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International Trumpet Guild Journal ®
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A TRIBUTE TO THE EXTRAORDINARY LIFE AND CAREER OF MAURICE ANDRÉ (1933 – 2012) COMPILED BY
GARY MORTENSON
June 2012 • Page 7 The International Trumpet Guild® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild® prohibits the following without prior written permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
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A TRIBUTE TO THE EXTRAORDINARY LIFE AND CAREER OF MAURICE ANDRÉ (1933 – 2012) COMPILED BY
J
GARY MORTENSON
e remercie le ciel d’avoir pu partager des moments musicaux et intimes avec un tel génie de la trompette qu’était Maurice André.” “I thank the heavens for having shared musical and intimate moments with a genius such as the trumpeter that was Maurice André.” -Roger Delmotte, February 29, 2012 Trumpet legend Maurice André died on February 25, 2012, at the age of 78. From his youth working in a coal mine in southwest France, to his meteoric rise to become one of the finest musicians on the planet, Maurice André remained true to his inner conviction of what the trumpet
can and should be as a solo instrument. In an interview with the New York Times in the 1980s he stated, “It takes a strong personality to make an impact with the trumpet. You’re like a matador in a bullring… you have to go on [stage] as a winner.” Perhaps the single most important legacy the ITG Journal passes on is to document and preserve the history of the instrument we all hold so dearly in our hearts. We do that best through the use of storytelling. It is fitting that a few of the millions who loved Maurice André’s music should share some of what they knew of this man so that those who come after us might know something of the human being whose recorded legacy will stand for all time. GM
Maurice André said that his “greatest joy” was to have given importance to the trumpet as a solo instrument. The man who began playing cornet as a teenager in hopes of joining a French military band, and quitting his job in the coal mines of southern France, did just that. In his unparalleled career of performing, recording, and teaching, he did more than anyone else to establish the trumpet as a solo instrument welcome in the great concert halls. The trumpeters of the world owe Maurice André a debt of eternal gratitude. Stephen Chenette, February 26, 2012
A coal miner’s lamp and picture of a mine from Maurice André’s house Photo by Stephen Chenette
Maurice André at home among friends, November 2011 L – R: Michel Laplace, Jean Sibra, Stephen Chenette, Maurice André, Liliane André Photo by Béatrice André © 2012 International Trumpet Guild
June 2012 / ITG Journal 7
during his career included trumpeters Roger Delmotte, Maurice André left an indelible fingerprint on all of music Francis Hardy, Bernard Jeannoutot, Marcel Lagorce, Pierre during the second half of the 20th century. Thanks to his Pollin, and Pierre Thibaud. Prominent former students efforts, the trumpet has known a remarkable renaissance include Guy Touvron, Bernard Soustrot, Thierry Caens and throughout the entire world of music. A few key words repmany others. resent France and the French people to the larger world The current generation of players who have been impacttoday. These magic words include Paris and the Eiffel Tower, ed by Maurice André includes David Guerrier, Andre Henry, Pigalle (Paris life), Carmen (the opera), Bordeaux (wine), and Clement Saunier, Sergei Nakariakov, Rubén Simeó Gijón, Maurice André (for music and the trumpet). Giuliano Sommerhalder, and many others. Perhaps André’s Possessing a talent and passion like no other musician of greatest influence on the current generation and the generahis day, Maurice André grew to dominate the classical world and thus to raise the level of esteem the trumpet now enjoys. tions to follow is to serve as the model, the master, and the unchallenged and unmistakable idol for them to follow. He Due to his efforts, the trumpet has become a virtuoso, meloproved to be an outstanding ambassador for the trumpet… dious, and popular instrument in the noblest sense of the meaning of these words. Before the arrival of Maurice André, a true representative of all that was the best of that time. He no one would have imagined that it would be possible to elevate the instrument to its current level of prominence. It is fair to say that because of his enthusiasm for new music many of the towering standards of the trumpet’s repertoire exist. Examples of this include major works by Jolivet, Tomasi, Bolling, Legrand, and many others. In preparing, performing, and rec ording new compositions, André overcame all of the technical difficulties inherent in this sort of creative endeavor and displayed extraordinary strength in bringing these works to the larger world (in rehearsal and in the 1992 ITG Rotterdam Conference studio the string players Maurice André and Timofei Dokshizer often got tired before he With the students of Pierre Dutot did!). From the National Superior Conservatoire of Music – Lyon Even the instrument helped to create a forward momentum that we all enjoy itself underwent important fundamental changes through his close association with the Selmer instrument company. today as later generations of trumpeters push the limits of the instrument even further than the laws of