Special Supplement to the

International Trumpet Guild Journal

®

to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching,
and literature associated with the trumpet

MAURICE ANDRÉ,
TRUMPET MASTER OF THE XXTH CENTURY
BY MICHEL LAPLACE

June 2012

The International Trumpet Guild® (ITG) is the copyright owner of all data contained in this file. ITG
gives the individual end-user the right to:
• Download and retain an electronic copy of this file on a single workstation that you own
• Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether
direct or indirect is charged
• Print a single copy of pages of this file
• Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page
number are cited as the source.

The International Trumpet Guild® prohibits the following without prior written permission:
• Duplication or distribution of this file, the data contained herein, or printed copies made from this
file for profit or for a charge, whether direct or indirect
• Transmission of this file or the data contained herein to more than one individual end-user
• Distribution of this file or the data contained herein in any form to more than one end user (as in
the form of a chain letter)
• Printing or distribution of more than a single copy of the pages of this file
• Alteration of this file or the data contained herein
• Placement of this file on any web site, server, or any other database or device that allows for the
accessing or copying of this file or the data contained herein by any third party, including such a

http://www.trumpetguild.org
device intended to be used wholly within an institution.

Please retain this cover sheet with printed document.

 MAURICE ANDRÉ,
TRUMPET MASTER OF THE XXTH CENTURY
BY MICHEL LAPLACE

thank the heavens for having shared musical and intimate the violin, and the piano in the eyes of music lovers. This is

I moments with a genius such as the trumpeter that was

Maurice André.
Roger Demotte, February 29, 2012
due to hard work, determination, and the progressive adjust-
ment of a style of interpretation—the style of Maurice
André—founded in elegance of phrase and quality of timbre:
Maurice André passed away during the night between the “Maurice André dominated the scene of trumpet with his
days of February 25 and 26, 2012. The world of trumpet was enormous charm. I do not know a person who wasn’t capti-
saddened by his death. Maurice André came from humble vated by his tone, his execution” (Edward H. Tarr, February
beginnings and like all the great French trumpet players 28, 2012). Masterful, natural, present, generous—like Louis
(Roger Delmotte, Pierre Thibaud, Roger Guérin…) he got Armstrong—Maurice André was embraced by the masses as
his start playing in bands. Like others, who have remained well as the experts. He didn’t search for an “international
more humble, there was in André the familiar brass tradition. style”: his style became one. “If I want to know a particular
Maurice André didn’t only have exceptional dispositions style of a piece or get an idea about a piece I haven’t played,
immediately encouraged by his father and MM. Barthelemy or maybe one of my students is learning something I haven’t
and Sabarich, however; he also had in him the experience of played, if I have a Maurice André recording of that piece,
an artisan who had the ability to dabble in all genres, all sit- that recording is the standard.” (Frank Kaderabek). With
uations, even before launching into the career of a solo artist grieving trumpeters there is a shared sentiment: “He was
in 1955. His career truly took off in 1963, and never slowed simply the spiritual father of all.” (Antoine Acquisto), “…my
down once it got going. It is thanks to André’s perseverance spiritual and musical father…” (Guy Touvron February 26),
that we have an instrument henceforth as noble as the voice, “we have lost our father…” (Thierry Caens, March 2, 2012).

1947 – 1967: The beginning His father, Marcel-Jean André (1901 – 1967), who was born
Born in Alès,1 in the Tamaris quarter, on May 21, 1933, Saint-André-Capcèze in Lozère, hired Maurice to work in the
Maurice André spent his childhood in a community of miners mines with him, where Marcel had been working for 34 years.
with whom he lived in an amiable environment. His origins Marcel had two daughters (Georgette and Simone) and two
are humble. In 1948, during a mine strike, his father sent him sons (Maurice and Raymond). Maurice went to primary
to eat his meals at a Catholic aid house. school in the Tamaris quarter, and then in Rochebelle. From
1943 – 45, during the war,
Maurice lived in Meymac
(Corrèze) and Couffour
(Lozère).
Marcel and his brother
Jean André (four years his
junior) played the trumpet.
Marcel played in local
groups and for popular
balls 2. In 1944, Maurice
started studying solfège. In
1945, his father began to
encourage him to study
further, and in 1947 of -
fered him an old Couesnon
cornet: “I used it about
three months and then my
professor, Mr. Barthèlèmy,
had me pass directly on to
the trumpet” (1992).
From 1 9 4 7 t o 1 95 1,
Maurice spent his time in
the back of mining tunnels,
and in July of 1951, he ob-
A miner’s lamp from the home of Maurice André tained a certificate of voca-

1 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild
tional training to authorize his tically: a compromise between the
work as a miner. During that time, finesse of Foveau and the lyricism of
he also studied the trumpet with Sabarich.
Lèon Barthèlèmy, a former student When Sabarich demanded André
of Merri Franquin, former conduc- to play as he did, with a distinguish-
tor of the Alès chorus. Barthèlèmy ed vibrato, André refused5. Sabarich
taught Maurice using the “Arban” made him use the Balay method,
method, as well as the book Métho- the Etudes Caractéristiques by Arban,
de Complète de trompette moderne, and the studies of Charlier. Sabarich
de cornet à pistons et de bugle, by was the number one support for
Franquin (Enoch and Cie) from Maurice, and he recommended him
which the concept of radio broad- everywhere. For his part, Maurice
casting thoroughly influenced was eager to get out and participate
Maurice. Barthèlèmy insisted on a in the scene of the times. And so he
sensitivity of sound. Maurice play- soon found himself serving as an
ed on an Aubertin trumpet3. At this extra for a radio show in the orches-
time, Maurice (on the trumpet, cor- tra of Wal-Berg, next to Louis Men-
net, and bugle!) played in the en- ardi, Alphonse Cox, and Georges
semble “l’Harmonie des Mines d’Alès” Jou vin, a good environment in
as well as the ensemble “l’Harmonie which to learn “comment ça se pas-
de Salindres.” In 1948, he played in se.” 6 There were two who deserve
the orchestra at “The Troubadours” credit for having given Maurice his
ball, with the accordionist Frèdo4 In initial opportunities: Roger Del-
1949, in Canaules, his first impor- motte and Louis Vezant Sr. Roger
tant cachet was created at 100°F! Delmotte, first prizewinner of the
The progress of Maurice was such Geneva competition (1950), was a
that Barthèlèmy recommended him pioneer in making recordings for
for Paris’s National Superior Con- solo trumpet and did so in great
servatory of Music (CNSMP). The abundance. This was thanks to the
only way to provide for his needs “boom” of the pace of records being
was to enlist in the army. Maurice produced, and of the change over
entered with the cornet into the from 78 rpm records to 45 rpm,
Harmony of the 8th Regiment of which required companies to pro-
Transmission, which was directed duce new recordings for customers
by Fièle and Mersenne (at Mount who wished to acquire recordings
Valèrien). He remained in military based on the new format.
service for two years; simultaneous- When in 1952 Roger Delmotte
ly, he studied at the CNSMP in the was asked to record the Concerto for
class of Raymond Sabarich. This Two Trumpets P75 by Vivaldi,
period in his life began in Novem- Sabarich advised him to consider his
ber of 1951. He bought a Selmer young student for the gig, none
cornet and obtained first prize as other than the 19-year-old Maurice
well as a prize of honor for his tal- André. These two artists, essential
ent on the cornet on June 20, 1952, to the history of the trumpet, re-
during which he played, amongst corded this work for the first time
other pieces, Variations on a Theme (45 rpm, label Symphonium) 7 .
by Scarlatti, by M. Bitsch. Other They recorded the concerto on
students of Sabarich included Jean trumpets in C! Louis Vezant Sr. rec-
Pirot, Emile Imbert, Marcel (An- Early picture of Maurice André
ommended Maurice André as a re-
toine) Lagorce, Marcel Avril, and placement for Michel Decourriére
Jean Pol. There were two classes of trumpet and cornet at at the strip club Nouvelle Eve. In 1952 Vezant Sr. also made
CNSMP; the other was under the instruction of Eugène Foveau, André a member of the orchestra of Guy Luypaerts. In 1952,
who also had excellent students during this period: Emile Raymond Sabarich gave Maurice André the chance to replace
Caturegli, Jean-Marie Philip, Michel Chapellier, Alfred a second trumpet in the Orchestra of the Society of Concerts
Guaitolini, Franck Duterte, Jacques Mas, Roland Vincent, from the Conservatory (next to Louis Menardi) to play Les
and Pierre Gabard. On June 22, 1953, Maurice André and Pins de Rome by Respighi.
Pierre Gabard obtained the first prize for trumpet with their Maurice played some opérettes at the Mogador Theatre.
performance of Introduction, Trênes et Danse by A. Desenclos, After the records, it is audible that up until 1955 (trumpet
among others. Sabarich immediately understood the excep- in D, baroques concerts, label Oiseau-Lyre), the young Mau-
tional aptitudes of Maurice André, and Maurice had already rice André still hadn’t found the personal style that the world
begun to understand what it was he wanted for himself stylis- would come to know as his. He subscribed to the French tra-

