Andre Jolivet

 

Introduction 

Many trumpet players who are aware of the music of André Jolivet are primarily familiar with either his Concertino for Trumpet, Strings, and Piano or his Concerto for Trumpet and Orchestra No. 2. While those works are some of his more popular, he composed numerous other

 pieces for trumpet worth noting. André Jolivet made a number of significant contributions to the chamber and solo repertoire for trumpet. This paper discusses all relevant biographical contexts, as well as specific information about his works for trumpet.

Part I: Biographical Information  Life and Career  1

André Jolivet, famed French composer, was born on August 8, 1905 in Paris, France. He was 2

 born into an artistic family; his father was a painter, and his mother a pianist. At a young age, he 3

 began composing poems, and at age thirteen set one of his own poems to music. He went on to 4

design and compose the music for a ballet at only age fifteen. In 1928, he began taking lessons with Paul Le Flem, director of the Chanteurs de St. Gervais, whose “rigorous training in counterpoint, harmony, and classical forms often drew on 15th- and 16th-century polyphonists.”

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When Jolivet heard Edgard Varèse’s Amériques in 1929, he was struck by the composer’s overwhelming orchestration, and Le Flem responded to his enthusiasm by introducing Jolivet to 6

Varèse, who then took Jolivet on as his only European student.   1

 Barbara L. Kelly. "Jolivet, André." Grove Music Online. Accessed April 8, 2014. http://www.oxfordmusiconline.com.ezproxy1.lib.asu.edu/subscriber/article/grove/music/14433?q=Andre+Jolivet&sear  ch=quick&pos=1&_start=1#firsthit. 2  Ibid. 3  Ibid. 4  Ibid. 5 Ibid. 6  Ibid.

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Jolivet wrote Mana for piano in 1935, which marked the start of his “magic” period.

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Subsequent works, Cinq incantations for solo flute (1936) and Cinq danses rituelles (1939), are 8

concerned with “pagan” ideas such as the life-cycle and harvest.  Mana specifically caught Olivier Messiaen’s notice, leading the two composers to form the group  La Spirale with the 9

inclusion of Daniel Lesur. Soon later, with tthe he addition of Yves Baudrier, they became La Jeune 10

 France, or “Young France.” They were all brought together into this this avant-garde chamber

group by their interest in “spiritual concerns and a desire to widen the emotional range of 11

music.” The group was known for their promotion of spiritual values and human qualities, as 12

well as their rejection of Stravinsky’s neo-classicism, Satie’s compositional styl style, e, and Les Six.

However, La Jeune France’s activities were completely shut down by the involvement of France 13

in World World W War ar II.

Jolivet was the musical director of the Comédie Français from 1945 to 1959, and during that period he composed fourteen scores for plays by Molière, Racine, Sophocles, Shakespeare, 14

and Claudel.   His Concerto for Piano and Orchestra  won him the Grand Prix de la Ville de 15

Paris during his tenure there. In 1959, Jolivet founded the Centre Français d’Humanisme 16

Musical at Aix-en-Provence. From 1961 until 1970, he taught composition at tthe he Paris 17

Conservatoire. By age sixty-five, he had written ten concertos, three symphonies, five sonatas,

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 Ibid.  Ibid. 9  Ibid. 10  Ibid. 11  Ibid. 12  Ibid. 13  Ibid. 14  Ibid. 15  Ibid. 8

 Ibid. "André Jolivet." The Musical Times 116, no. 1585. 1975: 268. 

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seven works for solo instruments, an opera, and many other piano-cycles, serenades, suites, and 18

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an oratorio. André Jolivet died in Paris at age sixty-nine on December 20, 1974.     Compositional Inspiration 

André Jolivet was inspired by the music of Debussy, Dukas, and Ravel when he saw works of 20

theirs performed at the Pasdeloup concerts in 1919 (when he was only fourteen years old).

Eight years after his discovery of their music came Jolivet’s first experience with the music of 21

Arnold Schoenberg, at three concerts at the Salle Pleyel in Paris.  

In an interview, Jolivet himself cites a major influence on his compositional style:   I must say, that it was [Edgard] Varèse, whose only pupil I was, and for whom I have the deepest admiration, who set me on my way. He helped me to discover one of music’s most significant aspects; music as a magical and ritual expression of human society. I 22 have learned to attach great importance to the balance between man and the cosmos.  

 

While studying with Varèse, Jolivet “became aware of the relevance of astronomical laws for musical structures, committed himself to a non-tonal method distinct from dodecaphonic 23

serialism, and was deeply involved in the application of metaphysical thought to music.”  

Jolivet was mobilized at Fontainebleau during World War II, where he wrote some of his pou r le jour de la paix for voice, organ, and tambourine, important war-inspired works: Messe pour 24 and Trois complaintes du soldat  for voice and piano or orchestra. Generally speaking, Jolivet

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 Brigitte Schiffer. "André Jolivet (1905–1974)." Tempo 3, no. 112. 1975: 15.  Kelly, Ibid. 20  Ibid. 21  Schiffer, Ibid., 13. 22  Martine Cadieu. "A Conversation with André Jolivet." Tempo 3, no. 59. 1961: 2. 19

 Schiffer, Ibid., 13-14.  Kelly, Ibid.