nature dictate. This Based on André’s recommendations, Selmer created the first would not have been possible were it not for the body of modern piston three-valve piccolo trumpet in 1959 based on work laid down for us by Maurice André. a prototype by Couesnon built in the 1950s. A fourth piston Thank you, Maestro, for all the moments of simple and (to expand the range of the instrument) appeared in 1967. true happiness you left for us and for the positive karma you From 1967 to 1978, Maurice André taught at the Conserleft, for all the world—served by your rich and generous vatoire National Supérieur de Musique in Paris. There he sound, a sound that is incomparable in its warmth born of introduced the piccolo trumpet in his teaching and thus your joyous spirit. allowed many trumpeters to address the Baroque repertoire Pierre Dutot, February 26, 2012 of clarino playing which was, until then, mostly unknown and inaccessible with the traditional trumpet. His colleagues
© 2012 International Trumpet Guild
June 2012 / ITG Journal 9
My high school years had me glued to recordings of Maurice André, including the rendition of the Concerto St. Marc accompanied by a clarinet sextet. For several years, in my innocence and naiveté, that was how I heard the piece, considering it as the manner with which I wanted to present the piece. His sound, ease, elegance, not to mention the level of trumpet artistry, have been benchmarks of my love for everything trumpet (no, I never did perform the work with clarinets).
I thank Maurice André for teaching me about real elegance. I heard him in live performance with the Columbus (Ohio) Symphony doing the Hummel Concerto. His very presence onstage carried an aura of awe. The tempo of the last movement of the Hummel was slower than I had expected, played with beautiful, controlled elegance and the impeccable grace of a true master of the idiom, in effect teaching the young what the very highest end of musical communication is like. It was one of my greatest inspirations. James Olcott, February 26, 2012
Years ago I attended a masterclass that Maurice André gave at Long Beach State College. His playing and teaching were of course marvelous, but most striking was this: A student who was asked to translate for André was quite nervous and didn’t do such a great job. In the middle of the masterclass someone from the audience asked a question in perfect French and so it was decided he would come on stage and do
the job of translating for the remainder of the class, which was of course embarrassing to the first translator. What was so impressive was that when André came back onstage after the masterclass to take his well-deserved bows, he led the first translator on stage and had him take a bow first. That was a great moment. Anthony Plog, March 4, 2012
Maurice André with Rubén Simeó Gijon at the 2006 Concours de trompette de Maurice André in Paris, France
Suffice it to say, the music world has lost one of the most (if not the most) celebrated trumpeters of the 20th century. His extraordinary artistry set the stage for entire generations of trumpet performers. He had such a profound influence on so many of us. How fortunate we are to live in an age where we will have access to all of his truly amazing recorded performances. Thank you, Maestro André! Beautifully done! Marie Speziale, March 6, 2012
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Demonstrating for David Guerrier at a photo shoot July, 2005, in Bordeaux Trumpet European Symposium © 2012 International Trumpet Guild
My first contact with Maurice André was many years ago when he called me one day. André had been my hero—the King of the Trumpet from the beginning of my trumpetplaying career—and I could not believe when my home telephone rang and on the line was a man who said, “Hello, This is Maurice André, may I speak with Jouko Harjanne?” (actually, he always called me Jugo). He had heard some of my CDs and wanted to congratulate me. He asked whether I spoke French or German but unfortunately I had to say that I speak only English besides Finnish and Swedish… so we tried to mix all the languages we could and finally he said: “Music is the international language!” and then we said byebye/au revoir. Later on I had the honor to be twice a member of the Maurice André International Trumpet competition jury in Paris. We always were like the family during the competitions but there was never any question of who was the big star. Mr. André’s demeanor was so lively and artistic—it seemed like he was always in a good mood. I also noticed that he was sometimes so touched by the good performanc-
Once during a Maurice André City of Paris Trumpet Competition I had the good fortune to sit next to Maurice at a meeting. I asked him how many days were necessary to make his famous recording with Herbert von Karajan and the Berlin Philharmonic. I expected he would say two or three days as is usually the case today. Instead, very nonchalantly, he said just one morning exactly from 10:00 to 12:00 noon. The session consisted of one hour of rehearsal and one
es of the contestants that he would start weeping… so the music and trumpet really was his life. One final quick story to help us understand Maurice, “the boy”… Maurice had diabetes later in life, and his wife Liliane was always very stern with Maurice that he did not eat sweets—but many times when Liliane’s eye was not nearby, Maurice was like a schoolboy and rapidly picked up the yummies to satisfy his sweet tooth! Jouko Harjanne, February 26, 2012
