The Trio d'Anches as exemplified by

three contemporary French composers

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Authors Townsend, David Michael

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 THE TRIO D'ANCHES

AS EXEMPLIFIED BY THREE CONTEMPORARY FRENCH COMPOSERS

by

David Michael Townsend

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 8 0
 THE UNIVERSITY OF ARIZONA

SCHOOL OF MUSIC

I hereby recommend that this document prepared under my

direction by David M. Townsend

entitled THE TRIO D'ANCHES AS EXEMPLIFIED BY

THREE CONTEMPORARY FRENCH COMPOSERS

be accepted in partial fulfillment of the requirements for

the degree of Doctor of Musical Arts.

> ,.

L í`' L v(j`4 - L LS
C2IL: / C
Signature of Professor Date

Acceptance for the School of Music:

dtwzilitAr4.41.
Director, Graduate Studies in Music

2,...4-444- /6, ifiro

Date
 TABLE OF CONTENTS

Page

LIST OF ILLUSTRATIONS iv

INTRODUCTION v

CHAPTER

1. THE CREATION OF THE TRIO D'ANCHES 1

2. THE INFLUENCE OF THE TRIO D'ANCHES ON COMPOSERS

AND PERFORMING MUSICIANS 4

3. BIOGRAPHICAL SYNOPSIS OF THE COMPOSERS . . . 8

4. COMPATIBILITY OF THE REED INSTRUMENTS 11

5. A REPRESENTATIVE LISTING OF THE LITERATURE 28

6. CONCLUSION 32

SELECTED BIBLIOGRAPHY 33
 LIST OF ILLUSTRATIONS

Figures Page
1. Lineage Chart 3

2. Distribution of comrositions by country 7

3. Trio Concertant, Finale, measures 72 -100 . 15

4. Trio Concertant, Finale, measures 147 -164 16

5. Concert Champêtre, Ouverture, measures 1 -8 . 17

6. Concert Champêtre, Ouverture, measures 49 -52 . 18

7. Concert Champêtre, Nocturne, measures 1 -16 . . . 19

8. Concert Champêtre, Nocturne, measures 52 -64 . . 20

9. Concert Champêtre, Tambourin, measures 51 -55 . . . 21

10. Divertissement, Prélude, mc:.asures 63 -66 . . . . 22

11. Divertissement, Allegretto assai, measures 94 -101 23

12. Divertissement, ¿légie, measures 1 -16 24

13. Divertisement, Scherzo, measures 79 -86 25

14. Divertissement, Scherzo, measures 87 -103 26
15. Divertissement, Scherzo, measures 118 -128 . . . 27

iv
 INTRODUCTION

The direct translation of the French title, trio

d'anches, is simply trio of reeds. It consists of the

standard reed instruments of the orchestra: oboe, clarinet,

and bassoon. The main purpose of this study is to help the

American reader appreciate and be more familiar with this

unique and largely unknown chamber music genre. Unknown,

because it is more represented in some countries of the

world than in others, both in numbers of compositions and

performers of these compositions. In France, for example,

there are professional trios concertizing year around as

well as faculty trios attached to most music conservatories.

In the United States, however, there has been very little

interest in this combination. The author will be discussing

the contributions of some composers from other countries

later in this document.

Throughout this study, the author has chosen to

refer to the trio of reeds as trio d'anches for two reasons.

First, the French composers have been primarily responsible

for the output of this group's music -- approximately 36% of

the entire repertoire, with 17 countries represented.

v
Second, since the French were the first to create this

combination and write for it, the author has selected

only French composers as examples.

