3 7 ?

N 8/cJ

NO.Tim

LES MORCEAUX DE CONCOURS DE FLUTE DU CONSERVATOIRE DE PARIS:

A STRUCTURAL COMPARISON OF SELECTED WORKS OF JEAN-LOUIS

TULOU AND JOSEPH-HENRI ALTES- A LECTURE RECITAL,

TOGETHER WITH THREE RECITALS OF SELECTED WORKS

OF MOZART, HALFFTER, GAUBERT AND OTHERS

Dissertation

Presented to the Graduate Council of the

North Texas State University in Partial

Fulfillment of the Requirements

for the Degree of

DOCTOR OF MUSICAL ARTS

by

Lee Ian Lattimore

Denton, Texas

August, 1987

libs

Lattimore, Lee Ian, Les Morceaux de Concours de Flute du

Conservatoire de Paris: a Structural Comparison of Selected Works of

Jean-Louis Tulou and Joseph-Henri Altes; A Lecture Recital, Together

With Three Recitals of Selected Works of Mozart, Halffter, Gaubert, and

Others. doctor of Musical Arts (Flute Performance), August, 1987, 37 pp.,

18 examples, bibliography, 43 titles.

The lecture was presented April 7, 1987. This presentation

centered on the flute music literature used for the Concours of the

Conservatoire de Paris from 1828 through 1893. The historical parameter

began with Jean-Louis Tulou's tenure as flute professor at the

Conservatoire and ended with Joseph-Henri Altes'tenure in the same

capacity.

The Concours is an annual performance competition to determine

which students on each instrument will graduate from the Conservatoire.

The majority of Concours pieces for flute during the tenures of

professors from Tulou through Altes were composed by those two men.

Short biographies of Tulou and Altes were presented. Discussion

of interim professors Victor Coche and Vincent-Joseph Dorus was included,

with focus on the role of these two men in bringing acceptance of the

Boehm system flute to the Conservatoire.

Tulou's fifteen Grands Solos were compared in form, key center and

tonal progression. His themes and passagework are constructed to best

display the conical-bore, old system-flute with small toneholes. His

Solos continued to be used for the Concours, in alternation with Altes',

throughout the tenures of both Vincent-Joseph Dorus and Altes. Tulou's

Cinquieme Grand Solo was used for more detailed analysis and performance,

Altes wrote his Solos de Concours for the Boehm system flute.

Idiomatic treatment in composition of themes and passagework, as well

as tonal progression in his Solos, was considered. Altes' Methode de

flute reveals his views on variety in articulation, use of alternate

fingerings, and musical interpretation. Those ideas are reflected in

the construction of his Cinquieme Solo de ronrnwr. the example used

for more detailed analysis and performance.

The discussion was concluded by a comparison of the Solos of Tulou

and Altes with regard to form, tonal progression, and idiomatic

construction of themes and passagework.

Tape recordings of all performances submitted as dissertation requirements

are on deposit in the North Texas State University Library.

i n

TABLE OF CONTENTS

FIRST RECITAL

SECOND RECITAL

THIRD RECITAL

FOURTH RECITAL

LIST OF FIGURES

PREFACE

Chapter

I. INTRODUCTION . . . .

II. JEAN-LOUIS TULOU . . ,

Tulou's Flutes. . . ,

Tulou's Grands Solos,

Cinquieme Grand Solo.

Page v

III. PROFESSORS IN TRANSITION

Victor Coche

Vincent-Joseph Dorus

IV. JOSEPH-HENRI ALTES .S

Cinquieme Solo de Concours

V. CONCLUSION 3 1

BIBLIOGRAPHY 3 3

VI

vii

viii

ix

xi

1

4

5

7

11

16

16

18

20

23

IV

North Texas State University School of Music

Graduate R e c i t a l

LEE IAN LATTIMORE, F l u t e

A s s i s t e d by: S c o t t J e s s u p , V i o l i s t

Karen Hermann, ' C e l l i s t Nancy Harpe r , P i a n i s t

Monday, J anua ry 30 , 1983 8 :15 p.m. R e c i t a l Hall

Concer to in G Major K.V. 313 w. a . Mozart I A l l e g r o maes toso (1756-17<m

I I Adagio non t roppo I I I Rondo (Tempo di Menuetto)

Jeux ( S o n a t i n e f o r F l u t e and P iano) Jacques I b e r t I Anime (1890-1962)

I I Tendre

I n t e r m i s s i o n

Debla f o r F l u t e Solo (1980) C r i s t o b a l H a l f f t e r

(1930-)

T r i o f o r F l u t e , Viola and V i o l o n c e l l o , Op. 40 A l b e r t Roussel

A l l e g r o g r a z i o s o (1869-1937) Andante A l l e g r o non t roppo

P r e s e n t e d in p a r t i a l f u l f i l l m e n t of t h e r e q u i r e m e n t s f o r t h e deg ree of

Doctor of Musical Ar t s

North Texas State University School of Music

Graduate Recital

LEE IAN LATTIMORE, Flute

Assisted by: Patrick Allen, Harpsichord

Edward Dorobek, Guitar Ph i l l i p Kirchmann, Piano

Monday, September 24, 1984 8:15 p.m. Concert Hall

Suite in D Op 2 No. 1 j . Hotteterre le Remain

.1 K a n d e "La Roya„e" ( 1 6 7 4 " 1 7 6 3 )

I I I Rondeau "Le Due d'Orleans" IV Sarabande "La d'Armagnac" V Gavotte "La Meudon"

VI Menuet "Le Comte de Brione" 2e Menuet

VII Gigue "La Folichon"

F i r s t Sonata for Flute and Piano Bohuslav Martinu I Allegro moderato (1890-1959)

II Adagio I I I Allegro poco moderato

Intermission

Parable Op. 100 for Solo Flute Vincent Pers iche t t i (1915-)

Sonatina Op. 205 for Flute and Guitar H a r 1 o Castelnuovo-Tedesco

I Al legre t to Grazioso (1895-1968) II Tempo di S ic i l i ana

I I I Scherzo - Rondo

Presented in pa r t i a l f u l f i l l m e n t of the requirements for the degree of

Doctor of Musical Arts

V I

North Texas State University School of Music

Graduate Recital

LEE IAN LATTIMORE, Flute

Assisted by

Judy Fisher, Piano Richard Thomas, Cello

Keith Whitmore, Harpsichord

Monday, September 29, ,986 8:15 p . „ . C o „ c e r t H a „

Sonata in C Major fo r Flute and Continuo, B.W.V. 1033. , c n

» , ^ J. S. Bach Andante - Presto A11egro Adagio Minuett I - Minuett I I

Sonata fo r Flute and Piano (19,8) ^

Modere Lent Al legro moderato

- - I n t e r v a l —

Rondo in D Major, K.V. ,84 flnh fl M o 2 a r t

Tr io for Piano, F lu te , and v i o l once l l o , Op. 63. . r u

C. M. von Weber Al iegro moderato Scherzo: A l legro vivace

n n a t - ' A , ^ g r o n t : e S P r e S S i v 0

Presented in pa r t i a l f u l f i l l m e n t o f the requirements fo r the degree of

Doctor of Musical Arts

v n

North Texas State University School of Music

Graduate Lecture Recital

LEE IAN LATTIMORE, Flute

Assisted by

Judy Fisher, Piano

Tuesday, April 7, 1987 5:00 p.m. Concert Hall

PROGRAM

Les Morceaux de Concours de Flute du Conservatoire de Paris: A Structural Comparison of Selected

