenez/i/ ) = 88/4 measures Allegro Moderato/:/ J = 108/12 measures Meno/:' .1 = 96/16 measures Assez Lar%ement/:,~/ J = 54/14 measures Plus Vif/ / 80/12 measures 4 J = Total: 70 measures

This was the Paris Conservatory contest piece for 1930.

TOURNIER, Franz. (1923- ). Aereme. Editions Rideau Rouge, 1968. 5 min., 15 sec. Al to c2• Tenor & Bass. Cadenza.

Dedication: Solo de Concours.

Con Espressione/6 / .",~= 126/47 measures 8 GiOCOSO/¢ / J = 100/136 measures Total: 183 measures

UGA, Pierre. Promenade. Editions Billaudot, 1978. D3+.

VACHEY, Henri. TWo InterZudes. Alphonse Leduc, 1966. D4+.

WEINER, Stanley. (1925- ). Phantasy~ Op. 42. Editions Billaudot, 1973. D7.

WURMSER, Lucien. (1877-1967). BoZo de Concours. Editions Andrieu, 1955. 3 min., 30 sec. G to fl. D4. Bass.

Dedication: Fernand Anne, President Fon Stes }Ues de Normandie. 153 4 Largement/ /16 measures 4 Allegro/4 /7 measures 4 Andantino/i/23 measures 2 Allegro/4 /39 measures Total: 85 measures

WURMSER, Lucien. (1877-1967). Tendres Me~odies. Editions Andrieu, 1956. 2 min. F to F1 D3. Bass.

Dedication: Andrien Maltete, President de la Federation des Societies Musicales du Sud-Ouest.

A - Lent/3 /24 measures 4 4 B - Andante/ /16 measures 4 Total: 40 measures

VALLIER, Jacques. (1922- ). Aria. Editions Rideau Rouge, 1969. 2 min. F to gl. D4. Bass.

Dedication: Gerard Pichaureau. Andantino/~/ ~= 72-76/30 measures Allegretto/Z/ ) = 96-100/41 measures

Total: 71 measures

VALLIER, Jacques. (1922- ). Fantaisie. Editions Choudens.

*VIDAL, Paul. (1863-1931). So~o de Concert No.2. Girod/Alphonse Leduc, ca. 1897/1921. 5 min., 30 sec. G to c2• D7+. Tenor & Bass. Allegro/~/ ; = 126 Andante/~/ J. = 56 Allegro MOderato/!/ J= 126 This was the Paris Conservatory contest piece for 1897. This is a one movement work which contains three connected sec~ions, forming an ABA pattern. Although the tempo indications change at the section points, a cantabile style remains constant through the entire solo. There are no 154

unusual rhythmic complexities, and the indicated tempi create no unusual technical difficulties. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

two flutes tT"'o horns two oboes two trumpets two, clarinets two timpani two bassoon"s strings

VILLETTE, Pierre. Fantaisie Concertante. Alphonse Leduc, 1962. 5 min., 30 sec. G to c 2 • D8+. Tenor & Bass. Straight Mute. Cadenza.

Dedication: Paul Bernard~ Professor at the Conservatoire National Superieur de Musique.

Andante (Quasi Adagio)/:/ J = 58-60/13 measures 4 3 2 I Un Peu Plus Allant (Andante)/4'4'4/ ~= 63/20 measures Plus Lent (AdagiO)/:,~/7 measures Vivace/:,~,~/ J = 126/24 measures Cantando/~,~/7 measures \ Andante (Quasi Adagio)/:/ .= 58-60/6 measures Vivace/:/ J= 126-132/20 measures Total: 140 measures

This piece was originally composed for the bass trombone, but it is annotated here since it can also be played effectively on a tenor trombone. The solo, comprised of several short, contrasting sections, falls into two large parts, slow and fast. The slow section is completely in legato and expressive style, while the fast section begins and ends in a march-like manner. The orchestral accompani ment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

flute trumpet obo2 percussion clarinet harp bassoon strings horn 155

*WEBER, Alain. 0930- ). Concerto. Alphonse Leduc, 1964/1968. 17 min. Btl to d2. D8+. Tenor & Bass. Straight Mute. Flutter-Tonguing/Glissandi/Lip Trills.

I. Allegro II. Lento III. Allegro

The first movement of this work, entitled AZZegro, was the Paris Conservatory contest piece for 1964. This work contains three movements, and shows characteristics which are different from most twentieth-century solos of the "French School". An atonal harmonic organization and a melodic organization based on a major seventh and a tritone are some of the characteristics. The orchestral accompaniment parts are available on rental from Alphonse Leduc. The instrumentation of the accompaniment is as follows:

two flutes (second doubling piccolo) two trumpets two oboes two trombones two clarinets tuba two bassoons percussion contrabassoon strings two horns

ZBAR, Michel. Contaats. Heugel et Cie, 1973. Varies. ~1 to :1. Bass. Plunger Mute. Glissandi/Flutter-Tonguing/lndefiniLe Pitch Placement. .

Dedication: Commissioned by the National School of Music in Boulogne.

This work exists on a single enlarged page, 48 inches long and 38 inches wide. The general compositional style is in the new music idiom. Its appearance is much like a road map in that frames, containing musical passages, are reached by following various paths. At the top and bottom of the score are staves which contain music with which the piece may begin and end, with the boxes being situated between the two. 156 Discography

The procedure for the completion of this portion of the project began with the compilation of a list of the author's own records and of records available within local libraries in order to establish what information should b~ included in the listing of the recordings.

Also consulted was the dissertation of Edward R. Bahr entitled

A Discography of Classical Trombone/Euphonium Solo and Ensemble Music on Long-Playing Records Distributed in the United States. completed at the University of Oklahoma in 1980. Specific elements necessary to make this discography as complete as possible. and also usable to the trombonist had to be determined. The data pertinent to this discography include:

1) Album Title Example: Le Trombone Francais

2) Primary Performer Exaruple; Barron. Ronald

3) Other Personnel Example: Fredrik Wanger, piano

4) Physical Description--Number of Sides, Record Size. Mono/Stereo/Quadraphonic Example: 2s-12" stereo

5) Playing Speed Example: 33-1/3 rpm

6) Manufacturer's Name Example: Boston Brass

7) Issue Number Example: BB 1001

8) Composer Example: Boutry. Roger

9) Composition Title Example: Cappriaio for Trombone and Piano 157

It is important that the discography "indicates, identifies and organizes,,119 the information in the clearest possible way.

Unfortunately, since the initial production of long-playing records, record companies have not been required to publish the date of recording or date of release. Because these can easily differ to a degree and in most instances are not obtainable, this information is not included in the listings in this discography. It should be noted that the playing speed is not going to be specified since each listing is a

33-1/3 rpm long-playing record.

Since recordings by individual performers or ensembles are often anthologies containing compositions by several different composers, the main listing of this discography occurs in alphabetical order according to the album title. The performer's or ensemble's name, other soloists or ensembles, the accompanist's name or the name of the accompanying ensemble, the ensemble conductor's name, and the number of sides, record size, record label and number, and mono, stereo, or quadrophonic designation are followed by the composer's name and the title of the composition recorded. In listings of recordings by trombone ensembles, performers within the ensembles are listed according to the first trombone player's name when specified and listed alphabetically when not specified. For clarity and consistency each of the main entries is assembled in the following structure:120

119Ba h r, p. 20.

120Ba h r, pp. 21-22. 158 Album title Soloist's name/instrument(s) Additional soloist's name/instrument(s) Soloist(s) on other instruments Accompanist (s)/instrument(s) Conductor (Commentary) Ensemble title Ensemble players' names/instrument(s) Ensemble(s) of other instrumentation Accompanist (s)/instrument (s) Conductor (Commentary) Number of sides/record size/record label(s)/record number(s)/ mono-stereo-quadrophonic

Composer/arranger: Composition title

**for compositions for other instruments or voice (solo or ensemble)

The follovling is an example of a recording listed in this structure:

Music for Trombone and Piano--}linus One--Laureate Series Contest Solos--P~vanced Level Friedman, Jay,. trombone Harriet Wingreen, piano 2s-12" Husic i-linus One ~10 8058, stereo

Corelli, Arcangelo/Allen Ostrander: "Sonata in G minoT'~ Op. 5~ No. 5 from the Twelve Sonatas for Violin and Basso continuo--second movement - "Adagio", third movement - "Allegro" Nux, P. V. de la: Solo de ConaoUT'S for Trombone and Piano Rousseau, Samuel: Piece Conaertante for Trombone and Piano 159 Recordings

1. Christer Torge - Trombone Torge, Christer, trombone Hans Fagius, organ 2s-12" BIS LP 138, stereo

Vivaldi: Sonata No. 1 for Trombone and Basso Continuo C. M. von Weber: Romanze Appassionata Guide, Richard de: Les Caracteres du Trombone Nilsson, Thursten: Concertino per Trombone ed Organa

2. College Band Directors National Association - Fifteenth National Conference - 1969 Young, Raymond G., euphonium The University of Southern l1ississippi Symphonic Band Marian Nowakowski, bass soloist Alan H. Drake, conductor

2s-12" Silver Crest Records CBD-69-4, stereo

Barat, J./Joe Berryman: Piece en Mi Bemot for Tenor Trombone **Gossec, Fran~ois Joseph: Ctassic OVerture in C major **Hanson, Howard/Norman Goldberg: Symphony No. 2~ Op. 30~ "Romantic" - second movement **Mozart, Wolfgang Amadeus/Alan H. Drake: "In deisen heil' gen Hallen" from The Magic FZute~ K. 620 **Mussorgsky, Modest/Erik Leidzen: "Coronation Scene" from Boris Godunav **Tubb, Monte: Concert Pieces for Band **White, Donald: Ambrosian Hwrm Variants

3. Concert Works and Orchestral Excerpts from Wagner, Berlioz, }1ahler and more! Chicago Symphony Trombone and Tuba Sections, The Friedman, Jay, solo trombone, tenor tuba Gilbertson, James, assistant first trombone Crisafulli, Frank, second trombone Kleinhammer, Edward, bass trombone Jacobs, Arnold, tuba 2s-12" Educational Brass Recordings EBR 1000, stereo

Berlioz, Hector: "Rakoczy (Hungarian) March" from the Damnation of Faust~ Gp. 24 (excerpt) Bozza, Eugene: Trois Pi~ces for Trombone Quartet Brahms, Johannes/Richard Fote: ChoraZe PreZude~ Gp. 122~ No.8, "Es ist ein Ros' entsprungen" Bruckner, Anton: Symphony No. 4 in E-fZat major, "Romantic" (excerpts from first movement) 160

Bruckner, Anton: Symphony No. 8 in C minor (excerpts from fourth movement) Gliete, Reinhold: Symphony No. :5~ Op. 42, "Ilya Mourometz" (excerpts from first movement) Holst, Gustav: "Mars" from The PZanets (excerpt including tenor tuba) Kraines: Cho!'aZe Va!'iations, "Jesu meine Freude" Mahler, Gustav: Symphony No.2 in C mirza!', "Resurrection" (excerpt from fifth movement) }Iahler, Gustav: Symphony No. :5 in D mino!' (excerpt from first movement) Smetana, Bedrich: "Moldau" from Ma VZast (excerpt) Tchaikovsky, Peter Ilyitch: 1812 OVe!'ture~ Op. 49 (excerpt) Tchaikovsky, Peter Ilyitch: Symphony No. 6 in B minor~ Op. 74, "Pathetique" (excerpt from fourth movement) Tomasi, Henri: Et!'e OU ne pas Et!'e! (Monologue D'Hamlet) for Bass Trombone and Three Trombones (tuba and three trombones) Verdi, Giuseppe: Nabucao OVe!'tura (excerpt) Wagner, Richard: "Magic Fire }lusic" from Die WaZku.re (excerpt) Wagner, Richard: "Prelude to Act III" of Lohengz'in (excerpt) Wagner, Richard: "Ride of the Valkyries" from Die WaZku.re (excerpt) Wagner, Richard: Tannhauser OVe!'ture (excerpt) Wagner, Richard: "Wotan's Farewell" from Die WaZkUre (excerpt)

4. Concertos, Volume II Rosin, Armin, trombone Weiner Kammerorchester Philippe Entremont, director 25-12" Telefunken 6.42532AW, stereo

Mozart: Conae!'to fo!' Trombone and O:r>ahestra in D Gouinguene: Conae!'to fo!' Teno!' T!'ombone and St!'ings in A Haydn: Conae!'to fo!' AZto T!'ombone and O:r>ahest!'a in D; Larghetto in F

5. Deutsche Posaunenkonzerte der Romantick Rosin, Armin, trombone Nuremburg Symphony Uri Segal, conductor 2s-12" Colosseum SM 559, stereo

David, Ferdinand: Conae!'tino in E-fZat majo!'~ Op. 4 for Trombone and Orchestra Grafe, Friedebald: G!'and Conae!'to in B-fZat majo!' for Trombone and Orchestra 161 Reiche, Eugen: Conaerto No. 2 in A major for Trombone and Orchestra--second movement - "Adagio" Sachze, Ernst: Concertino in B-fZat major for Trombone and Orchestra

6. Donald Knaub - Bass Trombone Knaub, Donald, bass trombone Barry Snyder, piano 2s-12" Golden Crest Records Recital Series RE 7070, stereo

Bach, Johann Sebastian/piano arrangement by Snyder: "Gute Nacht, du Weltgetummel" from Cantata No. 27~ Wer weiss~ wie nahe mir sen Ende, BWV 27 Bach, Johann Sebastian/piano arrangement by Snyder: "H5llische Schlange, wird dir nicht bange?" from Cantata No. 40~ Dazu ist ersahienen der Sohn GOttes~ BWV 40 Bach, Johann Sebastian/piano arrangement by Snyder: "~Ierke, mein Herze, bestandig nur dies" from Cantata No. 145~ So du mit deinen Nunde bekennest Jesun, BWV 145 Bach, Johann Sebastian/Robert YJarstaller: "Sarabande" from Suite No. IV in E-fZat major for VioZonaeZZo, BWV 1010 Defay, Jean-Michel/Donald Knaub: Deux Danses for Trombone and Piano ("Danse Saaree et Danse Profane") Galliard, Johann Ernst/John Clark: "Sonata No. I" from Six Sonatas for the Bassoon or Violoncello with a thorough-bass for the Harpsichord White, Donald: Tetra Ergon (four pieces for bass trombone and piano)

7. Euphonium Recital Young, Raymond G., euphonium . Mrs. Raymond Young, piano 2s-12" Raymond G. Young--Personally released recording Century 17647 (?), stereo

Barat, J. Ed.: Introduation et Danse Barat, J. Ed.: Andante et Saherzo Cords, G.: Rom.znze Nux, P. V. de la: SoZo de Concours for Trombone and Piano Ropartz, Joseph Guy: Andante and AZZegro Rossini, Gioacchino/anonymous: "Largo al Factotum" from The Barber of SeviZZe Shepherd, W.: Noaturne and RondoZette 162