The pieces chosen cover a time period from 189? -

1954. It is interesting to note that the most significant

international increase in the composing, performing, and

publishing of wind chamber music occurred in the 1930's

and 401s. However, since that time virtually every

combination, including the trio d'anches, has continued to

be recognized with new and expansive compositions.

v1.
 CHAPTZR 1

THE CREATION OF THE TRIO D'ANCHES

The combination of wind instruments that has been

the most popular in this century and given the most

recognition by composers is the wind quintet; comprised of

a flute, oboe, clarinet, bassoon, and horn. Composit ions

for this genre date back to the early nineteenth century

with hundreds more written for it since 1900. The trio

d'anches, which uses only the reed members of the wind

quintet, developed out of the quintet but has always been

overshadowed by it. Yet in terms of the number of ori;7ina1

works written for it, the trio d'anches ranks second to the

wind quintet over all other wo-}dwind combinations.

In order to understand the development of the wind

quintet, one must remember the domination of the wind octet

in the latter half of the eighteenth century. The octet

contains a pair each of oboes, clarinets, bassoons, and horns.

As the transverse flute gained popularity as a virtuoso

instrument, the demand arose for composers to include it with

the winds in some type of chamber ensemble. Hence the wind

quintet (see Figure 1). Later the trio d'anches emerged.

All three groups continue to be recognized and written for to

1
 2

the present day. One could speculate that it is the

compatibility of tonal quality and blend of the three reed

instruments that help the trio d'anches to survive next to

its two heftier competitors. In fact, when listened to

carefully and comparatively, it is this author's opinion

that this compatibility gives the trio d'anches a superior
quality of sound over other woodwind combinations.
WIND OCTET WIND QUINTET TRIO D'ANCHES

2 Oboes 1 Oboe 1 Oboe

2 Clarinets 1 Clarinet 1 Clarinet

2 Bassoons 1 Bassoon 1 Bassoon
2 Horns 1 Horn

addition of 1 Flute

(circa 1775) (circa 1815) (circa 1900)

Figure 1. Lineage Chart

w
 CHAPTER 2

THE INFLUENCE OF THE TRIO D'ANCHES

ON COMPOSERS AND PERFORMING MUSICIANS

Many of the works for the trio d'anches have been

written for professional trios primarily in France and

Belgium. The Pastorale by Darius Milhaud, for example,

is dedicated to the Trio d'Anches of Paris and the `rio,

Op. 11 by Victor Legley is dedicated to the Trio d'Anches

of Brussels. Other trios of distinction include:

The Rent Daraux Trio d'Anches - France

The André Dupont Trio d'Anches - France
The Rotterdam 'dindensemble - Holland
The Gentse Houtblasers -trio - Belgium
The Trio d'Anches of Belgium
The Toledo Woodwind Trio - United States

Listed in descending order, the composers who have contributed

the most works to the repertoire have come from France,

Belgium, Holland, Germany, and the United States (see Figure

2).

Limiting the discussion of the trio d'anches to the

twentieth century was necessary. Only one published work is

known to exist from the late eighteenth century or early

nineteenth century and the piece is either lost or unavailable.

Written by the French clarinetist and composer, Jean -Xavier

Lefévre (1763 -1829), the piece was entitled Concertante and

4
 5

was published by the Paris firm of Janet. It was probably

written sometime between 1795 and 1825 because this was

the 30 year period that Lefévre served as Professor of

Clarinet at the Paris Conservatory. The Janet Publishing

Firm is also no longer in existence.

The first work this author has chosen to represent

the trio d'anches is the Trio Concertant by Ange Flégier.

Since it is the next work known to exist after Lefevre's

trio, it has the distinction of being the earliest work

for the trio d'anches still being published in the twentieth

century. The dedication is to Jules Massenet (1842 -1912),

who was a contemporary of Flégier and was one of the most

popular French opera composers of his time. Massenet's

operas were considered to be second only to Charles Gounod's

and possessed a natural sense of graceful melody which he

captured in a distinctive French style.- This description

fits the Flégier composition as well.

The second work is Henri Tomasi's Concert Champêtre

written in 1938. This neo- classic masterpiece was dedicated

to the Trio d'Anches de Paris which was the trio that

initially inspired Tomasi to compose his work of three dances,

a nocturne, and an overture. The title means "open air" or

1 Baker'sBiographical Dictionary of Musicians,

6th ed., completely revised by Nicolas Slonimsky. New York:
G. Schirmer, 1978.
 6

"outdoor concert." It is interesting to note that the

clarinetist in the Trio at this time was Pierre Lefébvre,

whose uncle, Henri Lefébvre, was a friend and associate

of Tomasi.