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 2
 dition of interpretation—the “school” carried on by the des- under contract with Odeon for entertainment records: polkas
cendents Arban, Franquin, Foveau, Sabarich, Delmotte, and (1956L “Merle & Pinson,” “Myrto,” etc.), airs de bravoure
the subsidiary American Georges Mager-Roger Voisin: “it is (“Hora Staccato,” etc.), and jazz arrangements (“Summertime,”
necessary to evoke a spirit of continuity [in playing] that is lost “Caravan,” “The Man I Love,” etc.) The trumpet was an instru-
in the actual époque” (André, 1978). In 1953, Maurice estab- ment soon embraced in entertainment with Aimè Barelli (after
lished himself within the “craft” in Paris, playing with Jean- the ’40s), and from 1954 onwards, with Georges Gouvin and
Francois Paillard (who also worked with Ludovic Vaillant), the Fred Gerard13. At the same time he recorded for Odeon, Mau-
8
Lamoureux Orchestra until 1960 , and as first trumpet with rice recorded for Barclay. Pierre Thibaud, who played first
the Philharmonic Orchestra of the RTF, ex-Radio symphony trumpet in the accompanying orchestra, told me that Maurice
until 19639. During the summer of 1953, Maurice also played, utilized a cornet embouchure with an adapter for the trumpet.
for three or four months, thanks to Sabarich, in the Medrano The trumpet Jacques Jay contributed to a session with Mau-
Circus (with Charlie Nicolas.) This proved to be a difficult rice as a soloist and remembered his tremendous ability to
assignment, by today’s standards, with two performances in focus and concentrate on the task at hand.
the morning and one in the evening. When Arthur Haneuse In March of 1956, Maurice André married Liliane, who he
resigned from performing for the radio recording of Concerti- met on the train coming back from a concert with the Nation-
no by Jolivet, he recruited Maurice as a replacement. André al Orchestra of Montreux14. Liliane would play an important
accepted on the condi- role in the manage-
tion that it be made ment of Maurice’s ca-
during the pause be- reer. On June 25, 1956,
tween the second per- Maurice gave to Vichy
formance of the morn- the creation of Con-
ing and the evening certino by Raymond
performance at the cir- Loucheur with the
cus… and this was Phil harmonic Or ch -
done!10. In 1954, Mau- estra of the RTF, con-
rice André became the ducted by Louis de
second trumpet player, Fro ment. On March
after Roger Delmotte, 13, 1958, he recorded
to obtain first prize at on the radio the Con-
the Geneva competi- certo no. 1, by Charles
tion. He had little de- Chaynes, with the
sire to compete in this Chamber Orchestra of
competition as he was the RTF, conducted by
adapting to his new Pierre Capdevielle. It
work with the orches- was in 1958 that he
tra in Paris. It was was introduced to
Ray mond Sabarich Louis Armstrong! That
who dreamed up for same year he recorded
André the career of a for the first time with
soloist. Maurice con- two trumpets and an
tinued to improve his organ: “I recorded the
“craft.” He accompa- trumpet and organ re-
nied singers like Luis cital with Pierre Coch-
Mariano, Tino Rossi, ereau… around 1958,
Edith Piaf, and Henri a recording that caused
Salvador (at the Etoile Maurice André us a lot of anxiety [be-
Theatre), performanc- cause] we weren’t able
es of music for film and for records like “National 7” by to harmonize, [since] the organ of Notre-Dame was too low.
Charles Trenet with the Orchestra of Guy Luypaerts in 1955 This record sold very well.” (1972, Diapason)15. The year 1958
(Maurice played the cornet solo). During this time Maurice marked an aesthetic turning point for Maurice. That year, at
performed on a number of projects for Pierre Boulez, but Erato, he recorded two transcriptions that became staples in
against his wishes: “contemporary music scares me, to tell you the trumpet repertoire thanks to his interpretations: a Concer-
the truth… I worked for ten years on the radio, at TNP… And to by Tartini and another by Stoelzel. But above all, from this
I can assure you that when I had a concert to play afterwards, point onward, Maurice André found the characteristics of his
delicate, well, je m’enquiquinais [I had troubles]… je ne savais style that would continue to develop over time. From then on,
plus où était l’embouchure, les attaques (rires) [I no longer knew it was not strictly the “French style,” but that of Maurice
where the mouthpiece was to make the attacks… (laughs)] André that established itself as the model for many aspiring
(André, 1978)11. trumpet players. André adopted the petite trompette under the
When Rafael Méndez came onto the scene in Paris, at the influence of Adolf Scherbaum who recorded the Magnificat in
Ahlambra in 1954, Maurice must have thought, “now, that I 1955 (Kurt Redel, Erato) and the second Concerto Brandebour-
can do”12. And he proved he could. From 1956 to 1959, he was geois in 1956 (Paul Kuentz, National House of Records). As we