Works of Jean-Louis Tulou and Joseph-Henri Altes

PERFORMANCE

Cinquidme Grand Solo Jean-Louis Tulou for Flute and Piano

Cinquieme Solo de Concours Joseph-Henri Alt&s for Flute and Piano

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

Vlll

LIST OF FIGURES

Figure Page

Preface: Conservatoire flute prnfpssnrc anH their more prominent contemporaries

. . . xiii 1. Twelve-keyed old system flute from Tulou's

Methode de flute (1835)

2. Jean-Louis Tulou, Cinquieme Grand Solo, mp^i.roc 32-35 of the solo flute part . . 9

3. Jean-Louis Tulou, Cinquieme Grand Solo, mp^nroc 253-257 of the solo flute part. .

4. J°^LS ^ 0 u » Cinquieme Grand Solo, measures 203-206 of the solo flute part. .

5. Jean-Louis Tulou, Cinquieme Grand Solo, measures 234-237 of the solo flute part . . 11

6. Graphic analysis of thematic and tonal progression of Jean-Louis Tulou, Cinquieme Grand Solo

7. Joseph-Henri Altes, Cinquieme Solo de Conrnur* measures 4-12 of the solo flute part.

8. Joseph-Henri Altes, Cinquieme Solo, measures 68-75 of the solo flute part. .

9. Joseph-Henri Altes, Cinquieme Solo, measures 32-36 of the solo flute part. . .

10. Joseph-Henri Altes, Cinquieme Solo, measures 148-154 of the solo flute part. .

11. Joseph-Henri Altes, Cinquieme Solo, measures 72-73 of the solo flute part. . . . 26

12. Joseph-Henri Altes, Cinquieme Solo, measures 84-85 of the solo flute part. . . . 26

13. Joseph-Henri Altes, Cinquieme Solo, qraDhic formal analysis . . 27

IX

Figures Page

14. Joseph-Henri Altes, Cinquieme Solo, measures 88-91 of flute with piano accompaniment 27

15. Joseph-Henri Altes, Methode de flute, second study, measures 1-2 (II, 222) . .

16. Joseph-Henri Altes, Cinquieme Solo, measures 108-109, 4-6, of the solo flute part

17. Joseph-Henri Altes, Cinquieme Solo, measures 182-183 of the solo flute part

18. Joseph-Henri Altes, Cinquieme Solo, measures 182-183 of the solo flute part 29

28

28

29

PREFACE

Conservatoire De Paris

The Paris Conservatory of Music was formed through the belief

that music could facilitate the uplift of morale in society. This

message, based on Jean-Jacques Rousseau's revolutionary philosophies,

was conveyed in Jean-Marie Chenier's discourse to the Institut

national de la musigue in 1793.1 It greatly affected Bernard

Sarrette (1756-1858), the man responsible for the formation and

administration of the Conservatoire.2 From its inception in 1795, the

facilities of the Conservatoire have included a library, a concert hall,

a division for dramatic speech and pronunciation (declamation).and

dormitories. Branches with various specializations were later located

in other French municipalities. Due to the vacillation between

republic and monarchy in France during the nineteenth century, the

name of the institution changed many times, resulting in the following

titles and dates:^

1. Chenier's discourse opened a debate on August 3, 1795, about whether or not to found a national conservatory. The state-ments contained in his lecture set the tone for the ensuinq discussion. s

2' "he Jjonservatoire et la Republique de

Pi stoned ill 3b"? ^ F r a n ^ a i s e ' e d' D a n i e l e

3. George A. Conrey, "The Paris Conservatory: Its Oboe Professors (Julyai986)17ll"1984^" J o u r n a 1 o f t h e Double Reed Society. 14 '

XT

Conservatoire de musique (a Paris) 1795-1806.

Conservatoire (imperial) de musique et de declamation 1806-1815.

Ecole royale de musique et de declamation 1816-1831.

Conservatoire de musique 1831-1836.

apr|0r]L938^re ^ n a ^ 1 0 n a ^ c'e mus"'clue et de declamation 1836-

r e nationale sup^rieur de musique (de Paris) 1938—

The annual Concours competition, held in May for each instrument,

determines which students w i l l graduate. The part icipants are

determined through el imination during the spring examens, or inst ru-

mental j u r ies . The laureates are graduated (e leVs) and the i r names

are entered in a permanent record (Palmares). The two highest levels

of award are the f i r s t prize (Premier Prix) and the second prize

(Deuxieme Pr ix ) , with the poss ib i l i t y that more than one student may

receive the award each year in either category. Often lesser

achievement awards are bestowed under the t i t l e of accessit. Although

a student could technical ly be considered a laureate with either the

f i r s t or second prize, rarely in the history of the Conservatoire has

a f l u t i s t graduated from the i ns t i t u t i on without having received the

f i r s t pr ize. Although governmental changes affected the size of the

s t a f f , and from 1815 through 1817 even forced the closing of the

i ns t i t u t i on , the purpose and format of the Concours have not been

affected.^

4 ' !o?n6 n ° P r i z e s 1 i s t e d f o r f l u t e f o r t h e years 1810, 1815-l o i y , 1829, and 1871. The most complete l i s t i n g of prize winners to the year 1859 is contained in Theodore Lassabathie's

x i i

A chronology of some of the Conservatoire flute professors

and their more prominent contemporaries, organized in teacher-student

relationship, is presented in the following table. Years of tenure

are listed beside the names of the professors.

Michel Blavet I

I Felix Rault 1

J. G. Wunderlich (1795-1816) F. Devienne (1793-1803) ' I I

(1829°1859) B e r b i g u 1 | r Guillou (1816-1828)

u . ' I I walckiers Farrenc Dorus (1860-1868) Coche (1834-1841) Taffanel (1893-1908)

I f • 1 R e m u s a t Barrere Fleury GaubertMoyse Deme'ssemann (1919-1932) (1932-1941, uemerssemann 1946-1950)

Altes (1868-1893) I Hennebains (1908-1915)

During the nineteenth century most of the Concours pieces for

flute were composed by the professors of that instrument. The works

most used during the period between 1829 and 1893 were composed by

Jean-Louis Tulou (1786-1865) and Joseph-Henri Altes (1826-1899).

Histoire du Conservatoire Imperiale demusimiP p+ Hp • / • ' Constant nerre's lonservaLoIre Hd?'iunal t|H .nncjonp P?

nHQ declamation/documents historiques et administratifs i? a 3"?.,altip corroborative tool which extends from 1795 to 1900, but with less complete information for the period covered by the Lassabathie. George Conrey stated in his article on the oboe laureates that the school was closed from 1815 through 1817 due to the Bourbon Restoration of King Louis XVIII, while the hiatus in 1871 re-sulted from the Franco-Prussian War of 1870.

xi n

Most Concours pieces which were not by the professors were either

dedicated to them or commissioned by them, so the product was still

controlled by them. Such was the case from 1860 to 1868 during the

professorship of Vincent-Joseph Dorus (1812-1896). He composed no

solos for the Concours but had several dedicated to him by a number of

composers, including Altes and Demersseman.5

5. Denis Verroust, "Les flutistes romantiques francais," Revue UiJM) la 8 M u s i q u e Fran^aise. ed. Daniele Pistone, XIII

XIV

CHAPTER I

Introduction

The focus of this study is the flute solo literature with

accompaniment as reflected by the pieces written specifically for the

Concours of the Conservatoire de Paris between 1829 and 1893. This

historical parameter is defined by the beginning of Jean-Louis Tulou's

professorship at that institution and the end of Joseph-Henri Altes'

professorship. Musical form of the flute literature written for the

Concours during the nineteenth century changed greatly. Those changes

are reflected in tonal progression and presentation or repetition of

thematic material. Changes in technically difficult passagework were

the result of changes in musical style and changes in acoustics and

fingering systems of the flutes accepted for study at the Conservatoire,

The change from the old conical-bore flute to the cylindrical-

bore Boehm fingering system affected the Concours compositions for

flute by imposition of new and different technical demands upon the

students. The cylindrical flute with holes of equal size for each

chromatic tone has existed with few modifications since its patent by

Theobald Boehm in 1847. One of the first important institutions of

higher learning to officially accept that fingering system was the

Conservatoire de Paris through the appointment of Vincent-Joseph Dorus

as professor of flute in 1860. His alterations to Boehm's original

fingering system, such as the closed G-sharp key and acceptance of the

Brlccialdi B- f la t thumb lever, are the conventions accepted by most

modern players, part icular ly in the United States. He replaced Jean-

Louis Tulou, a vehement opponent of the new system, upon his

retirement in 1859.