At the 2006 Maurice André competition L – R: Jouko Harjanne, Gabriele Cassone, Maurice André
hour to record four concerti/sonatas by Telemann, Vivaldi, Leopold Mozart, and Hummel. André didn’t give any indication that he considered this to have been difficult or unusual. He was only pleased to have been invited to lunch by von Karajan right after the recording session! Gabriele Cassone, February 28, 2012
Maurice André’s monumental contribution to the trumpet world cannot be overstated. I first heard Maurice André’s recording of the Hummel and Haydn Concertos when I was about thirteen years old and could not believe © 2012 International Trumpet Guild
anyone could play the trumpet so well. As time went on and I returned to his recordings over and over again, my appreciation of his incredible musicianship only deepened as I realized the true extent of his genius. Years later as a student in New York, I had the opportunity to hear Mr. André perform live in a recital with organ. I was awestruck by the fact that he sounded even better live than he did on his recordings, if that is even possible. His elegant musicianship and pristine beautiful tone quality was unreal. Everything he played was with such care and seemed so effortless. It was one of the most remarkable and inspiring performances that I have ever heard, or likely will ever hear. We owe Maurice André a great debt of gratitude for being such a tremendous ambassador of our instrument. He set the standard for all of us and we will continue to find inspiration in his remarkable life’s work. Michael Sachs, March 4, 2012 June 2012 / ITG Journal 11
I wonder how many of us flashed back to an increasingly distant childhood as we learned today of the passing of Maurice André? My own introduction to his joyous and marvelously buoyant piccolo trumpet sound came via gifts from an older cousin of those marvelously plain, black-and-white covered LPs distributed by the Musical Heritage Society. That “ping” attack. That perfect intonation. That sound. Later in high school, while perfecting a “Brandenburg Bounce” on my bed at the Interlochen Arts Academy, I lis-
tened to Maurice play Bach. Imagine the thrill some years later when the same Musical Heritage Society issued one of my own recordings of Baroque music (still in the same b&w cover!). I was enormously proud that this record was out, but at the same time humbled by an inward knowledge that my own attempt was, at best, “faux André.” His was trumpet playing that could never be matched—even in color. Ed Carroll, February 26, 2012
L – R: Giuliano Sommerhalder, Maurice André, and Ibrahim Maalouf at the 2003 André Competition
To lose Maurice André today is, for many of us, like losing a kind of spiritual father. Everything that he brought to our instrument but also to classical music is inestimable. For most of us, we grew up with the image of a simple, professional man, an incredibly talented musician. For me, this is certainly true. But beyond that, the history that I have shared with Maurice André and my family has always been most important. When my father arrived in France at the beginning of the 1960s to study with him at the Conservatoire National Supérieur de Musique in Paris, Maurice André took his sound and spirit under his wing whereas many other trumpet players had closed their doors to him. Many clearly expressed to my father during that period their lack of interest in the face of the challenges he presented—they saw a young Arabic musician attempting to evolve the world of
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classical music and failed to see his potential. But Maurice André immediately opened his door and made room in his heart for my father. In doing this he displayed a rare generosity. Some years later, he even gave my father the chance to be able to create his own instrument with quarter tones and many times offered him the opportunity to play on French television in front of millions of people. Maurice André completely changed the life of my family from those moments. Forty years after he helped my father, I crossed paths with Maurice André in 2003 outside the Maurice André competition in Paris. It was just after the awards ceremony. There, in the theatre hall of Chatelet, I thanked him with all my heart for all he did for my family. Maurice André cried in front of me, pulled me into a hug, and told me that my father was certainly one of his most beautiful musical stories. Ibrahim Maalouf, February 26, 2012
© 2012 International Trumpet Guild
