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International Trumpet Guild® Journal

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A TRIBUTE TO THE EXTRAORDINARY LIFE ANDCAREER OF MAURICE ANDRÉ (1933 – 2012)

COMPILED BY GARY MORTENSON

June 2012 • Page 7

http://www.trumpetguild.org

A TRIBUTE TO THE EXTRAORDINARY LIFE ANDCAREER OF MAURICE ANDRÉ (1933 – 2012)

COMPILED BY GARY MORTENSON

J e remercie le ciel d’avoir pu partager des mo m -ents musicaux et intimes avec un tel génie de latrompette qu’était Maurice André.”

“I thank the heavens for having shared musical andintimate moments with a genius such as the trumpeterthat was Maurice André.”

-Roger Delmotte, February 29, 2012Trumpet legend Maurice André died on February 25,

2012, at the age of 78. From his youth working in a coalmine in southwest France, to his meteoric rise to become oneof the finest musicians on the planet, Maurice Andréremained true to his inner conviction of what the trumpet

can and should be as a solo instrument. In an interview withthe New York Times in the 1980s he stated, “It takes a strongpersonality to make an impact with the trumpet. You’re likea matador in a bullring… you have to go on [stage] as a win-ner.” Perhaps the single most important legacy the ITG Jour-nal passes on is to document and preserve the history of theinstrument we all hold so dearly in our hearts. We do thatbest through the use of storytelling. It is fitting that a few ofthe millions who loved Maurice André’s music should sharesome of what they knew of this man so that those who comeafter us might know something of the human being whoserecorded legacy will stand for all time. GM

Maurice André said that his “greatestjoy” was to have given importance to thetrumpet as a solo instrument. The manwho began playing cornet as a teenager inhopes of joining a French military band,and quitting his job in the coal mines ofsouthern France, did just that. In hisunparalleled career of performing, record-ing, and teaching, he did more than any-one else to establish the trumpet as a soloinstrument welcome in the great concerthalls. The trumpeters of the world oweMaurice André a debt of eternal gratitude.

Stephen Chenette, February 26, 2012

© 2012 International Trumpet Guild June 2012 / ITG Journal 7

A coal miner’s lamp and picture of a minefrom Maurice André’s housePhoto by Stephen Chenette

Maurice André at home among friends, November 2011L – R: Michel Laplace, Jean Sibra, Stephen Chenette, Maurice André, Liliane André

Photo by Béatrice André


Maurice André left an indelible fingerprint on all of musicduring the second half of the 20th century. Thanks to hisefforts, the trumpet has known a remarkable renaissancethroughout the entire world of music. A few key words rep-resent France and the French people to the larger worldtoday. These magic words include Paris and the Eiffel Tower,Pigalle (Paris life), Car men (the opera), Bordeaux (wine), andMaurice André (for music and the trumpet).

Possessing a talent and passion like no other musician ofhis day, Maurice André grew to dominate the classical worldand thus to raise the level of esteem the trumpet now enjoys.Due to his efforts, the trumpet has become a virtuoso, melo-dious, and popular instrument in the noblest sense of themeaning of these words. Before the arrival of Maurice André,no one would have imag-ined that it would be pos-sible to elevate the instru-ment to its current levelof prominence. It is fair tosay that because of his en -thusiasm for new musicmany of the toweringstandards of the trumpet’srepertoire exist. Examplesof this include majorworks by Jolivet, Tomasi,Bolling, Legrand, andmany others. In preparing,performing, and rec -ording new compositions,André overcame all of thetechnical difficulties in -herent in this sort of cre-ative endeavor and dis-p layed extraordinarystrength in bringing theseworks to the larger world(in rehearsal and in thestudio the string playersoften got tired before hedid!).

Even the instrumentitself underwent important fundamental changes through hisclose association with the Selmer instrument company.Based on André’s recommendations, Selmer created the firstmodern piston three-valve piccolo trumpet in 1959 based ona prototype by Couesnon built in the 1950s. A fourth piston(to expand the range of the instrument) appeared in 1967.