8. Euphonium Solos Dart, Fred M., euphonium Gertrude Kuehefuhs, piano OMEA Contest List Recordings 2s-l2" Coronet Recording Company COR 1054 (SR4M-7275/7276), mono

Bakaleinikoff, Vladimir: Meditation Cords: Concert Fantasie

Guilmant, Alexandre: Morceau Symphonique 3 Op. 88 for Trombone and Piano Haydn, Franz Joseph/anonymous: "Adagio" from Concerto

No. 2 in D major3 Op. 101, for Cello and Orchestra Klengel, Julius: Concertino No. 1 Rossini, Gioacchino/anonymous: "Largo al Factotum" from The Barber of SeviZZe Semler-Collery, Jules: BarcaroZZe et Chanson Bachique for Bass Trombone and Piano Takacs, J.: Sonata

9. First Choir Encores, Volume 1 Smith, Henry Charles, trombone Philadelphia Orchestra Gilbert Johnson, trumpet Mason Jones, horn Anshel Brusilov, violin Carlton Cooley, viola Lorne Munroe, cello Roger Scott, bass Eugene Ormandy, conductor 2s-12" Columbia ML 6191, mono Columbia MS 6791, stereo

**Cooley, Carlton: ~Aria and Dance for Viola and Orchestra

**Faure, .Gabriel: EZegie3 Op. 24, for Cello and Orchestra

Guilmant, Alexandre: Morceau Symphonique 3 Op. 88 for Trombone and Orchestra

**Riisager, Knudage: Concertino3 Op. 29 for Trumpet and Orchestra

**Saint-Saens, Camille: Morceau de Concert3 Op. 94 for Horn and Orchestra

**Sarasate, Pablo de: Introduction and TaranteZZe 3 Op. 43 for Violin and Orchestra **Vanhal, Jan Baptist/Roger Scott/William Smitb: Concerto in E major for Bass and Orchestra--first movement - "Allegro Moderato" 163 10. Frank Martin Rosin, Armin, trombone Chamber Orchestra of Lausanne Christiane Jaccottet, harpsichord Sebastian Benda, piano Frank Martin, conductor 2s-12" Candide CE 31065, stereo

**~~rtin, Frank: EaZZade for Piano and Orchestra (1939) Martin, Frank: EaZZade for Trombone and Orchestra (1940) **Martin, Frank: Concerto for Harpsichord and Small Orchestra (1951/1952)

11. Jean Douay, Trombone et Orgue Douay, Jean, trombone Chalo Saint-Mars, organ 2s-12" Corelia CC78030, stereo

Bach, J. S.: Erba:rm Dich, Herre Gott Cesare, Giovanni Martino: La Hieronyma Gouinguene, Christian: Concerto Senon, Gilles: Priere Shostakovich, Dimitri: Three PreZudes Vivaldi, Antonio: Sonata in E minor

12. John Kitzman, Trombone Kitzman, John, trombone Janice Kay .Hodges, piano 2s-12" Crystal Records S386, stereo

Creston, Paul: Fantasy Defaye, Jean-Michel: Deux Danses Hindemith, Paul: So'nata Pryor, Arthur: Air Varie

13. Leonard Falcone and His Baritone Falcone, Leonard, euphonium Joseph Evans, piano 2s-12" Golden Crest Records Recital Series RE 7001, mono

Bach, Johann Sebastian: "Bourree I" and "Bourree II" from Suite No. III in C major for Violoncello, BWV 1009 Clarke, Herbert L.: From the Shores of the Mighty Pacific DeLuca, Joseph: EeautifuZ CoZorado Guilmant, Alexandre: Morceau Symphonique, Gp. 88 for Trombone and Piano Ponce, Manuel: EstreZZita a~y LittZe Star) 164

Ravel, Maurice/anonymous: Piece en Forme de Habanera Senaille, J. B.: AZZegro Spiritoso Simons, Gardell: AtZantic Zephyrs

14. Leonard Falcone, Baritone, Volume III Falcone, Leonard, euphonium Joseph Evans, piano 2s-12" Golden Crest Records Recital Series RE 7036, stereo

Barat, J. Ed.: Andante et AZZegro for Trombone and Piano Bellstadt, Herman: Napoli Cools, Eugene: AZZegro de Concert DeLuca, Joseph: SentimentaZe (Danse Caprice) Donizetti, Gaetano/Russel Harvey: "Furtiva Lagrima Una" from Act II of L'EZisir d'Amore Haydn, Franz Joseph/Davis Shuman: "Adagio" from Concerto No. 2 in D major~ Gp. 101 for Cello and Orchestra Llwellyn, Edward: My Rega:1'ds Nux, P. V. de la: SoZo de ConcOU'1'S for Trombone and Piano

15. Lyric Trombone, The Cryder, Richard L., trombone Jane Cryder, piano 2s-12" Richard L. Cryder--Lawrence, Kansas/Potsdam, New York LT 1001, stereo

Barat, J. Ed.: Andante et AZZegro for Trombone and Piano Blazhevich, Vladislav: Concert Sketch No. 5 for Trombone and Piano Guilmant, Alexandre: Morceau Symphonique ~ Op. 88 for Trombone and Piano Hasse, Johann Adolph/Richard L. Cryder: "Ballamente" from SoZfeggi per Mezzo Soprano deZZa ScuoZa CZassica NapoZetana Marchesi, Mathilda/Richard L. Cryder: "Mestizia, La" from P'1'aaticaZ Method~ Pa'1't III Morel, Florentin: Piece en fa mineur for Trombone and Piano Porpora, Nicola/Richard L. Cryder: "Agilmente" from SoZfeggi per Mezzo Soprano deZZa SauoZa CZassica NapoZetana Rousseau, Samuel: Piece Conaertante for Trombone and Piano 165 16. H1dwest National Band and Orchestral Clinic - 1972 Peterson, }lichael, trombone Elbow Lake-Wendell High School Band, Elbow Lake, !olinnesota Justin Swenson, comments James D. Ployhar, Justin Swenson, Theodore W. Thorson, guest conductors; Gordon Peterson, conductor 4s-12" Silver Crest Records MID-72-9, stereo/quadrophonic

**Booth, H. L./Edgar Thiessen: Rambler Concert Marah3 The **Cacavas, John: Court of Henry VIII3 OVerture **Conley, Lloyd: FroehZiahe Weihnaahten **Dello Joio, Norman: Variants on a Medieval Tune **Elvey, George/Wayne Stevens: Crown Him With Many crowns Guilmant, Alexandre/Shepard: Moraeau Symphonique3 Op. 88 for Trombone and Band **Hubbell, Fred M.: Marah3 BaZZad and Beguine **}Iorrissey, John J.: OVerture AZZegro **Ployhar, James D.: Glorious Things of Thee are Spoken **Saint-Saens, Camille/Arthur Frackenpohl: Pas Redouble3 Op. 86 **Smith, John Stafford: National Anthem - The Star Spangled Banner **Walters, Harold L.: DutY3 Honor3 Country

17. M1les Anderson Plays His Slide Trombone Again Anderson, }liles, trombone Uriko Baley, piano Los Angeles Trombone Ensemble 2s-12" Crystal Records S385, stereo

Boutry, Roger: Cinq Pieaes a Quatre PoW' Quator de Trombones (1961) Casterede, Jacques: Sonatine Pour Trombone et Piano (1958) Chaynes, Charles: Impulsions Pour Trombone et Piano (1971) Defaye, Jean-Michel: Deux Danses PoW' Trombone (1954) Salzedo, Carlos: Pieae Concertante Pour Trombone et Piano (1958)

18. M11haud - The Four Seasons Suzan, Maurice, trombone Ensemble of the Concerts Lamoureux Jacqueline Bonneau, piano Joy Genevieve, piano Szymon Goldberg, violin Ernst Wallfisch, viola Darius Milhaud, conductor 166

2s-1211 Epic LC 3666, mono Epic BC 1069, stereo Philips 6504-111, stereo

**Milhaud, Darius: "Concertino d'Automne" for Two Pianos and Ensemble of Eight from Les Quatre Saisons **Milhaud, Darius: "Concertino d'Ete" for Solo Viola and Ensemble of Nine from Les Quatre Saisons Milhaud, Darius: "Concertino d'Hiver" for Trombone and String Orchestra from Les Quatre Saisons **Milhaud, Darius: "Concertino de Printemps" for Violin and Chamber Orchestra from Les Quatre Saisons

19. Music for Trombone and Piano--Music Minus One--Leureate Series Contest Solos--Advanced Level Brown, Keith, trombone Harriet Wingreen, piano 2s-12" }lusic 11inus One }1H0 8055, stereo

Galliard, Johann Ernest/Keith Brown: "Sonata No. I" from Six Sonatas for the Bassoon and Violoncello with a thorough-bass for the Harpsichord Guilmant, Alexandre: Moraeau Symphonique~ Op. 88 for Trombone and Piano Porret, Julien: Esquisse No.1 Porret, Julien: Esquisse No. 2 Watson, Walter: Sonatina for Trombone and Piano--second movement - "Adagio", first movement - "Allegro"

20. Music for Trombone and Piano--Music Minus One--Laureate Series Contest Solos--Advanced Level Brown, Keith, trombone Harriet Wingreen, piano 2s-12" Music Minus One NMO 8057, stereo

Corelli, Arcangelo/William Gibson: "Sonata in E minor~ Op. 5~ No. 8 from the Twelve Sonatas for Violin and Basso continuo (D minor in trombone arrange ment)--third movement - "Sarabanda", fourth movement - "Giga" Croce-Spinelli, B.: SoZo de·Conaours for Trombone and Piano Davison, John: Sonata for Trombone and Piano--first movement - "Fantasia", second movement - "After An English Folk Song" Mozart, Wolfgang Amadeus/Allen Ostrander: Conaerto in B-j1at major for Bassoon and Orchestra, K. 191- third movement - "Rondo" 167

21. Music for Trombone and Piano--Music ~linus One--Laureate Series Contest Solos--Advanced Level Friedman, Jay, trombone Harriet Wingreen, piano 2s-12" }iusic Minus One MMO 8058, stereo

Corelli, Arcangelo/Allen Ostrander: "Sonata" in G minor~ Gp. 5~ No. 5 from the Twelve Sonatas for Violin and Basso continuo--second movement - "Adagio", third movement - "Allegro" Nux, P. V. de la: SoZo de Concours for Trombone and Piano Rousseau, Samuel: Piece Concertante for Trombone and Piano

22. Music for Trombone and Piano--Music Minus One--Laureate Series Contest Solos--Advanced Level Brevig, Per, trombone Judith Olson, piano 2s-12" Husic Minus One ~IO 8059, stereo

Barat, J. Ed.: Andante et Allegro for Trombone and Piano Handel, George Frideric/Marsteller: Concerto in F minor for Trombone and Piano--first movement - "Grave", second movement - "Allegro" (Concerto No. 3 in G minor for Oboe and String Orchestra) Whear, Paul W.: Sonata for Trombone and Piano--third movement - "Rather Fast" White, Donald: Sonata for Trombone and Piano--first movement - "Allegro"

23. (no title) Venglovsky, Victor, trombone Leningrad Chamber Orchestra Dmitri Bida, flute Lev Pechersky, bassoon Lazar Gozman, conductor 2s-12" Westminster Gold WGS 8336, stereo

Milhaud, Darius: "Concertino d'Hiver" for Trombone and String Orchestra from Les Quatre Saisons **}iozart, Wolfgang Amadeus: Concerto No. 2 in D major for Flute and Orchestra, K. 314 **Villa-Lobos, Reitor: Dance of Seven Notes for Bassoon and Chamber Orchestra 168

24. (no title) Shuman, Davis, trombone WQXR Strings Leonid Hambro, piano 2s-12" Golden Crest Record.s Recital Series RE 7011, stereo

Goeb, Roger: Concertino for Trombone and Strings (1950) Hindemith, Paul: Sonata for Trombone and Piano (1941) Martin, Frank: Ballade for Trombone and Piano (1940)

25. Ralph Sauer Plays Music for Trombone by Milhaud, Persichetti, Bassett and Pergolesi. Sauer, Ralph, trombone Alan de Veritch, viola Ronald Leonard, cello Paul Pitman, piano 2s-12" Crystal Records S381, stereo

Bassett, Leslie: Suite for Unaccompanied Trombone Milhaud, Darius: "Concertino d'Hiver" for Trombone and Piano from Les Quatre Saisons Pergolesi, Giovanni Battista/Ralph Sauer: Sinfonia in F major for Cello (trombone) and continuo

Persichetti, Vincent: Serenade No. 63 Op. 44 for Trombone, Viola, and Cello

26. Raymond G. Young, Baritone Horn Young, Raymond G••. euphonia~ Tom Fraschillo, piano 2s-12" Golden Crest Records Recital Series RE 7025, stereo

Barat, J. Ed.: Andante et Allegro for Trombone and Piano Beach, B.: Suite for Baritone Horn and Piano Gover, A. E.: Three Short Pieces for Baritone Horn and Piano Hutchison, W.: Sonatina for Baritone Horn and Piano Martin, David: Suite fer Euphonium and Piano }furel, Florentin: Piece en fa Mineur for Trombone and Piano

27. Recital for Trombone, A Gillespie, Robert, trombone Jadith Olson, piano 2s-12" MACE MCS 9112, stereo

Bernstein, Leonard: Elegy for Mippy II for Trombone alone Casterede, Jacques: Sonatine for Trombone and Piano Handel, George Frideric/Keith Brown: Concerto in F minor for Trombone and Piano (Concerto No. 3 in G minor for Oboe and String Orchestra) Hindemith, Paul: Sonata for Trombone and Piano (1941) 169 28. Recital Music for Trombone Fote, Richard, trombone Brian Dykstra, piano Gail Davis Fote, piano 2s-12" Mark Educational Recordings, Inc./Mark Custom Records MRS 28250, stereo

Bach, Johann Sebastian/Richard "Fote: "Air" from OVertUl'e (Suite) No. 3 in D major for Orchestra, BWV 1068 Barat, J. Ed.: Andante et AZZeg!'o for Trombone and Piano Guilmant, Alexandre: Moraeau Symphonique~ Op. 88 for Trombone and Piano Hindemith, Paul: Sonata for Trombone and Piano (1941) Marcello, Benedetto/Richard Fote: Sonata No. III in A minor for Cello and Basso continuo

29. Spotlight on Brass Orosz, Josef, alto, tenor, bass trombone, baritone horn, euphonium Notes by R. D. Darrell Illustrated booklet by R. D. Darrell Produced by Ward Botsford (This album also contains a similar demonstration of other brass instruments such as serpent, cornett, horn, trumpet, cornet and tuba.) 2s-12" Vox DL 300, mono

