Henri Tomasi is a composer not often mentioned in American music circles, for with the exception of the Trumpet and Clarinet Concertos and the Fanfares liturgiques for brass ensemble, his works are relatively unknown. In France, Tomasi's music has always been popular, while elsewhere that of his contemporaries has generally received more favor. Stylistically, Tomasi has much in common with composers such as Eugene Bozza and Henri Dutilleux, yet his compositions seldom appear on concert programs outside his homeland. This fact is regrettable since Tomasi's music is quite appealing, and could provide a welcome addition to college and conservatory curriculums, as well as serving to enhance the repertoire of professional musicians. It is toward achieving a greater recognition of Tomasi's works for oboe, English horn, and bassoon that this article is directed.
Born in 1901, Tomasi received his initial musical training at the Marseilles Conservatory. Further instruction was obtained at the Paris Conservatory under Caussade, Vidal, d'Indy, and Gaubert; Tomasi was also fortunate to be numbered among the composition students of Dukas. Although remembered primarily as a composer, Tomasi attained early renown as a conductor, having been associated with such organizations as the Monte Carlo Opera, Radio-Paris, Casino de Vichy, and the Radio-Colonial. Many prestigious awards mark Tomasi's dual career: the Halphen Prize in 1925, the Second Prix de Rome in 1927 (the same year he also won the prize in orchestral conducting from the Paris Conservatory), the Prix des Beaux-Arts in 1929, the Grand Prix de la Musique Francaise in 1952, and in 1960, the Grand Prix Musical de la Ville de Paris.
At the time of his death in 1971, Tomasi had produced a great quantity of music in all genres, most of it retaining a distinctly personal style despite influences absorbed from earlier composers, including Debussy, Ravel, and de Falla, as well as those of his own generation. Often described as a Modern Impressionist, he was continually attracted to visually illustrative music and did not hesitate to use any means of expression to achieve a desired result. However, Tomasi can be considered a tonal composer who relied on conventional forms to lend structure to his works. He sanctioned all harmonic languages but wished to remain independent of any one compositional school, and felt no need to create a new musical system. Tomasi wrote for the average concert goer, and his utilization of oriental effects and folk elements endeared him to the public while occasionally provoking derision from the critics. Held in great esteem by fellow musicians on account of his integrity and individuality, Tomasi made a significant contribution to the enrichment of the French musical tradition.
Eight solo compositions for double reed instruments figure in Tomasi's output, one of the more imaginative being Evocations (Leduc) which was designed to be playable on oboe, English horn, or E-flat alto saxophone. This unaccompanied work was premiered on March 1, 1968 by Paul Taillefer, the artist to whom the English horn version was dedicated, and has received subsequent performances by such well-known musicians as Thomas Stacy. Evocations was written near the end of Tomasi's life, and the titles of each movement - "Peruvienne," "Nigerienne ... .. Cambodgienne (Asparas)," and Ecossaise" - reflect his endless fascination with foreign cultures. In great demand as a conductor before a decision in 1955 to devote himself completely to composition, Tomasi traveled extensively in Europe and Asia. Undoubtedly as a direct result of this exposure to different countries, Tomasi's music often reveals a taste for the exotic. Works such as the song cycle Quatre chants de geishas, the ballet La feerie laotienne, the orchestral suite Caravanes (Impressions sahariennes), and this solo composition are excellent examples of his attraction to remote lands.
Tomasi imitates the beating of a distant jungle drum throughout much of Peruvienne," and although this emulation is effective, it requires something universally dreaded by oboe and English horn players - a series of detached low cs and ds at a dynamic level of pianissimo. Percussive qualities are also found in "Nigerienne," and furnish a link to the drum evocations of the preceding movement. Appearing in the midst of this rhythmic activity is a brief section consisting solely of a stagnant melody that places much emphasis on repeated pitches: however, repetition and limited melodic resources do characterize the music of some primitive cultures, so perhaps Tomasi intentionally contrived this passage, which is not without some charm, to capture the impression of a folk tradition. Haunting melodies with a pentatonic flavor are found in "Cambodgienne (Asparas)," and they, too, seem to have roots in folkmusic. In a surprisingly successful attempt to simulate the sound of xylophones, the performer is required to execute a long series of octave leaps in the middle of the movement, leaps which are made more treacherous by the rapid tempo, changing meters, successive staccatos, and the six-flat key signature. Tomasi conjures a spirit of Scotland in "Ecossaise" by using another folk-like melody and the metrical elements of a dance commonly associated with that country - the gigue. "Eossaise" is a rousing conclusion to a work that deserves a place in the repertoire of unaccompanied solos for oboe and English horn. The total performance time of Evocations is 9' 15".