From 1967 to 1978, Maurice André taught at the Conser-vatoire National Supérieur de Musique in Paris. There heintroduced the piccolo trumpet in his teaching and thusallowed many trumpeters to address the Baroque repertoireof clarino playing which was, until then, mostly unknownand inaccessible with the traditional trumpet. His colleagues

during his career included trumpeters Roger Delmotte,Francis Hardy, Bernard Jeannoutot, Marcel Lagorce, PierrePollin, and Pierre Thibaud. Prominent former studentsinclude Guy Touvron, Bernard Soustrot, Thierry Caens andmany others.

The current generation of players who have been impact-ed by Maurice André includes David Guerrier, Andre Henry,Clement Saunier, Sergei Nakariakov, Rubén Simeó Gijón,Giuliano Sommerhalder, and many others. Perhaps André’sgreatest influence on the current generation and the genera-tions to follow is to serve as the model, the master, and theunchallenged and unmistakable idol for them to follow. Heproved to be an outstanding ambassador for the trumpet…a true representative of all that was the best of that time. He

helped to create a forward momentum that we all enjoytoday as later generations of trumpeters push the limits of theinstrument even further than the laws of nature dictate. Thiswould not have been possible were it not for the body ofwork laid down for us by Maurice André.

Thank you, Maestro, for all the moments of simple andtrue happiness you left for us and for the positive karma youleft, for all the world—served by your rich and generoussound, a sound that is incomparable in its warmth born ofyour joyous spirit.

Pierre Dutot, February 26, 2012

1992 ITG Rotterdam ConferenceMaurice André and Timofei Dokshizer

With the students of Pierre DutotFrom the National Superior Conservatoire of Music – Lyon

10 ITG Journal / June 2012 © 2012 International Trumpet Guild

My high school years had me glued to recordings of Mau-rice André, including the rendition of the Concerto St. Marcaccompanied by a clarinet sextet. For several years, in myinnocence and naiveté, that was how I heard the piece, con-sidering it as the manner with which I wanted to present thepiece.

His sound, ease, elegance, not to mention the level oftrumpet artistry, have been benchmarks of my love for every-thing trumpet (no, I never did perform the work with clar-inets).

I thank Maurice André for teaching me about real ele-gance. I heard him in live performance with the Columbus(Ohio) Symphony doing the Hummel Concerto. His verypresence onstage carried an aura of awe. The tempo of thelast movement of the Hummel was slower than I had expect-ed, played with beautiful, controlled elegance and the impec-cable grace of a true master of the idiom, in effect teachingthe young what the very highest end of musical communica-tion is like. It was one of my greatest inspirations.

James Olcott, February 26, 2012

Suffice it to say, the music world has lost one of themost (if not the most) celebrated trumpeters of the 20thcentury. His extraordinary artistry set the stage for entiregenerations of trumpet performers. He had such a pro-found influence on so many of us. How fortunate we areto live in an age where we will have access to all of his trulyamazing recorded performances. Thank you, MaestroAndré! Beautifully done!

Marie Speziale, March 6, 2012

Years ago I attended a masterclass that Maurice Andrégave at Long Beach State College. His playing and teachingwere of course marvelous, but most striking was this: A stu-dent who was asked to translate for André was quite nervousand didn’t do such a great job. In the middle of the master-class someone from the audience asked a question in perfectFrench and so it was decided he would come on stage and do

the job of translating for the remainder of the class, whichwas of course embarrassing to the first translator. What wasso impressive was that when André came back onstage afterthe masterclass to take his well-deserved bows, he led the firsttranslator on stage and had him take a bow first. That was agreat moment.

Anthony Plog, March 4, 2012

Demonstrating for David Guerrier at a photo shootJuly, 2005, in Bordeaux

Trumpet European Symposium

Maurice André with Rubén Simeó Gijon at the 2006Concours de trompette de Maurice André in Paris, France


Once during a Maurice André City of Paris TrumpetCompetition I had the good fortune to sit next to Maurice ata meeting. I asked him how many days were necessary tomake his famous recording with Herbert von Karajan andthe Berlin Philharmonic. I expected he would say two orthree days as is usually the case today. Instead, very noncha-lantly, he said just one morning exactly from 10:00 to 12:00noon. The session consisted of one hour of rehearsal and one

hour to record four concerti/sonatas by Telemann, Vivaldi,Leo pold Mozart, and Hummel.