Altes not only adopted the new system but wrote a M thode for i t s

study which is s t i l l pedagogically sound and widely used today. He

was graduated from the Conservatoire by Tulou in 1842, probably

playing the conical, wooden twelve-keyed f lu te for which Tulou1s

Methode de f lu te was written in 1835. Both Tulou and Altes wrote

solos for the Concours during their professorships, and the changes in

their musical climate, their f lu tes, and their personal preferences

for phrasing and art iculat ion are a l l reflected in those works.

During the thirty-one years of Tulou's professorship only pieces of

his own composition were used for the Concours. During Altes1 twenty-

five-year professorship, a l l but two of the Concours pieces were

either of his own composition or were chosen from among Tulou's Grands

Solos.1 Consequently, these works present an excellent f i e l d for

comparison of the changes in approach to both the f lu te and compositions

for f lu te during that period.

In order to l imi t the subject matter, only those pieces written

specif ical ly for the Concours by Tulou and Altes during their

professorships w i l l be considered. Works not or ig inal ly commissioned

for the Concours but used for the competition, such as excerpts from

1. Constant Pierre, Le Conservatoire Nationale de Musique et de Declamation. Documents Historioues et a d n n m e t r i c ou reconstitutes. (Paris: ImprimSrie Nationale, 1900) 78

the Concert! of Tulou, or pieces by Lindepaintner and Boehm used during

the tenure of Vincent-Joseph Dorus, are only b r i e f l y discussed.

Examples for general comparison are drawn from the f i f t een Grands Solos

of Tulou and the ten Solos de Concours of Altes, as well as Al tes '

M e W . The examples for detailed analysis and performance are the

Cinquieme Grand Solo by Tulou and the Cinquieme Solo de Concours by

Altes.

The important contributions of professors in t rans i t ion between

Tulou and Altes w i l l be included in br ie f biographical sketches of

Victor Coche and Vincent-Joseph Dorus. None of the i r compositions

w i l l be considered in depth, but the role of each man in the t rans i t ion

to the Boehm system at the Conservatoire warrants the i r inclusion in

the discussion.

CHAPTER II

Jean-Louis Tulou

Jean-Louis Tulou (1786-1865) was introduced to music as a child

by his father Jean-Pierre, a professor of bassoon at the Conservatoire.

Jean-Louis became a student of Johann Georg Wunderlich at the

Conservatoire in 1796 and graduated with Premier prix in 1801.1

Wunderlich was a professor at the Conservatoire from 1795 to

1802 and from 1804 to 1816.2 He completed a Methode de flute for the

C£Qservatoire5 begun by Antoine Hugot and left incomplete at his death,

and also composed nine Grands Solos in two volumes.3

In 1804 Tulou was appointed principal flutist of the Opera

italiea in Paris, where he remained for ten years. He then played with

the Opera de Paris for eight years. Because of his republican

political sentiments, Tulou fell out of favor upon Louis the Eighteenth's

coronation in 1815. As a result, when Wunderlich died in 1819, Joseph

1. Fra n C O i s J o s eP h Fe'tis> "Tulou, Jean-Louis," Bioqraphie universale des musiciens et h 1 h H n r , p h i e g y r a t e de i„ J£?£,.I

e

1873K"vin:'267. L ," a l l le d e h ' r m n U l d o t Fr^res| F T l e t cie,

2' Cn^tanlPier^ Le Conservatoire Nationale de Musi que et de P - a m a o": jDocuments historiaues et. _ ou reconstitute*(Paris: Imprimerie Rationale, 1900), 78.

3' MacmiIlan. 19801. xx ' Stanley iaaie (London:

Guillou was appointed to the professorship rather than Tulou. Tulou

subsequently resigned his position at the Ope'ra de Paris in 1822, and

his place was taken by Guillou. From 1822 unt i l 1826, when Tulou

returned to his position at the Opera de Paris. Tulou maintained a

busy international concert schedule. Final ly, in 1829, Tulou was

appointed to the professorship at the Conservatoire, where he remained

unt i l his retirement in 1859.

Tulou's Flutes

According to H. M. Fitzgibbon, Tulou preferred a four-keyed,

conical-bore f l u te . 4 For his students he advocated the use of a

twelve-keyed, conical-bore f lu te (see Figure 1). In partnership with

the instrument maker Nonon, Tulou opened a factory for manufacture of

multi-keyed, conical-bore f lutes in 1831.^

Tulou's M^hode (circa 1835) was essentially an update of Hugot-

Wunderlich's Methode, which had been in use at the Conservatoire, with

adaptations for his multi-keyed f lutes. Even with keys added to

f ac i l i t a te t r i l l s and eliminate cross-fingerings, Tulou f e l t i t necessary

to keep small finger-holes to preserve the characteristic tone of the

4* J: M f auJay Fitzgibbon, The Story of the Flut.P (New York-Charles Scribner's Sons, 1928), 197.

5. Richard Shepherd Rockstro, A Treatise on the Constr„rHn„ t h r History and the Practice of the H u t . hr.nA™. p-,,!-, h ^ : : ) _

F 1 g U M f m i I ^ tv e ' k e y e d ? * s t ™ f lu te from Tulou's Methode de f l j t e

Modern Flute) P n " N a n C y T ° f f > T h e Development. nf

Cadence de mx

Clef d or ft....

Clefi d'or b...

Clef de si b.

Clef de tot ft

Clef de TA |

Clefs de r * ^ . . i

Clef de MI P...

Clef d vY #

Clef d V t b

conical f l u t e . He voiced his objections to large tone-holes in the

following statement concerning the open-keyed system f l u te invented by

Captain Gordon, a former Tulou student:

ac'he bin T h i n my ° P i n i o n ' based on false pr inciples, 3 L ? J ? ?6d h l ? s y s t e m o n t h e harmonic sounds, which should always be avoided on an instrument pierced with holes i f the true character of i t s tone is to be preserved

, n H I * 1?, f^ u t e should possess a mellow tone in the piano, and a f u l l sonority in the for te . Gordon's f l u te had on the contrary, a th in tone, without roundness, which bore too qreat a resemblance to that of the hautboy.6 9 a t

Because of the small toneholes, the most comfortable tona l i t ies for

Tulou's f lu tes remained G major, D major, and thei r re lat ive minor

tona l i t ies .

6. Rockstro, op. c i t . , 315.

Tuloil's Grands Solos

The tonalities in ten of Tulou's fifteen Grands Solos are

primarily those in which Tulou's flute would demonstrate the best

response. His first and second Solos are in G major; his eleventh

and fifteenth are in D major. The fifth Solo is in E minor, and the

seventh and twelfth Solos are in B minor. Although both his third

and fourteenth Solos begin in D minor, they end in D major. The

fourth Solo in G minor follows this same plan, ending in G major.

The seventh and tenth Solos are in E major; the sixth Solo is in A

major; and the thirteenth Solo is in A minor. Only the ninth, in E-flat

major, is more than two accidentals removed in its central tonality

from the most comfortable keys. The following statement by W. N.