Another unaccompanied composition by Tomasi is the unusual Trots etudes de concert: cadences pour accompagner le Concerto en Ut de Mozart (Eschig) for oboe. Dedicated to Etienne Baudo, professor of oboe at the Paris Conservatory, the three studies which comprise this work were written in 1964. The composition is cast in the form of a sonatina, a genre historically used for the purpose of instruction, and takes as its basis Mozart's Concerto in C, K. 314, which was probably written for the Salzburg oboist Giuseppe Ferlendis in the summer of 1777. With the Trois etudes de concert, created as cadenzas to accompany the Mozart Concerto, Tomasi follows a line of musicians who took full advantage of contemporary resources when formulating these virtuosic solo passages. It is common knowledge that in the early years of the solo concerto's development, cadenzas were not provided by the composer but left to the imagination of the performer. When Baroque and Classical compositions were played in later periods, many artists gave little regard to their original style and added modern sounding cadenzas. Essentially, this Tomasi work is an example of a twentieth-century composer's conception of cadenzas for each movement of the Mozart Oboe Concerto. Despite the fact that all of the studies end on the dominant trill found in most cadenzas and include a notation for the resumption of the orchestral accompaniment, it is highly unlikely that Tomasi ever actually intended for any of them to be interpolated into a performance of the Mozart Concerto. Instead, the Trot's etudes de concert seem to have been written simply as contemporary elaborations on pre- existing material, utilizing the improvisational style of a cadenza and the free structure of a sonatina.
Most cadenzas draw upon ideas presented at an earlier stage in a composition, and each of Tomasi's etudes incorporates, however loosely, elements found in the respective movements of the Mozart Oboe Concerto. Lasting only 1' 30" (the others each have a duration of 2' 30"), the third study is the one most conspicuously related to the source of inspiration, due mainly to analogous themes and rhythmic motives. Even though the etude is saturated with references to the Concerto, Tomasi accomplishes this without any employment of actual Mozartian material. It is done, rather, by his adherence to the same temperament of the Concerto's concluding movement, using the original style as a framework for development. The correspondence between the two works is immediately recognizable and probably would not be missed by anyone familiar with the Classical counterpart. Tomasi subjects the first and second studies to much more complex musical treatments which often obscure any obvious correlation to the Mozart. The first etude gives the listener just a hint of the Concerto's initial movement, not so much from its thematic borrowing (though direct quotations from the Mozart are more frequent than in any of the other studies) as by imitating typical figurations, such as ascending broken thirds, and related trill patterns. Some compliance with the harmonic structure of the Concerto's first movement is followed by Tomasi, but basically the Mozartian fragments are included with no further amplification. (In general, any references to the Mozart Oboe Concerto throughout the Trois etudes de concert are usually quite abstract, and appear only as passing recollections inserted into the fabric of the composition.) If one were not specifically searching for resemblances to the Concerto, it is doubtful that these elements would be readily evident.
It is especially difficult to discover vestiges of the Mozart in Tomasi's second etude (which functions as a slower middle movement), and those that do exist can, at best, be considered nebulous. Few thematic or rhythmic parallels can be drawn between this study and the second movement of the Concerto, and the most obvious aspect shared by both is the leisurely pace. Tomasi's writing seems to be less inspired, and while his embellishments arc clever and occasionally even witty in the first and third etudes, here they are dull and somewhat ponderous. Tomasi may have felt that the slow tempo of this study restricted his freedom to be inventive, particularly in regards to technical displays and the addition of humorous touches. Whatever the reason, the etude lacks the energy and ingenuity of the others, and this deficiency is unfortunately not replaced with melodic beauty. The Trots etudes de concert is as yet an apparently overlooked work, but one that certainly deserves a modicum of notoriety if only for its unique concept. It is sure to provide entertainment to anyone with some knowledge of the Mozart Oboe Concerto, and would be very effective if programmed after the Concerto on a recital. However, the composition is fairly complicated and recommended only for a mature performer, someone willing to exchange lyricism for cerebral appreciation.