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simplified his compositional style during the war, “abandoning atonality in favour of lyricism 25

and striving for a music for ‘evasion and relaxation.’”  

While Jolivet was the musical director of the Comédie Français, he had the opportunity to 26

travel to exotic locales, including the Middle East, East Asia, and Africa. His visit to Egypt “rekindled his interest in ritual in works,” resulting in compositions based on sacred Egyptian, 27

Hindu, Chinese, and Greek texts, such as his  Epithalame for 12 voice “vocal orchestra.”  

At the heart of Jolivet’s compositional style is the influence of primitivism, insisting that “technique should be put at the service of melody and melodic continuity,” and always 28

attempting to “integrate European and primitive-tropical tradition.”   A thorough understanding of André Jolivet’s life and compositional career is essential for an informed interpretation of his works for trumpet. 

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 Ibid.  Ibid. 27 Ibid. 28  Schiffer, Ibid., 15. 26

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Part II: Jolivet’s Trumpet Music  Concertino for Trumpet (Concerto for Trumpet No. 1)  29

André Jolivet’s Concertino for Trumpet  was   was composed composed in 1948. This work was was pre premiered miered on June 10, 1950, at L’Abbaye de Royaumont directed by the composer himself, with Arthur 30

Haneuse as the trumpet trumpet soloist. soloist. Concertino for Trumpet  is  is in three movements, all played 31

attacca, and the total duration is approximately nine minutes and thirty seconds.   This work is 32

 published by Éditions Durand. Popular reco recordings rdings of this work are those by trumpeters Eric Aubier, Reinhold Friedrich, Ole Edvard Antonsen, Wynton Marsalis, and Maurice André.   Jolivet himself dubbed this concerto as one of his “ballets for trumpet,” and has in fact 33

 been choreographed chore ographed as such. Rovi Staff says the following about Concertino:  This ten-minute work is in four sections; the propulsive vigor of its opening minutes, with its dark comedy and jazzy syncopations, leads into a more languorous central section. The energy builds once again, with lively rhythms and a slight hint of jazz, and the work concludes with a brilliant coda. [...] He added Bartók’s motoric rhythms to a set of stylistic influences that included Messiaen and Varèse, cultivated a basically tonal 34 harmonic framework, continued neatly encapsulates alland these traits.   to pursue exotic sounds. The present Concertino

  Concerto for Trumpet and Orchestra No. 2  

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 Cristine Jolivet. "Catalogue." Association les Amis d'André Jolivet . Accessed March 26, 2014. http://www.jolivet.asso.fr/. 30  Ibid. 31  Ibid. 32  Ibid. 33  Rovi Staff. "Concertino for Trumpet, Strings, and Piano."  AllMusic. Accessed April 7, 2014. http://www.allmusic.com/composition/concertino-for-trumpet-strings-piano-mc0002369874. 34  Ibid.

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André Jolivet’s Concerto for Trumpet and Orchestra No. 2  w  was as composed composed in 1954. It was 36

 premiered on September 5, 1956, in Vichy, France. The premiere was directed by Louis de 37

Froment, and the ttrumpet rumpet soloist was Raymond Tournesac. This concerto is in three 38

movements, labelled Mesto - Concitato, Grave, and Giocoso. The total total duration duration of the work work is is 39

approximately thirteen minutes and thirty seconds, and is published by Éditions Heugel.

Popular recordings are by Maurice André, Reinhold Friedrich, Wynton Marsalis, Pierre Thibaud, and Ole Edvard Antonsen. This work is another that Jolivet describes as being a “ballet for 40

trumpet.” Christopher Morrison says the following about Jolivet’s clear incorporation of jazz elements into this work: Jolivet's scoring here is quite unusual and hints at the jazz inspiration: two flutes, clarinet, English horn, two saxophones, piano, double bass, and no fewer than 14 different  percussion instruments. The concerto open openss quietly with a subgroup of those percussion percuss ion instruments, joined by the trumpet soloist playing with a mute. That music alternates with livelier dance-like material in the first movement. The bluesy second movement, Grave, once again features muted trumpet. A simple tune works against a harsher,  percussion-laden accompaniment in the final movement, marked Giocoso. There is even a passage for just the percussion in the middle of the movement, which is heavily 41 syncopated and makes for a lively conclusion.     Air de Bravoure 

André Jolivet’s Air de Bravoure (“Bravura”, in English) is a work for trumpet or cornet with 42

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 piano. It was composed in 1952, and is published by Gérard Billaudot. This is a short work,

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 Jolivet, Ibid.  Ibid. 37  Ibid. 38  Ibid. 39  Ibid. 40  Christopher Morrison. "Trumpet Concerto No. 2." AllMusic. Accessed April 7, 2014. http://www.allmusic.com/composition/trumpet-concerto-no-2-mc0002370382.  41  Ibid. 42 Jolivet, Ibid. 43  Ibid. 36

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only one minute and ten seconds in total duration. Popular recordings are by Eric Aubier, James Darling, and Ole Edvard Antonsen. The work was originally composed as an unaccompanied solo, but Jolivet later added an optional piano part. Rhapsodie à sept  