André didn’t give any indication that he considered this tohave been difficult or unusual. He was only pleased to havebeen invited to lunch by von Karajan right after the record-ing session!

Gabriele Cassone, February 28, 2012

Maurice André’s monumental contribution to the trumpetworld cannot be overstated. I first heard MauriceAndré’s recording of the Hummel and Haydn Concertoswhen I was about thirteen years old and could not believe

anyone could play the trumpet so well. As time went on andI returned to his recordings over and over again, my appreci-ation of his incredible musicianship only deepened as I real-ized the true extent of his genius. Years later as a student inNew York, I had the opportunity to hear Mr. André performlive in a recital with organ. I was awestruck by the fact thathe sounded even better live than he did on his recordings, ifthat is even possible. His elegant musicianship and pristinebeautiful tone quality was unreal. Everything he played waswith such care and seemed so effortless. It was one of themost remarkable and inspiring performances that I have everheard, or likely will ever hear.

We owe Maurice André a great debt of gratitude for beingsuch a tremendous ambassador of our instrument. He set thestandard for all of us and we will continue to find inspirationin his remarkable life’s work.

Michael Sachs, March 4, 2012

My first contact with Maurice André was many years agowhen he called me one day. André had been my hero—theKing of the Trumpet from the beginning of my trumpet-playing career—and I could not believe when my home tele-phone rang and on the line was a man who said, “Hello, Thisis Maurice André, may I speak with Jouko Harjanne?” (actu-ally, he always called me Jugo). He had heard some of myCDs and wanted to congratulate me. He asked whether Ispoke French or German but unfortunately I had to say thatI speak only English besides Finnish and Swedish… so wetried to mix all the languages we could and finally he said:

“Music is the international language!” and then we said bye-bye/au revoir.

Later on I had the honor to be twice a member of theMaurice André International Trumpet competition jury inParis. We always were like the family during the competi-tions but there was never any question of who was the bigstar. Mr. André’s demeanor was so lively and artistic—itseemed like he was always in a good mood. I also noticedthat he was sometimes so touched by the good performanc-

es of the contestants that he would start weeping… so themusic and trumpet really was his life.

One final quick story to help us understand Maurice, “theboy”… Maurice had diabetes later in life, and his wife Lil-iane was always very stern with Maurice that he did not eatsweets—but many times when Liliane’s eye was not nearby,Maurice was like a schoolboy and rapidly picked up theyummies to satisfy his sweet tooth!

Jouko Harjanne, February 26, 2012

At the 2006 Maurice André competitionL – R: Jouko Harjanne, Gabriele Cassone, Maurice André


I wonder how many of us flashed back to an increasinglydistant childhood as we learned today of the passing of Mau-rice André? My own introduction to his joyous and mar-velously buoyant piccolo trumpet sound came via gifts froman older cousin of those marvelously plain, black-and-whitecovered LPs distributed by the Musical Heritage Society.That “ping” attack. That perfect intonation. That sound.Later in high school, while perfecting a “BrandenburgBounce” on my bed at the Interlochen Arts Academy, I lis-

tened to Maurice play Bach. Imagine the thrill some yearslater when the same Musical Heritage Society issued one ofmy own recordings of Baroque music (still in the same b&wcover!). I was enormously proud that this record was out, butat the same time humbled by an inward knowledge that myown attempt was, at best, “faux André.” His was trumpetplaying that could never be matched—even in color.

Ed Carroll, February 26, 2012

To lose Maurice André today is, for many of us, like los-ing a kind of spiritual father. Everything that he brought toour instrument but also to classical music is inestimable. Formost of us, we grew up with the image of a simple, profes-sional man, an incredibly talented musician. For me, this iscertainly true. But beyond that, the history that I have sharedwith Maurice André and my family has always been mostimportant.