Works such as the Trois etudes de concert and Evocations require advanced players, but one notable composition by Tomasi that can be performed by almost any oboist is Chant corse (Leduc). Dating from 1932 and produced early in Tomasi's career as a composer, this work was actually written as a vocalise for mezzo-soprano and piano. Tomasi was only one of a great number of French and foreign composers who responded to Professor A. L. Hettich's request for new vocalises to be used by his voice students at the Paris Conservatory. The original title of the composition betrays its vocal beginning - "Vocalise-Etude, Chant corse (Serenade complainte). " Along with examples by composers such as Villa- Lobos, Milhaud, Martinu, Poulenc, and Copland, Tomasi's vocalise became part of the distinguished teaching, series "Repertoire Moderne de Vocalises-Etudes" which was published by Leduc under Hettich's supervision. Tomasi later arranged the work for various instruments with the abbreviated title of Chant corse. Regrettably, the oboe version is now out of print, but copies may still be found in local music stores. Tomasi did not make an arrangement of Chant corse for bassoon though one was eventually done by Fernand Oubradous, founder of such ensembles as the "Trio d'anches de Paris," and the artist to whom Tomasi dedicated his Oboe Concerto. In addition to compiling an anthology of, twentieth-century compositions published by Editions Musicales Transatlantiques, Oubradous also edited a series of bassoon literature issued by Leduc entitled "Neuf Pieces pour Basson et Piano" in which Tomasi's Chant corse appears. Although Oubradous' arrangement of this work is very similar to the one made by the composer for the cello and was done with his blessing, the fact remains that Tomasi apparently did not envision Chant corse to be played on the bassoon, so a discussion of the bassoon version will not be included in this article.
Of Corsican descent, Tomasi had a life long interest in the folk traditions of his homeland, and many of his compositions reflect this by their picturesque titles, i.e., the opera Sampiero corso, a Divertimento corsica for reed trio, and a work for woodwind quintet, Variations sur un Wine corse. However, Tomasi was not content merely to evoke Corsica by superficial means, for he also employed native forms and melodies in his music. In fact, the opening phrase of Chant corse closely resembles the beginning of the Corsican folksong "Nelli monti di cuscioni. " Chant corse discloses its origin as a vocalise through a melodic line that definitely seems to have been designed for the human voice, and it is one of the few works for instruments that reveals Tomasi's inherent love of lyricism so apparent in his operas and songs. It is also an important example of a wind composition by Tomasi that is accessible to a young player, providing a vehicle for an early venture into personal interpretation by offering great freedom for expression. Chant corse is simple enough to allow a student to be imaginative without stressing technique, though this is not to imply that it is totally unproblematic, especially for a beginning oboist. An initial glance at the oboe version seems to divulge no obvious complexities, particularly in light of the slow tempo and a range that does not extend above an f1. Closer scrutiny however, exposes the fact that crossfingerings and left hand fs are frequently recommended. In addition, while there are no upward extremes of range, low B-flats, Bs, and cs commonly appear, and the work concludes on pianissimo low notes. There are also several instances of hemiola throughout the composition. A certain amount of dynamic control is necessary if the oboist is to respect Tomasi's markings, but great differences in dynamic levels are not really essential as long as the tempo changes are observed. Chant corse lasts only 2' 58", and is definitely worthy of inclusion in the student repertoire.