Demonstration of scales (baritone and euphonium) Demonstration of scales and glissando (alto, tenor, and bass trombone) Anonymous/Paul Delisse: TyroZean Air (tenor trombone, open and muted) Mussorgsky, Modest/Maurice Ravel: "Bydlo" from PiatUl'es at an Exhibition (euphonium) Rimsky-Korsakov, Nikolai: Conaerto for Trombone and Band (excerpt for tenor trombone from third movement cadenza) Schumann, Robert: Symphony No.3 in E-fZat major~ Op. 97, "Rhenish" (excerpt for alto trombone from fourth movement) Strauss, Richard: Don Quixote~ Op. 35 (excerpts for baritone horn from Introduction and main Sancho Panza theme) ~\Tagner, Richard: "Siegfried r s Rhine-Journey" from Die GOtterdammerung (excerpt for bass trombone) 170

30. Spotlight on Winds and Brass Orosz, Josef, alto, tenor, bass trombone, baritone horn, euphonium Notes by R. D. Darrell Illustrated booklet by R. D. Darrell Produced by Ward Botsford (This album also contains a similar demonstration of historical and recent wind instruments and other brass instruments.) 6s-12" Vox PLS 2, mono

Strauss~ Richard: Don Quixote3 Op. 35 (excerpts for baritone horn from Introduction and main Sancho Panza theme) Wagner, Richard: "Siegfried's Rhine-Journey" from Die Gotterdammerung (excerpt for bass trombone)

31. Trombone Extraordinaire Ensemble de Trombones de Paris Becquet, Michel, trombone Demarle, Yves, trombone Fourquet, Jacques, trombone }fanfrin, Alain, trombone Milliere, Gilles, trombone Destanque, Guy, trombone Cerero, Maurice, trombone Chamber Orchestra Bernard Thomas, director 2s-12" Symphony Land SLC 181, stereo

Nilovic, Janko: Conaerto for Trombone and Orchestra Delerue, George: MadrigaZ for Trombone Sextet Defaye, Jean-Michel: FZuatuations for Trombone. Six Trombones and Two Percussion 171

32. Trombone Francais, Le Barron, Ronald, trombone Fredrik, Wanger, piano 2s-12" Boston Brass BB 1001, stereo Berghmans, Jose: "Femme ABarbe, La", for Trombone and Piano, No. 4 of the Tableaux Forains Boutry, Roger: Capriccio for Trombone and Piano Defay, Jean-Michel: Deux Danses for Trombone and Piano ("Danse Sacree et Danse Profane") Guilmant, Alexandre: Morceau Symphonique~ Op. 88 for Trombone and Piano Ropartz, Joseph Guy: Piece en mi bemol mineur for Trombone and Piano Saint-Saens, Camille: Cavatina~ Op. 144 for Trombone and Piano Salzedo, Carlos: Piece Concertante~ Op. 27 for Trombone and Piano

33. Trombone Solos Raph, Alan, bass trombone R. Byron Griest, piano 2s-12': Coronet Recording Company COR 1407 (W4RS-3107/3108), stereo

Bach, Johann Sebastian/R. Bernard Fitzgerald: "Bist du bei mir", Aria from the Anna Magdalena Bach Notebook, BYV' 508 Bavicchi, John: Three Preludes for Trombone unaccompanied Bernstein, Leonard: Elegy for Mippy II for Trombone alone Bigot, Eugene: Impromptu for Trombone and Piano Bordogni, Marco/Rochut: Melodious Etude No. 85 from Vocalises for Voice and'Piano Gliere , Reinhold/Alan Raph: !'Russian Sailor's Dance" from The Red Poppy ~ Op. 70 Mellers, W.: GalZaird for Trombone and Piano Mozart, Wolfgang Amadeus/Alan Raph: "Holle Rache kocht in meines Herzen, Der," from The Magic FZute~ K.. 620 Raph, Alan: Caprice for Trombone unaccompanied Vivaldi, Antonio/Allen Ostrander: Concerto in A minor for Bassoon

34. Trombone Solos Shepherd, William, trombone Lima, Ohio, Symphony Orchestra J. Firszt, conductor 2s-12" Coronet Recording Company COR 3001, stereo 172 Anonymous/ J. Firszt: Londonderry Air Bozza, Eugene: Ballade, ope 62 for Trombone and Orchestra Larsson, Lars-Erik: Concertirw, ope 45, No. 7 for Trombone and String Orchestra Parrott, Ian: Concerto for Trombone and Wind Band Salzedo, Carlos/anonymous: Piece Concertante, Op. 27 for Trombone and Piano (Orchestra)

35. Trombone, Volume I (Demonstrating Selmer Trombones), The Masson, Gabriel, trombone Serge Baudo, piano Louis Dillies, piano Jean-Michel Defay, piano Quatuor de Trombones de Paris Masson, Gabriel, first trombone Galliegues, Marcel, second trombone Gosset, Andre, third trombone Allain, Rene, fourth trombone 2s-10" London LS 989, mono

Baudo, Serge: Petite Suite pour Trombone Defay, Jean-Michel: Deux Danses for Trombone and Piano ("Danse Sacree et Danse Profane") Dondeyne, Desire: Quatuor de Trombones Massis, Amable: Suite pour Quatre Trombones

36. Virtuoso Trombonist, The Smith, Dennis, trombone Western Washington State College Wind Ensemble Martha Goldstein, organ William Cole, conductor 2s-12" Pandora Records PAN 2001, stereo

Bozza, Eugene/E. L. Barrow: Ballade, Op. 62 for Trombone and Orchestra (transcribed for band) Mahler, Gustav/Allen Ostrander: Symphony No. 3 in D minor --trombone solo from first movement (trombone and organ) Michalsky, Donal: Concerto in Re for Trombone and Band Pryor, Arthur: Blue Bells of Scotland Simons, Gardell: Atlantic Zephyrs 173

The following entries in the discography are by trombone ensembles made up of or under the direction of French trombonists.

1. Baroque Dances and Diversions Gabriel Masson Trombone Quartet Armand Birbaum Brass Ensemble Jean Pierre Rampal, flute Maurice Andre, trumpet Marcel Lagorce, trumpet Armand Birbaum, conductor 2s-12" Mercury MG 50404, mono Mercury SR 90404, stereo

**Albinoni, Tomaso/anonymous: "Sonata in A major" from Concerto "Saint Marc" for Violin and Strings (solo trUmpet-and clarinet sextet) **Albinoni, Tomaso/anonymous: "Suite in A major" from a Sonata da Camer~ (brass ensemble) **Clarke, Jeremiah/anonymous: Trumpet VoZuntary - "The Prince of Denmark's March" (brass ensemble) **Corelli, Arcangelo/anonymous: "Suite of Dances" from

Sonata3 Gp. 43 No. 2 (two movements) and (three movements) (brass ensemble) Purcell, Henry/anonymous: "Hornpipe" from King Arthur (No. 18) (1691) (trombone quartet) **Purcell, Henry/anonymous: Trumpet Tunes--"~.artial Air - Cebell - Martial Air" (brass ensemble) **Sweelinck, Jan Piet-erszoon: Variations on "Mein junges Leben hat ein End" (flute and strings) **Telemann, Georg Philipp/anonymous: Divertissement in D major for Two Trumpets and Strings Vivaldi, Antonio/anonymous: "Suitell from a Sonata da Camera (trombone quartet)

2. L'Ensemble de Trombones de Paris L'Ensemble de Trombones de Paris Becquet, Michel, trombone Demarle, Yves, trombone Milliere, Gilles, trombone Fourquet, Jacky, trombone Guigou, Yves, trombone Manfrin, Alain, trombone Verstraete, Charly, trombone Arbion, Guy, bass trombone Cevrero, Maurice, bass trombone Destanque, Guy, bass trombone Vincent Bauer, percussion Marc Barcovitz, percussion 174

Gregory Czerkinsky, percussion Didier Lamare, percussion Janko Nilovic, conductor 2s-12" Crystal Records S223, stereo

Nilovic, Janko: DoubZe Concepto - Musique pour Sept Trombones Nilovic, Janko: Suite BaZkanique for Seven Trombones and Four Percussion

3. Musiques Baroques Gabriel Masson Trombone Quartet Armand Birbaum Brass Ensemble Jean Pierre Rampal, flute Maurice Andre, trumpet Marcel Lagorce, trumpet Armand Birbaum, conductor 2s-12" Fontana 698509., mone Fontana 875502, stereo

**Albinoni, Tomaso/anonymous: "Sonata in A major" from Conaepto "Saint MaPa" for Violin and Strings (solo trumpet and clarinet sextet) **Albinoni, Tomaso/anonymous: "Suite in A major" from a Sonata da Camepa (brass ensemble) **Clarke, Jeremiah/anonymous: TT'W7Ipet VoZuntaPY - "The Prince of Denmark's March" (brass ensemble) **Corelli, Arcangelo/anonymous: "Suite of Dances" from Sonata~ Op. 4~ No. 2 (two movements) and Sonata Op. 4~ No . .4 (three movements) (brass ensemble) Purcell, Henry/anonymous: "Hornpipe" from King A1>t'hur (No. 18) (1691) (trombone quartet) **Purcell, Henry/anonymous: TT'W7Ipet Tunes--"~1artial Air Cebell - ¥..artial Air" (brass ensemble) **Sweelinck, Jan Pieterszoon: VaPiations on "Mein junges Leben hat ein End" (flute and strings) **Telemann, Georg Philipp/anonymous: Divertissement in D major for Two Trumpets and Strings Vivaldi, Antonio/anonymous: "Suite" from a Sonata da Camepa (trombone quartet)

4. Renaissance Music for Brass Brass Ensemble under the direction of Gabriel Masson Anonymous, trombones Gabriel }1asson, conductor 2s-12" Nonesuch H-1l11, mono Nonesuch H-71111, stereo 175 **Adson, John/anonymous: COUI'tZy Masquing Ayre No. 1 for Cornetts and Sackbuts (1611) **Adson, John/anonymous: COUI'tZy Masquing Ayre No. 2 for Cornetts and Sackbuts (1611) **Adson, John/anonymous: COUI'tZy Masquing Ayre No. 9 for Cornetts and Sackbuts (1611) **Attaingnant, Pierre/anonymous: GaZZiarde (brass ensemble) Attaingnant, Pierre/anonymous: GaZZiarde (trombone ensemble) **Banchieri, Adriano/anonymous: Fantasia prima **Banchieri, Adriano/anonymous: Fantasia sesta in eao movendo un registro **Banchieri, Adriano/anonymous: Fantasia undeaima in diaZogo **Banchieri, Adriano/anonymous: Fantasia vigesima prima **Franck, Helchior/anonymous: "Intraia II" from 'Neue MUsiaaZisahe Intraden (1608) **Frescobaldi, Girolamo/anonymous: Canzon IV in G minor (1628) **Gabrieli, Andrea/anonymous: "Ricercar del duodecimi to:1i" from MadrigaZi e Riaeraari a quattro voai (1589) **Gabrieli, Giovanni/anonymous: Canzor~ Prima a Quattro~ "La Spiri tata " **Scheidemann, Heinrich/anonymous: "Canzona" in F major (1657) from Luneberg organ tablatura **Scheidemann, Heinrich/anonymous: uPraeam~uZum" in F major from Luneberg organ tab1atura **Schutz, Heinrich/anonymous: Motat "Herr~ wann iah nUI' diah habe~" from Musikalisches Exequien (1636) **Stoltzer, Thomas/anonymous: Four Pieaes from Oato Tonorum MeZodiae--No. 1 (Dorian), No. 2 (Hypodorian)~ No.7 (Mixolydian), No.3 (Phrygian)

5. The Trombone, Volume I (Demonstrating Selmer Trombones) Masson, Gabriel, trombone Serge Baudo, piano Louis Dillies, piano Jean-Michel Defay, piano Quatuor de Trombones de Paris Masson, Gabriel, first trombone Galliegues, Marcel, second trombone Gosset, Andre, third trombone Allain, Rene, fourth trombone 2s-10" London L5 989, mono

6. The Trombone, Volume 2 Quatuor de Trombones de Paris 11asson, Gabriel, first trombone Galliegues, }~rcel, second trombone Gosset, Andre, third trombone Allain, Rene, fourth trombone Anonymous, piano Anonymous, guitar Anonymous, bass 2s-10" London LD 9204, mono

Bach, Johann Sebastian/Jean Thilie: "Fugue" from Prel,ude and Fugue in D minor for Organ, BWV 539 *Berg, Wal: Spiritual, (with guitar, bass, and piano accompaniment) Dondeyne, Desire: Prel,udes Rhythmiques

Dvorak, Antonin/Jean Thilde: "Danse" from Sl,a:vonia Danae 3

Series I3 Op. 463 No. 8 in G minor Dvorak, Antonin/Jean Thilde: Humoresque for VioZin and

Piano3 Op. 101 3 No. 7 in G-fZat major CHAPTER 5

OTHER INFLUENCES ON FRENCH TROMBONE PEDAGOGY

French Public School Instruction in Music

The system of education in France has largely been one of

centralization since the sixteenth century, when the Jesuits organized

f t h e~r· F renc h system 0 e d ucat~on.. 121 Under the rule of Napoleon, it

was dictated that the central authorities in Paris would decide all

important questions of educational policy, with minor details being

left to local discretion. The present structure of schools in France

still operates under a Ministry of National Education.

The Ministry of National Education is divided into four branches, each responsible for education in its own area: primary, secondary, technical and higher education. Each branch has its own administrative bureaus, and each of these tends to strengthen its own autonomy. A branch is responsible for: the administration of its schools, the management of its personnel, and the control of finances . 122 and equ~pment.

In the field of music education, the diversity of education for pupils and prospective teachers of music is greatly influenced by the

121Leona Belle Wilkins, "Music Education in France and The United States: A Comparative Study of Contemporary Reforms" (University of Michigan, 1971), p. 20.

122Wilkins, p. 23.

177 178

administrative organization to which it is assigned. Unlike other

subjects in education, the study of music is controlled and divided

between the structural organizations of two ministries: the Ministry 123 of National Education and the Ministry of Cultural Affairs.

Music in the elementary schools is considered one of the " 124 weak est areas 0 f t h e totaI mus~c program. At this level, music

is taught by the instituteurs (teachers) who have graduated from the

Ecoles Normales Primaires where the lack of adequate music training 125 promotes a feeling of incompetence among its graduates. In many

elementary schools, music is omitted from the curriculum. In order

to alleviate the situation, many large municipalities have established centers where pedagogy courses are offered to graduates of conserva- 126 tories or schools of music who plan to teach on the elementary level.

Cities such as Paris, Dijon, Grenoble, Lille, and Lyon, have special music teachers in the elementary school. In many rural areas, a

similar service is performed by the Centres Musicaux Ruraux. and often

the music in these rural schools is superior to that in those cities 127 where similar plans have not been adopted. It is the responsibility

of each municipality to establish its own center, even though it often

123wilkins. p. 26.

124W~"lk" ~ns. p. 27.

125wilkins, p. 27.