The third and final work selected is the

Divertissement by Jean Françaix. It is dedicated to the

Andre Dupont Trio d'Anches of which Mr. Dupont was both

bassoonist and leader. This four movement work is a

classic example of mutual respect for both composer and

performer.
 7

COUNTRY PERCENTAGE OF COMPOSITIONS

FRANCE 36%
BELGIUM 24%
HOLLAND 10%
GERMANY 8%
, UNITED STATES 7.5%

HUNGARY
POLAND 2% each
SWITZERLAND

CZECHOSLOVAKIA
DENMARK 1.5% each
UNITED KINGDOM;

RUSSIA 1% each
AUSTRIA

BRAZIL
NC RWAY
.5% each
ITALY
URUGUAY_

FiR,ure 2. Distribution of compositions.

 CHAPTER 3

BIOGRAPHICAL SYNOPSIS OF THE COMPOSERS

Only a very limited amount of biographical information

is available in American libraries on the lives of lesser -

known, foreign composers. According to the few sources

available, Ange Flégier (1846 -1927) lived out his life in

Marseilles, France, with the exception of his studies at

the Paris Conservatory from 1866 -1869 where he was a student

under Ambroise Thomas and Emmanuel Bazin. His music consisted

of cantatas, orchestra pieces, ballets, songs, chamber music,

a book of piano pieces, and his most famous work, the comic

opera Fatima from 1875. As stated earlier, Flégier's

Trio Concertant for the trio d'anches has the distinction

of being the earliest known work still published and available

for this ensemble.

Henri Tomasi (1901 -19 71) was also born in Marseilles,

France, and studied at the Paris Conservatory with Caussade,

Paul Vidal, Vincent d'Indy, and Philippe Gaubert. In 1927,

he was unanimously awarded the prize for conducting as well

as the second Grand Prix de Rome for his cantata, Coriolan.

His compositions earned him the recognition of being one

of the most gifted composers of his generation in France;

8
again being honored in 1925 with the Grand Prix de Musique
Francaise.1 Tomasi's music is marked by "impressionistic
colors and musical descriptions of exotic subjects. "2

Unique instrumental colors have been set to music depicting

various international regions such as Corsica, Cambodia,

Laos, Sahara, and Tahiti to name just a few. Included in

his works we find three ballets, operas, many orchestral

works, symphonic poems, a wealth of chamber music, and

a concerto for each of thirteen different instruments;

oboe and clarinet being two of these.

Born in LeMans, France, ,:ay 23, 1912, Jean Frangaix

studied first at the LeMans Conservatory where his father

was director. Later he studied composition at the Faris
is

Conservatory with the esteemed Nadia Boulanger. His music

pursued the twofold aim of practical application and the national

tradition of humor. It is also characterized by an engaging

spontaneity and demands great technical proficiency from

the players.3 Some of his instrumental compositions

represent a stylization of classical French music. His

output includes ballets, musical comedies, cantatas, a

symphony, a piano concerto, and a marvelous clarinet concerto.

'Grove's Dictionary of Music and Musicians. 5th ed.

Edited by Eric Blom. Vol. VIII. London: St. Martin's Press,
Inc., 1959.

2Dictionary of Contemporary Music. Edited by John

Vinton. New York: E.P. Dutton & Co., Inc., 1974.

3lbid.
 10

As early as 1932, he had made a name for himself internationally

with his delightful Concertino for piano and orchestra, which

displays those qualities of elegance, polish, proportion,

and clarity that characterize all of his music .4 Frangaix

is living in France and is still a very active composer.

kDictionary of Contemporary Music. edited by John

Vinton. New York: E.P. Dutton & Co., Inc., 1974.
 CHAPTZR 4

COMPATIBILITY OF THE REED INSTRUMENTS

This author has remarked before that the trio d'anches

combines three instruments of unique compatibility. To

demonstrate this, score passages have been extracted from

each of the three works studied. The first example is

from the Finale movement of Flégier's Trio Concertant.