I first heard Maurice André perform in 1970 at Northwestern University when I was fourteen years old. My father took me to see him perform at Millar Chapel. As we sat waiting for the recital to begin, my dad pointed out members of the Chicago Symphony Orchestra as they came in and sat down to listen. It was my first clue that perhaps something special was about to take place. To say that the recital I heard that day changed my life is an understatement. Growing up in Chicago, I was used to hearing good brass playing. It was a time when the brass section of the CSO was a source of great pride for the city and I heard them often growing up there. My father was a high school band director, a trumpet enthusiast, and a weekend gigging musician who stayed very active and “up” on all that was going on in the area. But what I heard, at that very impressionable age, was astounding. André performed on B-flat, C, E-flat, and piccolo trumpet that night. Seeing the different horns being played with such consistency, control, tonal beauty, and with such impeccable phrasing was a revelation. But it was his beautiful sound that stayed with me. The trumpet seemed like an extension of his soul as he brought out something deep within him that he simply wanted to share with all of us. He made the entire audience feel special for having the privilege and good fortune to be there that evening, and that is what I remember more than anything else of that night. His music transcended the moment and I wanted to imprint it in my brain for all time. I heard André perform again a decade later in Ithaca, New York, where I did my master’s degree. He was touring with a chamber orchestra and the trumpet students of Herbert Mueller and James Ode were there, eager to hear the performance. André played two concerti on piccolo trumpet that night. I vividly remember how many alternate fingers he used depending on how the notes were approached, but mostly I remember how every beautiful note led to a perfectly formed phrase. I was older and thought myself to be considerably more “sophisticated” as a musician. But the enthusiasm that I felt in 1970 quickly returned as I closed my eyes and let my ears enjoy the music as my heart filled with his spirit. Afterwards, a bunch of us went backstage to see him. We were in awe and pretty shy in his presence. But he was gracious in seeing us, attempting to communicate as best he could, with a lot of laughter and gesturing to try and get points across. There was nothing but kindness and happiness in his eyes as he greeted us that evening.
My greatest joy as publications editor for ITG was traveling to Paris in 2006 to report on The Sixth Concours de trompette Maurice André for the ITG Journal. What I remember most about the competition was André’s enthusiasm for the music. At the conclusion of each competitor’s performance, in all of the rounds of the competition, a resounding “Merci!” would ring out from the judge’s table. The volume level and tone in his voice for each competitor, regardless of their performance, was the same. He was happy each person took the time and made the effort to be there, and he wanted them all to know that he supported them—genuinely
I was saddened to hear of the passing of Maurice André this weekend. Mr. André was without question one of the finest trumpet soloists of all time. He was a groundbreaker for the role of the trumpet as a solo instrument. You will find an extensive discography of solo works performed by him, written for him, and adapted by him featuring music from the Baroque period into the 20th Century. I probably had most of his recordings released by The Musical Heritage Society in the 1970s. The way he made the piccolo trumpet sing, and his command of the instrument, was astounding to a young trumpeter. My favorite recording was of the Tomasi and Chaynes trumpet concerti, both of which I have played with the New York Philharmonic, with
Mr. André in the back of my mind’s ear. My most thrilling memory was of meeting him on November 21, 1974! That afternoon, I won the 4th trumpet position with the Chicago Symphony, attended the CSO concert that evening conducted by Sir Georg Solti, and met Maurice André at a dinner attended by the CSO trumpet section (and me!) after the CSO concert and his solo performance in another venue with the Wurttemberg Chamber Orchestra. What a thrill of a day for a young trumpeter starting his career! I don’t think I said anything… probably just sat quiet and grinned in the presence of both Mr. André and Mr. Herseth. He will always be one of my giant musical heroes! Philip Smith, February 27, 2012
© 2012 International Trumpet Guild
Gary Mortenson and Maurice André at the 2006 André Competition
supported them from his heart—in their work and dedication to the trumpet. That’s what I heard in his voice all through the week. Close to the end of the competition I was able to meet Mr. André and to thank him, through an interpreter, for all of the music he had brought forth that had come to mean so much to me and to the quality of my life. His recordings set the standard for my ears even though my ability to play the trumpet never came close to what he produced over his long and incredible career as a soloist. Still, what he gave to me made me a better trumpet player, but even more importantly a better musician, and most importantly a better human being. Throughout my life I will always try to keep that performance at Northwestern University first and foremost in my mind. That night taught me about the power of music to change one forever, and for that I can only say, “Merci!” Gary Mortenson, February 26, 2012
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What most musicians try to say in a lifetime on their instruments, Maurice André could trumpet in one beautiful phrase. From the most challenging pieces in our literature to his Christmas recording with children’s choir, Maurice André reached across the world to bring together people in a very special way. I do not think that any one trumpeter has had such an impact on so many musicians of all types. He personalized the trumpet literature to the point that you could identify his sound in moments.
