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Francois Devienne (1759 1803): Flute Concertos 2 & 7; Symphonie Concertante for Flute and Bassoo

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Name:Francois Devienne (1759 1803): Flute Concertos 2 & 7; Symphonie Concertante for Flute and Bassoo

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Last Updated: 2015-09-12 07:36:32 (Update Now)

Torrent added: 2009-08-23 06:11:24




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Track09.flac (Size: 244.99 MB) (Files: 14)

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 tracks.pdf

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 Track07.flac

39.28 MB

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 Track04.flac

43.16 MB

 Track05.flac

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 cover.pdf

51.54 KB

 grove.txt

11.74 KB

 Track01.flac

38.87 MB

 Track02.flac

18.14 MB

 1923_musical_quarterly.pdf

906.12 KB

 about.txt

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Devienne, François
(b Joinville, Haute-Marne, 31 Jan 1759; d Paris, 5 Sept 1803). French flautist, bassoonist, composer and teacher. He was the seventh of eight children born to Pierre Devienne and his second wife Marie Petit. Two obituaries published in 1803, which have since been proved apocryphal, claimed that when he was ten he wrote a mass which was performed by the musicians of the Royal Cravate cavalry regiment. He probably received his earliest training from the organist Morizot in Joinville, and continued his education with his elder brother and godfather, François Memmie, in Deux Ponts (now Zweibrücken) from 1776 to 1778. He left Deux Ponts on 15 May 1778 and may have spent some time with the Royal Cravate regiment during the following year. He joined the Paris Opéra orchestra as last chair bassoonist in autumn 1779 for one season, and studied the flute with the orchestra's principal flautist, Félix Rault. It is likely that Devienne entered the service of Cardinal de Rohan as a chamber musician in spring 1780 and remained there until mid-1785. In 1781 he joined the freemasons; he presumably became a member of the famous masonic orchestra, the Loge Olympique, during the 1780s. The first performance in Paris of a work by him was on 24 March 1780, when Ozi performed ‘a new Bassoon Concerto composed by de Vienne’ at the Concert Spirituel. Devienne first appeared in Paris as a soloist on 24 December 1782 at the Concert Spirituel when he performed ‘a new flute concerto’, probably his Flute Concerto no.1; his first appearance as a bassoon soloist at the Concert Spirituel was on 25 March 1784 when he played his Bassoon Concerto no.1. From 1782 to 1785 he performed at the Concert Spirituel as a soloist at least 18 times, but after 3 April 1785 he did not appear there for four years. From 1785 to 1789 his place of employment is uncertain; he may have been a member of the Swiss Guards Band in Versailles.

Devienne probably returned to Paris in autumn or winter 1788. Les spectacles de Paris 1790 lists him as the second bassoonist of the Théâtre de Monsieur (later the Théâtre Feydeau) when it opened in January 1789 and by autumn 1790 he had advanced to principal bassoonist, a position he held until April 1801, although in 1792 he still received the meagre annual salary of 200 livres (the average salary of a bassoon player in the Opéra orchestra in 1789 was 1080 livres). Devienne's first known solo appearance after his return to Paris was at the Concert Spirituel on 7 April 1789, when he played the flute part in the première of his Sinfonie concertante no.4. In autumn 1790 he joined the military band of the Paris National Guard where his duties included teaching music to the children of French soldiers and participation in the musical events of the numerous festivals in Paris. This organization officially became the Free School of Music of the National Guard in 1792, and Devienne was one of the three sergeants in its administration with an annual salary of 1100 livres (the Free School became the National Institute of Music in 1793 and the Paris Conservatoire in 1795). The marriage of Devienne to a Mlle Maillard presumably took place between 1789 and 1792; they had five children.

The Théâtre Montansier, which devoted most of its productions to original French opéras comiques, opened on 12 April 1790 and Devienne's Le mariage clandestin was staged there the following November. Two more of his operas were staged before his most popular opera, Les visitandines (1792), was performed at the Théâtre Feydeau. This opera was among the most successful of the Revolutionary period; it had over 200 performances in Paris between 1792 and 1797 and was also performed there as late as 1920. Devienne's royalties for its 20 performances in July and August 1792 alone totalled 684 livres. At the height of this success a handsome portrait of Devienne, now in the Musées Royaux in Brussels, was painted. It was formerly attributed to J.-L. David but is now thought to have been painted by Laneuville or some other student of David (see illustration).

Devienne's famous method for the one-key flute was published in 1794. It contains information on flute techniques and performing practice (particularly late 18th-century articulation) as well as flute duets of elementary and intermediate difficulty. The following year the Paris Conservatoire was established, and Devienne was appointed one of its nine elected administrators and professor of flute (first class) with an annual salary of 5000 livres. After 1795 three more of his operas were staged, and he occupied himself with his duties in the Théâtre Feydeau orchestra and at the Conservatoire. Five of his students won prizes at the Conservatoire between 1797 and 1801, and one (Joseph Guillou) was appointed professor of flute there in 1816.