126Wilkins. p. 27. 127 "lk" W~ ~ns. p. 28. 179 operates through the local branch of the national institutes of pedagogy, o o wh 1C h are a ffol1 1at es 0 f t hOI e nat10na e dOlucat10na organ1zat10n.0 0 128

Music, 'which has been a part of the secondary curriculum since

1865, is a required subject in the first cycle (from the sixth to ninth years of study) of education. It becomes Facultatif, or optional, O dur1ngOh t e upper treeh years 0 f h19h schId 00 e ucat10n. 0 129 A small number of students continue music study beyond Lhe ninth year, but the absence of an Arts Option for the baccalaureat causes other subjects to be regarded as more important, and music is sacrificed by many for the study of these other areas during these three years. A one hour class per week is the total time scheduled for music which concentrates 130 on the teaching of voice, solfege, and the history of music. A nationally supported instrumental prog~am in the public schools of

France continues to be a dream of the futu~e.131 The most frequent request for curriculum change is related to the inclusion of instrumental study as a part of the public school music program. Private instrumental study is possible in the conservatories where ensemble group participation for children is available. Yet in 1967, even though the Interministerial Commission (established by the Ministry of National Education) and professional musicians had recommended that instrumental classes become a part of the regular curriculum,

128wilkins, p. 28.

129Wilkins, p. 28.

130Wilkins, p. 28.

131wilkins, p. 63. 180

financial pressures have impeded its inclusion as a part of the

National Education program.

French National Conservatories

Higher education in music in the Ministry of National Education

is represented by the Center for the Preparation of the CAEM (Certificat

d'Aptitude a l'Education Musicale), which is located at the Lycee de

Fontaine in Paris. Established in 1947, the center offers a three year

course of specialization. The CAEM examination is given in Paris each

year, and those who pass the examination are given the title of

"Professeur Titulaire" and the right to teach music education in the

secondary schools, normal schools, and conservatories of France. 132

The national conservatories and schools of fine arts are under

the supervision and directorship of the Ministry of Cultural Affairs.

The purpose of most of the conservatories of France has been the

training of performers, with the highly selective competitions and

tests used to' eliminate all students who were not considered gifted or 133 talented. Most of the conservatories in the provinces have classes for beginning instrumental study which admit children, but again the importance

of performance is stressed, and all beginners must enroll in classes of

solfege before or concurrently with the study of an instrument. If students fail to pass prescribed tests in solfege or perfortll2 ....: ..:.e, they are f orced to withdraw and continue stud y W1t"h" a pr1vate teach er. 134

132_"lk"--W1 1ns, p. 29.

133W1."lk" 1.ns, p. 30.

134W1."lk" 1.ns, pp. 30-31. 181 All conservatory training is free in the national schools, and the organization of the schools in the provinces indicates a progression from one conservatory to another which offers more advanced work.

The completion of studies at one of the regional conservatories indicates the completion of either the preparatory or superior degre, and students may compete for the first, second, or third medailles

(medal) or premier prix. If the student wishes to continue his study leading to a higher level of performance, he may enter the Paris

Conservatory upon receiving the second or first place medal. 135

There are presently three types of nationel conservatories or schools of fine arts in France: (1) the twenty-three schools of fine arts known as "succursale" (branch) of the Paris Conservatory, (2) the national schools of music that are not "succursale", and (3) the municipal schools of music, which are usually located in small villages .. 136 or c~t~es.

A description of one co~servatory of each type will be discussed to illustrate the different levels of training permitted in schools of music that are subsidized and approved by the national body.

Conservatoire de Toulouse

This conservatory is a large institution located in the heart of the City of Toulouse. It has over 1200 students, and the curriculum consists of three different programs: (1) the mi-temps pedagogy program which allows talented students from the public schools to register for music instruction spending a half-day in general education

135wilkins, pp. 113-114.

136Wilkins, p. 164. 182 and a half-day in music instruction at the conservatory, (2) the CAEM curriculum which prepares students for the teacher certification examination, and (3) the regular curriculum established for pro fessional training in performance, theory, and musicology. 137

Conservatoire d'Angers

This institution has more than 1,000 students from the City of

Angers and surrounding areas in the department. Its official function is that of assuring music training for the area and developing the taste or musical culture of students from the areas rathe~ than fostering advanced virtuoso training. Persons desiring such specialization are 138 usually referred to the Paris Conservatory. The unique character of this institution occurs in the cur~iculum developed for the training of amateurs of all ages. Formal school study is culminated with the awarding of the Diplome d'Etudes Musicales Generales which is offered in two parts. The first part is given at the end of the primary level of education and involves the study of solfege, history of music, and instrumental study. The second part, given after the completion of the secondary level, continues the study of the primary level subjects and adds the study of chamber music. The amateur study designed for adults offers courses in solfege, ensemble music, vocal ensemble, instrumental study, and an opportunity to audit classes in the advanced courses of music history and analysis of forms. No diploma is awarded 139 for adult study.

137wilkins, p. 166.

13SW~"lk" ~ns, pp. 167 - 168 • 139Wilkins, pp. 169-170. 183

Ecoles Municipales de Musique

Practically every large city in France has its cons2rvatory or school of music. Those which have remained municipal institutions develop curriculums designed to: (1) assure musical training for the city and its surrounding areas, (2) develop a program to improve the musical culture of the area, and (3) offer individual instruction for

1nstrumenta" 1" stuay. 140 Th e d egree an d 1 eve 1 0 f tra1n1ng"" 1S"d epen d ent on the budget and facilities of each institution. Those institutions which offer training in performance and teacher training are in the "" 141 larger c1t1es. An example of a municipal conservatory which offers training comparable to any national conservatory in the province is located at Strasbourg.

Conservatoire de Musique, Ville de Strasbourg

The municipal conservatory at Strasbourg is a large music institution with over 1,200 students. It is an example of a municipal conservatory which offers a broad range of music courses and seems to maintain a budget adequately sufficient to offer a varied and attractive program. It attracts students of many musical interests

.f rom the surround1ng"" prov1nces 0 f France an d ot h er countr1es."142 The study of all classical instruments, including the classical guitar, is possible at the conservatory.

140W1"lk" 1ns, p. 170.

141W-·k"1.1. 1ns, p. 170.

1 I.'" ' ... .<-Wilkins, p. 171. 184

Trombone Instruction at the National and Municipal Conservatories

This section will be divided into three categories corresponding to the three types of national and municipal conservatories presently available in France. Under each particular category will be listed alphabetically the conservatories which offer instruction on the trombone.

(1) "Succursales" of the Paris Conservatory

Amiens Nimes Boulogne Sur-Mer Orleans Cambrai Perpignan Dijon Rennes Douai Roubaix Le Mans Saint-Etienne Lille Toulon Lyon Toulose Hetz Tourcoing Montpellier Tours Nancy Valenciennes Nantes

(2) National Schools of Music, Not "Succursale"

Bayonne Henin-Lietard Bourges Pau Brest Saint-Amand-Les-Eaux Caen Troyes

(3) Municipal Schools of Music

Agen Marseille Arras Oran Besancon Reims Bordeaux Saint-Quentin Dunkerque Strasbourg Limoges Versailles 185

French }iusic Publishers

The major French music publishers "have cooperated with 143 composers to an extraordinary degree." Such cooperation may be

attributed to the fact that many of the French publishing houses were

created through the efforts of professional musicians who continued to

guide the early activities of these establishments. Four of the publishers of the trombone contest solos were originated in this manner:

Alphonse Leduc, Heugel et Cie., Henry Lemoine et Cie., and Durand et . 144 Cl.e.

The trombone contest solos published by these companies, as well as those published by other firms, are proof of the high degree of cooperation which exists between publisher and composer. With few

exceptions, the contest solos have been extremely well reproduced, and the clarity of musical notation leaves little to be desired. Most of the contest pieces, too, have been meticulously annotated, and

tempo, dynamic, and phrase markings are distinct and unambiguous.

Although the major French music publishers are known for their

releases of difficult contest pieces, efforts have also been made to publish good original wind literature for the younger student with more modest technical abilities. For these developing ~rombonists,

Jean Douay and Gilles Senon have each directed a series of study and solo collections for the publisher Editions Billaudot. Perusal of

143Edward Burlingame Hill, Modern French Music (New York: Houghton }tifflin Company, 1924), p, 19.

144Carl.ngl., .. p. 48 . 186 the catalogs of Alphonse Leduc and Durand et Cie. will also yield a number of well-written easier materials.

Two organizations which have encouraged composers to write original material are the Confederation Musicale de France and the

Federation Nationale des Unions de Conservatoires Municipaux de

MUsique. These organizations have sponsored competitions for composers and have made publication possible for worthwhile materials. Some of the composers and compositions which have won the Confederation

Musicale de France and published by Editions Billaudot are:

1971 (Preparatoire) Pour La Promotion by Willy Van Dorsselaer

1971 (Elementaire) Le Grand Dua by Willy Van Dorsselaer

1972 (Preparatoire) A Longahamp by Willy Van Dorsselaer

1972 (Elementaire) Andante et AZZegro by Rene Mignion

1973 (Preparatoire) Chanson D'Autrefois by Jean-Pierre Bouny

1973 (Elementaire) Leg?nde by Jean Gallet

Two of the composers and compositions which have won the Federation

Nationale des Unions de Conservatoires Municipaux de Musique and published by Editions Billaudot are:

En Vaaanaes by Michel Fiche

Reait Pour un Debutant by Jean Lemaire CHAPTER 6

SUMMARY AND CONCLUSIONS

It has been the principal purpose of this study to acquaint the trombonist with the vast amount of French solo literature and pedagogical materials available to the tenor trombonist and to promote an understanding of their origins and uses. In order that this study be as comprehensive as possible, it was divided into two major sections, each having a specific ~urpose. The first section introduced the reader to the origin and history, necessary for a good understanding of the second. The second section presented the actual solos and etude materials which are available or have been available in the past.

The Paris Conservatory, the prototype for the modern conserva tory, was created at the end of the eighteenth century specifically to raise the standards of French music. Before the revolution, instrumental music had almost disappeared from the musical scene in France. Native

French composers could scarcely be compared with those of other countries; and, indeed, the greatest composers living in Paris at the time were all foreigners.

The poor state of French music and musicians is attributed to the fact that music training was, at this time, exclusively a function of either cathedral schools or of music corps attached to military regiments. Music training carried out in these institutions was limited in nature and poor in quality.

187 188

In 1795 the Convention Nationale consolidated the Ecole Royale de Chant and the Ecole Gratuite de Musique de la Garde Nationale

?arisienne into the Conservatoire de Musique and appointed Sarrette its director. From its very beginning, the Conservatory was dedicated to the instruction of students "in all phases of music". The first faculty of the Conservatory included the finest musicians in France, and to this day, only the most distinguished French musicians have taught at this national institution. The Conservatory has combined a conservative musical atmosphere, a faculty of artist-teachers, and rigorous requirements into a training program which has received international acclaim, and its students have found places in great orchestras throughout the world.

An essential part of the Conservatory's training program are annual instrumental competitions held for each instrument. These competitions, which entail the performance of a "contest solo" before· a jury, determine the awarding of First Prizes, a distinction which is much sought for by Conservatory students.

Originally, the contest solos were reserved only for the annual competitions, but in recent years many contest solos have been included as required repertoire material for Conservatory professors. The earliest contest solos were chosen from existing literature or composed by Conservatory professors. More recently, however, they have been written by commissioned composers.

In the case of the trombone, commissioned contest solos originated in 1897 with the SoZo de Conaert~ No. 2 by Paul Vidal. 189

Since 1897, fifty-one composers have been commissioned to write a total of fifty-eight trombone solos as contest pieces. These fifty-one

composers, most of whom were themselves students at the Conservatory, are among the most noted musicians France has produced.

The early contest solos are, generally, easier works to

perform than those of recent composition. A number of these early solos are, in fact, within the abilities of the young student trom bonist. The more recent contest solos, because of their great technical and musical complexities, are best reserved for performance by the professional or near-professional trombonist. All the trombone contest solos may be found in Chapter 4, and each solo has been graded as to degree of difficulty according to the European rating system; i.e., 1, 2, 3, easy; 4, 5, 6, moderately difficult; 7, 8, 9, difficult.

The first official teacher of trombone at the Conservatory was

Antoine-Guillaumie Dieppo, the most celebrated French trombonist of his time. Since his tenure as a teacher at the Conservatory (1830-

1871), we have seen the subsequent profp.ssors of trombone all being products of the system that they would eventually teach in. The professors, Paul Delisse (1871-1888), Louis Allard (1888-1925), Henri

Couillaud (1925-1948), Andre Lafosse (1948-1960), and Gerard Pichaureau

(1960-present), in addition to their reputations as teachers, have all been performers in their own right. The pedagogical materials that they used, many being their own products, have developed from methods designed for both slide and valve trombone, to transcribing the solos of other instruments for the trombone, to transcribing etude materials from other instrument families for use by the trombone student. This 190 was followed by designing original etude exercises for the trombone, based on the technical and musical competencies required to perform the various contest solos of the time, and going from simple tonal etudes to very complex and difficult etudes requiring knowledge and skill coping with atonal music. It has always been the teacher! performer trombone instructors at the Conservatory that have realized and implemented these pedagogical innovations.

The administrative organization of the educational program in

France is one of centralization which gives training to all deserving students. The national exaoinations administered at the end of secondary study serve as the determinant factor for the eligibility of students to higher levels of education. The music classes in the elementary and secondary schools are under the direction of the Minister of National Educat10n. Even within the large structure, elementary and secondary music fall under separate departments, each of which is responsible for music taught on its level. Special training in the schools of fine arts and the conservatories i§ the responsibility of the Minister of Cultural Affairs.

The most frequent request for curriculum change in France is related to the inclusion of instrumental music study as a part of the public school program. Private instrumental study is possible in the conservatories where ensemble group participation for children is available.

While it is no easy task to acquaint the reader with a 150 years of solo literature and pedagogical materials, it is hoped that a better understanding of the French approach to instrumental (in 191 particular, trombone) music and teachings has been gained from this document. Although this study has been confined to the trombone, performers on other instruments may also discover the vast resource of materials and pedagogical approaches that have been products of the French educational system. APPENDIX A

LIST OF FRENCH TENOR TROMBONE METHODS AND ETUDE MATERIALS

The objective of this section is to document trombone methods and etude materials available to the trombone performer/teacher from the "French School" of trombone playing. It does not, however, contain as in depth a look into the various entries, as was compiled earlier in the chapter devoted to the French tenor trombone solos. Most of the entries presented here are described in much greater detail in a

Doctoral dissertation by Stanley P. George entitled An Annotated

Bibliography of Trombone Methods and Study Materials. A copy of this dissertation is available upon request from University Microfilms.

The discussion of each work included herein is presented in two main sections (A and B). The first section contains information of a descriptive nature and the second is of an analytical nature.

The following provides a detailed explanation of each item covered in the main section.

A. Descriptive Information

1. Composer (composer's dates where available) and editor:

gives the composer's name and dates along with anyone

responsible for the editing of the work.

2. Title: gives the complete title of the work with any

subtitles. 192 193 3. Publisher and Publishing Date: gives the name of the

publisher of the work and the date of publication or

4. Pages: gives the number of pages contained within the

work.

B. Analytical Information

1. Range: gives the'highest and lowest pitches in the work.

The following system is used to signify pitches in the

various octaves:

• ~ ii ,: is & eJ V c c' c) c 8 Q •-- ~ • ' (Pedal) C. C

2. Clefs Used: gives the name of the clefs used in

the ~Jork.