With the exception of Chant corse, all of Tomasi's solo compositions for double reed instruments were written in the last thirteen years of his life, and one of the earliest was the Concerto for Oboe and Chamber Orchestra (Leduc), dating from 1958. The work received its premiere on March 1, 1959 by the Fernand Oubradous Chamber Ensemble with soloist Pierre Pierlot. An interesting fact about the Concerto is that it served as the foundation for the one act ballet Jabadao, which was developed by Tomasi and Andre Boll in 1959. Practiced in Brittany, the jabadao was an ancient celtic dance with Satanic implications. The story line provided by Boll for the ballet (which is very typical of the kinds of plots to which Tomasi was attracted) is based upon the legend of Katell and her two companions, who chose to dance all night with the Devil rather than participate in a religious pilgrimage, only to be petrified by the wrath of God at daybreak. According to the tale, the Devil supplied the music for their revelry by performing on the bombarde, and in an attempt to imitate the timbre of this early double reed instrument, Tomas] expanded Jabadao's oboe section to five players. With some very minor alterations, the compositional material of the Oboe Concerto was borrowed basically intact for the ballet. The most noticeable difference between the two scores, apart from the orchestration changes, is the inclusion of subtitles indicating stage action in Jabadao. In fact, the music is so visually representative and seems to enhance the plot of the ballet so well that one questions whether the Oboe Concerto was indeed written first, although it is possible that Tomasi may have planned the two works simultaneously.
The Oboe Concerto is a radical departure in both style and structure from Tomasi's general approach to wind writing. Unlike most of his other concertos, this composition is not divided into distinct movements, and no traditional form is utilized; instead, brief sections, often unrelated in thematic or rhythmic content, are placed in direct juxtaposition. Although the Concerto is very difficult, there is little of the virtuosic bravura found in instrumental works by Tomasi and other twentieth-century French composers, and it would never be selected for the sole purpose of displaying an oboist's technical prowess. The solo part is frequently of equal importance as the other instrumental lines, and the oboe could even be mistaken for just another voice in the ensemble due to the absence of long exposed passages. The Concerto lasts approximately 16', yet it is really only in the cadenza that the soloist is given the opportunity to accept fully his position of prominence. Furthermore, the thematic material of numerous sections is highly chromatic, almost dodecaphonic in nature, an impression which is heightened by the many intervallic leaps of major sevenths. These elements, when combined with occasionally dissonant harmonies, stand in opposition to the sweeping lyricism found in compositions such as Chant corse. Upon examining this work from the standpoint of both oboe concerto and ballet, it is this writer's opinion that the composition is better suited to the theatre than to the concert hall: as Jabadao, it presents an appropriate, interesting backdrop for the action on stage, but as the Oboe Concerto, it merely leaves the listener disappointed and somewhat unsatisfied.
Tomasi's only solo double reed work to allow an accompaniment other than an orchestral ensemble or keyboard instrument is Le tombeau de Mireille (Leduc) for oboe and tabor or snare drum (or piano). The piece takes its name from the subtitle of a larger composition for chamber orchestra, Sinfonietta provencale, in which it originally served as the second movement. (Because the movement makes use of only two instruments, this popular segment was easily removed from its former context and published separately.) Tomasi created Sinfonietta provencale to commemorate the centenary of Frederic Mistral's poem "Mireio," and initially conceived the second movement, termed "Cadence," to utilize a galoubet for the melodic line. The galoubet is a three holed flute indigenous to Provence, where it is usually paired with percussion (both instruments being manipulated by one person) in traditional dances such as the farandole; in the absence of a galoubet, Tomasi permits the work to be performed on oboe or piccolo. In the same manner that Corsican influences are apparent in Chant corse, so folk elements from Provence figure prominently in Le tombeau de Mireille. Tomasi spent much of his childhood in Provence and later paid tribute to this sunny part of southern France in many of his compositions, including the orchestral suite Nuits de Provence and the No& provencaux for chorus. Not only are native forms and instruments incorporated into Le tombeau de Mireille, but the work was also written to honor the poetry of a Provencal writer and dedicated to a young musician of the area, Christian Sicard, who played the galoubet in the 1959 premiere.