Figure 3 shows a typical romantic approach to modulation

with the movement going from the opening C minor into

E -flat major and finally into the new key of A -flat major

(see Figure 3). Then, going through yet another modulation,

the composer cleverly returns us to the original key of

C minor (see Figure 4).

Figure 5 shows the title page dedicating Tomasi's

Concert Champêtre to the Trio d'Anches of Paris. In the

music you will also see the pairing of two instruments

against the third and then changing to another pair, which

adds interest and variety to the movement in terms of color

change. This technique dominates the entire movement

(see Figure 5).

One exciting feature of Tomasi's writing is the thick

and massive sonorities he gets out of just three instruments.

11
 12

The voicing of the final cadence in G major is an example

of this. The third of the chord is given to the clarinet

throughout much of the work (see Figure 6).

In the Nocturne movement of Figure 7, we are

treated to Tomasi's colorful, transparent, and unique

style of orchestration. The opening has the bassoon in

the treble clef sustaining harmonic pedal notes under a

haunting clarinet melody. Notice in measures seven and

fifteen that the oboe takes over from the bassoon just

at the end of the phrase (see Figure 7). Figure 8 takes

us to the end of the Nocturne. Now the bassoon takes the

melody at measure 57 while the oboe and clarinet are

overpinning the sustained harmony in octaves. Tomasi

enjo`,edusing octaves to create expansiveness and exotic

colors (see Figure 8).

The last example from Tomasi's work is the end of

the Tambourin movement. Again, the endings of both the

first and last movements establish a unique, full sonority

which would be hard to match with any other woodwind

combination (see Figure 9).

The next score fragment is a portion of Françaix's

Prelude movement of the Divertissement. Here we see five

notes against two, five against four, and three against

four. It seems Françaix reveled in this type of complexity

(s. e Yip?ure 10) .

 13

Another example illustrates the dexterity of the

three instruments in an interlocking passage beginning

at end of measure 97. The equal sound possibilities of

each of the instruments makes the passage sound as if it

were one multiple keyboard instrument playing one overlapping

part (see Figure 11).

The composer, in the next examle, chose to use two

different meter signatures in the third movement. The oboe

part certainly can be considered "Grave" in character, but

one can also see the moving and witty accompaniment of the

other two parts (see Figure 12).

Another composing technique which makes Frangaix's

music humorous as well as distinctively his is the use of

florid grace notes in movements with very quick tempos.

Also notice the contrary motion of the melodic lines.

The movement is a challenge for any musician (see Figure

13). Within the Scherzo movement is another example of

the pairing of two of the instruments in compliment with

each other at the octave. This draws the listener's interest

and attention, especially with the addition of the fast -

paced tempo. Also notice the key signature in the remote

key of six sharps (see Figure 11+). As the movement ends,

Frangçaix makes three independent lines flow together,

showing his craftsmanship of three part counterpoint.

One can see more of the contrary melodic lines as well

as observing equal technical demands placed upon the

 Li-

players (see Figure 15).

One can fully understand the hesitation that musicians

feel when dealing with contemporary French music. Its

complexity and difficulty are not to be underestimated and

these qualities are a part of the symphonic literature as

well (e.g., Debussy's La Nier, Chasson's Symphony, or Ravel's

Rapsodie Espagnole).
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 17

-
Pour /r Trio d'Anches dit Paris
M' MOREL. LEFÈSVRF et Fernand OURRAFOI'S

CONCERT CHAMPÊTRE
pour Hautbois. Clarinette et Babson

Henri TOMASI

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 19

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Figure 11. Divertissement, Allegretto assai, measures 94 -101.

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Figure 13. Divertissement, :scherzo, measures 79 -86.