In the presentation of the methods and etude materials surveyed, labels for each item have been omitted in the interest of space and in order to avoid redundancy. To clarify items which appear for each listing, the following sample complete format is presented:

Composer (birth and death dates. when known)

Bozza, Eugene (1905- )

Title Treize Etudes Caprices

Publisher and Publishing Date

Alphonse Leduc, 1958 194

Pages

15pp.

Range

E to e2

Clefs Used

Bass and Tenor

The above annotation would appear as follows:

BOZZA, Eugene. Treize Etudes Capriaes. Alphonse Leduc, 1958, 15pp. Range: E to e 2. Clefs: Bass and Tenor.

Definitions

"Methods" refers to study materials of a progressive nature.

Beoks which are intended as beginning, intermediate, or advanced instructional material or books that include more comprehensive studies progressing from a beginning to an advanced level are referred to as "methods" .145

"Etudes" refers to music designed to advance the trombonist through a specific technique or combination of techniques such as legato technique, use of the F attachment exercises, clef studies or contemporary notation. "Etudes" refers to all trombone music books except method books and solos. 146

145George, Stan, An Annotated Bibliography of Trombone Methods and Study Materials, p. 7. 146 George, p. 7. 195

Methods

BERNARD, Paul. Method Comp Zete Pou:t' Trombone ~ Trombone Basse Saxhorns et Contrebasse. Alphonse Leduc, 1960, 136pp. Range: FF to d2• Clefs: Bass.

BLEGER, Michel - M. Job. Methode de Trombone a CouZisse. Alphonse Leduc, 1946, 99pp. Range: E to b 1. Clefs: Bass.

CLODOMIR, Pierre Francois. ( -1884). Methode CompZete Pou:t' Trombone a CouZisse~ VoZume I. Alphonse Leduc, [n.d.], 56pp. Range: E to a 1• Clefs: Bass.

CLODOMIR, Pierre Francois. ( -1884). Methode Complete Pou:t' Trombone a CouZisse~ VoZume II. Alphonse Leduc, 1949, 56pp. Range: F to b1• Clefs: Bass.

COUILLAUD, Henri. (1878- ). Methode de Trombone a CouZisse. Alphonse Leduc 1946, 92pp. Range: E to c2. Clefs: Bass and Tenor. DIEPPO, Antoine. (1808- ). Dieppo'3,CompZete Method for the SZide and VaZve Trombone. Carl Fischer, Inc., 1902, 158pp. Range: E to d2• Clefs: Bass.

FLANDRIN, Gaston. Methode CompZ~te de Trombone a CouZisse Tenor~ VoZume I. Editions Saiabert, 1910/1923, 51pp. Range: E to c2• Clefs: Bass and Tenor.

FLANDRIN, Gaston. Methode'CompZ~te de Trombone a Coulisse Tenor~ VoZume II. Editions Salabert, 1910/1923, 109pp. Range: E to c 2• Clefs: Bass and Tenor.

GUILBAUT, E. Methode Facile Pou:t' Trombone a Pistons. Imbert, ca. 1895.

KASTNER, G. Methode EZe~entaire Avec Tablatu:t'e. Brandus et Cie, 1876.

LARGARD, A. Methode de Trombone. Ikelmer et Cie, 1877.

LAFOSSE, Andre. (1890- ). Methode CompZete de Trombone~ VoZumes I~ II. Alphonse Leduc, 1921, 280pp./complete. Range: FF to d2• Clefs: Bass, Tenor and Alto.

LAFOSSE, Andre. Methode CompZete de Trombone a CouZisse~ VoZume III. Alphonse Leduc, 1946, 53pp. Range: FF ~o c2• Clefs: Bass and Tenor. 196 }ruLLER. Methode de Trombone a Trois Pistons. J. Meissonier, ca. 1840. PARES, Gabriel. (1860-1934). Methode de Trombone a CouZisse. Editions Henri Lemoine, 1914, 45pp. Range: E to a1• Clefs: Bass.

TOULON, Jacques. J'apprends Ze Trombone. Editions Robert Martin, 1978, 98pp. Range: E to d2• Clefs: Bass and Tenor.

VOBARON, Edmond. Methode de Trombone. Editions Billaudot, n.d. , 71pp. Range: E to bbl. Clefs: Bass.

Etudes

BITSCH, Marcel. (1921- ) - Gabriel }~sson. Quinze Etudes de Rhythme. Alphonse Leduc, 1952, 16pp. Range: E to d2• Clefs: Bass and Tenor.

BLEGER, Marcel. Ten Capriaes for Trombone. International Music Company, [n.d.], 8pp. Range: F to bbl. Clefs: Bass.

BLEGER, Marcel. Thirty-One Studies for Trombone. International Music Company, [n.d.], 19pp. Range: F to bbl. Clefs: Bass.

BLEGER, Marcel. Trente et Une Etudes. Alphonse Leduc, 1946, 19pp. Range: E to bpI. Clefs: Bass.

BLEICHER, Jacques. Le Tromboniste Commenaant. Editions M. Combre, 1980, 49pp. Range: E to a. Clefs: Bass.

BORDOGNI, Marco. MeZodious Etudes for Trombone 3 Book I. Edited by Joannes Rochut. (1881-1952). Carl Fischer, Inc., 1928, 87pp. Range: E to b1. Clefs: Bass.

BORDOGNI, Y~rco. MeZodious Etudes for Trombone, Book II. Edited by Joannes Rochut. (1881-1952). Carl Fischer, Inc., 1928, 79pp. Range: E to c~. Clefs: Bass.

BORDOGNI, Marco. MeZodious Etudes for Trombone 3 Book III. Edited by Joannes Rochut. (1881-1952). Carl Fischer, Inc., 1928, 79pp. Range: E to c~. Clefs: Bass.

BOUTRY, Roger. (1932- ). Douze Etudes de Haut Perfeationnement Pour Trombone. Alphonse Leduc, 1958, 19pp. Range: E to e~2. Clefs: Bass and Tenor. 197

BOZZA, Eugene. (1905- ). Graphismes. Alphonse Leduc, 1975, 4pp. Range: Bp to optional. Clefs: Bass, Tenor and Treble.

BOZZA, Eugene. (1905- ). Onze Etudes Sur Des Modes Rarnatiques. Alphonse Leduc, 1972. 12pp. Range: BP to d2• Clefs: Bass, Tenor and Treble.

BOZZA, Eugene. (1905- ) • Treize Etudes Capriaes. Alphonse Leduc, 1958. 15pp. Range: E to e2• ---Clefs: Bass and Tenor. BUSSER, Henri. (1872-1973) - Henri Couillaud. (1878- ). Douze Etudes MeZodiques. Alphonse Leduc, 1927, 12pp. Range: E to b~l. Clefs: Tenor.

CLODOMIR, Pierre Francois. ( -1884). Etudes et Exeraises. Edition Molenaar, [n.d.], 52pp. Range: A to a 1. Clefs: Bass.

COUILLAUD, Henri. (1878- ). Exer-aises Progressifs. Alphonse Leduc, 1937, 19pp. Range: E to bbl. Clefs: Bass and Tenor.

COUILLAUD, Henri. (1878- ). Etudes de StyLe d'apres Bordogni~ VoZumes I~ II~ and III. Alphonse Leduc, 1927; Volume I, II - p. 18; Volume III - 25pp. Range: E to c2• Clefs: Bass and Tenor.

COUILLAUD, Henri. (1878- ). Pieaes MeZodiques~ VoZumes I~ II~ and III. Alphonse-Leduc, 1946, 15po./volume. Range: E to b~l. Clefs: Bass and-Tenor.

COUILLAUD, Henri. (1878- ). Trente Etudes Modernes. Alphonse Leduc, 1946, 51pp. Range: E to d2• Clefs: Bass and Tenor.

COUILLAUD, Henri. (1878- ). Vingt Etudes de Perfeationnement. Alphonse Leduc, 1929, 23pp. Range: E to c2• Clefs: Bass and Tenor.

COUILLAUD, Henri. (1878- ). - Louis Allard. (1852- ). Vingt- Six Etudes Teahniques d'apres Bordogni. Alphonse Leduc, 1927, 28pp. Range: E to b~l. Clefs: Tenor.

DELGUIDICE, Michel. (1924- ). Douze Etudes Rhythmiques et MeZodiques. Editions Max Eschig, 1954, n.d. , 25pp. Range: FF to b~l. Clefs: Bass and Tenor. 198

DHELLEMMES~ Raymond. Vingt-Cing Etudes de Perfec:tionnement. Henry Lemoine et Cie~ 1961, 28pp. Range: E to c2• Clefs: Bass and Tenor.

DHELLEMMES, Raymond. Vingt-Cing Etudes Methodiques. Henry Lemoine et Cie 1960, 38pp. Range: E to c2. Clefs: Bass and Tenor. DIEPPO, Antoine. (1808- ). Nine Progressive Studies. Carl Fischer, Inc., [n.d.], 7pp. Range: F to d2• Clefs: Bass and Treble.

DOUAY, Jean. (1936- ). L'ABC de Jeune Tromboniste~ Volume I. Editions Billaudot, 1975, 37pp. Range: E to gl. Clefs: Bass.

DOUAY~ Jean. (1936- ). L'ABC de Jeune Tromboniste~ Volume II. Editions Billaudot, 1977, 51pp. Range: E to gl. Clefs: Bass and Tenor.

DOUAY. Jean. (1936- ). 12 Etudes de Grande Teahnique. Editions Billaudot, 1977, l8pp. Range: E to d2. Clefs: Tenor.

DUEOIS, Pierre Max. (1930- ). Quatorze Etudes de 140yenne Diffic:ulte POUl' Trombone. Alphonse Leduc, 1964, 11pp. Range: E to d2• Clefs: Bass and Tenor.

GALLAY, Jacques. 15 Styles de Style. Editions Billaudot, 1974, l4pp. Range: BP to a 1• -Clefs: Bass. GALLAY, Jacques. 12 Etudes. Editions Billaudot, 1974, l5pp. Range: EVtoc2. Clefs: Bass.

GOUlRAND, J. Six Grandes Etudes Carac:teristiques POUl' Trombone Coulisse et POUl' Trombone a Pistons. Lafleur Aine, ca. 1883. JOB, M. Trente Airs CZassiques. Alphonse Leduc, 1949, l1pp. Range: d to bpI. Clefs: Bass.

KATARZYNSKI, Raymond. Etude COTTTPlete des GarrlJ1les~ Book I. Alphonse Leduc, 1975, l8pp. Range: E to e~l. Clefs: Bass and Tenor.

KATARZYNSKI, Raymond. Etude COTTTPlete des Ga:rmnes~ Book II. Alphonse Leduc, 1975, l8pp. Range: E to f2. Clefs: Bass and Tenor.

ARBAN, Jean. Etudes Charaateristiques POUl' Trombone. Edited by Louis Allard (1852- ), and Andre LaFosse (1890- ). Alphonse Leduc, 1946, 27pp. Range: E to bpI. Clefs: Bass. 199

LAFOSSE, Andre. (1890- ). Sahool of Sight Reading3 Volumes I-V. M. Baron Company, 1948, pp. 18-20/volume. Range: E to c2• Clefs: Bass, Tenor and Alto.

LAFOSSE, Andre. (1890- ). Vade Meaum du Tromboniste. Alphonse Leduc, 1956, 55pp. Range: E to dP2. Clefs: Bass and Tenor.

MASSON, Gabriel.- Douze Etudes Variees. Alphonse Leduc, Cn.d.], 15pp. Range: E to d1• Clefs: Bass and Tenor.

PARES, Gabriel. (1860-1934). SaaZe Studies. Edited by Whistler. Rubank, Inc., 1963, 48pp. Range: E to bbl. Clefs: Bass.

PICHAUREAU, Claude and Gerard Pichaureau. Vingt Etudes AtonaZes. Alphonse Leduc, 1972, 16pp. Range: BBp to c2• Clefs: Bass and Tenor.

PICHAUREAU, Gerard. Preambule. Alphonse Leduc, 1971, 36pp. Range: E to gl. Clefs: Bass.

PICHAUREAU, Gerard. Vingt-Quatre Etudes Pour Trombone Tenor (Speaial Legato Studies). Alphonse Leduc, 1978, 22pp. Range: E to c:j2. Clef s : Bass and Tenor.

PICHAUREAU, Gerard. Trent Etudes Dans Tous Les Tons. ~..lphonse Leduc, 1963, 29pp. Range: E to f2. Clefs: Bass and Tenor.

PICHAUREAU, Gerard. 30 Real'eations en FOJ.>l'Tle d'Etudes. Alphonse Leduc, 1960, 19pp. Range: E to a 1 (optional bPI). Clefs: Bass and Tenor.

PICHAUREAU, Gerard. Vingt-et-une Etudes de Teahnique General. Alphonse Leduc, 1960, 21pp. Range: E to d2. Clefs: Bass and Tenor.

PICHAUREAU, Gerard. Vingt Etuaes Pour Trombone. Alphonse Leduc, 1962, 20pp. Range: E to d2• Clefs: Bass and Tenor.

PORRET, Julien. (1896- ). Vingt-Quatre Deahiffrages Manusarits. Republished by Editions Billaudot, 1960, 14pp. Range: F to a 1• Clefs: Bass and Tenor.

RIEUNIER, Francoise. Vingt-Deux Deahiffrages Rhythmiques Instrumentaus. Alphonse Leduc, 1972, 15pp. Range: 1st line of staff Clefs: no clef. 5th line of staff 200

SENON, Gilles. (1932- ) . Le Dechiffrage ~thodique et Progressif~ Book A. Editions Billaudot, 1980, 20pp. Range: G to gl. Clefs: Bass.

SENON, Gilles. (1932- - ) . Le Dechiffrage Methodique et Pi'ogressif~ Book B. Editions Billaudot, 1980, 20pp. Range: F to c'4*2. Clefs: Bass and Tenor.

SENON, Gilles. (1932- ) . Le Dechiffrage ~thodique et Progressif~ Book C. Editions Billaudot, 1980, 24pp. Range: E to d2• Clefs: Bass, Tenor and Alto.

SENON, Gilles. (1932- ). 23 Esquisses. Editions Billaudot, 1977, 14pp. Range: G to gl. ---Clefs: Bass. SENON, Gilles. (1932- ). 24 Etudes Divertissantes. Editions Billaudot, 1978, 12pp. Range: F to fl. Clefs: Bass.

SENON, Gilles. (1932- ). 25 Etudes Rhythmo-Techniques. Editions Billaudot, 1979, 27pp. Range: E to c!II.2 • Clefs: Bass and Tenor. SENON, Gilles. (1932- ). Vingt-Quartre Petites Etudes MeZodiques. Editions Billaudot, 1976, 24pp. Range: A to a 1• Clefs: Bass.

THEVET, Lucien. Soixante-Cinq ttudes-Dechiffrages. Alphonse Leduc, 1981, 30pp. Range: E(c) to c2. Clefs: Bass and Tenor.