I was often together with Maurice in the mid and late 1960s, since both of us were making solo recordings for the same company, Electrola, in Cologne. At any rate, it helped me that the first foreign language I learned was French. We were able to converse freely together, whereas most Germans even today do not speak that language. Thus I was often a witness to Maurice’s roguish sense of humor. One evening after a concert of his we were sitting together over a glass of wine with several Electrola producers and their wives.
A Maurice André performance realized the power music has to change our perception of time. When he played, time was suspended, bringing us to a place of great beauty in each concert and keeping us in that place way beyond his last resounding note. Vince DiMartino, February 27, 2012
Album Cover for an Erato label release
One of the ladies apparently understood a little French, and so Maurice paid her a compliment, saying very rapidly: “Mrs. So-and-So, you look beautiful this evening.” And still faster: “You must have a young lover to look so good.” All she understood had to do with her good looks, so she smiled and thanked him. I had difficulty keeping a straight face. Edward Tarr, February 29, 2012
remembered me as he said "Mon ami!" My I first met Maurice André Friend! I conversed with him in French (he in my very first season (1970) in the Baltimore Symphony André playing B-flat and piccolo trumpet in never spoke English) seated right next to him and his wife. When the plane was about to Orchestra, as the BSO duet! (Collection of Michel Laplace) depart, I told him that I was not riding in the Trumpet Section traveled to "First Class Section" and he said, in French, hear his Solo Recital at Ithaca "All Trumpet Players Throughout the World Are First College. I asked a post-concert question about his employing Class--Sit Down!" I continued to talk to him for the remainhis second finger to trill the first and third valves. He later der of the trip seated next to him and his wife, and this was remembered me and my question, as I was playing on a tour truly an incredibly memorable experience! of Japan/Hong Kong with the St. Louis Symphony. When I boarded the plane from Tokyo to Osaka, he recognized and Langston J. Fitzgerald, III, February 28, 2012
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© 2012 International Trumpet Guild
I remember hearing Maurice André perform in a recital at one of the New York City music schools. I was sitting with Harry Glantz. Throughout the recital we were both impressed by all that we heard… I kept thinking, “Wow, what control and musicality… he is doing a great job.” After the recital Harry went directly to greet and congratulate André on his exceptional playing. Mr. Glantz was not someone to do that unless it was an outstanding performance. Maurice André opened up a whole new area of repertoire for the trumpet and raised the bar to a much higher level of expression on the instrument. For the piccolo trumpet specifically, André extended what was considered practical or even possible. He changed a lot of things for us all based on the example he set. He did wonderful things for the instru-
ment in terms of repertoire and especially in terms of quality of sound and phrasing. I have nothing but admiration for what he did for trumpeters all around the world. Hearing André perform—whether in person or on one of his many recordings—was like receiving a lesson on the instrument. Most of us came away from that experience wondering: “How did he do that?” And as a result, many of us became better musicians based on the sounds and ideas we heard him model for us. So many things would not have happened for the art of trumpet playing were it not for Maurice André. He was simply one of those rare forces of nature challenging us all to be better instrumentalists and musicians. Raymond Crisara, February 29, 2012
Views of André’s Selmer asymmetrical mouthpiece Collection of Michel Laplace
The desk of Maurice André, November, 2011 (Photo provided by Stephen Chenette) © 2012 International Trumpet Guild
June 2012 / ITG Journal 15
I remember the first recording I heard of Maurice André—an LP recording of the Jolivet Concertino and the Jolivet Second Concerto when I was a junior in college. This was long before his was a “household name” in the music world. All I knew was that I was listening to something that was compellingly beautiful and stunningly virtuosic—trumpet playing that defined a new standard of excellence. It was thrilling beyond words to hear him perform live at the 1972 National Trumpet Symposium and to meet him in person. I was humbled not only by his incredible musical virtuosity,