James in 1826 may contain a partial explanation for choice of that

tonality.

The flute that is now manufactured executes the whole of the modes of keys which music comprehends; although, as in many other instruments, some are more perfect than others. E three flats is, perhaps, the best in tune, as the flute is manufactured to be most perfect in the key. This mode is

v e ^ beautifu1 o n t h e flute, but contains mucFmechanical difficulty, which must be conquered before it becomes perfectlv easy and familiar.7 K J

Of Tulou's Solos, the first through the eighth and the eleventh

through the fifteenth were intended for either piano or orchestral

7. William Nelson James, A Word or Two on the Flute (London- Tnnv Bingham, 1982), 132. J

8

accompaniment. The ninth through the eleventh Solos were provided with

accompaniments for ei ther piano or st r ing qu in te t . 8

The majority of Tulou's Grands Solos are divided into three

large formal sections consisting of a central adagio framed by

beginning and concluding allegros with related thematic material.

Exceptions are the eighth and tenth Grands Solos.which both begin with

adagios followed by longer allegros with concluding passagework, so

that they divide into two large formal sections. In the central

adagios of his Solos Tulou often exploited d is tant ly related

tona l i t i es . For example, the adagio of the th i rd Solo is in D- f la t

major, a strong contrast to the primary tona l i t y of D major. The

ninth Solo contains an adagio in F-sharp major, par t icu lar ly s t r i k ing

in contrast to the central E - f l a t major tona l i t y .

With the exception of his Neuvieme Grand Solo, in which he used

duple-compound meter for the central adagio, Tulou composed Concours

compositions only in duple-simple meters. That choice of one metric

pattern throughout added further s t a b i l i t y to the one-movement

characterist ics of these works.

Tulou's melodic themes consist of two parts: a head motive,

usually of three to f i ve tones, concluded by passagework to the f i na l

harmonic cadence of that theme (see Figure 2).

8" a n d ^ H i t w T 5 ® ' • 1 " t e L i t t ^ r a t u r e (Paris: Editions Jobert Editions Musicales Transatlantiques, 1982), 200-201.

Fl^the^sol Q0f 1 uteUpart^ ° U' C i n q u i e m e G r a n d S o 1 o» measures 32-35 of

The head motives are never developed; they serve instead as intro-

ductions to the much longer and more varied passagework which follows

them. Presentation of different head motives marks changes in tonality

throughout each composition and will be discussed in detail later.

Tulou's passagework is predominantly slurred throughout the

Grands Solos. Repeated staccato is used rarely, and primarily in

passagework involving scales or rapidly repeated notes on one pitch,

such as in the final solo passagework of the eleventh Solo. Notable

exceptions are his first and third Solos,in which much of the passage-

work consists of staccato or mixed slurred and staccato arpeggios,

especially toward the end of their expositions. The following is a

short example from the recapitulation of the fifth Solo, also

demonstrating staccato applied to scales and repeated notes.

F l 9 Uol the sokTflute Jart^' C ™ q U ™ m e G r a n d S o 1 ° measures 253-257

10

Where consistent staccato is applied, there is either l ight accompaniment

or none at a l l . This would seem to indicate that i ts use caused

problems in projection of sound with Tulou's f lu te, which would also

explain the rar i ty of consistent staccato in his compositions. W. N.

James noted i ts rar i ty in his playing.9 Slurred octave grace-notes

are used by Tulou to accent the opening notes of the head-motive. The

f i r s t solo statement of the f i f t h Solo is a good example (see Figure 2).

Entire sections of identical passagework may be found in more than one

solo, as in the following examples from his second and f i f t h Solos (see

Figures 4 and 5). Tulou borrowed heavily from his own works for

production of new compositions.

FigU?he4soloenutLeUpartT!"OU' DeUX^"'e G r a n d S o 1 ^ measu,-es 2«-206 of

9. James, op. c i t . , 187.

11

F l g Uof the solo'flUte Jart"' C 1 n q u 1 ^ m e G r a n d S o l o» measures 234-237

Cinquieme Grand Solo

T u^ o u' s cinquieme Grand Solo displays many of his most

characteristic compositional devices and serves as the model for a

more detailed analysis. Paul Taffanel and Louis Fleury recommended

the work as one of Tulou's best, in their discourse on the flute for

L a v i g n a c ' s Encyclopedie de la musiaue.10 The work was written for the

C o n c o u r s o f 1 8 3 9 a n d w a s ^ e d again for the Concours in 1879 and 1885

during Altes' professorship.11 Figure 6 contains an analysis of the

thematic and tonal progression in the fifth Solo of Tulou.

10. Paul Taffanel and Louis Fleury, "La Flute," EncycWdie de la ; " ^ " e i e t d i c t l ° n n a i r e du conservatoire. Deuxieme partie edT Albert Lavignac (Paris: Librairie Delagrave, 1927), 1525.'

11. Pierre, op. cit., 78.

12

Figure 6. Graphic analysis thematic and tonal progression of Jean-Louis Tulou, Cinquieme Grand Solo. "9'ebsion or

Tonro

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13

The order of statement and tonal resolution of themes above

resembles sonata-allegro key progression as found in combination with

ritornello form in the classical concerto, while the large sections

of contrasting tempi add elements of the concerto's three-movement,

fast-slow-fast layout. Tulou's method corresponds with Carl Czerny's

instructions for the composition of Fantasias for solo instrument with

orchestral accompaniment.12 There is an orchestral and a solo

exposition of the first theme. The second theme is stated in the

relative major key, followed by the closing theme of the orchestra,

which acts as a codetta. The central adagio takes the place of the

development section. The first theme is not restated in the recapi-

tulation because it does not demand resolution to tonic as does the

second theme. For emphasis of resolution, the second theme is stated

during the recapitulation, first in G major,then in E minor/major.

The orchestral closing theme of the exposition is also resolved to E

as tonic in the recapitulation, finally serving as a coda.

Several statements made by W. N. James concerning the choice of

particular keys and construction of passagework apply to the fifth

Solo. His statement previously quoted in connection with Tulou's

ninth So]o also applies to the choice of E-flat for the central adagio

of the fifth Solo. James' opinions are of value to this study for two

main reasons: he played an instrument similar in fingering to that of

Tulou, and he was quite familiar with both the flute literature and

1 2' S 1 u Z er n y >. S d K?°l o f P r a c t i c aT Composition. 3 vols., transl John Bishop (London: R. Cocks and Co., 1848), 167.

14

art ists of his day. The following quotation offers explanation of

the f lo r id passagework which f i l l s the majority of compositions for

f lute by Tulou and his contemporaries.

Nor is i t l ikely . . . that professors of the f lute were content to remain pleased with themselves, in playinq nothing but simple airs and dances, and scarcely a whit superior to the amateurs of the day. They naturally wished for something beyond this; and began to attempt a flourish

notes, and to add a few variations to their airs; and f h l ??S+ f r e s o l l ^ o u s t 0 g i ve a l i t t l e modulation to amateur 138yS' 9S altogether beyond the range of an

James also offers explanation of various key choices by contemporary

composers for the f lute. The following quotation concerns juxta-

position of E major and E minor.

twpon L ! h ? U l - n 0 t h e r e t h e d e l l 'ghtful contrast be-tween the E minor and E major, four sharps. There is nothing, perhaps, in the whole range of the f lute more - r t t?S l b J y n 1 n p I e

tS S 1 v e t h a n t h 6 S e tW0 modes alternately,

rw-h k ^ u* • m o s t touching tenderness, and the effervescence?^9 ^ S p a r k l i n 9> as U were> with i ts own

E-f lat major became easier to play on the Boehm system through

use of the Briccialdi B-f lat thumb lever and more equally distributed

tone color than on Tulou's conical system, but E major and E minor

13. James, op. c i t . , 92.

14. James, op. c i t . , 136.

15

become more difficult because of the opposing notion in the fingers of

the right hand between E and F-sharp.