TOULON, Jacques. Basique I~ Initiation. Alphonse Leduc, 1976, 28pp. Range: AA to gl. Clefs: Bass.

TOULON, Jacques. Basique II~ Technique GeneraZe. Alphonse Leduc, 1978, 14pp. Range: CC to b1• Clefs: Bass and Tenor.

TOULON, Jacques. Basique III~ Les Tonalities. Alphonse Leduc, 1978, 18pp. Range: AA to c2• ---Clefs: Bass and Tenor. TOULON, Jacques. Basique IV~ StyZe et Nuance. Alphonse Leduc, 1978, 13pp. Range: GG to ap1. Clefs: Bass and Tenor.

TOULON, Jacques. 10 Etudes d'Apres Ze PreZude de Za Ire Suite Pour VioZonceZZe SeuZ de J. S. Bach. Alphonse Leduc, 1976, 11pp. Range: E to c2• Clefs: Bass and Tenor. 201

VOBARON, Edmond. Four Lessons and Seventeen Studies~ Opus 1. Cundy-Carl Fischer, Inc., [n.d.J, 19pp. Range: F to b~l. Clefs: Bass.

VOBARON, Edmond. Quarante Etudes Pour Trombone~ 1e Suite. Editions Billaudot, [n.d.], 20pp. Range: F to c 2. Clefs: Bass.

VOBARON, Edmond. 32 CeZebrated MeZodies. Carl Fischer, Inc., 1960, 34pp. Range: F to b,l. Clefs: Bass.

VOBARON, Edmond. 34 Etudes MeZodiques. Editions Billaudot, [n.d.J, 41pp. Range: E to b,l. Clefs: Bass. APPENDIX B

COMPOSER BIOGP~HIES

AL~LLER, Andre (1912- ). French composer, he studied composition with Roger-Ducasse and Gaubert at the Paris Conservatory. He was taken prisoner of war in Germany in 1940; following the war he returned to France and became Director of the Conservatory in Dijon. Bass Trombone - Irish-Cante. Publisher: Alphonse Leduc.

ARRIEU, Claude (1903- ) • .French composer and pianist, she studied with Marguerite Long, and composition at the Paris Conservatory with Roger-Ducasse and Noel Gallon, receiving the Premier Prix in 1932.

AUBAIN, Jean Marie (1928- ). A native of Bordeaux, Aubain first studied at the city's National Conservatory. Among his teachers was Roger-Ducasse, who helped him prepare for his Grand Prix de Rome. He also won first prizes at the Paris Conservatory in composition, analysis and counterpoint. Aubain is the Director of the Conservatory in Versailles. Bass Trombone - Theme et Variations. Publisher: Amphion Editions Musicales.

BACHELET, Alfred G. (1864-1944). French composer, he studied at the Paris Conservatory. He received the Grand Prix de Rome for his cantata, "Cleopatre", in 1890. During World War II he conducted the Paris Opera. In 1919 he became the Director of the Nancy Conservatory.

B~JRAT, Joseph Edouard (1882-1963). Already a fine saxophone player, Barat began the study of harmony with Paul Vidal in 1898. Upon entering the Paris Conservatory, he became a member of the composition class of Emile Pessard. His expertise on the saxophone led to his becoming a member of a regimental band, and before his retirement in 1933, he became the Director of 11usic for ~ilt:": French Army. Bass Trombone - Int:L'r·duation et Danse:> Introduation et S~r~nade:> Moraeau de Conaours:> Reminisae~~es de Navarre. Publisher: Alphonse Leduc.

202 203

BARILLER~ Robert (1918- ). French composer, studied with Henri Busser at the Paris Conservatory. Bass Trombone - Hans de SahnokeZoah. Publisher: Alphonse Leduc.

BARRAINE~ Elsa (1910- ). French composer~ she studied at the Paris Conservatory with Paul Ducat. She received the Grand Prix de Rome in 1929. Bass Trombone - Chiens de PaiZZe. Publisher: Societe des Editions Jobert.

BAUDO, Serge (1927- ). He studied conducting with Louis Fourestier at the Paris Conservatory~ and theory with Jean Gallon and Noel Gallon. He received his Premier Prix as a drummer in 1948 and as a conductor in 1949. He was employed as a pianist and percussionist in the orchestra of the Concerts Lamoureux. In 1967 he was appointed musical director and conductor of the Orchestre de Paris.

BERGHMANS~ Jose (1921- ). French composer. BERNAUD, Alain (1932- ). French composer, he studied with J. Murgier and Tony-Aubin at the Paris Conservatory.

BERTHELOT, Rene Camille (1903- ).

BIGOT, Eugene (1888-1965). French conductor and composer~ he was a student of Gedalge and Paul Vidal at the Paris Conservatory. Bass Trombone - CariZZon et Bourdon. Publisher: Alphonse Leduc.

BITSCH, ~~rcel (1921- ). French ccmposer~ he studied at the Paris Conservatory with ~oel Gallon and Henri Busser and won the Grand Prix de Rome in 1945. Bass Trombone - Impromptu~ Intermezzo. Publisher: Alphonse Leduc.

BLEUSE, Marc (1937- ).

BONDON, Jacques (1927- ). French composer~ he studied composition with Darius Milhaud and Jear. Rivier~ harmony with Georges Dandelot~ and counterpoint with Charles Koechlin at the Paris Conservatory. In 1963 he formed L'Ensemble Moderne de Paris~ of which he is president. 204

BOUTRY, Roger (1932- ). French pianist, conductor and composer, studied composition with Tony-Aubin and Nadia Boulanger at the Paris Conservatory. In 1954 he won the Grand Prix de Rome for a cantata. In 1967 he was awarded the Georges Bizet Prize and named Professor of Harmony at the Paris Conservatory. In 1973 Boutry was appointed Music Director of the Garde Republicaine. Bass Trombone - TubaaahanaZe~ Tubaroque. PublisheL: Alphonse Leduc.

BOZZA, Eugene (1905- ). French composer and conductor, he studied violin, conducting, and composition at the Paris Conservatory. He won first prizes in 1924 and 1930, for violin and conducting respectively. A composition student of Henri Busser, he was awarded, in 1934, the Grand Prix de Rome. He held a conducting post at the Opera Comique in 1939, and later became the director of the Conservatory in Valenciennes. In addition to his many works for trombone and other wind instruments, Bozza has composed an opera, a ballet and five symphonies. Even though he is often characterized as a French-Italian composer (the Italian style is occasionally exhibited in the fast movements of some of his pieces), most of his music is within the French tradition. Bass Trombone - Ne~ OrZeans~ Theme Varie. Publisher: Alphonse Leduc.

BONNEAU, Paul (1918- ). French composer, arranger and conductor, he studied composition at the Paris Conservatory with Noel Gallon and Henri Busser. He later became the director of the "Pops" Orchestra of Radio-Television Francaise, the French National Broadcasting System.

BROWN, Charles (1898- ). French composer and violinist, he studied composition with G. de Lioncourt at the Paris Conservatory. Bass Trombone - ReaitatiJ~ Lied et FinaZ. Publisher: Alphonse Leduc.

BUSSER, Henri (1872-1973). Fr~nch compose~ and organist, he studied composition at. the Paris Conservatory with Giraud, Debussy's teacher. In 1893 he won the second Premier Prix de Rome; also studying organ with Charles Widor. He held important positions as an organist at St. Cloud, choir-master at the Opera-Comique, conductor of the Grand Opera, and president of the Academie des Beaux Arts. He returned as Professor of Composition to the Paris Conservatory between 1930 and 1948. , 205 CAPDEVILLE, Pierre (1906-1969). French composer and pianist, he studied composition with Gedalge and Paul Vidal a~ the Paris Conservatory. In addition to this, he studied composition privately with Vincent d'Indy.

CASINIERE, Yves de la (1887- ). French composer, he was a student of composition at the Paris Conservatory of Nadia Boulanger and M. d'Ollone. He won his Grand Prix de Rome in 1925.

~ , CASTEREDE, Jacques (1926- ). French composer, he studied composition at the Paris Conservatory with M. Samuel Rousseau, Simone Ple-Caussade and Tony-Aubin. In 1948 he won the first prize in piano, in 1949 first prize in harmony, in 1953 the second prize in composition, the first prize in analysis and esthetics and in 1954 the Grand Prix de Rome. In 1960 he was appointed to Professor at the Paris Conservatory and became Assistant to the Director in 1966. Bass Trombone - Fantaisie Conceptante~ Sonatine. Publisher: Alphonse Leduc.

CHAI~ES, Charles (1925- ). Franch co~poser, began his student of music at the conservatory in Toulouse (both of his parents were mus~c~ans and professors there). Later, he continued his studies at the Paris Conservatory as a student in composition of Darius Milhaud. In 1951 he won his Grand Prix de Rome, and subsequently won many prizes for his compositions.

CHRETIEN, Hedwige (1859-1944).

CLERGUE, Jean (1896-1966). French composer and conductor, he was a student of composition at the Paris Conservatory of Paul Vidal, Gedalge and Vincent d'Indy.

CLERISSE, Robert (1899- ). French composer and conductor.

CLODOMIR, Pierre Francois ( -1884).

CLOSTRE, Andrienne (1921- ). French composer, she was a student of composition at the Paris Conservatory of Olivier Messiaen, Henri Busser, Jean Rivier and Darius Milhaud. She won her Grand Prix de Rome in 1949.

COHEN, Jules (1835-1901). French composer, he studied at the Paris Conservatory, piano with Marmontel, organ with Benoist and composition with Halevy, and received first prizes in each of these courses. He then served as Instructor of Choral Singing at the Paris Conservatory. 206

CONSTANT, Marius (1925- ). Rumanian-born French composer and conductor, he graduated from the Bucharest Conservatory in 1944. He then went to the Paris Conservatory where he studied conducting with Jean Fouret and composition with Olivier Messiaen, Nadia Boulanger, and Arthur Honegger. In 1949 he received a Premier Prix in composition from the Paris Conservatory and a "Licence de Concert" in conducting from the Ecole Normale de Musique de Paris. Constant has conducted numerous top orchestras throughout the United States and is presently Director of Ars Nova (an ensemble of 17 musicians who specialize in presentation of contemporary works).

COOLS, Eugene (1877-1936). French composer, he studied composition at the Paris Conservatory with Gedalge, Faure and Widor. ~e won the Prix Crescent for his symphony in 1906, was assistant of Gedalge at the conservatory from 1907 to 1923, and was appointed editor-in-chief for Max Eschig, Paris music publisher.

COUILLAUD, Henri (1873- ). French trombonist and educator, he was Professor of Trombone at the Paris Conservatory from 1925 to 1948. He was also soloist with the Societe des Concerts du Conservatoire and with the Band of the Garde Republicaine.

CROCE-SPINELLI, B. (1879-19__ ).

DAUTREMET, }furcel (1906-19__ ). French composer and conductor, he was a student of Paul Dukas in composition at the Paris Conservatory.

DEFAYE, Jean-Michel (1932- ). French composer, he studied composition at the Paris Conservatory with Tony-Aubin, Jean Gallon, Noel Gallon and Henri Challon. As a student he won many prizes in various musical disciplines and contests.

DEFOSSEZ, Rene (1905- ). Belgian composer., he studied composition with Rasse at the Liege Conservatory, receiving the Belgian Prix de Rome in 1935. He was then active in the years of 1936 to 1959, as conductor of the Theatre Royal de la Monnaie in Brussels. He was an inspector of state subsidized music schools between 1961 and 1971 and was elected a member of the Royal Belgian Academy in 1969.

DELBECQ, Laurent (1905- ). French composer. 207 DELCROIX, Leon (1880-1938). Belgian composer, he studied piano with J. Wieniawski, organ with A. Mailly, and composition with Theodore Ysaye in Brussels and Vince~'Indy in Paris. He conducted theater orchestras in Belgium from 1909 to 1927 and then devoted his time to composition.

DELERUE, Georges (1925- ). French composer.

DELGIUDICE, Michel (1924- ). French composer and bandmaster.

DELISSE, Paul (1817-1888). French trombonist and educator, he was Professor of Trombone at the Paris Conservatory from 1871 to 1888. H was also soloist with the Societe des Concerts du Conservatoire and Opera-Comique.

DEMERSSEMAN, Jules (1833-1866). Belgian composer and flutist.

DEPELSENAIRE, Jean-}~rie (1914- ). French conductor and pianist.

DESENCLOS, Alfred (1912-19__ ). French composer, he studied com?~sition at the Paris Conservatory with F. Bousquet. He won hi~ Grand Prix de Rome in 1942 and then was employed, starting in 1943, as the Director of the Roubaix Conservatory.

DESPORTES, Yvonne (1907- ). French composer, she was a composition student at the Paris Conservatory of Paul Dukas. She won her Prix de Rome in 1932.

DESTANQUE, Guy. French bass trombonist, he began his studies at the Bordeaux Conservatory, Paris. He has played with the Orchestre National Radio France and presently is bass trombonist with the Orchestre de Paris.

DHELL&~ffiS, Raymond. Professor at the French Conservatory in Tourcoing.

DIEPPO, Antoine-Guillaume (1808-?). French trombonist and educator, he was the first professor of trombone at the Paris Conservatory from 1836-1871.

DONDEYNE, Desire (1921- ). French composer, she was a student of composition at the Paris Conservatory of Jean Rivier and Darius Milhaud.

DORSSELAER, Willy van. Professor at the L'Ecole Nationale de Musique de Colmar. 208 DOUAY, Jean (1936- ). French trombonist, he was a student of Andre Lafosse at the Paris Conservatory, acquiring the Prix de Rome in 1958. Shortly afterwards, he was engaged as soloist at the Radio.Orchestre of Luxemburg, which post he exchanged in 1967 for the same one in the French National Orchestra. He is currently Professor of Trombone at the Conservatory:..:. Heucion.

DUBOIS, Pierre Max (1930- ). French composer, he studied composition at the Paris Conservatory with Darius Milhaud and Jea~ Rivier. He won his Grand Prix de Rome in 1955. Presently he is Professor of Musical Analysis at the Paris Conservatory. Bass Trombone - Si Trombone M'Etait Con;;e. Publisher: Editions Max Eschig. Bass Trombone - Piccolo Suite .. Publisher: Alphonse Leduc.

DUBOIS, Theodore (1837-1924). French organist and composer, he studied at the Paris Conservatory; piano with Marmontel, organ with Benoist, and composition with Bazin and Ambroise Thomas. He won his Grand Prix de Rome in 1961, after taking first prizes in all departments. In 1871 he was made Professor of Harmony at the Paris Conservatory, became Professor of Composition in 1891 and was Director of the Paris Conservatory from 1896 to 1995.

DUCLOS, Rene (1899-1964). French composer, he was a student of composition at the Pa1is Conservatory of Paul Dukas and Jean Gallon.