The three distinct divisions found in the second movement of Sinfonietta provencale are retained in Le tombeau de Mireille. The first of these sections, more properly considered movements when the composition is viewed as a separate entity, is an introduction and four variations. Tomasi's use of titles such as "Air" and "Forlana" for some of these variations seems to reflect a desire to imitate the suites of dances commonly compiled in the Baroque period. The composer depicts the sadness of Mistral's heroine by fashioning a melancholy sounding melody in "Romance (Tristesse de Mireille)," whose subdued tone contrasts sharply with the merriment of the outer movements. The "Romance" appears (with the same instrumentation) in Tomasi's Messe de to nativite, which dates from the same period, as well as in his Pastorales provencales, a later arrangement of Sinfonietta Provencale for two guitars, flute, and strings. The final movement has the 6/8 meter and brisk tempo of the farandole, a Provencal dance that received classical recognition in works by Bizet and Gounod, the latter including it in Mireille, his own operatic portrayal of the same narrative. With the exception of the third variation and a cadenza in the first movement, the percussive background provides an incessant accompaniment throughout Le tombeau de Mireille, and while this rhythmic support enhances the livelier portions, its often unvarying patterns grow tedious in sections such as the "Romance. " The fact that Tomasi had to write within the limitations of the galoubet's restricted compass and narrow spectrum of coloration results in a composition that presents few problems to the oboist, for the range covers only one-and-a-half octaves (e-flat-b-flat') and technical difficulties are only those arising from frequent demands for left hand and forked fs. However, the soloist plays almost continuously during the 8' performance time and carries the entire burden of musical interest. There are also several places where rapid staccato tonguing is required. Le tombeau de Mireille is a lighthearted work that is the perfect solution for those instances in which it is impossible to find an experienced accompanist.
Tomasi featured two double reed instruments in his suite for soloists and chamber orchestra, Cinq danses profanes et sacrees (Leduc). Each of the movements in this work highlights a different wind instrument, and in addition to the oboe and bassoon, the French horn, tuba (or trombone or saxhorn), and B-flat clarinet also play starring roles. Sometime after the completion of the suite, Tomasi made separate piano reductions for all five movements, thus freeing them to exist as independent compositions. These versions for instrument and piano are part of the Leduc series "Morceaux de Concours et Pieces d'Audition, " a collection of music selected in conjunction with conservatories and schools of the arts in various countries. An arrangement of the suite was also eventually created for woodwind quintet. In both the orchestral version and the subsequent reductions for instrument and piano, the solo lines remain completely intact, but in the quintet arrangement, Tomasi was compelled to distribute these passages among all five participants, thereby undoing the individualistic character of the respective movements.
Danse agreste, which functions as the opening movement of Cinq danses profanes et sacrees, utilizes the oboe as soloist. The oboe was no doubt chosen for this "rustic dance" because the instrument has long been associated with rural representations. However, it is not the oboe's pastoral nature that Tomasi exploits, but rather its quality of barbed aggressiveness. The great use of accidentals, displaced accents, wide intervallic leaps, and staccato treatment at a fast tempo results in an exuberant technical presentation. Danse agreste is classified as being appropriate for the fifth and most advanced year of the "Morceaux de Concours" format, and several passages do have rather complex rhythms as a consequence of unprepared metrical changes. Cross fingerings are also advised in a number of places. As in Chant corse however, a great control of dynamic levels is not really required for a successful rendering of Danse agreste, the make-up of the work being such that it does not depend on the softer dynamics to be effective. Further attributes possessed by Danse agreste which recommend it to a student level oboist are the brief duration (3'), an optional cut of the most difficult material, and a compass that generally does not exceed the standard two octave oboe range.
Just as the oboe in Danse agreste provides a vibrant beginning to Cinq danses profanes et sacrees, a solo bassoon generates feverish excitement in Danse guerriere, which concludes the suite. The unflagging energy that characterizes this "war dance" intensifies during the course of the composition as a result of Tomasi's skillful use of heavily accented notes, dramatic crescendos within extended trills, and penetrating ostinato figures in the accompaniment. The generally loud dynamics and an acceleration near the end also contribute to the frenzied effect Tomasi succeeded in achieving. Hallmarks of Tomasi's instrumental style - displaced accents, numerous abrupt meter changes, and often monotonous repetition - are advantageously capitalized upon in this musical depiction of violent activity. Danse guerriere is short in length, having a performance time of under three minutes, but the high tessitura of many phrases is one of the main deterrents to its execution by less advanced bassoonists. (French bassoons have an upper range that is more easily accessible, a feature that probably lessened any misgivings Tomasi may have had about incorporating high passage work.) Also included in the composition are a number of large leaps, and there is a need for uniform trilling over the space of several measures. As with Danse agreste, Danse guerriere is graded as a fifth year work in the Leduc series previously mentioned, but nonetheless should not be ignored when adopting student bassoon repertoire. Its brevity and flamboyant character make it an ideal choice as an encore or final number for a recital.