The increasing popularity of the Boehm system during mid-

nineteenth century in the Parisian opera orchestras was due in large

part to its increased projection through use of larger tone-holes.

This advantage more than offset the inconvenience of learning a new

fingering system for flutists in those orchestras, such as Dorus,

Coche, and Camus. The constant use of passagework in the solo flute

part helps to prevent overpowering of the flute by the accompaniment,

whether piano or orchestra. The orchestras were increasing in size,

and pianos were increasing in brilliance and projection of tone

through the use of cast-iron frames to allow greater string tension.

In order for Tulou's instrument to project without increasing the

volume of sound, the solo writing in his compositions became more

florid than that of his predecessors. The Cinqui'eme Grand „ a s

written to show the instrument to its best advantage, concurrently

testing the skills of Tulou's students. The work remained a valid

test of technique for later Concours under Altes.

CHAPTER III

Professors in Transition

Victor Coche

Victor Coche (1806-1881) received his Premier prix from the

Conservatoire in 1831.1 According to Constant Pierre, he was the

professor of the Classe preparatoire for flute there from 1831 to

1841,2 although Theodore Lassabathie lists him in that capacity from

only 1834. He played and taught the French twelve-key system until

the year 1837. Coche then encountered and began the study of Boehm's

conical-bore, ring-key system flute of 1832. In 1838 Coche published

two works, one a pamphlet attributing the inspiration of Boehm's

flute design to Captain Gordon,4 and the other a Methode for the Boehm

1. Constant Pierre, Le Conservatoire Nationale de MndqIIP et de Declamation. Documents historiques et administratifs recueillis ou reconstitues(Paris: Imprimerie Nationale, 1 9 0 0 ) , 8 C L

2. Pierre, op. cit., 78.

3. Theodore Lassabathie, Histoire du Conservatoire Imperiale de musique et de declamation suivis de documents recueillis et mis 3 8 6 ^ Michel Levy FrSres, Libraires tdlteurs, 1 8 6 0 ) ,

4 . This controversy, later fueled by R. s. Rockstrn i n h-ic +

treatise, concerned whether Boehm or Gordon had first conceived a ring-keyed, large tone-hole conical flute design. Boehm was the first to create a working model in 1832, which Coche later copied for his own 1837 patent flute. The entire issue lost relevance with the introduction of Boehm's 1847 patent model cylindrical flute.

16

17

flute with alterations of his own, a mechanism for a closed G-sharp

fingering, and an additional trill key for C-sharp/D-sharp in the

second and third octaves.5 Instruments of this design were subsequently

manufactured by Buffet in Paris.6

Lassabathie uses the term demissionnaire. French for "resigned"

or "dismissed," in describing the end of Coche's professorship at

the Conservatoire.7 Although the Acade'mie rovale rtes hp,..v.,-..

1'Institut de France conferred an honor on Coche in 1838 for his

Examen of the new instrument and for his Methode. in effect assuring

him of acceptance of his work by the hierarchy, Tulou remained the

major professor at the Conservatoire and was still opposed to the

new system.8 This is quite likely the reason why Coche left the

faculty of the Conservatoire in 1841, whether voluntarily or by force.

Cache's wife remained on the piano faculty until beyond 1858.9

Although Coche wrote at least seven Solos, none were used for

the Concours; all are currently out of print and unavailable for

analysis. Rockstro lists the difficulty of Coche's Opus 8 as "easy"

5. Nancy Toff, TheDevel opment of the Modern Fi„t„ (N„,v Ynr,..

Taplinger Publishing Co., 19?9), 64. ~ , o r K'

6. Richard Shepherd Rockstro, A Treatise on the r.nn^r„rt4„„ 345^ P r a C " C e ° f l"H ^Lundon: Musica Rara[

7. Lassabathie, op. cit., 428.

8. Rockstro, op. cit., 342-345.

9. Lassabathie, op. cit., 423.

18

and his Opus 9 as "very easy;" his Opus 14 is subt i t led Passetemps

S c a l e s , or "musical p a s t i e s . " ™ These pieces were probably not

of the length or d i f f i c u l t y typ ica l of the Concours pieces.

Vincent-Joseph nnrnc

Vincent-Joseph Dorus (1812-1896) became a laureate of the

Conservatoire in 1828 as a student of Joseph Gu i l l ou . 1 1 He took up

the Boehm f l u t e in 1837, shor t ly a f ter cSche had done so . 1 2 R. s.

Rockstro a t t r ibu ted to Oorus the addit ion of the closed G-sharp added

to the Boehm system f l u t e that was used in France during that t ime, 1 3

notably on those produced by cSche and Buffet in Paris. Dorus changed

to a cy l i nd r i ca l metal instrument short ly a f ter Boehm's 1847 patent,

but preferred a cy l i nd r i ca l cocus-wood instrument fo r less brightness

of the tone .^

Dorus i s important to th is study because he, as the major

professor appointed to replace the r e t i r i n g Tulou, introduced the

Boehm f inger ing system altered by Coche and Buffet as the standard

f l u t e fo r study at the Conservatoire. The f i r s t laureate under his

professorship was Paul Taffanel in 1860, a man whose pedagogical

10. Rockstro, op. c i t . , 630.

11. Pierre, op. c i t . . 79.

12. Rockstro, op. c i t . . 636.

13. Rockstro, op. c i t . . 358.

14. Rockstro, op. c i t . . 636.

19

approach was destined to eclipse his predecessors when he eventually

succeeded Altes as professor there in 1893. Dorus prepared a Methode

for the Boehn, fingering system used during his own professorship.

Also Dorus introduced,for the first time in thirty-one years, Concours

Pieces not composed by Tulou. The first of these was the Premier Solo

de Concours of Altes,which was dedicated to Dorus. According to

the frontispiece, the work was composed in 1861 specifically for the

Concours, and possibly at Dorus' request.15 Even before assuming

professorship, Altes was contributing to the tradition of Concours

compositions for flute.

Works later used as Concours pieces during Dorus' professorship

were by Lindepaintner, Reissiger, Boehm and Briccialdi. Even so, works

of Tulou which were chosen for the Concours in the years 1860, 1863,

1866 and 1868 would continue to be used for the Concours throughout

Aloes' professorship.16 By implication the form and content of his

works for the Concours remained a valid model.

15. Denis Verroust, "Les flutistes romantioues franraic d Internationale de Musique Fran^aisp. XIII (1984?, 28. " 8 V U ^

16. Pierre, op. cit., 78.

CHAPTER IV

Joseph-Henri Altes

Joseph-Henri Alt^s (1826-1899) became a student of Tulou at

the Conservatoire on December 7, 1840. According to F. J. Fetis, he

made rapid progress, winning the Deuxieme Prix in the 1841 Concours

and the Premier Prix the following year through his b r i l l i an t playing.1

In 1844 he joined the orchestra of the Concerts Vivien. i „ P a r i s ,

followed by an appointment to the orchestra of the Opgra-comioue in

1847. He was a member of the orchestra of the Opera de Paris from

1848 to 1876 and principal f l u t i s t of the S o c i a l des rn.rp.-t.,

orchestra from 1851 to 1869.2 His f i r s t composition, Variations snr im

theme du Pirate de Be l l in i , was published in 1858,3 and in 1861 his

Premier Solo de Concours, dedicated to Dorus, was used for the

competition. He replaced Dorus upon his retirement in 1868 as

professor at the Conservatoire and remained there unt i l his own

retirement in 1893.4

d e s j u s l c i e n f e t ^ i b l i o o f l p h i e S a l e ^ e ' l l mus?quehlpaH<Ve'"SP1'',' L ibrair ie de Firmin D i d o t T r i e s , F i ts , et c " 1S73T, I ? " 79.