3 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild
know, Maurice had a high voice, and in 1986 he said to performer. He participated nevertheless in a recording session
Charles Colin: “I prefer the piccolo because it corresponds to for Duke Ellington (1963) next to Louis Menardi and Alex
a soprano voice, a high-pitched voice. In the opera, the higher Caturegli on the trumpet. That same year, he recorded brass
voices have more success than the lower. It’s a wonderful ensembles for Erato with Pierre Pollin (not credited in the
sound; even though it is difficult to find the sound on a little record sleeve), and, most notably, his first version of Concerto
trumpet, the impact on the public is formidable.” Maurice by Joseph Haydn (Erato). From 1963 onwards, he became
André was, thanks to Sabarich, an very highly sought after to per-
advisor to Selmer. It was Arthur form the Bach cantatas and
Haneuse who sold him a Scherzer worked with conductors includ-
piccolo trumpet that he bought to ing Karl Ristenpart (1964, Mag-
play the second Concerto Brande- nificat with Menardi and DeAn-
bourgeois. It was this instrument toni), Karl Münchinger (filmed
(and not a Couesnon!) that served version of Haydn’s Concerto),
as the prototype for the creation of and Karl Richter (from 1964
the Selmer piccolo trumpet. The onwards). In retrospect it was
instrument, developed in 1959, fortunate that Maurice had had
had three pistons. In 1967 Maurice eight to ten years (beginning in
added the fourth piston to expand 1955) to master his solo playing!
the lower register. Thanks to Mau- Amongst other historic record-
rice, this short model made a tour ings, in 1964 he recorded his ver-
of the world. As a side note, it is sion of Concertino and the second
well known that Maurice André Concerto by Jolivet (conducted by
abundantly utilized fake fingerings the composer), the Concerto by
in his performing on piccolo trum- Tomasi17, and then, in 1965, the
pet! Concerto by Hummel. In a con-
Between 1960 and 1961, Mau- versation with Maurice in Nov-
rice recorded for Erato, under the ember 2011, I recalled that Jol-
direction of Jean-Francois Paillard, ivet had advised him to get inspi-
the original versions of Water ration from Louis Armstrong,
Music and Royal Fireworks Music Maurice André Maurice’s response to me was,
by Handel. He was pursuing a “Tomasi too!”
diversified career. It was Maurice who played the admirable When Pierre Thibaud returned to France in 1963 after three
Cavatine by Michael Legrand in the soundtrack for the film Le years spent in Israel, he found the situation radically different
Cave se Rebiffe, or The Counterfeiters of Paris (1961). For than when he’d left: Maurice André had brought the trumpet
another film, he recruited Billy Byers to accompany the trum- to the fore as a solo instrument! The instrument was now con-
peters Louis Menardi, Roger Delmotte, and Vincent Casino. sidered first rate!
In May of 1962, Maurice recorded his first version of the sec-
ond Concerto Brandebourgeois, but of course there were many 1967 – 1980: Ascension and Momentum
more! I debuted in the study of trumpet with a preliminary and
In 1963, Maurice made his return to the Philharmonic exclusive knowledge of the masters of jazz. One day in 1967,
Orchestra, having demanded a bonus to play the part of the my professor, Gaêtan Berton,18 told me to come to the theatre
soloist in the second symphony by Ditilleux! But from 1962 to (in Tours) and listen to a trumpet player: it was Maurice
1967, Maurice was fourth trumpet in the Opera-Comique André, age 34, in the second Concerto Brandebourgeois! 19: a dis-
next to Raymond Sabarich (who died in 1966), Louis Menar- covery that established performing as a complementary pas-
di, and Charles DeAntoni. Other players with which he per- sion to jazz. Thank you, Maurice! In jazz, one searches to have
formed during this time included Fernand Bouillon, with a personal style, and from 1969 I searched for alternatives such
Charles DeAntoni (1901 – 2011)16. as the “Maurice André style,” which I loved, and I discovered
On March 31, 1963, André participated as featured soloist that Maurice was a part, with a brilliance out of the ordinary,
at a Gershwin Festival at the Pleyel School of Paris with the of a mouvement mondial of the rebirth of the trumpet thanks
Association of Lamoureux Concerts—the same orchestra in to contributions equally respectable in the domain of records
which Jean-Luc Ponty was found amongst the first violins (as by Roger Delmotte (1950 – 61), Contrepoint; 1960 – 62,
well as the trumpeters Yves Couëffé, Marcel Steffe, and Jean- Westminter), Roger Voisin (1959 – 63, Kapp), Armando Ghi-
Jacques Greffin)—Concerto en Fa, Porgy and Bess (grand sym- talla (1963 – 69, Cambridge), the veteran Adolf Scherbaum
phonic suite), and An American in Paris were all on the pro- (1960 – 70, DG), and Walter Holy and his cowbell (record
gram. appeared in France in 1966 with Philips)20. Starting in 1970,
That same year, André was invited to participate as a mem- there was more competition on the scene but André remained
ber of the jury for a trumpet competition in Munich. In com- the imperial master. The international notoriety of Maurice
paring the compensation offered to the members of the jury André also benefitted from his appointment as professor of
with the prizes offered to the competitors, he opted to sign trumpet and cornet at CNSMP (1967 – 1980), following Ray-
himself up for the competition (and won first prize!). From mond Sabarich. He was assisted by Jean Piroet (1967 – 76),
then on, Maurice progressively left the “craft” for the life of the and then Marcel Lagorce (1977 – 80). His teaching, which he