but by his generosity as a teacher in the masterclasses he presented, and by his sincerity of spirit as he acknowledged the talent of other guest trumpeters who performed at the symposium. For trumpeters of my generation, Maurice André provided the definitive model of excellence in classical trumpet solo performance. In the astounding number of superb solo recordings that he produced during his lifetime—many times more than any other trumpet artist, his scintillating tone and impeccable intonation, his flawless technique and phenomenal stamina, and his unique interpretive flair and brilliant musicality bear testimony to his indisputable preeminence as a musician and trumpeter in our time. His musical excellence will continue to inspire trumpeters of all generations to come. Stephen Jones, February 28, 2012
Stephen Jones presenting Maurice André the ITG Honorary Award at the 1992 ITG Conference in Rotterdam, Netherlands
ITG HONORARY AWARD From the plaque presented to Maurice André in 1992 on his acceptance of the International Trumpet Guild Honorary Award With genuine respect and affection, in sincere recognition of his artistic excellence, in grateful acknowledgment of his impact on the world of trumpet performance, and with deep appreciation for the inspiration and example he has provided for the trumpet players of our time Presented by the International Trumpet Guild Officers and Board of Directors Stephen G. Jones President
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© 2012 International Trumpet Guild
I first met Maurice André at his International Concours in 2000. The event was almost overwhelming for me. The preparation of so much solo music, being in another country, and having the enormous pressure that a competition brings was nothing compared to the opportunity to play for the greatest trumpeter that has ever lived. And his attention was undivided. I will always remember that despite listening to literally hundreds of pieces, in that magic silence just before the esteemed jury and significant audience started to applaud each offering, Mr. André called out “Merci!”—It was so generous and encouraging to hear, and reminded us all that, in whatever the setting, all we were there to do was play music, and give whatever we could to the listener. This is something that he did so incredibly consistently, for such long time, and for so many many people. What a wonderful legacy. Alison Balsom, March 11, 2012 Maurice André and Alison Balsom
Yesterday, at the place of Ales, was the funeral ceremony for Maurice André. I warmly thank all who were present on the part of the André family. They were very touched by your attendance, your messages of sympathy, and the execution of the trumpeters that performed Aida. Unfortunately, they were unable to tell you themselves due to the organization of the day and the state of Mrs. André. I also address all those who were absent and unable to make the trip to Ales, and who are also associated with this moment. Everything went smoothly: the 40 trumpetists under the direction of Andre Bernard played the trumpets of Aida, accompanied by the organ of J.C. Françon. The ceremony was animated by the father Gabriel Niel of Pouliguen (la Baule) who is also an organist and an old friend of Maurice André. Among others, the following were present: D. Guerrier, R. Simeo, M. Becquet, S. Nakariakov, M. Plasson and
his wife, and M. Lagorce. The list is long so excuse me for not citing all, but I had to leave quickly after the ceremony, and so I didn’t see everyone. The cathedral was full and the ceremony, very beautiful. Afterwards, in privacy, André was buried in the small cemetery of St. André de Canceze, next to his father and at the feet of the Lozere mountain. The location is magnificent, calm, and serene. Now we will live with the memory and the immense work that Maurice André accomplished. Each will, in his own way, be able to pass on this essential heritage, which is without a doubt the best way to continue André’s legacy. It is understood that the French media didn’t know how to relay this “information” and pay the necessary homage André merits. Maybe this debt will be paid later; however, “The Artist” is still him! Thierry Caens, March 2, 2012
The Aida tribute at the funeral of Maurice André in Ales, France, March 2, 2012 Image provided by Michel Laplace © 2012 International Trumpet Guild