DUTILLEUX, Henri (1916- ). French composer, he was a composition student at the Paris Conservatory of Jean Gallon, Noel Gallon, Henri Busser and }Eurice Emmanuel. He wo~ a Premier Prix in harmony, counterpoint, and composition, and won the Grand Prix de Rome in 1938. In 1945 he was named Director of the Service des Illustrations Musicales de la Radio Diffusion Francaise, but renounced this position in 1963 in order to devote his time to personal work.

FICHE, Michel (1939- ).

FIEVET, Paul (1892- ). French composer, he was a student of composition at the Paris Conservatory of Vincent d'Indy.

FLANDRIN, Gaston. French trombonist, former trombone soloist with the Band de la Garde Republicaine, Professor of Trombone at the Conservatory in Laureat and trombone soloist with the Concerts Colonne...... 209 FRANCK, Maurice (1892-19__ ). French composer, he was a student of composition at the Paris Conservatory of Samuel-Rousseau and Paul Vidal. He won the second PrL~ de Rome in 1926 and was appointed Professor at the Paris Conservatory in 1937.

GABAYE, Pierre (1930- ). French composer and pianist, he was a student of composition at the Paris Conservatory of Yvonne Desportes, S. Ple-Caussade and Tony-Aubin. He won the Grand Prix de Rome in 1956. Bass Trombone - TubabilZage. Publisher: Alphonse Leduc.

GAGNEBIN, Henri (1886-1977). Swiss composer, first studied compo sition, organ and piano at the Geneva Conservatory from 1906 to 1908. He then enrolled at the Schola Cantorum in Paris between 1908 to 1916, studying composition with Vincent d'Indy, organ with Abel Decaux and Louis Vierne, and piano with Blanche Selva. He taught music history at Lausanne Conservatory during 1918 to 1925 and organ and history at NeuchatelConservatory during 1924 to 1925. He was Director of the Geneva Conservatory during 1925 to 1957 and Dean of the Piano Faculty there during 1957 to 1961.

GALIEGUE, Marcel. French trombonist, president of the French chapter of the International Trombone Association.

GALLET, Jean. French composer.

GALLOIS-UONTBRUN, Raymond (1918- ). French violinist and composer, he was a student of composition at the Paris Conservatory of Henri Busser, Jean Gallon and Noel Gallon. He won his Grand Prix de Rome in 1944. He has been the Director at the Paris Conservatory since 1963.

GARTENLAUB, Odette (1922- ). French composer and pianist, a student of composition at the Paris Conservatory and won the Grand Prix de Rome. Also won a Prix de Rome in piano, harmony and fugue. Currently a Professor of Composition at the Paris Conservatory. B~ss Trombone - Essai. Publisher: Editions Rideau Rouge.

GAUBERT, Philippe (1879-1941). French conductor, composer and flutist, he attained the Premier Prix in flute in 1894 and the second Prix de Rome in composition in 1905. From 1919 to 1938 he was the conductor for the Conservatoire Concerts, and in 1920 he was appointed first co~ductor at the Opera. 210

GEDALGE, Andre (1856-1926). French composer and theorist, he was a student of composition at the Paris Conservatory of Guiraud. He obtained the second Prix de Rome in 1885. He then elaborated a system of counterpoint, later published as a "Traite de la Fugue" (Paris, 1901), which became a standard work. In 1905 he was engaged as Professor of Counterpoint and Fugue at the Paris Conservatory; among his students were Ravel, Enesco, Milhaud, and Honegger.

GOTKOVSKY, Ida (1933- ). French composer, she was a student of composition at the Paris Conservatory of Noel Gallon and Tony-Aubin. She won numerous awards while at the Conservatory for writing and composition. She is a Professor at the Conservatory, and considered as one of France's major composers. For several successive years, she has been selected to write competitive works for the Conservatory.

GUIDE, Richard de (1909-1962).

GUIL}UU~T, Alexander (1837-1911). French organist and composer, his early musical training was from his father whom he replaced as church organist at St. Nicholas in Boulogne in 1857. Through numerous concert tours he established himself not only as a virtuoso of first rank, but as the head of the modern French school of organ composers. He helped establish the Schola Cantorum where he became Professor of Organ and he also taught at the Paris Conservatory.

HOUDY, Pierick (1929- ). French composer, he was a composition student at the Paris Conservatory of Darius Milhaud and Jean Rivier.

RUGON, Georges (1904- ). French composer, he was a student of Isidore Philipp (piano), Georges Caussade (harmony and counterpcint), and Paul Dukas (composition) at the Paris Conservatory. A position as Director of the Conservatory of Boulogne-sur-Mer was followed in 1941 by an appointment as Professor of Harmony at the Paris Conservatory and Ecole Normale de Musique de Paris.

KATARZYNSKI, Raymond. French trombonist, trombone soloist with Paris Opera and Professor of Trombone at the Conservatory in Boulogne Billancourt.

LAFOSSE, Andre (1890- ). French trombonist and educator, he was Professor of Trombone at the Paris Conservatory from 1948 to 1960. In addition to his teaching duties, he was also a member of the Paris Opera and the Lamoureux Orchestra. 211 LAMY, Fernand (1881-1966). Inspector of the Arts and Letters in Paris, Director of the Conservatory in Valenciennes, and President of the Artistique de la Confederation Musicale de France.

LANCEN, Serge (1922- ). French composer and pianist, he was a student of composition at the Paris Conservatory of Henri Busser, Noel Gallon and Tony-Aubin. He went to Switzerland during World War II, and returning to Paris to continue his studies, he obtained the Premier Prix de Rome for composition in 1949.

LEJET, Edith (1941- ). French composer, she was a student of composition at the Paris Conservatory, receiving the Grand Prix de Rome in 1968. In 1972 she was appointed Professor of Solfege at the Paris Conservatory.

LEMAIRE, Jean (1854-1928). French composer, he studied at the Ecole Niedermeyer.

LEPETIT, Pierre (1893-19__ ).

LOUCHEUR, Raymond (1899-19 ). French composer, he was a composition student at the Paris Conservatory of Nadia Boulanger, Gedalge, Paul Fauchet and Paul Vidal. He won the Grand Prix de Rome in 1928. In 1956 he was appointed to the Director of the Paris Conservatory.

LOUVIER, Alain (1945- ). French composer and conductor, he was a student of composition at the Paris Conservatory and won his Grand Prix de Rome in 1968.

}U\RIE, Jean-Etienne (1917- ). French composer, he studied composition at the Paris Conservatory with Olivier Messiaen and Darius Milhaud. During 1940-1941 he was Secretary of the Chamber of Commerce and since 1949 he has been Music Director for French radio and television. MARTIN. Frank (1890- ). Swiss composer, he studied in Geneva before coming to Paris in 1923 to study composition with J. Laubert. He returned to Geneva in· 1926 as a pianist and harpsichordist and taught at the Institute Jacques Dalcroze from 1927 to 1938. He moved to Holland in 1946 and while living there taught classes in composition at the Cologne Hochscule fur Musik from 1950 to 1957.

}1ASSIS, Amable (1893- ). French composer and conductor, he was a student of composition at the Paris Conservatory of Gedalge and }~rcel Dupre.

11ASSON, Gabriel. French trombonist, and soloist with the opera in Colonne. 212 li~URAT, Edmond (1881- ). French composer.

MAZELLIER, Jules (1879-1959). French composer and conductor, he was a student of composition at the Paris Conservatory of Gabriel Faure, winning the Prix de Rome in 1909. He became conductor of the Opera National in Paris from 1918 to 1922, and was a Professor at the Paris Conservatory for the next twenty years.

~ffiYER, Jean-Michel (1910- ). French composer, a student of composition at the Paris Conservatory of Noel Gallon.

MlLHAUD, Darius (1892-1974). French composer, he studied conducting, violin, harmony, counterpoint, fugue, and composition at the Paris Conservatory from 1909 to 1915. His professor of composition at the Conservatory was Charles Widor and he studied conducting with Vincent d'Indy. His name became known to a larger public as a result of a newspaper article by Henri Collet, grouping him with five other French composers of modern tendencies (Auric, Durey, Honegger, Poulenc and Germaine Tailleferre) under the title of Les Six. Milhaud and his fellow French composers of Les Six are usually credited with being pioneers of polytonality.

MISSA, Edmond Jean Louis (1861-1910). French opera composer, he studied composition at the Paris Conservatory with Massenet. He spent much of his career as organist at St. Thomas d'Aquin.

}10REL, Florentin (1926- ). Director of Harmony at Dourges Pas de Calais.

NlVERD, Lucien (1879-1967). French composer, Director of the Conservatory in Tourcoing.

NlVERD, Raymond (1922- ). French composer, Director of the National School of Music in Troves.

NUX, Paul V. de la (1853-1928). French composer, was a student of composition at the Paris Conservatory. He won the second Grand Prix de Rome in 1876.

PARES, Gabriel (1860-1934). French bandmaster.

PASCAL, Claude (1921- ). French composer, a student of composition at the Paris Conservatory of Jean Gallon, Noel Gallon and Henri Busser. He won his Grand Prix de Rome in 1945. He is presently Professor of Etudes at the Paris Conservatory. Bass Trombone - Sonata en 6 Minutes $0. Publisher: Editions Durand et Cie. 213

PERRIN, Jean (1920- ). Swiss composer.

PFEIFFER, Georges-Jean (1835-1908). French composer, he began his career as a pianist, then becoming active as a music critic in Paris. He was a member of the firm Pleyel, Wolff, et cie., piano makers at Paris.

PICHAUREAU, Claude. French trombonist, made his career as a trom bonist, then as a Professor at the Boulogne-Billancourt National Music School and then Director of the Limoges National :Husic School. He is presently Professor of "Brass Reading" at the Paris Conservatory. Bass Trombone - Seringa. Publisher: Editions Choudens.

PICHAUREAU, Gerard. French trombonist and ~duca~or, he is currently Professor of Trombone at the Paris Conservatory, having been appointed in 1960. In addition to his teaching duties, he was also soloist with the "Band of the Garde Republicaine and Societe des Concerts du Conservatoire.

POOT, }~rcel (1901- ). Belgian composer, he studied composition at the Brussels Conservatory with Sevenants, Lunssens and de Greef from 1916 to 1920. He was on the staff of the Brussels Conservatory from 1938 to 1966, and its Director from 1949 until his retirement.

PORRET, Julien (1896- ). French composer, bandmaster, and trumpeter.

RASSE, Francois (1873-1955). Belgian composer, he studied violin with Eugene Ysaye at the Brussels Conservatory, winning the Belgian Grand Prix de Rome in 1899. From 1925 to 1938 he was Director of the Liege Conservatory.

REICHEL, Bernard (1901- ). Swiss composer, student of composition of H. Suter and J. Dalcroze and in Paris of E. Levy.

REUTTER, Herman (1900- ). German composer" and pianist, he studied piano and cello in Stuttgart and singing and composition at the Munich Academy of Arts. He was for the years 1932 to 1966 the Professor of Composition at the Hochscule fur Musik in Stuttgart.

RIEUNIER, Jean-Paul (1933- ). French composer, he was a student of composition at the Bordeaux Conservatory. In 1970 he was appointed as Professor in Charge of Public Activities for Contemporary Music at the Paris Conseryatory. 214 RIVIERE, Jean-Pierre (1929- ). French composer, he was a student of composition at the Paris Conservatory of Tony-Aubin, Nadia Boulanger and Olivier Messiaen. He w~n the Prix de Rome in 1957.

ROCHUT, Joannes (1881-1952). French trombonist, was a student at the Paris Conservatory following a three year commitment to the French Army. He played trombone with the Boston Symphony Orchestra from 1925 to 1930. He then returned to Paris and became Librarian of the Radio-diffusion Francaise in 1935 and General Director of the choruses and orchestras of the Radio-diffusion Francaise in 1935.

ROPARTZ, Guy (1864-1955). French composer, a student of composition at the Paris Conservatory of Theodore Dubois and Massenet. From 1894 to 1919 he was Director of the Conservatory and Conductor of the symphony concerts at Nancy. From 1919 to 1929 he conducted the Municipal Orchestra in Strasbourg.

ROUSSEAU, Samuel-Alexandre (1853-1904). French composer, he studied at the Paris Conservatory with Cesar Franck (organ) and Bazin (composition). He won his Grand Prix de Rome in 1878. In 1892 he was appointed conductor at the Theatre-Lyrique and was for ten years chorusmaster at the Societe des Concerts du Conservatoire and taught harmony at the Paris Conservatory.

R~EFF, Jeanine (1922- ). French composer, she was a student of composition at the Paris Conservatory of Henri Busser. She won the Grand Prix de Rome in 1948. Bass Trombone - Concertstueak. Publisher: Alphonse Leduc.

SAINT-SAENS, Camille (1835-1921). French composer, he was a student of composition at the Paris Conservatory. He spent much of his life traveling throughout the world performing his own works as pianist and conductor.

SALZEDO, Carlos (1885-1961). French composer, he studied piano and harp at the Paris Conservatory, receiving the Premiere Prix in 1901. He started his career as a solo harpist, moving to New York in 1909. In 1921 he was co-founder, with Edgard Varese, of the International Composer:s Guild in New York, with the aim of promoting modern music. As a teacher he was active at the Institute of Musical Art and the Jui11iard Graduate School in New York, and at the Curtis Institute of Music in Philadelphia.

SCIORTINO, Patrice (1922- ). French composer, student at the Scho1a Cantorum in Paris. 215 SENLER-COLLERY, Jules (1902- ). French compos'er, he was a student of Paul Vidal and Vincent d'Indy and later became Chief Director of Navy Bands. Bass Trombone - B~a~oZZe et Chanson Baahique~ Saxhornia. Publisher: Alphonse Leduc. Bass T~ombone - 2 Pieaes Breves. Publisher: Editions Max Eschig.

SENON, Gilles (1932- ).

SIGNARD, Pierre (1829-1901).

SPISAK, }uchel (1914-1965). Polish composer, he studied music in Katowice, then took composition with Sikorski in Warsaw and with Nadia Boulanger in Paris, where he lived from 1937 until his death.

STOJOWSKI, Sigismond (1869-1946). Polish pianist, he was a student of piano and composition at the Paris Conservatory from 1887 to 1889. He remained in Paris until 1906~ when he emigrated to the United States as Head of the Piano Department at the Institute of Musical Art in New York. THEVET, Lucien. French hornist, Professor of Horn at the Conservatory in V~rsailles and Horn Soloist with the Theatre National de l'Opera and Societe des Concerts du Conservatoire.

TISNE, Antoine (1932- ). French composer, he was a student of composition at the Paris Conservatory of Darius !1ilhaud and Jean Rivier. He won the second Grand Prix de Rome in 1962.

TO}~SI, Henri (1901-1971). French composer, he was a student of composition at the Paris Conservatory of Paul Vidal. He won the second Grand Prix de Rome in 1927. He served as Husic Director of the Paris Radio, in French Indochina from 1930 to 1935, and also conducted opera in Monte Carlo from 1946 until 1950.

TOULON, JACQUES. French trombonist, he is soloist with the Orchestra of Paris and Professor of Trombone at, the Conservatory in }iontrevie-sous-Bois.