When my father arrived in France at the beginning of the1960s to study with him at the Conservatoire NationalSupérieur de Musique in Paris, Maurice André took hissound and spirit under his wing whereas many other trum-pet players had closed their doors to him. Many clearlyexpressed to my father during that period their lack of inter-est in the face of the challenges he presented—they saw ayoung Arabic musician attempting to evolve the world of

classical music and failed to see his potential. But MauriceAndré immediately opened his door and made room in hisheart for my father. In doing this he displayed a rare generos-ity. Some years later, he even gave my father the chance to beable to create his own instrument with quarter tones andmany times offered him the opportunity to play on Frenchtelevision in front of millions of people. Maurice André com-pletely changed the life of my family from those moments.

Forty years after he helped my father, I crossed paths withMaurice André in 2003 outside the Maurice André competi-tion in Paris. It was just after the awards ceremony. There, inthe theatre hall of Chatelet, I thanked him with all my heartfor all he did for my family. Maurice André cried in front ofme, pulled me into a hug, and told me that my father wascertainly one of his most beautiful musical stories.

Ibrahim Maalouf, February 26, 2012

L – R: Giuliano Sommerhalder, Maurice André, and Ibrahim Maalouf at the 2003 André Competition


I first heard Maurice André perform in 1970 at North-western University when I was fourteen years old. My fathertook me to see him perform at Millar Chapel. As we sat wait-ing for the recital to begin, my dad pointed out members ofthe Chicago Symphony Orchestra as they came in and satdown to listen. It was my first clue that perhaps somethingspecial was about to take place. To say that the recital I heardthat day changed my life is an understatement. Growing upin Chicago, I was used to hearing good brass playing. It wasa time when the brass section of the CSO was a source of greatpride for the city and I heard them often growing up there.My father was a high school band director, a trumpet enthu-siast, and a weekend gigging musician who stayed very activeand “up” on all that was going on in the area. But what Iheard, at that very impressionable age, was astounding.André performed on B-flat, C, E-flat, and piccolo trumpetthat night. Seeing the different horns being played with suchconsistency, control, tonal beauty, and with such impeccablephrasing was a revelation. But it was his beautiful sound thatstayed with me. The trumpet seemed like an extension of hissoul as he brought out something deep within him that hesimply wanted to share with all of us. He made the entireaudience feel special for having the privilege and good for-tune to be there that evening, and that is what I remembermore than anything else of that night. His music transcend-ed the moment and I wanted to imprint it in my brain for alltime.

I heard André perform again a decade later in Ithaca, NewYork, where I did my master’s degree. He was touring witha chamber orchestra and the trumpet students of HerbertMueller and James Ode were there, eager to hear the per-formance. André played two concerti on piccolo trumpetthat night. I vividly remember how many alternate fingers heused depending on how the notes were approached, butmostly I remember how every beautiful note led to a perfect-ly formed phrase. I was older and thought myself to be con-siderably more “sophisticated” as a musician. But the enthu-siasm that I felt in 1970 quickly returned as I closed my eyesand let my ears enjoy the music as my heart filled with hisspirit. Afterwards, a bunch of us went backstage to see him.We were in awe and pretty shy in his presence. But he wasgracious in seeing us, attempting to communicate as best hecould, with a lot of laughter and gesturing to try and getpoints across. There was nothing but kindness and happinessin his eyes as he greeted us that evening.

My greatest joy as publications editor for ITG was travel-ing to Paris in 2006 to report on The Sixth Concours detrompette Maurice André for the ITG Journal. What I remem-ber most about the competition was André’s enthusiasm forthe music. At the conclusion of each competitor’s perform-ance, in all of the rounds of the competition, a resounding“Merci!” would ring out from the judge’s table. The volumelevel and tone in his voice for each competitor, regardless oftheir performance, was the same. He was happy each persontook the time and made the effort to be there, and he want-ed them all to know that he supported them—genuinely

supported them from his heart—in their work and dedica-tion to the trumpet. That’s what I heard in his voice allthrough the week. Close to the end of the competition I wasable to meet Mr. André and to thank him, through an inter-preter, for all of the music he had brought forth that hadcome to mean so much to me and to the quality of my life.His recordings set the standard for my ears even though myability to play the trumpet never came close to what he pro-duced over his long and incredible career as a soloist. Still,what he gave to me made me a better trumpet player, buteven more importantly a better musician, and most impor-tantly a better human being. Throughout my life I willalways try to keep that performance at Northwestern Univer-sity first and foremost in my mind. That night taught meabout the power of music to change one forever, and for thatI can only say, “Merci!”