On 12 April 1801 the Théâtre Feydeau abruptly closed. Its orchestra and that of the Théâtre Favart merged the following September to form the new Opéra-Comique orchestra, but it is not known if Devienne was a member of this orchestra. In May 1803 he entered Charenton, a Parisian home for the mentally ill, where he died the following September after a long illness which ended by impairing his reason.

Devienne's compositions did much to raise the musical level of works written for wind instruments in France in the late 18th century. His greatest contributions are in the areas of the concerto, the sinfonie concertante and opera, although he also wrote 25 quartets, 46 trios, 147 duos and 67 sonatas. The texture of Devienne's compositions is primarily that of a single melodic line with a subordinate accompaniment. The melodies are elegant and graceful, and the instrumental works are frequently interspersed with sections written to display the performer's technique. There is little contrapuntal orientation or thematic development in any of the works. The most common structural forms are the binary, theme and variations, rondo and early sonata forms (with a second exposition in place of the development). There is an astonishing lack of manuscripts of Devienne's compositions, even though most of his works seem to have been published.

WORKS
most printed works published in Paris
stage
opéras comiques unless otherwise stated; all first performed in Paris
Le mariage clandestin (1, Viscount de Ségur), Montansier, 11 Nov 1790, F-R, 1 air pubd
Les précieuses ridicules (1, P.-L. Moline, after Molière), Montansier, 9 Aug 1791
Encore des Savoyards, ou L’école des parvenus (1, J.-B. Pujoulx), OC (Favart), 8 Feb 1792, 1 air pubd
Les visitandines (2, L.B. Picard), Feydeau, 7 July 1792, rev. in 3 acts, 1793 (c1792), excerpts, arrs. pubd separately
L'enlèvement des Sabines (pièce en vaudevilles, 2, Picard), Feydeau, 31 Oct 1792 [doubtful]
Les quiproquos espagnols (2, J.-E. Dejaure), Feydeau, 10 Dec 1792
Le congrès des rois (cmda, 3, Desmaillots [A.F. Eve]), OC (Favart), 26 Feb 1794, collab. Dalayrac, Grétry, Méhul and 8 others
Rose et Aurèle (1, Picard), Feydeau, 8 Aug 1794 (c1795), excerpts pubd
Agnès et Félix, ou Les deux espiègles (3, C.-A. Demoustier), Feydeau, 22 Aug 1795
Volécour, ou Un tour de page (1, E.-G.-F. Favières), OC (Favart), 22 March 1797
Les comédiens ambulans (2, Picard), Feydeau, 28 Dec 1798 (c1799)
Le valet de deux maîtres (1, J.-F. Roger, after C. Goldoni), Feydeau, 2 Nov 1799 (c1800)

vocal
49 romances in 7 collections, most for 1v, pf [some pf/hp], fl/vn ad lib (1783–97)
7 patriotic songs, most for 1v, bc, some acc. wind band (c1797), some acc. orch (1794), listed in Pierre, 1904

orchestral
Sinfonies concertantes (thematic catalogue in BrookSF; only solo insts listed): no.1, F, hn, bn (1785); no.2, C, ob/cl, bn (c1786); 1 in F, fl, cl, bn, op.22 (c1788); 1 in B, 2 cl, op.25 (c1788), arr. ?Ducreux for 2 fl; no.4, F, fl, ob, hn, bn (c1791); 1 in F, fl, ob, hn, bn (c1797); 1 in G, 2 fl, op.76 (1799 or 1801)
Fl concs.: Concertino ‘d'airs connus’ and 4 concs. [nos.2–5] ‘d'airs connus’ (1782); 12 pubd separately [also arr. fl, vn, vc, by P. Vaillaro (c1811), and cl solo]: no.1, D (1782), no.2, D (1783), no.3, G (1784), no.4, G (n.d.), no.5, G (before 1792), no.6, D (1794), no.7, e (c1787), no.8, G (c1794), no.9, e (1793), no.10, D (1802), no.11, b (c1806), no.12, A and a (c1806); 1 in D (after 1803)
Bn concs.: no.1, C (1785); no.2 (c1794); no.3, F (1790); no.4, C (1793)
Hn concs.: no.1, C, 1785, ed. E. Leloir (Amsterdam, 1974); no.2; 1 in F (c1788), collab. F. Duvernoy
Other orch: La bataille de Gemmapp, programmatic ov., D (1794), arr. kbd, vn, vc (1794), and pf solo (c1796); Ouverture, wind band, F (1794)