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Figure 11+. Divertissement, Scherzo, measures 87 -103.

 118

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Figure 15. Divertissement, Scherzo, measures 118 -128.

 CHAPTER 5

A REPRESENTATIVE LISTING OF TRIO D'ANCHES LITERATURE

FRANCE

Composer Title Publisher and

Year of Publication

Auric, Georges Trio L'Oiseau -Lyre (1948)

Bonneau, Paul Trio noels anciens Leduc (1949)

Boutry, Roger Divertissement Leduc (1956)

Bozza, Eugene Suite brève en trio,
op. 67 Leduc (1947 )

Canteloube, Joseph Rustiques L'Oiseau -Lyre (1946 )

Constant, Marius Trio Chester (1949)

Dubois, Pierre Max Trio d'Anches Leduc (1958)

Flégier, Ange Trio Concertant Gallet (1897) or

Rubank (1941 )

Franpix, Jean Divertissement Schott (1954)

Ibert, Jacques Cinq pièces en trio L'Oiseau -Lyre (1935)

Lesur, Daniel Suite L'Oiseau -Lyre (1939)

Martinon, Jean Sonatine No. 4,

Op. 26, No. 1 Costallat (1940)

Milhaud, Darius Suite d'après

Michel Corrette L'Oiseau -Lyre (1937)
Rivier, Jean Petite Suite F ou Beres (1934 )

Tomasi, Henri Concert Champêtre Lemoine (1938)

Weber, Alain Trio d'Anches Leduc (1956)

28
 29

I BELGIUM

Composer Title Publisher and

Year of Publication

Baeyens, August Concertino Metropolis (1951)

Bertouille, Gérard Prelude et fugue CeBeDeM (1957)

Defossez, René Trio á Anches CeBeDeM (1946)

Kersters, Willem Berceuse en

humoreske, Op. 8 Maurer (1956)

Legley, Victor Trio CeBeDeM (1942)

Maniet, René Concert d'Anches Maurer (1964)

Meulemans, Arthur Trio Brogneaux (1933)

Poot, Marcel Divertimento Eschig (1942 )

Quinet, Marcel Trio á Anches CeBeDeM (1967)

Ruelle, Fernand Autour du chateau Maurer (1959)

Veremans, Maurice Trio 1 Metropolis (1953)

HOLLAND

Badings, Henk Trio No. 2 Domenus (191+3 )

Brons, Carel Serenata 2 Domenus (1964)

Felderhof, Jan Thema met variaties Domenus (1943)

Griend, Koos Trio Domenus (1929)

Hermans, Nico Divertimento Piccolo Domenus (191+8 )

Johannes, John Introductie en fuge Domenus (1968)

Maessen, Antoon Cassation Domenus (1958)

Stallaert, Alphonse Epitaphes et

Bagetelles Domenus (1967)
 30

GERMA NY

Composer Title Publisher and

Year of Publication
Baumann, Herbert Divertimento Sikorski (1961)
Ewers, Jürgen Trio, Op. 2 Krenn (1961)
Kelkel, Manfred Divertimento, Op. 3 Ricordi (1958)
Klein, Richard Serenade G.H. Noetzel (1960)

Schiff, Helmut Divertimento Doblinger (1966)

UNITED STATES

Daniels, Mabel Three Observations,

Op. 41 Carl Fischer (1953)

Hoskins, William Prelude and Fugue Composers Facimile

Edition (1955)

Olsen, A. Loran Trio for Woodwinds Composers Autograph

Publications (1958)
Stearns, Peter Five Short Pieces Composers Facimile
Edition (1961)

Walker, Richard Rococo Kendor (1961)

Waxman, Donald Trio Galaxy (1960)

AUSTRIA

Pisk, Paul Trio, Op. 100 Composers Facimile

Edition (1960)

BíRAZIL

Villa- Lobos, Heitor Trio Eschig, Kalmus, or

International (1921)
 31

CZECHOSLOVAKIA

Composer Title Publisher and

Year of Publication
?1iartinú, Bohuslav Quatre madrigaux Eschig (1937)