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 4
loved, was not really compatible with his career as a performer, wave Maurice André created starting in 1970. Whatever the
which was at the time full and still developing.21 Among his talent, the whole world benefited from a veritable style started
110 students, one can name Richard Giangiulio, Guy Tou- up by Roger Delmotte/Pierre Cochereau, and Maurice
vron (prize 1968 and 1969), Bernard Gabel, René Caron, Luc André/Marie-Claire Alain, for the concerts of trumpet and
Capouillez, Jacques Jarmasson, Mineo Sugiki, Jean-Paul Leroy, organ. Thanks to them, one could play in any church with a
Philippe Hechler, Bernard Soustrot (prize 1975), Eric Aubier popular success that is almost impossible to imagine today! In
(prize 1976 and 1977), Gérard Boulanger, Thierry Caens 1972, there were about 18 professional and regular duos in
(prize 1977 and 1978), Patrick Fabert, Jean-Luc Dasse, etc… France24. The celebrity duo Maurice André and Marie-Claire
John Wilbraham passed one year with Maurice André. The Alain played everywhere beginning in 1970—at the Tours
historic role of Maurice is the legacy he creating in having Cathedral and in Harlem where they were filmed. Not to men-
introduced the instruction of the piccolo trumpet to CNSMP22. tion appearances on television like that of February 21, 1970,
The influence of Maurice André was such that all trumpeters in which the duo appeared “face to face” in Notre-Dame
of the generation born between the years of 1940 and 1960 (playing Purcell and Gervaise), in the Roger Guerin quartet
were students of him. As a personal testament, it is the inter- (“Woody ’n’ you”). In 1971, Maurice received the Classic Edi-
pretations of Maurice André that Gaêtan Berton taught me son prize. Maurice traveled around by car, a Mercedes 280 SL
sport, equipped with a stereo system: “When I drive, I
listen to my playing and I correct myself. And I drive a
lot: 100,000 km per year. I’m obliged to make all my
travels by car so that I can rehearse. Because the trumpet
at the hotel, it’s not possible… So, in general, I escape
into the country with my car” (March 1971, L’Aurore
Spectacles). In 1972, Maurice went on a tour with his
brother, Raymond André, a fellow trumpeter (born in
1940, who followed his uncle in the Nîmes conservato-
ry), and an organist.
One of his successes in records was the Suite pour flûte
en si mineur by Bach (recorded in 1969): “I had been
working on it for three or four years as an exercise, and
then one day the idea came to me to record it… And
Erato accepted my proposition” (1972, Diapason). On
January 31, 1971, he played Hummel’s Concerto and
Telemann’s Sonate de Concert (Oubradous) with the
Concerts Lamoureux Orchestra, conducted by Paul
Capolongo (Pleyel school, in Paris). If Maurice André
was unenthusiastic over a certain musique contemporaine,
he loved musiques modernes like that of Jolivet and
Tomasi from whom he had commissioned new works.
For trumpet and organ, there was Semaine Sante a Cuzco
by Tomasi and Arioso Barocco by Jolivet (1971). Jolivet
dedicated Heptade pour trompette et percussions to Mau-
rice in 1972. Maurice told me that he didn’t have many
rehearsals of this formidable work, but he had a solid
preparation25. In November 2011, he told me that Jolivet
never asked him for advice in writing his difficult works26.
Maurice André is the dédicataire for more than twenty
works of the 20th century (Landowski, Werner, etc.). It
was in 1972 that Timofei Dokshizer visited Maurice
André in his class at the CNSMP. Maurice declared to the
press: “the Bolchoï trumpet solo was played very, very
Maurice André well” (1972, Diapason).27 Abroad, in conforming to his
international stature, Maurice André returned to Denver
when I learned the Haydn and Hummel’s concertos in E-flat23, (1972). David Hickman, of whom André appreciated the style,
using, of course, the Radial model of trumpet in E-flat that he participated in André’s masterclass. As a side note, André
acquired from Selmer. Many have inquired about the quality recorded in horn, next to Tassin (second horn), the first Con-
of Maurice André’s teaching. I assisted in one of his master- certo Brandebourgeois with Jean-Francois Paillard (Erato).
classes in 1979, and I can attest for his communicative enthu- Maurice André searched for the right equilibrium between
siasm and the results obtained by mimicking his demonstra- nobility and popularity. From the beginning, Maurice never
tions on the trumpet. cut himself off from the masses—he loved people. He record-
A whole new generation (students Touvron, Soustrot, Caens, ed Discorama by Denise Glazer for a TV broadcast, a theme
Jarmasson, and extending on to René Périnelli, André Bernard, song conceived for him by Jean-Michel Defave: an adaptation
Pierre Dutot, Jean-François Dion…) still finds itself riding the with a rhythmic jazz section of the old song “J’ai du bon tabac”

5 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild
 (I have good tobacco), after Michel Corrette. The record edi- beginning of a trusted and durable friendship.30 Thus, it was
tion (1971, Trompettissimo, Erato) was a grand success28. In Maurice who put at our disposal the Leopold Bellan school of
1973, returning to his roots, Maurice reunited with his Paris, on June 19, 1979, for our first General Assembly. It was
Aubertin trumpet to record Légende by Enescu and Sonate by there that the first International Maurice André Competition
Hubeau with the composer on piano (Erato). That year he was held, at which Roger Guerin, who spoke English well, par-
recorded a beautiful trumpet duo, transcribed by an Aria of the ticipated in the capacity of interpreter!31
Cantate BWV 78 by Bach, with his son, trumpeter Lionel André
(1959 – 1988). The accidental death of his mountaineering 1980 – 2011: The International and Popular Star
son was a tragedy for Maurice and Liliane. In 1974, Maurice On November 27, 1980, a television show devoted to Mau-
recorded a premier album with EMI records with the Berlin rice André with Jacques Chancel called Le Grand Echiquier
Philharmonic conducted by Herbert von Karajan (Hummel, L. (The Grand Chessboard), was telecast. Maurice recounted his
Mozart). Karajan must have thought, “He is from another career back to the beginning including his work in the mines
world”; however, Maurice’s abilities as an instrumentalist did- and performed a full program—the show of the Orchestral
n’t fail to impress him. From 1977 onwards, Maurice record- Ensemble of Paris conducted by Jean-Pierre Wallez and the
ed regularly for EMI. Big Band of Claude Bolling (Maurice Thomas32, Patrick
It was from 1973 to ’74 when I sent questionnaires to trum- Artero, the Verstraetes—father and son—on the trumpet). It
peters around the world that I was able to record the
almost unanimous respect for Maurice André, notably in
the United States. Artists as diverse as Lester Remsen,
Harold Mitchell, Albert Mancini, John Madrid, Dick
Sudhalter, and Uan Rasey indicated to me that Maurice
André was among their favorites 29. Let’s also note
William Vacchiano: “Maurice André has opened up a
new horizon for the trumpet as a solo instrument. His
expertise has made the public aware of its great poten-
tial.”And “our” Roger Voisin: “I remember hearing his
performance on records for the first time and how my
ears did become acute! What articulation! What playing!
What sound! What musicianship! What phrasing! There
are many good trumpet players around the world, but
Maurice is at the top.” That says it all! Roger Voisin was
frequently invited by Maurice to serve as a member of
the jury of his competitions. Maurice André, who didn’t
participate in the first International Brass Congress in
Montreux (1976) to the general disappointment of all,
received volunteers at his house, around his celebrity
pool, friends of the “craft” (Michel Decourriére, Loulou
Vezant Jr., etc…) and the elite (Thomas Stevens, Pierre
Thibaud, Jean-Pierre Mathez, etc.) It was a golden era
for brass players and Maurice was a much-loved king!
After the Suite for Flûte by Bach, Maurice measured him-
self by taking on the role of “coloratura of the trumpet”
including such works as the air of La Reine de la Nuit by
W.A. Mozart, which he recorded for the first time in
1977. His work in this area was a fabulous success.
Showing that he too was capable, he recorded in 1978
“Le Canari,” an ancient success by Maynard Ferguson,
with the double-high E: “I blew it out à plein tube [at full
power] with the standard B-flat trumpet… one can do it
in classical music too, the super high-pitched; it is not
what most impresses me, frankly” (1978).
When in March of 1978 I established with Roger Del-
motte and Henri Van Haeke (famous lead trumpet), the
French Guild of Trumpeters, it was unanimously evi-
dent that Maurice André had to be the Honorary Presi- André soloing in 1985
dent, which he accepted. Even better, thanks to a gener-
ous donation, the guild was able to get underway. It was was during this recording that Maurice André and Dizzy Gille-
December 10, 1978, that I met with Maurice André in the the- spie played a duo (Orfeo Negro), a sequence that was heard
atre box of the Tours Theatre where he was rehearsing around the world!33. Maurice and Dizzy played again together
Haydn’s Concerto and that of Stoelzel, for the first interview on the Mermoz steamship in 1983, accompanied by Michel
with which he would honor me. That day, would mark the Legrand34.