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Maurice André: Trumpet Master of the XXth Century By Michel Laplace Compiler’s Note: The text below represents the Introduction and the concluding words of an extensive tribute article put together by Michel Laplace. The complete text of this article, in both French and English, is available on the ITG Web Site (http://www.trumpetguild.org/journal/journal.htm). GM Introduction Maurice André left this world during the night between the days of February 25 and 26, 2012. The world of trumpet was saddened by his death. Maurice André came from a popular environment and like all the great French trumpet players (Roger Delmotte, Pierre Thibaud, Roger Guérin, etc.) he entered the profession in the harmonies [Bands]. Like others, who have remained more humble, there was in André the familiar brass tradition. Maurice André didn’t only have exceptional dispositions immediately encouraged by his father and mm. Barthelemy and Sabarich, he also had in him the experience of an artisan in having the ability to play in all genres, all situations, even before launching into the career of a concertiste (premiere soloist) in 1955. His career truly took off in 1963, and never slowed down once it took off. It is thanks to André’s dedication to the trumpet that we have an instrument henceforth as noble as the voice, the violin, and the piano in the eyes of music lovers. This is due to the price of hard work, will, and the progressive development of a style of interpretation, the style of Maurice André, founded in elegance of phrase and quality of timbre: “Maurice André dominated the scene of trumpet with his enormous charm. I do not know a person who wasn’t captivated by his tone, his execution…” (Edward H. Tarr, February 28, 2012). Masterful, natural, present, generous, like Louis Armstrong, Maurice André was embraced by the masses, and by the experts. He didn’t search for an “international style;” his style became one. “If I want to know a particular style of a piece or get an idea about a piece I haven’t played, or maybe one of my students is learning something I haven’t played—if I have a Maurice André recording of that piece, that recording is the standard (Frank Kaderabek). With grieving trumpeters there is a common sentiment: “He was simply the spiritual father of all” (Antoine Acquisto). “My spiritual and musical father” (Guy Touvron, February 26). “We have lost our father…” (Thierry Caens, March 2). Maurice André died February 25, 2012, at 11:45 p.m. at Bayonne. The funeral ceremony was held at the Ales Cathedral, March 2, at 10:30 in the morning. Beginning at 8:00 a.m., many were present for the service. Father Gabriel Niel led the ceremony and Jean-Claude Françon played the organ for the 1500 people in the cathedral. The music was entrusted to 70 choristers and to organist Françon. Those in attendance heard the Adagio attributed to Albinoni, Schubert’s Ave Maria, and a Bach chorale. Among those present were the conductors Michel Plasson and Claude Lagrange; the trombonists Michel 18 ITG Journal / June 2012
Becquet and Jean-Pierre Mathieu; and of course many trumpet players—notably David Guerrier, Reuben Simeo, Sergei Nakariakov, Marcel Lagorce, Patrick Fabert, Christan Pollin, Albert Calvayrac, Jacques Jarmasson, Laurent Rieu, Jean Sibra, René Périnelli, Pierre Dutot, Guy Touvron, Bernard Soustrot, Marc Ullrich, and Thierry Caens. Flowers were donated by the city of Paris, the Republican Guard, the Opéra of Paris, and friends in the southwest. The March of Aida was played by 40 trumpet players and directed by Andrè Bernard. Afterwards, Maurice André was buried in the garden of the Saint-André Presbyterian church of Capcèze, next to his father and his son Lionel, and at the foot of the Lozère mountain.
The funeral service at Ales
We will now live with the memory and the immense work that he accomplished, and each in his own way will pass on this heritage” (Thierry Caens, March 3, 2012). On February 6, 2010, I promised this article to Maurice André, when the time came… Michel Laplace, March 3, 2012
Michel Laplace and Maurice André
Special thanks to Tom Crown, Caroline Dutot-Bowie, and Leah Marie Mortenson who helped with the translation from French and Italian to English. About the compiler: For more than a decade, Gary Mortenson has served as Publications Editor for the International Trumpet Guild. He is professor of trumpet and Head of the Department of Music at Kansas State University. © 2012 International Trumpet Guild