Remembering that Danse guerriere was initially designed merely to be the last movement of Cinq danses profanes et sacrees and that the bassoon arrangement of Chant corse was actually made by Oubradous, the Concerto for Bassoon and Chamber Orchestra (Leduc) can be considered as the only autonomous composition Tomasi ever produced for this instrument. It was premiered on April 19, 1961 at the Societe Nationale de Musique with bassoonist Maurice Allard, though the work dates from 1957. The Concerto lasts approximately 15', and, like other Tomasi concertos, is available with piano reduction. The composition is a tour de force of virtuosity, suffused with rapid tonguing, wide leaps, extremes of range, and complex technical passages, traits which undoubtedly preclude its popularity, at least outside of France. (It also requires a reed capable of marcato accents in the lowest octave and pianissimo attacks on upper tessitura notes, in addition to allowing the performer to create a rich, full tone whenever necessary.) Although the work was selected as a contest piece for the Paris Conservatory, it is really too arduous to be played by student level musicians, and most bassoonists would not be willing to expend the effort needed to master such a relatively unknown composition in favor of established concertos. It would certainly be an unlikely choice for the very few instances in which the bassoon is called upon as soloist on orchestral programs. France, with its wealth of technically polished Conservatory graduates and many symphonic associations dedicated to the presentation of native contemporary musical art, provides a far more suitable arena for works such as this Tomasi Concerto. Nevertheless, the rather limited demand for twentiethcentury bassoon literature of such difficulty, as well as the inherent restrictions of the bassoon itself, may have contributed to Tomasi's decision to write no more solo compositions for the instrument.
The work is divided into three movements, the traditional form found in Tomasi's earlier concertos but a structure that he would eventually abandon; however, as some thematic ideas are shared by the first and second movements, and a variety of temperaments occur within them, the Bassoon Concerto may be viewed as one of the important precursors to later compositions. The "Andante et allegro" utilizes an opening formula that can be observed in a number of Tomasi's concertos - a cadenzalike passage delivered by the soloist. Sections in an impressionistic style are also evident, but this is to be expected since Tomasi was hailed for his sensitive interpretations of Debussy and Ravel during his years as a conductor. The Bassoon Concerto retains the use of the word "nocturne" in the title of its second movement, an appellative found in much of Tomasi's music. Whimsical and rather droll, with slight overtones of jazz, the musical make-up of the " Serenade nocturne" would often seem to contradict its poetic title. The final movement reveals an influence from the saltarello, a dance of Italian origin that was assimilated into Corsican musical folklore. Despite the fact that the saltarello eventually lost its role as a courtly dance to become a vigorous, more rapidly performed expression of the common people, few dancers would be able to keep pace with the alacritous tempo of this " Final- saltarelle. " When one recalls Tomasi's interest in preserving the musical heritage of his homeland by incorporating native forms and melodies into his music, it is not surprising that the metrical structure of a Corsican dance should appear in an academic composition such as a concerto that does not lend itself to pictorialism, and in which the inclusion of a folktune might seem somewhat out of place. At several points in the final movement, especially the exciting conclusion, the listener is reminded that Tomasi was a student of Dukas. Although the Concerto does not have the great wealth of instrumental color usually associated with this celebrated orchestrator, similarities to Dukas' compositional style of brilliant, virtuosic writing can be observed. Tomasi, like Dukas, was very aware of an instrument's capabilities, never completely exceeding the technical limitations, but often presenting a formidable challenge to the performer.
About the writer...
Familiar with all of the double reeds, Jane Eschrich received a Bachelor of Music in oboe performance from West Virginia University and a Master of Musicology from Southern Methodist University. She has studied oboe with Robert Lloyd, David Busch, John Mack, and Eric Barr, and bassoon with William Winstead. Although the Medieval period was her graduate specialization, she is currently researching the music of several twentieth century French composers, among them Henri Tomasi.