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Much of my debate in this thread, it now becomes apparent, has been caused by a somewhat confused passage in Hucher’s “L’oeuvre de Florent Schmitt” where the work in question is discussed in the main text of the book. Thanks to all.Thanks Phil.
In his “L’oeuvre de Florent Schmitt”, Yves Hucher gives a first performance date of 11th March 1949 by the Quatuor Tulout. As it turns out, Marcelle de Lacour (1896 – 1997) who, coincidentally, was born in Alsace-Lorraine like Florent Schmitt, was a harpsichord player. There is another interesting photo of Schmitt and Stravinsky (along with Stravinsky’s wife, Vera) that was taken at a U.S. embassy reception in Paris in 1957.As for your comment about Schmitt’s orchestral rarities, there may be several other compositions that haven’t yet been recorded besides the “Plein Air” music. As I’m working my way through, I’m finding some wrong notes in the parts, most of which are obvious, but there are others which are a little ambiguous, but I’m taking notes of any corrections that I make.The first trombone part poses a bit of a problem on account of it being rather high, which is typical of French trombone writing of the period. Your interest in this gives me added motivation to complete the transcription. Even so, it would still be marvellous to hear the work in its orchestral dressing. Schmitt wrote 138 works with opus numbers.He composed examples of most of the major forms of music, except for opera.His piano quintet in b minor, written in 1908, helped establish his reputation. French trombonists tended to use small-bore instruments which facilitated upper register playing to quite a degree, and that’s why high trombone solos appear in, for instance, Ravel’s “Bolero” and “L’enfant et les sortileges”.
Browse and buy sheet music by the composer Florent Schmitt (1870-1958)
But clarity prevailed throughout Sunday's concert, particularly in the transcription of Stephen Rosenthal plays the soprano saxophone, the highest of the four saxes, and is the leader and spokesman of the group. Moreover, Hucher does not list the work as originally having been a harpsichord piece — nor indeed does he mention Schmitt as ever having written anything for harpsichord either as a solo instrument or as part of an ensemble. They are very interesting. This work seems particularly interesting with regard to this discussion, as it appears, contrary to my earlier remark, to be a work for solo harpsichord, – performed by the dedicatee of the Quartet for Three Trombones and Tuba. The fact that he explicitly states ‘under the fingers’ (‘sous les doigts’) suggests that it was performed on valve trombones. 78 (1927), the "Legende pour alto et orchestre" op. Florent Schmitt composed just three works for the saxophone, but all three of them hold a place of prominence in the repertoire. 1997).I also have a photograph of Florent Schmitt together with the English composer Ralph Vaughan Williams which was taken in 1956, and another of Florent Schmitt with the music critic Felix Aprahamian which was taken at the premier of Schmitt’s 2nd Symphony in Strasbourg in 1958.I have a good collection of recordings and scores of Schmitt’s works. 83 bis (1934), the symphonic diptych to the memory of Gabriel Faure "In Memoriam" op.
Two years later, when Aprahamian saw Schmitt again, at the 1958 Aprahamian's recollections of his encounters with Florent Schmitt were later included in his introduction to the revised edition (The 1990s and 2000s witnessed a revival of his compositions, and an increased coverage of it on We can also rest assured that the Quartet for Three trombones & Tuba was, in fact, originally conceived for three trombones and tuba, and wasn’t an arrangement of a piece for harpsichord, nor was it subsequently arranged for harpsichord, and that it was played on slide trombones at its first performance and not ‘under the fingers’ of valve trombonists, as Hucher‘s statement, understandable I think, led me to believe!Well, at least I got there in the end, but I would like to extend apologies to any readers of this blog who have become bored with this little side excursion into the strange world of trombones, tubas … and harpsichords.Fill in your details below or click an icon to log in:Enter your email address to follow this blog and receive notifications of new posts by email.
66 (1918), and the orchestral fresco "Anthony and Cleopatra" (1920). Unlike a string quartet, which has an inherent transparency, giving the listener the opportunity to hear clearly all four voices, four richly toned wind instruments provide a challenge to both players and omposers to "not overwhelm the listeners with a great display of tone." My reason for suggesting this was the fact that Yves Hucher, in his “L’oeuvre de Florent Schmitt”, stated that the work ‘ought to be heard under the fingers of Marcelle de Lacour, to whom it is dedicated’. There is no evidence of it having been later adapted for harpsichord either, unless Marcelle de Lacour herself made an arrangement of it for harpsichord. Please keep us posted!David: Tim Smith is a fantastic trombonist with the Buffalo Philharmonic Orchestra here in the USA.
Sorry, your blog cannot share posts by email. If you know of professional trombonists who might be interested, then perhaps an eventual performance is a possibility.I’m very interested in seeing/hearing this ‘new’ Schmitt work for trombones/tuba. I am also convinced that Schmitt intended the fast scale-like passages in the second movement to be executed as Perhaps some further information regarding this peculiar mystery will eventually come to light.Thank you for the very interesting follow-up post, David. (He was always a curious man.)" Post was not sent - check your email addresses! A major figure in the symphonic clarinet world once sneeringly pronounced, "No gentleman ever plays the saxophone."