The Paris Conservatoire And The Contest
Solos For Bassoon
By Kristine Klopfenstein Fletcher
1988 Indiana University Press, Tenth and Morton Streets,
Bloomington, IN 4 7405 - $17.50
This is an excellent reference
book for bassoonists interested in the history and music literature
for the bassoon associated with the Concours of the Conservatoire
National Supérieur de Musique
(C.N.S.M.) in Paris which have been held annually there, with
few interruptions, since 1797. The book concentrates on the "
Morceaux des Concours" which were works frequently commissioned
for this annual competition, particularly from the years 1898
to 1984. Besides this, the various chapters cover the history
of the foundation of the Conservatoire, the lives of its directors,
and bassoon professors, the development of its annual Concours,
and a general listing of the annual musical works (or Morceaux)
required for the competition from 1824 to 1897. As a person who
spent a sabbatical year in Paris from August 1983 to June 1984
studying the French bassoon with the maître,
Maurice Allard, I found this absolutely fascinating reading. It
brought back fond memories of my almost monthly sojourns to the
Conservatoire on the rue de Madrid at the invitation of Mr. Allard
to assist in the selection of the "premiere bassoonist du
mois" from his bassoon class. One after another, each was
required to play the "morceaux du mois " (such as the
Jolivet Concerto, the Telemann Sonata, the Stamitz Concerto in
D, etc.) before us. Then we, the invited jury, voted on their
performance, rating them one thru twelve. The results were then
tabulated and announced to the students on the spot. All of this,
of course, was excellent preparation for the end-of-the-year Concours
in the famous Salle Berlioz in June, 1984, where Jean-Jacques
Decreux, Fréderic Bouteille
and Nicolas Duhamel played the "Morceau de Concour":
the Sonatine: Tango by Pierre-Max Dubois with absolute
brilliance (along with the Stamitz Concerto in D -
the other required work.) I'll also never forget the party afterwards
at the "Cafe" watching three very happy and inebriated
"vainquers" trying to play the same work under decidely
less intense circumstances before a gathering of jubilant fellow
bassoonists. Ali these were happy memories recalled by this part
of Ms. Fletcher's text...
But the real value of the work for the everyday bassoonist seeking new vistas of literature for the bassoon is in the excellent annotated bibliography and critiques of the Morceaux from 1898 to 1984. They are evaluated for their musical worth. All the necessary information concerning publishers, including those out of print (OP) is also included. To be sure, the familiar works are there - the Tansman Sonatine and Suite, the Saint-Saëns Sonata; but even for someone like myself who knows this literature fairly well there are new works to check out and explore. The following are typical entries from this section:
1933
PreIude de Concert, Op. 53 Gabriel Pierné
(5'30") (1863-1937)
Dedication: Leon Letellier Difficulty: 5
Bassoon, piano Paris: Salabert
Bassoon range: B1 to a2 E.A.S. 8614
(See 1898 for background information about the composer.) Based on a theme by Purcell, PréIude de Concert is a rather appealing work useful for recital or study. Beginning with a fugue, the piece alternates between fugal and lyrical sections. A short cadenza which rises to d2 twice is included for the soloist.1912
Ballade, Op. 34 (5') Jules Mouquet
Dedication: none (1867-1946)
Bassoon, piano Difficulty: 5-6
Bassoon range: B1 to a' Boston: Cundy-Bettoney
6016-14
Jules Mouquet (b. July 10, 1867 in Paris) studied harmony and composition at the Conservatoire. In 1896 he won the Grand Prix de Rome for his cantata Mélusine, in 1905, the Prix Trémont; and in 1907, the Prix Chartier for chamber music. Six years later Mouquet was appointed professor of harmony at the Conservatoire. He wrote a Cours complementaire d'harmonie, oratorios, symphonic poems, and various pieces for winds, including a septet and works for flute, oboe, clarinet, and saxophone. Mouquet died in Paris on October 25, 1946.Ballade is an enjoyable recital piece for both performers and audience. Highly melodic, the work is idiomatic for the bassoon although there are a few awkward passages. The piano accompaniment is not difficult and works quite well with the solo part.
The Pierné
work, the "Morceau" for 1933 is a lovely work I know
well, since I worked on it under Mr. Allard. Ms. Fletcher's description
and evaluation of it is excellent. The second entry the Ballade
by Jules Mouquet for 1912, is an entirely new work to me,
but you can rest assured I'll be looking for it the next time
I get a chance!
This is an excellent book. Ms. Fletcher is to be congratulated for her faultless research, scholarship and evaluative skills.. It belongs on every bassoonists bookshelf.