2. Patricia Ahmad, The Flute Professors of thp Pari, f^n^rrv.itn-irr from Devienne to 1M-19U8 (M. k Su " ! ! ?? . ; . State Umverntu iosm dt~ — ' norm lexas state University, 1980), 81.

3. Fetis, op. c i t . , 78.

4* Constant,P1erre. Le Conservatoire Nat ional HP Musique et de Declamation. ^Documents historiques et administrative r p r , i p i l 1 l - . ou reconstitues (Paris: Imprir l r ie Nationale, I w u ) , T

20

21

The date when Altes began playing the Boehm system flute is

uncertain. As stated previously, Tulou was adamantly opposed to the

new system, so it is unlikely that Altls used the Boehm flute while a

student at the Conservatoire. Altes probably switched shortly after

graduation, and almost certainly before becoming second flutist to

Borus at the Ope'ra de Pan's in 1848, since Dorus used the new system

professionally from at least 1838.5

A l t e s ' M e t t"> d e de flute, written for instruction of the Boehm

system at the Conservatoire, is still in use today. The edition by

Fernand Caratg^ in the 1950<s included a reduction of the number of

duet studies, an updating of the orchestral excerpts included, an

inclusion of translations into English, German, and Spanish to

accompany the French text, and rearrangement of the material from three

into two volumes.^

The section on perfection of execution in the Altes Methode. and

the accompanying complementary studies, reveal much about his musical

pedagogy and philosophies. Altos' stated requirements for perfect

execution were clarity, sympathetic understanding of the work to be

performed, and proper musical punctuation. Clarity included observation

5. Richard Shepherd Rockstro, A Treatise on the rnnctr.,rtion thr History and the Practice of the H u t s ^

6. Joseph-Henri Altes, Methode de flute. ? v n U r (Pans: Alphonse Leduc, 1956), I, Preface. ^

22

of exact note values, meter, tempo and indication of nuance. Altes

defined clean articulation as coordination of tongue and fingers. He

related musical understanding to a choice of the appropriate sound

quality for a particular passage. Musical punctuation meant appli-

cation of small and large breaths throughout a piece of music for

delineation of phrase structure.7 In the complementary exercises the

main technical focus is in two areas: variety of articulation and

flexible use of the thumb B-flat lever. Distinction is made between

hard and soft staccatos, legato and detached treatment of slurred

two-note groupings, various applications of double and triple-tonguing,

and a variety of other articulations in the introductory comments to

each exercise. Application of these varied articulations is also

found in his Solos.

The thumb B-flat is used as much as possible, even when a quick

slide to the key is necessary, as in the tenth Altes study.8 Altes

delayed specific instruction for its use until the section of his

Methode dealing with alternate fingerings for increased ease of

execution.9 This section also contains a chart of tremolos for minor

and major thirds and a list of acceptable alternate fingerings in

7. Altes, op. cit., II, 219.

8. Altes, op. cit., II, 246.

9. Altes, op. cit., II, 194.

23

rapid passagework. Altes used trill fingerings as alternatives to the

standard ones for clean execution. He gave specific directions as to

where and how to apply those fingerings by notating barred symbols that

accompany the passage. An example of this is found in his fourteenth

exercise from the complementary studies.1^

Cinquieme Solo de Concours

Altes dedicated his Cinguilme Solo de Concours to F. J. Fetis,

according to the frontispiece. This Solo, along with the Sixieme Solo

de Concours, is recommended for study of brilliant technique,

articulation and the romantic style in James Pellerite's Handbook of

Literature for the Flute.11 Altes' Premier Solo and Deuxi^me Solo

were originally supplied with accompaniment by either piano or string

quartet. The third through sixth Solos are accompanied by either piano

or string quintet, although only piano accompaniment is readily

available today. None of his Solos is currently in print.

A l t e s ' Cinquierce Solo de Concours reflprtc changes in composition

resulting from use of the Boehm system. These changes are seen in

choice of tonalities, motivic construction of themes, and passagework.

AltSes composed more in the flat keys than did Tulou, which resulted in

more consistent use of the B-flat thumb lever and avoidance of E/F-sharp

10. Altes, op. cit., II, 259.

11. J^mes J. Pellerite, A Handbook of Literature for the FlutP tbIooimngton: Frangipani Press, 1978), 147.

24

cross-fingerings. This Solo also demonstrates Altes' pedagogic

emphasis on varied and rapid articulation, particularly double-

tonguing, as in the final Vivace. In overall form some elements of

Tulou's Solos were retained, such as tripartite division of sections

and resolution to tonic at the end of the composition. Other elements

were discarded, such as Tulou's use of a distinctive head-motive which

resolved to a cadence in a flourish of passagework. Instead Altos'

passagework within each section was based on that section's theme, as

in the central slow section of his fifth Solo. Passagework, unified

by the motivic material from which it is constructed, is the only

thematic material of the third and final section of that same So]o.

Sections of contrasting meter were used by Altes in both his

Cinquieme Solo and Sixieme Solo, the two examples readily available

for this study. In the Cinquieme Solo the outer allegro sections are

duple simple meter, the central adagio is duple-compound meter. Because

of this contrast, Altes' Solos appear to be separate short movements

played without pause rather than a true one-movement form.

Altes' phrase structure has more equal distribution of rhythmic-

melodic contour, as shown in Figures 7 and 8.

Flgu!Je1Z- Joseph-Henri Altes, Cinquieme Solo de Concours.

4-12 of the solo flute part? -

mik , £ ft P

measures

HAH

25

F19U?he8so1 o°??Sl?;Hp2rt.A1 ' " ngu iemeMo , measures 68-75 of

f •

— •» tAjuu.. 5 sjZ n j

Altes' passagework, with more limited motivic material in comparison

to Tulou's Solos, is shown in Figure 9.

F l 9 U so lo ' f l u te 6 par t e n r i A U * S ' C inqu iVen ie S o 1 ° ' measures 32-36 of the

Much of this passagework is contructed to display the player's sk i l l

in art iculat ion, part icular ly double-tonguing, which Altes emphasized

in his M^thode, as in Figure 10.

F l 9 U the1solo J f lu te"part i A U " ' C i n q u i ^ m e So1o> meas"res 148-154 of

Vivace Q.-'Jbo) t , t - • . ;>•; 4-4-L4. 4L±± • ±±4-4- i 'Z.z.z z j.t±: .. ..

26

Altes' Cinquieme Solo uses the tonalities G minor and E-flat

major to show the player's skill in use of the B-flat thumb lever. For

example, the first fifty measures can be played using the lever, with

the exception of a slide to and from B-natural in measure 47. Measures

108 through 147 demonstrate mixed use of the lever, and from measure

148 to the end, the B-flat thumb lever is not used at all.

In the slow middle section, marked Andantino, motivic material

from the theme of that section is used to construct the following

passagework, as demonstrated by Figures 11 and 12.

F l 9 Usolo 1flute Spart H e n H A H " ' - C i n q u ^ m e So1°-' ""^"res 72-73 of the

^ Cuoo

« f

0 0 •

* F l 9 UsolQ 2f 1 ute Spart^ e n n A U 6 S ' - C l n q u i^ m e S o l°' measures 84-85 of the

hohUllmo

The following is a graphic analysis of the themes and tonal progression

in Altes' Cinquieme Solo.