chamber
Qts: 21 for fl, vn, va, vc, incl. 6 as bk 1 (1783), 6 as bk 2, op.16 (c1786), 3 as bk 3, op.62 (c1791), 6 as bk 4, op.66 [? and op.67] (c1794); Sonate en quatuor, fl, va, hn/vc, pf/hpd (1789); 3 for bn, vn, va, vc, op.73 (c1800), arr. cl, vn, va, vc, as op.75
Trios: 6 for fl, va, vc (1784); 6 for bn, vn, vc, op.17 (c1782); 6 for 2 fl, vc, op.19 [also as op.60] (c1787); 1 for fl, bn/vc, pf/hpd (1787); 6 for 2 cl, bn, op.27 (1790); 6 for fl, cl, bn, opp.61–2 [also as op.6] (c1795), also pubd for fl, vn, vc; 6 for fl, vn, vc, ?op.66 [also as op.19] (c1798), also pubd for 3 fl; 3 for fl, vn, vc, ?op.66 (c1795); 3 for 2 cl, bn, op.75 (c1801), also pubd for 2 fl, bn/vc as op.77; 3 for cl, hn, bn (c1805)
Duos: 108 in 18 sets for 2 fl (1782–1820); 15 in 3 sets for fl, vn (c1796–), 6 arr. 2 cl; 6 for fl, va (1784), arr. 2 fl, and cl, va; 12 in 2 sets, cl, bn (c1788–c1803); 6 for 2 bn (c1782)
Sonatas: 7 in 3 sets, hpd/pf, fl obbl (1784–9); 48 in 8 sets for fl, b (1786–?1803), 12 arr. cl, b, 6 arr. vn, b, 6 arr. 2 fl, 6 arr. ob, b; 6 for bn, b (?1788); 6 for pf, vn ad lib (c1800); 2 adagios, hpd (1783)
Arrs.: Excerpts from ops by Gaveaux and Cherubini, arr. wind band; Pleyel: 3 qnts, arr. fl, vn, 2 va, vc; Pleyel: 27 qts, arr. fl, vn, va, vc; Pleyel: 3 trios, arr. fl, vn, vc; Pleyel: 6 duos, arr. 2 fl; Pleyel: 6 sonatas, arr. fl, vc; P. Kreutzer: 6 sonatas, arr. fl, vc

pedagogical
Nouvelle méthode théorique et pratique pour la flûte (Paris, ?1794/R, and many later edns); music pubd separately (Offenbach, 1793)

Bibliography

A. Pougin: Devienne (Paris, 1864); also in RGMP, xxxi (1864), 241–2, 251–2, 308–9, 316–17, 324–5, 355–6, 364
C. Pierre, ed.: Le Conservatoire national de musique et de déclamation: documents historiques et administratifs (Paris, 1900)
C. Pierre: Les hymnes et chansons de la Révolution (Paris, 1904/R)
E. Humblot: Un musicien joinvillois … François Devienne (St Dizier, 1909/R)
J. Tiersot: Lettres de musiciens écrites en français du XVe au XXe siècle, i (Turin, 1924)
H. Gougelot: La romance française sous la Révolution et l’Empire (Melun, 1938–43)
E. Hess: ‘Ist das Fagottkonzert KV. Anhang 230a von Mozart?’, MJb 1957, 223–32
J.M. Stoltie: A ‘symphonie concertante’ Type: the Concerto for Mixed Woodwind Ensemble in the Classical Period (diss., U. of Iowa, 1962)
A. Le Bihan: Francs-maçons parisiens du Grand Orient de France (Paris, 1966)
T.E. Warner: An Annotated Bibliography of Woodwind Instruction Books, 1600–1830 (Detroit, 1967)
W.S. Dudley: Orchestration in the Musique d’harmonie of the French Revolution (diss., U. of California, Berkeley, 1968)
W. Gruhn: ‘Ergänzungen zur Zweibrücker Musikgeschichte’, Mf, xxiii (1970), 173–5
W. Montgomery: The Life and Works of François Devienne, 1759–1803 (diss., Catholic U. of America, 1975)
G. Galletti: Gli ultimi sei concerti per flauto di François Devienne ed il suo ‘Méthode pour la flûte’ (thesis, U. of Pavia, 1988–9)
P. de Buchy: ‘La flûte’, Larigot, no.10 (1992), 25–9
J.M. Bowers: ‘The Long and Curious History of the Devienne Method for the Flute’, Music in Performance and Society Essays in Honor of Roland Jackson, ed. M. Cole and J. Koegel (Warren, MI, 1997), 205–27
J. Bowers: François Devienne's ‘Nouvelle Méthode Théorique et Practique pour la flute’ (Aldershot, 1999)

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