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 6
 In 1981, due to this broadcast, Maurice recorded with the was a regular and beloved quest on television shows of the ani-
Harmony of Alès (under the direction of Claude Lagrange), mator Jacques Martin who had become his friend38. In 1992,
and created the Toot Suite by Claude Bolling, a virtuoso piece Stephen Jones gave to Maurice André the International Trum-
with a rhythmic jazz section that is now considered indispen- pet Guild’s Honorary Award at the concert of the Rotterdam
sible to the trumpet repertoire. From 1981 onwards, he Conference. In October 1998, he played Tartini’s Concerto
loved—with ever increasing intensity—to play the bugle, on from 40 years before, with the Philharmonic Orchestra of
which he developed an incredible range and great tonal beau- Monte-Carlo, conducted by the prestigious Georges Prêtre
ty. In May 1982, during a session produced with RCA, (who was a trumpeter!).
trompette et or 35), he played the Millereau bugle by Loulou The EMI records of Maurice André during this time repre-
Vezant, Jr., with an accompanying orchestra. But in April sent maturity in his mastery of technique and artistic expres-
1982, he played also, for TV, the Pavane pour une infante sion he’d searched for and was able to bring to re-recordings of
defunte (Pavane for a Dead Princess) by Ravel on the corno da works that had made his career, such as Haydn’s Concerto at
caccia—”hunting horn”—along with a Neapolitan Song! the Venice Carnival (incredible version on the bugle with the
On October 28, 1987, a second show with Le Grand orchestra of Garde Republicaine, conducted by Roger Boutry).
Echiquier was broadcast, a marathon of endurance in which An excellent selection of works in six CDs was edited under the
Maurice played different genres on trumpet, cornet, and bugle. title les 100 Chefs-d’oeuvre de la trompette (100 greatest master-
In Olympian form he played with the Chamber Orchestra of pieces for trumpet) (EMI Classics 377 926 2).
Auvergne and Claude Bolling’s Big Band (Kako Bessot, When I found Maurice on October 11, 1998, by accident,
Michel Delakian, Patrick Artero, and Fernand Verstraete on he was a simple spectator of a big bands concert at a Jazz festi-
trumpet), with the same popular success… at this point it val in Marciac, and his record had just released with Michel
seemed that everyone on the street knew Maurice André! He Legrand (recorded in February 1997, EMI)39. The arranger
played, notably, a “unique” arrangement by Francois Rauber wrote for him simulated “improvisations.” I was able to, once
of Trumpet Voluntary by Jeremiah Clarke, for orchestra and more, measure the intensity of affection his American col-
big band that he wanted to play again at Bourges on May 10, leagues had for him. When we went into the room to intro-
1992, with two soloists: himself (Yamaha piccolo in A) and his duce to him Roy Hargrove (very surprised!) from whom he
son, Nicolas (trumpet in G), in harmony. For me this was (in loved the tone of the bugle40, all the students of the Duke
his role as part of a big band) an occasion to see Maurice in his Ellington School of Arts as colleagues of Vanguard Jazz
element: relaxed, convivial, finding the words to create a pleas- Orchestra (Glenn Drewes in particular), rushed to him with
urable environment… and very encouraging towards the admiration!
trumpeters of the or-
chestra (he created a
true spirit of family!).
One knows that
Maurice always play-
ed with a score in
front of him, even
the works that he
possessed in the min-
utest detail36. And yet
there, his score disap-
peared between the
rehears al and the
con cert. Maurice
play ed that night
flawlessly from mem-
ory… and also with
great passion! At the
peak of his physical
and artistic form, With Michel Laplace in 1998
Maurice was gener-
ous with his encores37. Maurice always showed much interest and respect for the
From the second airing of Grand Echiquier, Maurice played jazz trumpet. The trumpeter Laurent Rieu remembers having
regularly with his son Nicolas (born in 1972), notably with crossed paths with André, a simple spectator, outside of a con-
Paul Kuentz in 1988 (and his daughter Béatrice on oboe). cert by the Count Basie Orchestra. In November 2011, he
Starting in 1992, Nicolas participated in the recordings of his confirmed to me that which he’d already said in the review
father. Nicolas started his study of the trumpet at the age of Jazz Hot in 1970 about Louis Armstrong: “every note sings
five and Béatrice, that of oboe, when she was twelve. and lives… every note signifies something… one is flabber-
The nuances of sound Maurice created during this time, gasted by a mastery such as this and by something so natural!
included the same seducing timbre, but even more sweetness … Before everything, Louis Armstrong, he is a natural man,
of tone: the most round, the most warm, and the most somber and he also is nature like we say of certain students and certain
qualities based on his interpretations. In those years, Maurice virtuosos… that is to say that everything he plays or sings, and