Gary Mortenson, February 26, 2012

I was saddened to hear of the passing of Maurice Andréthis weekend. Mr. André was without question one of thefinest trumpet soloists of all time. He was a groundbreakerfor the role of the trumpet as a solo instrument. You will findan extensive discography of solo works performed by him,written for him, and adapted by him featuring music fromthe Baroque period into the 20th Century.

I probably had most of his recordings released by TheMusical Heritage Society in the 1970s. The way he made thepiccolo trumpet sing, and his command of the instrument,was astounding to a young trumpeter. My favorite recordingwas of the Tomasi and Chaynes trumpet concerti, both ofwhich 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 Novem-

ber 21, 1974! That afternoon, I won the 4th trumpet positionwith the Chicago Symphony, attended the CSO concert thatevening conducted by Sir Georg Solti, and met MauriceAndré at a dinner attended by the CSO trumpet section (andme!) after the CSO concert and his solo performance in anoth-er venue with the Wurttemberg Chamber Orchestra. What athrill of a day for a young trumpeter starting his career! I don’tthink I said anything… probably just sat quiet and grinned inthe presence of both Mr. André and Mr. Herseth. He willalways be one of my giant musical heroes!

Philip Smith, February 27, 2012

Gary Mortenson and Maurice Andréat the 2006 André Competition


What most musicians try to say in a lifetime on theirinstruments, Maurice André could trumpet in one beautifulphrase. From the most challenging pieces in our literature tohis Christmas recording with children’s choir, MauriceAndré reached across the world to bring together people in avery special way.

I do not think that any one trumpeter has had such animpact on so many musicians of all types. He personalizedthe trumpet literature to the point that you could identify hissound in moments.

A Maurice André performance realized the power musichas to change our perception of time. When he played, timewas suspended, bringing us to a place of great beauty in eachconcert and keeping us in that place way beyond his lastresounding note.

Vince DiMartino, February 27, 2012

I first met Maurice Andréin my very first season (1970)in the Baltimore SymphonyOrchestra, as the BSOTrumpet Section traveled tohear his Solo Recital at IthacaCollege. I asked a post-concert question about his employinghis second finger to trill the first and third valves. He laterremembered me and my question, as I was playing on a tourof Japan/Hong Kong with the St. Louis Symphony. When Iboarded the plane from Tokyo to Osaka, he recognized and

remembered me as he said "Mon ami!" MyFriend! I conversed with him in French (henever spoke English) seated right next to himand his wife. When the plane was about todepart, I told him that I was not riding in the"First Class Section" and he said, in French,

"All Trumpet Players Throughout the World Are FirstClass--Sit Down!" I continued to talk to him for the remain-der of the trip seated next to him and his wife, and this wastruly an incredibly memorable experience!

Langston J. Fitzgerald, III, February 28, 2012

I was often together with Maurice in the mid and late1960s, since both of us were making solo recordings for thesame company, Electrola, in Cologne. At any rate, it helpedme that the first foreign language I learned was French. Wewere able to converse freely together, whereas most Germanseven today do not speak that language. Thus I was often awitness to Maurice’s roguish sense of humor. One eveningafter a concert of his we weresitting together over a glass ofwine with several Electrolaproducers and their wives.

One of the ladies apparently understood a little French, andso 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 under-stood had to do with her good looks, so shesmiled and thanked him. I had difficulty keep-ing a straight face.

Edward Tarr, February 29, 2012

Album Cover for an Erato label release

André playing B-flat and piccolo trumpet induet! (Collection of Michel Laplace)


I remember hearing Maurice André perform in a recital atone of the New York City music schools. I was sitting withHarry Glantz. Throughout the recital we were bothimpressed by all that we heard… I kept thinking, “Wow,what control and musicality… he is doing a great job.” Afterthe recital Harry went directly to greet and congratulateAndré on his exceptional playing. Mr. Glantz was not some-one to do that unless it was an outstanding performance.