27

F i 9 U ana l ys i s ' ° S e P h * H e n r i ^ g r a p h i c f o r m a l

l a * * | g ) ^ g j f

fey I 0-WHHQH,

"fitemc 6 * o u f I I factor p.) I f c o u ) rvuuf rQ

B ' fUTfhM'wt ' —-»fe FUfl

S< to RssAVtWftCH. 'tlUkMSl-no^

( f r - m i w o n . ) II Gr

ANbQwrwo fe^ }

E'Fihr mATnj

«Tt6*i

rmriMt*

flfrwo

U W A J b f c

, ^®Uo"f54VA<f€WAAK,

The Andantlno contains a s t r i k ing juxtaposit ion of the tona l i t i es E - f l a t

major and E major not as modulations but as color effects (see Figure 14).

F i 9 U ^ u L % i tJ r ^ ^ 5 e S c r L : j i ^ ^ M i W i ^ > measures 88-91 o f

q & i

1 1

28

The Al legret to of the f i na l section begins with an introduction by

the accompaniment which modulates from E- f la t major back to G minor.

The f l u t e then enters with a th i rd theme designed to exploi t the

£§r le, or skipping, single-tongued staccato, which is the focus of

the second complementary exercise of Al tes' Methode (compare Figures

15 and 16).

H < r t h ° d e d e f i S t e - s e c ° n d

i « 4 ^ *

m -J* 1 ^ ' f i W w o

F l 9 U the 1 so lo ' J f lSe"par t ! A U " ' C i n c , u i ^ m e S o 1° - measures 108-109 of

h m The Al legretto is followed by a Vivace in G major consisting

ent i re ly of double-tongued, solo passagework. The motivic construction

is a diminution of the most important tones in the f i r s t theme's

opening (compare Figure 7 and 17).

29

FlQUSf the so lo e f l u t e n p l r t U e S ' C inqu lVeme So1o> measures 148-150, 4-6,

i $

i a c± W

n > L" * $ j I t? j

r This relat ion of theme and motive may or may not have been a conscious

decision in composition; i t is much more obvious to the eye on the

printed page than to the ear because of the Vivace, s t i l l , without

consideration of s imi lar i ty in theme and motive, the last section bears

no thematic relationship to the f i r s t theme. The rhythmic motive from

the beginning of the .Allegretto theme, restated by the f lu te in the

last three measures, provides some further formal unity.

F l g U the1solo J f lute"part ! A H e S ' C 1"q u 1™e S o 1 ° ' me«ures 182-183 of

i

30

The continued emphasis on passagework as the main compositional

element in the flute Concours pieces was an anachronism. The

cylindrical Boehm flute in use at the Conservatoire during Altes'

term offset the projection problems of Tulou's old-system flutes. The

only real indication of the flute's new capabilities for lyricism in A U e S ' Solo de Concours is the lack of passagework in his

central slow section in E-flat major. Altves' Me'thode demonstrates his

awareness of those lyric capabilities through his stress of nuance,

proper breath placement and sound quality in musical interpretation.

By implication, Altves considered the Solo de Concours to be primarily

a demonstration of dexterity.

CHAPTER V

Conclusion

Specific comparison of Tulou's Cinquieme Grand Solo and Altes'

Cinquieme Solo de Concours reveals both continuity of purpose and

changes in form among the flute Concours compositions. Altos' Solo

was used for the Concours of 1880, the year following a repeat of

Tulou's Solo for the competition. A l t h won his Premier prix in 1842

performing Tulou's Septieme Grand Solo. a Solo that is virtually

identical in form to Tulou's Cinquieme Solo. A comparison of the two

Solos of both men is consequently a good way to investigate the

influence of Tulou on compositions of Altes.

Construction within formal sections, especially passagework,

changed to accommodate the technique of the instrument for which Altes

composed his Solos. Altes provided unity in his Solo through motivic

consistency within each formal section. Tulou provided unity through

his integral link of head-motive to tonal progression. Tulou's

resolution of theme and tonal area through methods borrowed from

sonata-allegro form enhanced this effect.

Both composers preferred to divide their Concours compositions

into three contrasting formal sections played without pause. Both

Tulou and Altes provided that contrast by change in tempo. Altes went

further in setting his sections in contrasting meters. He used also

31

32

different themes and passagework for each section, giving the

appearance to his work of three separate movements played without pause.

Both composers ended most of their Solos with displays of

brilliant technique. For Tulou this display usually consisted of

rapid passagework, while Altes preferred to demonstrate brilliance

through rapid and varied articulation, a pedagogy reflected in his

Methode de flute.

The different types of flutes used by Tulou and Altes determined

choice of tonalities, articulation, and motivic construction in their

Soi2i- Even so, existing Solos of Tulou were found useful and

challenging for the Concours after adoption of the Boehm system and

were used repeatedly by both Dorus and Altes.

Even in the twentieth century the virtues of studying the

nineteenth century repertoire have been acknowledged by major

performing artists of the flute. The following is a translation of

Marcel Moyse's statements concerning his methods of flute teaching.

Study the traditional flute repertoire first Don't ignore Tulou, Demersseman, and Doppler just for the sakp nf being 'modern.1 The 'tremolo' pieces, for example? " e no longer fashionable, but, if you can play the finale of Demersseman s Le Tremolo, double-tongued, you will sail through the Scherzo from Mendelssohn's Midsummer Night's

. . You may criticise this music when you are caDable of playing it properly . . . but not before'l P

F1u?Bd»BF?MfraS* "? a r? e l M o y s e o n H i s M e t h o d o f Learning the Flute, Flute Quarterly, xi/3 (1986), 5 9 - 6 2 .

BIBLIOGRAPHY

Books

A p e 1 ' r i ! 1 1 ' , H a r v a r j Dictionary of Music. Second Edition, Revised and Press?ei975^ n d ^ e ' B e , k n a P P r e s s ° f Harvard S n i v e l

Altes, Joseph-Henri. Methode de f l u te . Two vols Ed F Caratn^ Paris: Alphonse Leduc, 1956. ' ' C a r a t 9 § *

Bate, Phi l ip. The Flute, a Study of I ts History, Development and Construction. London: Ernest Benn, 1969. New York-—iTlf Norton, 1969, 1975, 1979. w*

Castil-Blaze. Franqois Henri Joseph. Theatres Lvrioues de Paris • w I m p e n a 1 e d e Musique; msto i re l i t t d r a i r e . musicals cHorigrapmque. Dittoresque. morale. m t i r

K r i l f q U g a d l 7 - B 1 a l l , ° 1 J b d P j ^ ' Tome ^cond.

. , T t n e m o s t Classical Composers of evprv A h p o d 6 0 0

fii r r a n S J " J ° h n B i s h oP* London: Robert Cocks and Co 1848 (Da Capo Press music reprint series). ' '

De Lorenzo, Leonardo. *jy_Cpmplete Story of the Flute: the Tnstn.r^nt the Performer, the Music. New York: The Citadel Press? Inc! t 1951.

Dorgeuilie, Claude. The French Flute School 1860-1950. Translated and edited by Edward Blakeman with discography by Christopher Steward. F i rs t published, in French, Paris: Editions Codera and Tours: L ibra i r ie Ars Musicae, 1983. F i rs t published i n ' English with additional material, London: Tony Bingham? i 986.

Fitzgibbon, H. Macaulay (M. A., Sen. Mod. [T.C.D.], author of "The arly English and Scottish Poets and their Works") The Storv

of the Flute Being a m«*nrY 0 f the Flute and ^ connected with I t . becond edit ion with added material including

33

34

the posit ion of the f l u t e to-day (1928), f ront ispiece of L u l l i and his f l a u t i s t s , also corrections and revisions of the work London: Will iam Scribner's Sons, 1928.