7 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild
 probably everything that he does in life, is marked by a pres- served as his impresario at the end of his career.
ence… formidable… monstrous!… And he has a big heart in The former professor of trumpet at the Bayonne conservato-
the same way! And then this tone… It is unique… you see… ry Jean Sibra helped Maurice to find a house in the southwest.
this tone, it is all of his generosity, the grandness, the simplic- In his retirement he practiced woodcarving. He sometimes
ity and the nature of this man.” I believe that this description gave lessons to Reuben Simeo at his house. And he wrote
also perfectly fits Maurice André! When he was young, he lis- twelve études for young trumpet players. It was at his house in
tened to Harry James on the radio: “I love listening to Harry Urrugne that Maurice received Jean Sibra, Steve Chenette, and
James. He was very good, but he served with this vibrato for myself on November 3, 2011. He was very happy being with
classical music, right!” “I loved Dizzy Gillespie, and
Clark Terry. I think Doc Severinsen is great and I was an
admirer of Bill Chase” (interview de Jeffrey Silberschlag,
1986). He told us, “I was very good friends with Bill
Chase” (1978).
In addition, he confided to Steve Chenette: “Clark
Terry is marvelous… Clifford Brown! Oh if only I could
improvise like that, I would love it.” (ITG Journal, 2001)
The affection of jazzmen for Maurice is equally true: “As
for me, he has been, since I was 14, my idol—at the
same level as Louis Armstrong—for that matter, what
difference?” (Alain Bouchet, February 26, 2012). The
adopted son of Roger Guerin, Pat Stevens, testified: “I
remember that I listened to different concertos for trum-
pet with Roger Guerin at the house when I was an ado-
lescent.” (February 26, 2012) On August 5, 2006, Mau-
rice and Roger Guerin played a duo—Tenderly—in
Najac with the accompaniment of Jean-Michel Defaye.41
The cousin of Wynton Marsalis, Rodney Craig Mack,
remembers: “When I was 11 years old, my cousin Wyn-
ton Marsalis put a recording on the stereo system and
said, ‘This is the greatest trumpet player in the world.’”
It is to Maurice André that Marsalis listened from the
age of 14 at the suggestion of his professor, John Longo.
Later, Wynton Marsalis would become the receiver of
the best publicity when Maurice André said that he was:
“Potentially the greatest trumpet player of all time.”42
One remembers the vote of musicians organized by Brass
Bulletin at the end of the twentieth century: in the Top
12, placed as the top brass players of the century were the
following, in this order: Maurice André, Louis Arm-
strong, Wynton Marsalis, and finally, Arturo Sandoval,
who was scandalized by the fact that CNN didn’t
announce the death of Maurice André: “a real true artist”
(February 26, 2012).
With age, Maurice faced some dental problems. A spe-
cialized dentist found a way, at the end of the 1980s, to
correct a gap between his middle upper incisors: a
ceramic compound. “It’s not very aesthetic, but terribly André playing piccolo in 2006
effective. My sound production has been considerably
ameliorated since” (André, Brass Bulletin 60.) In addition to his trumpet friends, and delivered his secrets of interpretation
the dental problems, a grave case of Diabetes progressively of Jolivet’s second Concerto and Heptade following their
handicapped André. recording.
In 2003, Maurice André gave a goodbye tour. But the true Maurice André played on all the continents except Australia.
concert d’adieux was in October of 2008. Indeed, in January He loved to play for Herbert von Karajan, Karl Böhm (no
2008, he confided to me his intention to continue playing. recordings), Seiji Ozawa, Riccardo Muti, Neville Marriner.
But in January of 2009, he told me he’d stopped playing con- His favorite and preferred composer was J.S. Bach. Maurice
certs due to his dental problems. In November 2008, a beau- André produced more than 285 records, of which 35 were
tiful televised autobiography by Frank Chaudemanche was modern music. In 2008, he told me his doubts about what
aired, Maurice André intime (Morgane production). In 2005, would remain, indicating his version of the second Concerto
Maurice produced his final recording at the cathedral of Alès Brandebourgeois with Riccardo Muti (1985) as it was, for him,
with his kids, Nicolas and Béatrice, and the organist Jean- a success worthy of duration44. Maurice loved also his version
Claude Francon. His cousins, Jean and Christiane Polge43, with the organ of l’Adagio attributed to Albinoni (1978, EMI)

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 8
 which I recorded: paf ! This attack
bothered me… So I learned to blow
the notes” (1978). 45 Maurice André,
who had a light vibrato, made contrary
declarations on the subject: “That is
the beauty of each one… a vibrato of
good taste, one can bring about”
(1978). “To obtain perfection in the
high notes, the staccato, the phrases…
Hours and hours are necessary” (2007,
publibook). Maurice André practiced
four to five hours a day. Then he
reduced the length to two and a half
hours. At the conservatory, he taught
using the Arban method, the etudes of
Charlier and Bitsch, and of course, the
Concertos (Haydn, Hummel, Arutun-
ian…)
The position of the mouthpiece was
of central and utmost importance to
Maurice André. He made a movement
of the tongue to verify if the position
was right. He practiced his buzz in the
embouchure. And he massaged his lips
(with warm water, or even with butter).
Asymmetrical mouthpiece design used by André Maurice André served as an advisor
to Selmer to create an historic piccolo
and the Toot Suite with Claude Bolling. He regretted that his trumpet in B-flat/A (four piston model, 360 BL), the special
recording of the suite by Jean-Michel Defaye would remain issue Radial with the pistons disposed in V (notably E-flat/D
unreleased. 360 E, and C or B-flat), and the mouthpiece with asymmetric
edges (1979).
A Bit of Technique Between 1992 and 1995, Maurice André served as an advi-
In the space of the glory of Maurice André, the trumpet sor to Stomvi (developing a series of trumpets, cornets, bugles,
became a noble (yet still popular) instrument, enjoying the and a mouthpiece on the side: Stomvi-Combi) and Couesnon
same status in the classical
milieu as the violin (“You
know, the dynamic range of
the trumpet is actually greater
than that of the violin,” said
Maurice) and the piano (“I
modeled my staccato after the
piano.”) He was influenced
by the oboe and the lyricism
of the human voice. Asked
about the principles of his
fundamental style, he re -
sponded: “There are three
things that are important on
the trumpet: the attack, the
tone, and the musicality”
(1978). The sound is that
which he worked on the most.
For broadcast: “I learned to
attack with the TU, but attack
with the DU, according to the
phrase, according to the high
notes… Even no attack at
all… And that which made
me evaluate my approach to
the attack, was the recording;
I listened every time to that André’s desk in November, 2011 • Photo by Stephen Chenette

9 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild
 The March from Aida performed at the Funeral for Maurice André

(clarion, natural trumpets). He also introduced a “multimute.” trumpet (in 1992). In November 2011, on his desk, he had a
Outside of the Selmer trumpets (K-modified, Radial) and the Courtois bugle and a Vincent Bach trumpet in C (“I got a lot
small bore Aubertin trumpet, Maurice André played the of use out of it!”) along with a 12½ Stomvi mouthpiece (which
Selmer cornet, a number of Vincent Bach trumpets, the he helped to create), “Foveau” number 3 Couesnon (during
Schilke E-flat trumpet (in 1985), and the Yamaha piccolo his teaching years at the CNSMP) and during his Selmer period,

Michel Laplace, Jean Sibra, Steve Chenette, Maurice and Liliane André, 03.11. 2011
photo by Béatrice André, collection M. Laplace

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 10
 L – R: Thierry Caens, Maurice André, Marcel Caens