Maurice André opened up a whole new area of repertoirefor the trumpet and raised the bar to a much higher level ofexpression on the instrument. For the piccolo trumpetspecifically, André extended what was considered practical oreven possible. He changed a lot of things for us all based onthe example he set. He did wonderful things for the instru-

ment in terms of repertoire and especially in terms of quali-ty of sound and phrasing. I have nothing but admiration forwhat he did for trumpeters all around the world.

Hearing André perform—whether in person or on one ofhis many recordings—was like receiving a lesson on theinstrument. Most of us came away from that experiencewondering: “How did he do that?” And as a result, many ofus became better musicians based on the sounds and ideas weheard him model for us. So many things would not havehappened for the art of trumpet playing were it not for Mau-rice André. He was simply one of those rare forces of naturechallenging us all to be better instrumentalists and musicians.

Raymond Crisara, February 29, 2012

Views of André’s Selmer asymmetrical mouthpieceCollection of Michel Laplace

The desk of Maurice André, November, 2011 (Photo provided by Stephen Chenette)


I remember the first recording I heard of MauriceAndré—an LP recording of the Jolivet Concertino and theJolivet Second Concerto when I was a junior in college. Thiswas long before his was a “household name” in the musicworld. All I knew was that I was listening to something thatwas compellingly beautiful and stunningly virtuosic—trum-pet playing that defined a new standard of excellence. It wasthrilling beyond words to hear him perform live at the 1972National Trumpet Symposium and to meet him in person. Iwas humbled not only by his incredible musical virtuosity,

but by his generosity as a teacher in the masterclasses he pre-sented, and by his sincerity of spirit as he acknowledged thetalent of other guest trumpeters who performed at the sym-posium. For trumpeters of my generation, Maurice Andréprovided the definitive model of excellence in classical trum-pet solo performance. In the astounding number of superbsolo recordings that he produced during his lifetime—manytimes more than any other trumpet artist, his scintillatingtone and impeccable intonation, his flawless technique andphenomenal stamina, and his unique interpretive flair and

brilliant musicality bear testimony tohis indisputable preeminence as amusician and trumpeter in our time.His musical excellence will continueto inspire trumpeters of all genera-tions to come.

Stephen Jones, February 28, 2012

Stephen Jones presenting Maurice André the ITG Honorary Awardat the 1992 ITG Conference in Rotterdam, Netherlands

From the plaque presented to Maurice André in 1992 onhis 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 oftrumpet performance,

and with deep appreciation forthe inspiration and example he has provided

for the trumpet players of our timePresented by the International Trumpet Guild

Officers and Board of DirectorsStephen G. Jones

President

ITG HONORARY AWARD


Yesterday, at the place of Ales, was the funeral ceremonyfor Maurice André.

I warmly thank all who were present on the part of theAndré family. They were very touched by your attendance,your messages of sympathy, and the execution of the trum-peters that performed Aida. Unfortunately, they were unableto tell you themselves due to the organization of the day andthe state of Mrs. André. I also address all those who wereabsent and unable to make the trip to Ales, and who are alsoassociated with this moment.

Everything went smoothly: the 40 trumpetists under thedirection of Andre Bernard played the trumpets of Aida,accompanied by the organ of J.C. Françon. The ceremonywas animated by the father Gabriel Niel of Pouliguen (laBaule) who is also an organist and an old friend of MauriceAndré. Among others, the following were present: D. Guer-rier, R. Simeo, M. Becquet, S. Nakariakov, M. Plasson and

his wife, and M. Lagorce. The list is long so excuse me fornot 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 ceme-tery of St. André de Canceze, next to his father and at thefeet of the Lozere mountain. The location is magnificent,calm, and serene.

Now we will live with the memory and the immense workthat Maurice André accomplished. Each will, in his own way,be able to pass on this essential heritage, which is without adoubt the best way to continue André’s legacy. It is under-stood 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” isstill him!