G i r a r d L ^ i ! n : . . . H i s t o i r e , e ! Chesses de la Flute. Presentation par « _ . u i i u w c > r I C o C i l L u t lUr

Georges Duhamel de l'Acad&nie francaise. Paris: L iba i r ie Grund, 1953. La pr^sente Edit ion a eft.' " " ' v L 1 D a i n e

cents exemplaires numerous (no. 335).

James, Will iam Nelson. A Word or Two on the Flute. F i r s t Edit ion Edinburgh: Charles Smith & Co., 1826; Second Edit ion London: R. Cocks & Co., 1836; Third Edi t ion, with addit ional i n t ro -duction, London: Tony Bingham, 1982.

Lassabathie, Theodore. Histo i re du Conservatoire Imp^riale de mnsinup et de declamation suiv ls de documents r ecue i l l i s et mis Pn n J r o (par M. Lassabathie, Chevalier de 1 ordre de Legion fi 'hnnnonf ^ncien Chef du Bureau des Theatres au Ministere de l ' I n t § r i e u r -Admimstrateur du Conservatoire). Paris: Michel L^vv Fr^res ' Libraires Editeurs, 1860. y r reres,

Pierre, Constant. Le Conservatoire Nationale de Musioue et de Declamation. Documents historiques et adminis t rat i fs r ecue i l l i s ou reconsti tues. Paris: Imprimerie Nationale, 1900.

Rockstro, Richard Shepherd. A Treatise on the Construction, the Hist.nrV d? n . r o f t h e F l u t e ^ Including a Sketch of the Elements of Acoustics and Cr i t i ca l Notices of Sixty r.PiPhratorj Flute-r r , n f f r ^ S g r a t e r part of the biographical information col lected and the whole of the extracts from the German and the I t a l i an translated by Georgina M. Rockstro. F i r s t Edit ion

Rara°ni928' S ' R o c k s t r o ' 1 8 8 9 ' S e c o n d Edit ion London: Musica

Rosen, Charles. Sonata Forms. New York: W. W. Norton, 1980.

Taffanel, Paul, and Philippe Gaubert. Methode complete de flfftP Paris: Alphonse Leduc, 1923, 1958T *

Tof f , Nancy. The Development of the Modern Flute. New York-Taplinger Publishing Co., 1979. ~—

Welch, Christopher. History of the Boehm Flute, with nr. Von bchafhautl s L i fe of Boehm, and an Examination of Mr. Rockstro's Version of the Boehm-Gordon Controversy. Second Edi t ion. Facsimile of Reprint of 1892 Edit ion New York: McGinnis"& Marx l yb i . 9

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Dissertations

Ahmad, Patr ic ia. The Flute Professors of the Paris Conservatoire from Devienne to Taffanel, 1795-1908. Master nf an-c t w ^ c North Texas State University, 1980. 128 pp., 2 tables, bibliography.

Catalogues

Pel ler i te , James J. A Handbook of Literature for the Flute-Compilation of Graded Method Materials, Solos, and Ensemb1e Music for Mutes. Third Edition. Bloomington: Frangipani Pi GSSj 1978.

Pierreuse, Bernard (Flute Solo de I'Orchestre Philharmonic de Lieqe). nlUue — ^ e n e r a 1 Catalogue of Published and Unpublished Works by Instrumental Category. Prefarp hy Hpn^i

Pans: Editions Jobert and Editions Musicales Transatlantiques,

yester,^Frans^^F1ute^Repertoire Catalogue; 10,000 T i t les . London:

Art ic les

Blakeman, Edward. "Marcel Moyse on His Method of Learning the Flute " Flute Quarterly. XI/3 (1986), 59-62.

Conrey, George A. "The Paris Conservatory: I ts Oboe Professors Laureates (1795-1984)," Journal of the Double Reed Societv! 14 (July 1986)5 7-17. ~ 1

Fetis, Franyois Joseph. "Altes, JosephrHenri," Biographie universelle des musiciens et bibliographie g&ufrale de la musioue DeuxiSmP

1873!°vi l IK a267-268 l b r a 1 r ^ ™ U l d 0 t F r S r e S ' F i l s ' e t C i e '

Le Grandville, Frederic de. "Le Conservatoire et la Republique de y/K U0 ^ n t e r n a t l o n a ^ e de Musi que Francaise I I I (1980),

00/"0/D.

Pistone, Daniele, Ed. "La Bibliotheque du Conservatoire national superieur de musique de Paris," Revue Internationale de Musinup Francaise X I I I (1984), 112-117. ^

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Shulman, Laurie. "Wunderlich, Jean-Georges," The New Grove Dictionary of Music and Musicians, 20 vo ls . , ed. Stanley Sadie. London: Macmillan, 1980, XX, 547-8.

Taffanel, Paul and Louis Fleury. "La Flute," Encyclopedie de la musique et dict ionnaire du conservatoire" Deuxi me par t ie / Technique/Esth£tique-P£dagogue-Technique instrumental. Ed. Albert Lavignac. Paris: L ib ra i r ie Delagrave, 1927.

Verroust, Denis. "Les f l u t i s t es romantiques f ramjais," Revue In ter -nationale de Musique Franpaise X I I I (1984), 7-32.

Printed Music

Altes, Henri. Cinquieme solo pour f l u t e . Op. 24. Paris: Costal lat , n.d.

Altes, Henri. Sixi^me solo pour f l u t e . Op. 25. Paris: Costal lat , n.d.

Tulou, Jean-Louis. Second/Grand Solo/pour la Flute/avec Accompaqnement/ de deux Violons, Alto et Basse,/Hautbois, Cors, Bassons e t ' Timbales,/ou Pianoforte/composg/pour les concours de TEcole Royale de Musique/et dgdig/a ses £l$ves/par Tulou, Op. 70. L e i p z i g : B r e i t k o p f & Hartel, n.d. (19th cen tu ryed i t ion ) .

Tulou, Jean-Louis. Troisieme grand solo pour f l u t e et piano. Op. 74. Paris: Joubert, n.d. (19th century ed i t ion) .

Tulou, Jean-Louis. Cinquieme grand solo pour f l u t e et piano, Op. 79. Revised by Jean-Pierre Rampal. Paris: Bi l laudot, 1972.

Tulou, Jean-Louis. Sixierne grand solo pour f l u t e et piano. Op. 82. Paris: Joubert, n.d. (19th century ed i t ion) .

Tulou, Jean-Louis. Septieme grand solo pour f l u t e et piano, Op. 86. Paris: Joubert, n.d. (19th century ed i t ion) .

Tulou, Jean-Louis. Huitierne grand solo pour f l i r te et piano, Op. 88. Paris: Joubert, n.d. (19th century ed i t ion) .

Tulou, Jean-Louis. Neuvieme grand solo pour f f u te et piano. Op. 91. Paris: Joubert, n.d. (19th century ed i t ion) .

Tulou, Jean-Louis. Dixieme grand solo pour f l u t e et piano, Op. 92. Paris: Joubert, n.d. (19th century ed i t ion) .

Tulou, Jean-Louis. Onzieme grand solo pour f l u t e et piano, Op. 93. Revised by Robert Heriche. Paris: Bi l laudot, 1976.

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\

yse, II, 4-14. Tokyo: Zen-On Music, Ltd., 1979.

Tulou, Jean-Louis. Quatorzieme grand solo pour f l u t e »t n i B n n n „

Pans: Jouberl, n.d. ( m l ! century edition) P ' P ' 9 7 '

Tu , ou, Jean-Louis. Grand Solo/Concertant/Pour rie,„ FlStes/Avec Arrt

^ p ° ! i ^ l L a l e s ! w