Vincent Bach 1½C mouthpieces (for the B-flat mouthpieces, itage” (Thierry Caens, March 3, 2012).
C, E-flat/D) and 7DW (for the piccolo) along with the On February 6, 2010, I promised this article to Maurice
Selmer 1 (for the Brandebourgeois). In 1972, he played on a André, when the time came… –Michel Laplace
mouthpiece by Rudy Mück, a 7e. Then, he played on a Thein, Images provided with this article are from the personal collec-
V. Bach 7D46, Yamaha (copies of 1½C and 7DW), and Stomvi46. tion of Michel Laplace.
Maurice André died on February 25, 2012 at 11:45 p.m. at
Bayonne. The funeral ceremony was held at the Ales Cathedral, Endnotes
March 2, at 10:30 in the morning. Beginning at 8:00 a.m., 1 Multiple biographies of Maurice André indicate Roche-
many were present for the service. Father Gabriel Niel played belle as his place of birth.
the organ at the ceremony for the 1500 people in the cathedral. 2 His brother Jean became cornet soloist of the Musique des
The music was entrusted to 70 choristers and to the organist Equipages de la Flotte in Toulon, and a professor at the
Jean-Claude Françon. Musical selections included the Adagio conservatory of Nîmes.
attributed to Albinoni, Schubert’s Ave Maria, and a Bach 3 “The B flat medium was impeccable, the B natural right,
chorale. Among those present were the conductors Michel the low D had no need to be corrected” (André). Maurice
Plasson, Claude Lagrange, trombonists Michel Becquet, Jean- André hesitated to buy the house in Aubertin.
Pierre Mathieu, and of course many trumpet players—notably 4 The style Musette was very much in fashion (Maurice
David Guerrier, Reuben Simeo, Sergei Nakariakov, Marcel would use it in later recordings), the success Swing and
Lagorce, Patrick Fabert, Christan Pollin, Albert Calvayrac, “Beyond the Sea” (song by Charles Trenet).
Jacques Jarmasson, Laurent Rieu47, Jean Sibra, René Périnelli, 5 Maurice confirmed this on November 4, 2011.
Pierre Dutot, Guy Touvron, Bernard Soustrot, and Thierry 6 Roughly, “How things work” -LM
Caens. Flowers were donated by the City of Paris, the Repu- 7 It was the first recording of this work. They re-recorded it
blican Guard, the Opera of Paris, and friends in the southwest each at their own turn. Demotte that same year with
of France. The March of Aida was played by 40 trumpet play- Albert Adriano (Contrepoint/Mode). Maurice from 1958
ers and directed by André Bernard. Afterwards, Maurice André (two versions) with Marcel Lagorce (Erato and Musidisc).
was buried in the garden of the Saint-André Presbyterian 8 Notably in concert in Bienne in 1956 next to Ludovic
church of Capcèze, next to his father and his son, Lionel, and Vaillant.
at the foot of the Lozère mountain. 9 A remarkable section completed by Marcel Lagorce and
We will now live with the memory and the immense work that Jacques Mas.
he accomplished, and each in his own way will pass on this her- 10 Le Concertino by Jolivet was little played in this period.
11 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild
 There was Haneuse to thank for this creation (1950) and re Sellin, Georges Gay, Roger Deblock) and french classi-
Roger Delmotte (in 1952 with the Concerts Lamoureux). cistes of many generations (Albert Adriano, Raymond
11 Boulez: “whom I admire for his talent of conducting but Tournesac, Emile Baudrier, Pierre Piton, Albert Calvayrac,
not for his own compositions” (autobiography). Lucien Picavais, Jean Pirot, Gérard Roussel, Gérard Mil-
12 Méndez, who influenced Foveau, came to visit Sabarich lière, Gaêtan Berton).
who gave lessons to his students introducing them to 30 There were other official meetings (May 10, 1992; Janu-
many pieces (“Hora Staccato,” “Flight of the Bumblebee,” ary 14, 2008) and numerous encounters always very sym-
etc.). pathetic and enriching through to the last one on Novem-
13 It wasn’t until 1958 that Pierre Thibaud also recorded ber 3, 2011.
entertainment records. 31 The masterclass of Maurice allowed us to listen to him
14 Maurice André taught Dominique, Liliane’s daughter play the 3rd trumpet of a Bach Oratorio with Nassim
from a previous marriage, whose son Frederic Bouc is a Maalouf and Sakai.
trumpet player (broadcast on TV with Maurice André in 32 Maurice Thomas (1928 – 2012), former student of
1993). Foveau, was buried the day before Maurice André.
15 Two Bach chorals, “Erbam dich mein, O Herre Gott” and 33 Maurice André confided to me that Dizzy wasn’t very
“Herzlich tut mich Verlangen” represented on the disc enthusiastic to collaborate with him but when he heard
Grandes Orgues and Fanfares at Notre-Dame of Paris André play, he had no more doubts.
(Philips). They were my models when I debuted the con- 34 Maurice André did fifteen musical cruises on the liners
certs on trumpet and organ in 1973, with those of the “Renaissance” and “Mermoz” with stars like Isaac Stern,
recording by Roger Delmotte and Pierre Cochereau (1964, Mstislav Rostropovich, Jean-Pierre Rampal, James Gal-
Grandes Orgues et Trompette à Notre-Dame de Paris, way.
Philips). 35 The choice of the title was made so as not to disturb his
16 At 108 years old! Charles DeAntoni always had a photo of friend Georges Jouvin, celebrated player of “the gold
Maurice André with him! (visited on October 7, 2009) trumpet.”
17 Maurice was not the creator of these works: the Concerti- 36 I filmed, with his consent, a rehearsal of Hummel’s Con-
no by Jolivet was created by Arthur Haneuse (June 10, certo. It was he and not the conductor (excellent abroad)
1950) and that of Tomasi by Jas Doets in Hilversum who gave all the indications of interpretation, going so far
(1948). as to play (by memory) a passage of the cornet and anoth-
18 In 1964, Gaetan Berton (who didn’t have a piccolo trum- er, on the trumpet, to demonstrate what he wanted by
pet) played the Concerto by Vivaldi with Maurice André. example.
19 Florian Hollard, Georges Savoy (flute), Gilbert Flory 37 At his concert in Bouges on February 7, 1985, after the
(oboe), Lucien Dubruille (violin), Didier Aubert (cello). Concerto by Haydn and by Tartini (programs), he gave a
20 Walter Holy indicated to us that Maurice André was his series of encores: the air of the Reine de la Nuit by
favorite trumpet player. Mozart(!), a danserie by Gervaise, l’Andante by Haydn,
21 Absent from 1974 to ’75, he would be deprived of the title and Ave Maria by Schubert.
“professor.” Pirot, replacing him, wouldn’t touch the inter- 38 When both were retired in the Pays Basque, they met fre-
im salary. Before Maurice André, Arban had the same quently, most notably in a restaurant near the sea in
experience. Bidart.
22 Maurice André edited 12 Etudes Caprices in the Baroque 39 In the big band: Christian Martinez, Kako Bessot, Tony
Style (1973, Billaudot). He co-signed with Michel Ric- Russo, Claude Egéa on the trumpet! (not indicated in the
quier an edition of the Arban method. book jacket) Jean Sibra and Charles DeAntoni assisted
23 Subsequently I took the initiative to work on the edition with the session.
Edward Tarr in E major on the trumpet in D. 40 A bugle by Thomas Inderbinen.
24 The brothers Couëffé, Yves and Paul, were amongst the 41 Maurice told me that Roger had stage fright, and Roger
pioneers. confirmed it!
25 Maurice André didn’t play Heptade in public, it was Fran- 42 Maurice André, according to his own words, predicted he
cis Hardy who first did this, with Sylvio Gualda, May 24, would not always be able to play classical and jazz music.
1971. In November 2011, Maurice again emphasized to Which is what ended up happening.
me his respect for Francis Hardy and Marcel Lagorce. 43 Jean Polge, trumpet player, has for his great grandmother
26 Inversely, Jolivet solicited the advice of Roger Delmotte Marie-Clementine who is the sister of Augustin André,
for the 2nd Concerto father of Marcel André, and father of Maurice André. Jean
27 As for Sabarich, Maurice expressed a reserve concerning Polge was the student of Marcel and Jean André. Chris-
his vibrato. tiane was his wife.
28 He had from 1961 recorded this “crossover” for Polydor 44 During an interview on February 3, 2001, Pierre Thibaud
(airs of Bach, Vilvaldi, Telemann) with a rhythmic section. expressed that he too had doubts over what would remain
29 In this poll (1973 – 74), Maurice was the favorite of of André’s work, and he too thought that his version of
numerous British trumpeters (Alan Stringer, Michael the 2nd Concerto Brandebourgeois (with Karl Richter, in
Laird, Philip Jones, Elgar Howarth, David Mason, Den- 1967, DG) would survive.
nis Clift, Denis Egan, Eddie Blair), and a multitude of 45 In November 2011, Maurice confirmed this and he
jazzmen (Ack van Rooyen, Jan Vleeschouwer, Manfred demonstrated after his recordings.
Schoof, Charles Green, Guy Longnon, Fred Gérard, Pier- 46 Always with asymmetric edges, the thickest (2 mm) was
© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 12
 positioned on his upper lip. M. Laplace: Trompette, Cuivres & XXe Siècle, CD-Rom, 2008
47 Who represented besides himself, Georges Jouvin, Roger J.-P. Mathez: “Maurice André,” Brass Bulletin 24, 1978 ; 25,
Delmotte, Piere Pollin, Fred Gerard, and myself. 1979
J.-P. Mathez: “Maurice André,” BB 66, 1987, p66
Bibliography J.-P. Mathez: “Maurice André, nouvelles orientations,” BB 87,
M. André, Th. Martin: Le soleil doit pouvoir briller pour tout le 1994, p58
monde (2007, publibook) J. Préteseille: “Maurice André, sa trompette et le disque,” Dia-
M. Laplace: “Maurice André” (interv. Tours, 10 déc 1978), pason 168, juin/juillet 1972, p6
Bulletin GFT no3, avril 1979, p2 M. Cullaz: “Maurice André,” Jazz Hot 263, 1970, p22
M. Laplace: “interview Maurice André” (Bourges, 10 mai J. Silberschlag, Ch. Colin: “interview with Maurice André,”
1992), Gazette des Cuivres no12, 1992, p23 NYBC for Scholarships feat. Maurice André, 1986
M. Laplace: “des faits et des hommes. Les trompettistes de St. Chenette: “Interview with Maurice André,” ITG Journal,
Tomasi et Jolivet en 1946 – 1956,” Gazette des Cuivres March 2001
no14, série 2, 2009, p22