DENMARK

Bentzon, Jorgen Racconto No. 3,

Op. 31 Skandinvisk og
Borups (1937)

POLAND

Szalowski, Antoni Trio Chester (1943 )

Szalowski, Antoni Divertimento Chester (1956)

RUSSIA

Juon, Paul Arabesken, Op. ?3 Lienau (1940)

I IINITED KINGDOM

Walthew, Richard Triolet in E -flat Boosey & Hawkes

(1934)

Waters, Charles Serenade Hinrichsen

(1966)
 CHAPTER 6

CONCLUSION

The trio d'anches has great potential for more extensive

research. Obviously, searching in France for old manuscripts

would be a necessity for finding earlier trios, or even to

verify that Lefévre's Concertante is indeed lost. But short

of that there is help available through specialized librarians,

university inter -library loan services, and language translators.

With music still being composed and the amount of trio

music already available, it would be nice to see more faculty

and student trios formed in schools of music in the United

States. And, with the ability of small performing croups to

compete more favorably for funds and facilities, we should

be able to sustain some professional trios as well.

The author would like to thank Professors John Denman,

Dr. O.M. Hartsell, Dr. James Anthony, Warren Sutherland,

Alexander Heller, and Dorman Smith for their assistance and

encouragement.

32
 SELECTED BIBLIOGRAPHY

Altmann, Wilhelm. Kammermusik- Katalog. Leipzig: F. Hofmeister,

1945.

Baines, Anthony. Woodwind Instruments and Their History. New

York: W.W. Norton Co., l9g-3.

Baker's Biographical Dictionary of Musicians, 6th ed. Completely

revised by Nicolas Slonimsky. New York: G. Schirmer,
1978.

Bull, Storm. Inde x to Biographies of Contemporary Composers.

New York: Scarecrow Press, 1964.
Cobbett, Walter Willson. Cyclopedic Survey of Chamber Music,
2nd ed., vol. 3. London: Pergarnon Press. 1966.

Dictionary of Contemporary Music. Edited by John Vinton. New

York: E.P. Dutton and Co., Inc., 19 74.

Dunhill, Thomas F. Chamber Music. London: ::acmi llon Co.,

Fétis, Francois J. Bio;ranhie universelle des musiciens et

bibliographie général de la musique, 2nd ed., vol. 5.
Paris: Firmin Didot Freres, -1_363.

Grove's Dictionary of Music and :usicians. 5th ed. Edited

ï

by Eric Blom. Vols. 3 and $. London: St. .artins

Press, Inc., 1959.

Houser, Roy. Catalo of Chamber Music for Woodwind Instruments.

Bloomington, Indiana: Indiana University, 1962.
Gillespie, James E., Jr. The Reed Trio: An Annotated Biblioßraph7
of Original Works. Detroit Studies in Mucic Bibliography,
Information Coordinators, Inc., 1971.

33
 31+

Kroll, Oscar. The Clarinet. Translated by Hilda ::orris.

New York: Taplinger Publishing Co., 1968.
Opperman, Kalmen. Repertory for the Clarinet. iiew York:
Recordi, 1960.

Rasmussen, Mary and Mattran, Donald. A Teacher's Guide to

the Literature for Woodwind Instruments. Durham,
New Hampshire: "Brass and Woodwind Quarterly,"
1966.

Rendall, F. Geoffrey. The Clarinet, 2nd ed. London:

Ernest Benn, 1957.

Rosenthal, Lawrence. Review of Jean Franaix, Divertissement.

"Notes 12:61+1," September, 1955.

Rothwell, Evelyn. Oboe Technique. London: Oxford University

Press, 1953.

Weston, 'Pamela. More Clarinet Virtuosi of the Past. London:

Pamela Weston, 1977.

Westphal, Frederick W. Guide to Teaching Woodwinds. Dubuque,

Iowa: W.C. Brown Co., 1962.