André Jolivet’s Rhapsodie à sept  is   is a work for a seven piece chamber group, consisting of 45

clarinet, bassoon, cornet, trombone, percussion, violin, and double bass. The work is in in three 46

movements, titled Resolu. Hieratique, and Incisif  . The dduratio urationn of the work is ninetee nineteenn 47

minutes, and it is published by Éditions Pathé-Marconi.  Rhapsodie was composed in 1957, and  premiered at the Festival Braunschweig unde underr the direction of Heinz Zeebe on November 13, 48

1959. Popular recordings of this work are those by the Montreal Chamber Orchestra and the Orchestra Colonne.  Arioso Barocco  49

André Jolivet’s Arioso Barocco  is a one one move movement ment w work ork for trumpet and organ. organ. It was composed in 1968, and premiered in Munich, Germany, by Maurice André and Hedwig Bilgram 50

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in 1971. 1971. The ttotal otal durati duration on of the work is aapproxim pproximately ately seven minutes. minutes. It is is published published by 52

Gérard Billaudot. Popular recordings are by Reinhold Friedrich, Maurice André and René Perinelli. 

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 Ibid.  Ibid. 46  Ibid. 47  Ibid. 48  Ibid. 49  Ibid. 50  Ibid. 51 Ibid. 52  Ibid. 45

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The word “Baroque” typically refers to the “highly ornamented, grandiose style” of the musical era of the same name, but a wider meaning of the word is appropriate when considering 53

this work. Joseph Stevenson states the following as an elaboration on this this claim:

 

The trumpet part is proclamatory, tending to be speech-like in its melodic phrasing rather than song-like. Its melodic structures are free, not tending to fall into academic patterns. These are qualities that are common in Jolivet's music. What is particularly striking about this work is the high degree of ornamentation in the players' parts, and it is this ornamentation that justifies the use of the term "Baroque" in the title. These ornaments are momentary flights of ecstasy in the melody, giving the feeling that the music is 54 soaring very closely to the high point of a ritual.  

Heptade  55

André Jolivet’s Heptade is a work for trumpet and percussion, which was composed in 1970. It is in seven movements, named Allegro, Vivo, Cantante, Veemente, Maestoso, Sempre 56

Stringendo, and Vivo e ritmico. The total duration of the work is approximately sixteen minutes 57

and five seconds. It was premiered on May 25, 1972, in Théâtre de la Ville in Paris by Frances 58

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Hardy and F Francis rancis Dupin. This work is ppublishe ublishedd by Gérard Billaudot, Billaudot, and ppopular opular recordings recordings are by Eric Aubier and Maurice André.   Conclusion 

In his lifetime, André Jolivet composed a number of significant works for trumpet, writing more for trumpet than any other solo instrument. Jolivet’s compositions were influenced by several of 53

 Joseph Stevenson. "Arioso Barocco, for Trumpet & Organ."  AllMusic. Accessed April 7, 2014. http://www.allmusic.com/composition/arioso-barocco-for-trumpet-organ-mc0002398490. 54  Ibid. 55  Jolivet, Ibid. 56  Ibid. 57  Ibid. 58 Ibid. 59  Ibid.

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his mentors and contemporaries, such as Arnold Schoenberg, Paul Le Flem, Edgard Varèse, and Olivier Messiaen. Ultimately, in his compositions, he valued “unity in diversity and lyricism,” 60

and that music should be “spiritual, being a religious art.” Overall, Jolivet’s unique compositional voice and numerous additions to the trumpet repertoire make him a composer worthy of note by any trumpet player.

 Cadieu, Ibid., 4. 

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Bibliography 

"Andre Jolivet." The Musical Times 116, no. 1585 (1975): 268.  Cadieu, Martine. "A Conversation with André Jolivet." Tempo 3, no. 59 (1961): 2.  d 'André Jolivet . Accessed March 26, 2014.  Jolivet, Cristine. "Catalogue." Association les Amis d'André http://www.jolivet.asso.fr/. 

Kelly, Barbara L. "Jolivet, Andre." Grove Music Online. Accessed April 8, 2014.  http://www.oxfordmusiconline.com.ezproxy1.lib.asu.edu/subscriber/article/grove/music 14433q=Andre+Jolivet&search=quick&pos=1&_start=1#firsthit.   Morrison, Christopher. "Trumpet Concerto No. 2." AllMusic. Accessed April 7, 2014.  http://www.allmusic.com/composition/trumpet-concerto-no-2-mc0002370382.  Schiffer, Brigitte. "André Jolivet (1905–1974)." Tempo 3, no. 112 (1975): 13-16.  Staff, Rovi. "Concertino for Trumpet, Strings, and Piano." AllMusic. Accessed April 7, 2014.   http://www.allmusic.com/composition/concertino-for-trumpet-strings-piano mc0002369874.   Stevenson, Joseph. "Arioso Barocco, for Trumpet & Organ." AllMusic. Accessed April 7, 2014.  http://www.allmusic.com/composition/arioso-barocco-for-trumpet-organ-mc0002398490.  

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