Thierry Caens, March 2, 2012

The Aida tribute at the funeral of Maurice André in Ales, France, March 2, 2012Image provided by Michel Laplace

I first met Maurice André at his International Concoursin 2000. The event was almost overwhelming for me. Thepreparation of so much solo music, being in another coun-try, and having the enormous pressure that a competitionbrings was nothing compared to the opportunity to play forthe greatest trumpeter that has ever lived. And his attentionwas undivided. I will always remember that despite listen-ing to literally hundreds of pieces, in that magic silence justbefore the esteemed jury and significant audience started toapplaud each offering, Mr. André called out “Merci!”—Itwas so generous and encouraging to hear, and reminded usall that, in whatever the setting, all we were there to do wasplay music, and give whatever we could to the listener. Thisis something that he did so incredibly consistently, for suchlong time, and for so many many people. What a wonder-ful legacy.

Alison Balsom, March 11, 2012

Maurice André and Alison Balsom


Maurice André: Trumpet Master of the XXth CenturyBy Michel Laplace

Compiler’s Note: The text below represents the Introduc-tion and the concluding words of an extensive tribute articleput together by Michel Laplace. The complete text of this arti-cle, in both French and English, is available on the ITG WebSite (http://www.trumpetguild.org/journal/journal.htm). GM

IntroductionMaurice André left this world during the night between the

days of February 25 and 26, 2012. The world of trumpet wassaddened by his death. Maurice André came from a popularenvironment and like all the great Frenchtrumpet players (Roger Delmotte, PierreThibaud, Roger Guérin, etc.) he enteredthe profession in the harmonies [Bands].Like others, who have remained morehumble, there was in André the familiarbrass tradition. Maurice André didn’tonly have exceptional dispositions imme-diately encouraged by his father and mm.Barthelemy and Sabarich, he also had inhim the experience of an artisan in havingthe ability to play in all genres, all situa-tions, even before launching into thecareer of a concertiste (premiere soloist) in1955. His career truly took off in 1963,and never slowed down once it took off.It is thanks to André’s dedication to thetrumpet that we have an instrumenthenceforth as noble as the voice, the vio-lin, and the piano in the eyes of musiclovers. This is due to the price of hardwork, will, and the progressive develop-ment of a style of interpretation, the styleof Maurice André, founded in elegance of phrase and qualityof timbre: “Maurice André dominated the scene of trumpetwith his enormous charm. I do not know a person who wasn’tcaptivated by his tone, his execution…” (Edward H. Tarr,February 28, 2012). Masterful, natural, present, generous, likeLouis 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 apiece or get an idea about a piece I haven’t played, or maybeone of my students is learning something I haven’t played—ifI have a Maurice André recording of that piece, that recordingis the standard (Frank Kaderabek). With grieving trumpetersthere is a common sentiment: “He was simply the spiritualfather of all” (Antoine Acquisto). “My spiritual and musicalfather” (Guy Touvron, February 26). “We have lost ourfather…” (Thierry Caens, March 2).

Maurice André died February 25, 2012, at 11:45 p.m. atBayonne. 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 theceremony and Jean-Claude Françon played the organ for the1500 people in the cathedral. The music was entrusted to 70choristers and to organist Françon. Those in attendance heardthe Adagio attributed to Albinoni, Schubert’s Ave Maria, and aBach chorale. Among those present were the conductorsMichel Plasson and Claude Lagrange; the trombonists Michel

Becquet and Jean-Pierre Mathieu; and of course many trum-pet players—notably David Guerrier, Reuben Simeo, SergeiNakariakov, 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 thecity of Paris, the Republican Guard, the Opéra of Paris, andfriends in the southwest. The March of Aida was played by 40trumpet players and directed by Andrè Bernard. Afterwards,Maurice André was buried in the garden of the Saint-AndréPresbyterian church of Capcèze, next to his father and his sonLionel, and at the foot of the Lozère mountain.

We will now live with the memory and the immense work thathe accomplished, and each in his own way will pass on this her-itage” (Thierry Caens, March 3, 2012).

On February 6, 2010, I promised this article to MauriceAndré, when the time came…

Michel Laplace, March 3, 2012

Special thanks to Tom Crown, Caroline Dutot-Bowie, andLeah Marie Mortenson who helped with the translation fromFrench and Italian to English.

About the compiler: For more than a decade, Gary Morten-son has served as Publications Editor for the InternationalTrumpet Guild. He is professor of trumpet and Head of theDepartment of Music at Kansas State University.

The funeral service at Ales

Michel Laplace and Maurice André

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