TOURN&~IRE, Charles (1870-1939). French organist and composer, he was a pupil of Cesar Franck at the Paris Conservatory winning the Premiere Prix for organ in 1891. He also studied composition with VinCent d'Indy at the Schola Cantorum in Paris. In 1898 he succeeded Pierne as organist at St. Clotilde.

TOUFU~IER, Franz (1923- ). French composer, he was a student of composition at the Paris Conservatory of Tony-Aubin and Olivier Messiaen. 216

VALLIER, Jacques (1922- ). French composer, he was a student of composition at the Paris Conservatory of Darius Milhaud and A. Honneger.

VIDAL, Paul (1863-1931). French-composer and teacher, he studied composition"at»the Paris Conservatory and won the Grand Prix de Rome in 1883. He joined the staff of the Paris Opera as a choral director from 1889 to 1906. He taught elementary courses at the Paris Conservatory from 1894 until 1910, when he was appointed Professor of Composition.

WEBER, Alain (1930- ). French composer, he was a student of composition at the Paris Conservatory of Tony-Aubin and Olivier Messiaen. He won his Grand Prix de Rome in 1952. Bass Trombone - SoZiZoque. Publisher: Alphonse Leduc.

WEINER, Stanley (1925- ). Belgian composer.

WURMSER, Lucien (1877-1967). French composer and pianist.

ZBAR, }tichel (1942- ). French composer, he was a student of composition at the Paris Conservatory of Tony-Aubin and Olivier Messiaen. He graduated in 1967. Bass Trombone - Jeu 3. Publisher: Alphonse Leduc. APPENDIX C

ADDRESSES OF PUBLISHERS

Amphion Editions Musicales 5, Rue Jean Ferrand, Paris VI, France

Edition Andel Uitgave Madeliefjeslann 26 B-8400 Oostende, Belgium

Associated Music Publishers 866 Third Ave. New York, New York 10022

M. Baron Company Box 256, South Road Oyster Bay, New York 11771

Belwin-Mills Melville, New York 11746

Editions Billaudot 14 Rue de L'Echiquier Paris 75010, France United States Agent: Theodore Presser Co.

Brandus et Cie. Ph. Maquet acquired the business on the death of Louis Brandus

Editions Choudens 38, Rue J ean-Mermoz 75008 Paris, France United States Agent: C.F. Peters Corp.

Editions M. Combre 24 Boulevard Poissonniere Paris 9, France

217 218

Editions Costallat 60, Rue de L'Echiquier 75009 Paris, France United States Agent: Theodore Presser Company, M. Baron Company

Georges Delrieu and Cie. Nice, France

Editions Durand and Cie. 21 Rue Vernet 75008 Paris, France United States Agent: Elkan-Vogel

Elkan-Vogel Company, Inc. 1712 Sampson Street Philadelphia, PA (See Theodore Presser Company)

Enoch et Cie. 27, Boulevard des Italiens 75002 Paris, France

Editions Max Eschig 48, Rue de Rome 75008 Paris, France United States Agent: Associated Music Publishers

Evette et Schaeffer 1938 Last appearance

Carl Fischer, Inc. 62 Cooper Square New York, New York 10003

Publications Musicales Lino Florenzo 121 Rue Barthelemy Delespaul 59000, Lille, France

Editions Philippe Fougers 48: Rue de Ponthieu 75008 Paris, France 219

Editions Francaises de Musique 12, Rue Magellan 75008 Paris, France

Editions Musicales Andrieu Freres 72, Rue Rodier Paris, 9, France

E. Girod et Cie. March 1919 Last appearance

Editions Gras 36, Rue Pope Charpentier LaFleche, France

H. Hamelle 22, Boulevard Malesherbes Paris, France

Heugel et Cie. 2 Bi- , Rue Vivienne Paris: France

Hinrichsen Edition 10-12 Baches Street London NI 6DN, England (373 Fourth Avenue Ne~ York, New York)

A. Ikelmer et Cie 1900 Last appearance

International Music Company 545 Fifth Avenue NevI" York, New York 10017

Societe des Editions Jobert 44, Rue de Colisee Paris, France 220

Alphonse Leduc Editions Musicales 175, Rue Saint Honore 75001 Paris, France United States Agents: Southern Music Company M. Baron Company Elkan-Vogel Company (See Theodore Presser Company) Edward B. Marks Music Corporation (Order from Belwin-Mills)

Henri Lemoine et Cie. 17, Rue Pigalle Paris, France

Editions de L'oiseau Lyre 122, Rue de Grenelle 75007 Paris, France

Editions Margueritat 1950 Still in existence

Robert Martin Editions Musicales 106 Grande-Rue de la Coupee 71009 Macon, France

J. Maurer Editions Musicales Avenue du Verseau, Woluwe St. Lambert Brussels 1200, Belgium

J. Meissonnier December 1860 Last appearance, being taken over by E. Gerard et Cie.

Editions Metropolis Van Ertbornstr. 5, 2000 Antwerpen, Belgium

Utigave Molenaar, N.V. Wormerveer: Holland 221

Editions Musicales Transatlantiques 14, Avenue Hoche 75008 Paris, France United States Agent: Theodore Presser Company

Musica Rara Le Traversier Chemin de la Buire 84170 Monteux, France

Pierre Noel, Editeur 24, Boulevard Poissoniere 75009 Paris, France

O'Kelly 1893 Last appearance

Les Editions Ouvrieres 12, Avenue Soeur-Roselic Paris 13, France

C.F. Peters Corporation 373 Park Avenue, South New York, New York 10016

Edi~ions Philioop 24, Boulevard Poissonniere 75009 Paris, France

Theodore Presser Company Presser Place Bryn Mawr, PA 19010

Editions Ricordi 3, Rue Roquepine Paris, France

Editions Rideau Rouge 24, Rue de Longchamp Paris, 16, France 222

Rubank, Inc. 16215 N.W. 15th Avenue Miami, Flordia 33169

Editions Salabert 575 Madison Avenue New York, New York 10022 (22 Rue Chauchat 75009 Paris, France)

G. Schirmer, Inc. 866 3rd Avenue New York, New York 10022

Schola Cantorum 76, Rue des Saints-Peres 75007 Paris, France

Schott Freres 30, RUe Saint Jean Brussels, Belgium

Editions Selmer 18, Rue la Fontaine au Roi 75011 Paris, France

Societe Editions Musicales Internationales 5, Rue Lincoln 75008 Paris, France

Southern Music Company Box 329 San Antonio, Texas 78292

Symphony Land 4 Rue P. Dupont 75010 Paris, France

Universal Edition Vienna, Austria

Warner Brothers P~blications, Inc. 265 Secaucus Road Secaucus, New Jersey 07090 SELECTED BIBLIOGRAPHY

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Apel, Willi. Harvard Dictionary of Music. Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1969.

Arling, Harry J. Trombone Chamber Music: An Annotated Bibliography. Nashville: Brass Press, 1978.

Baines, Anthony. Musical Instruments Through the Ages. New York: Walker, 1966.

Baines, Anthony. Brass Instrum~nts: Their History and Development. London: Faber, 1976.

Baker's Biographical Dictionary of Musicians. Nicolas Slonimsky, editor. New York: Schirmer Books, 1978.

Bate, Philip. The Trumpet and Trombone: An Outline of Their History, Development and Construction. 2nd edition. London; Benn; New York: W. W. Norton, 1972.

Bellaman, Joseph C. Brass Facts; A Survey of Teaching and Playing Methods of Leading Brass Authorities. San Antonio, Texas: Southern Music Company, 1961.

Bellaman, Joseph. A Survey of Modern Brass Teaching Philosophies: Of Today's Leading Brass Specialists.·.. San Antonio, Texas: Southern Music Company, 1976.

Berlioz, Hector. Evenings in the Orchestra. Translated by C. R. Fortescue. Baltimore: Penguin Books, 1963.

Berlioz, Hector. The Memoirs of Hector Berlioz. Translated by David Cairns. Londcn: Victor Gollancz, Ltd., 1969.

Berlioz, Hector. Treatise On Instrumentation. Revised and enlarged by Richard Strauss. Translated by Theodore Front. New York: Kalmus, 1948.

223 224

Bernard, Robert. Histoire de la Musique, Volume II. Paris: Nathan, 1962.

Bernard, Robert. Les Tendances de la Musigue Francaise ~wderne. Cours D'Estihetigue. Paris: Durand and Fils, 1930.

Bevan, Clifford. The Tuba Family. London: Faber, 1978.

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Blunt, Anthony, Sir. French Art and Music Since 1500: With Illustrations. New York: Harper and Row, 1974.

Borrel, Eugene. L'Interpretation de la Musique Francaise (De Lully A La Revolution). New York: MiS Press, 1978.

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Cohen, Albert. Music in the French Royal Academy of Sciences: A Study in the Evolution of Musical Thought. Princeton, New Jersey: Princeton University Press, 1981.

Colin, Charles. Vital Brass Notes. New York: CharJ.es Colin, 1959.

Collette, Arnand. Histoire de la Maitrise de Roven. Geneve: Minkoff Reprints, 1972. [Reprint of 1892 editionJ.

Comettant, Jean Pierre Oscar. La Musique, Les Musiciens et Les Instruments de Musique Chez Les Differents Peuples Du Monde ••• Paris: Michel Levy Freres, 1869.

Cooper, Martin. French Music, From the Death of Berlioz to the Death of Faure. London; New York: Oxford University Press, 1951.

Coppola, Piero. Dix-Sept Ans de Musique a Paris, 1922-1939. Lausanne: F. Rouge and Cie, 1944.

Curtiss, Mina Kirstein. Bizet and His World. New York: Knopf, 1958.

Daubeny, Ulric. Orchestral Wind Instruments, Ancient and Modern; Being An Account of the Origin and Evolution of Wind Instruments From the Earliest to the Most Recent Times. Freeport, New York: Books For Libraries Press, 1970.

Davies, Laurence. The Gallic Muse. London: J. M. Dent and Sons, Ltd., 1967.

Devol, John. Brass Music for the Church; A Bibliography of Music Appropriate for Church Use. Plainview, New York: Harold Branch Publishers, 1974.

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Directory of Libraries for }fusica1 Education and Performance. Prague: State Library of the Czech Socialist Republic. 1977.

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Ewen. David. Composers Since 1900; A Bibliographical and Critical Guide. New York: H. W. Wilson Company. 1969.

Ewen, David. Solo Instrumental and Chamber Music; Its Story Told Through the Lives and Works of Its Foremost Composers. New York: F. Watts. 1974.

Faure. Gabriel. Correspondance/Gabrie1 Faure; Textes Reunis, Presentes et Annotes Par Jean-Michel Hectoux. Paris: F1ammarion, 1980.

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Ga1phin. Francis W. A Textbook of European Musical Instruments. Their Origin, History and Character. New York: J. De Graff, 1956.

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Landormy, Pual Charles Rene .•.• La Musigue Francaise de la }~rseillaise a la Mort de Berlioz. Paris: Gallimard, 1944.

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Robert, Frederic. La Musique Francaise Au XIX Siecle. Paris: Presses Universitaires de France, 1970.

Robert, Gus~ave. La Musigue a Paris, 1894-1895 [1898-1900J. Paris: Fischbacher, 1895-[1901J.

Roberts, James. Annotated Guide to Orchestral Excerpts for Trombone. Lebanon, Indiana: Studio Publications Recording, 1980.

Rolland, Romain. Musicians of Today. Translated by Mary Blaiklock. New York: H. Holt and Company, 1915.

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Periodicals

Ameller, Andre. "The Training of the Amateur Musician and the Role of the Popular Societies for Music in the Community Music Life in France." ISME Yearbook, vol. 2 (1974): 147-149.

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Douay, Jean. "The Trombone in Maurice Rauels Bolero." Brass Bulletin, vol. 13 (1976):61-62; vol. 19 (1977):29-30.

Fetter, David. "Joannes Rochut (1881-1952)." Journal of the International Trombone Association, vol. 10, no. 3 (July 1982):22-23.

Flor, Gloria J. "The Alto Trombone." Woodwind World; Brass and Percussion, vol. 21, no. 2 (February 1982):24-26.

Gade, Per. "Anton Hansen (1877-1947); Father of Trombone Playing in Scandinavia." Brass Bulletin, vol. 27 (1979) :27-40; vol. 28 (1979):13-28; vol. 29 (1980):81-94.

Gee, Harry R. "A Survey of Diploma Sclas Used for Clarinet at the Paris Conservatory." School Musician, vol. 48 (December 1976): 22-23; vol. 49, no. 8 (April 1978):24-25; vol. 49, no. 10 (June/July 1978):19-20; vol. 50, no. 10 (June/July 1979): 10-11.

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Dissertations

Bahr, Edward R. HA Discography of Classical Trombone/Euphonium Solo and Ensemble Music On Long-Playing Records Distributed in the United States." UniveFsity of Oklahoma, 1980.

Caringi, Joseph John. "The Clarinet Contest Solos of. the Paris Conservatory With A Performance Analysis of Selected Compositions." Columbia University, 1963.

Cooper, Jeffrey H. "A Renaissance in the Nineteenth Century: The Rise of French Instrumental Music and Parisian Concert Societies, 1828-1871." Cornell University, 1981.

Crawford, Jack R. "Mes Souvenirs by Louis Vierne: An Annotated Translation." University of Miami, 1973.

Delente, Gail B. "Select=d Piano Music in Fr~nce Since 1945." Washington University, 1966.

Farnham, Dean A. "The Twentieth-Century Trombone Sonata." Boston University Graduate School, 1969.

Hinterbichler, Karl G. "Evolution of the Role of the Solo Trombone in the Nineteenth-Century and Twentieth-Century." North Texas State University, 1974.

James, Richa:'d S. "Expansion of Sound Resources in France, 1913-1940, and Its Relationship to Electronic }lusic." University of Hichigan, 1981. 234

Kaplan, Allan R. "A Performance Analysis of Five Major Recital Works; Concerti For Solo Trombone and Orchestra." New York University, 1978.

Kesinger,- Terry L. "The Development of Twentieth-Century French Music For Saxophone." M.A., California State University, Long Beach, 1977.

Koerselman, Herbert L. "A Comprehensive Performance Project in Trumpet Literature With An Annotated Bibliography of Brass Study 11aterials Which Deal With Performance f~ublems Encountered in Contemporary Music." University of Iowa, 1976.

Leisenring, John R. "Twentieth-Century Trombone Concerti." University of Illinois at Urbana-Champaign, 1974.

Nicholson, Joseph M. "A Historical Background of the Trombone and Its Music." University of ~fissouri-Kansas City, 1967.

Pethel, Stanley R. "Contemporary Composition for the Trombone: A Survey of Selected Works." University of Kentucky, 1981.

Riggins, Stephen H. "Institutional Change in Nineteenth-Century French Music." University of Toronto, 1980.

Senff, Thomas E. "An Annotated Bibliography of the Unaccompanied Solo Repertoire For Trombone." University of Illinois at Urbana-Champaign, 1976.

Wilkins, Leona Belle. "Husic Education in France and The United States: A Comparative Study of Contemporary Reforms." University of Hichigan, 1971.