SÉLECTION D’ENREGISTREMENTS HISTORIQUES DE MAURICE ANDRÉ (M. LAPLACE)

Roger Delmotte, Maurice André (tp), Collegium Musicum Un Americain à Paris (Gershwin)
of Paris, cond. by Roland Douatte. Summertime (Gershwin) (+) (**) (°)
Paris, 1952 Serenata (Anderson) (°)
45CL7 - Concerto P75 (Vivaldi) Caravan (Tizol-Ellington) (°)
Symphonium (45rpm) 1107 The Man I Love (Gershwin) (°)
Note: Maurice was still a student at the CNSMP at the Vol du Bourdon (Rimsky-Korsakov) (*) (**) (+) (°)
time. They play on trumpets in C. Hora Staccato (Dinicu-Heifetz) (+) (**) (°)
Granada (Lecuona) (°)
Charles Trenet (voc), Guy Luypaerts Orchestra, incl. Mau- Carnaval de Venise (Arban-Petit) (+) (**) (°)
rice André (solo cnt). Les Feuilles Mortes (Kosma) (°)
Paris, 1955 Myrto (Petit) (++) (**) (°)
7TCL568 - Route Nationale 7 Odéon 0S 1104/CBS 52019, (cassette) 4053193
Pathé (45rpm ESRF 1079 (*) CBS cassette 4053211
(°) Ild CD EAN 335115642300
Maurice André (tp), Oiseau-Lyre Orchestral Ensemble, Madeleine (Petit) (++)
cond. by Pierre Colombo. Hylda (Reynaud) (++) (**)
1955 Eva (Petit) (++)
Concerto no1 (R. Mudge) Odéon (45rpm) 3144
Suite de Clarke (J. Clarke) Note: Maurice André plays here on a small bore Aubertin
Concerto no1 (C. Bond) trumpet. Guy Carrière told the author that Maurice
Oiseau-Lyre (LP) OSL 160 bought him his Aubertin.

Maurice André et Marcel Lagorce: à la Guinguette Maurice André (tp), P. Pierlot, J. Chambon (oboes), Sar-
Maurice André, Marcel Lagorce° (tp), Orchestra cond. by rebrück Chamber Orchestra cond. by Karl Ristenpart.
Jacques Mas 1958
Paris, 1956 Concerto (Stoelzel)
Pierre et Pierrette (G. Allier)° (mx7 ARE 1019 21/M3 1904 Concerto (Tartini)
27) Erato 70290, 3390, 50290,
Merle et Pinson (J. Reynaud)° (mx7 ARE 1019 21/M3 Electrola 95061
1904 27)(°) Musical Heritage Soc 755
Coucou Polka (J. Mas)° (mx7 ARE 1020 21/M3 1904 28) Concerto for tp, 2ob, str (Telemann)
Polichinelle (Busoni) (mx7 ARE 1020 21/M3 1904 28) Club Français du Disque 1156
Odéon (45rpm) 7 SOE 3363 Nonesuch 1132, 71132,
Note: (°) « Les Années Odéon », Ild EAN 335115642300 Countrepoint 612, 5612

Le Prodigieux Trompettiste (**) Maurice André (tp), Pierre Cochereau (org).

ça c’est de la trompette Paris, Notre Dame, 1958, (P)1962-3, 1965
Maurice André (tp, cnt), (studio) Orchestra Jean Faustin Choral BWV 727 (Bach)
(Faustin Jeanjean) Choral BWV 721 (Bach)
Paris, 1956 (+), 1957 (++), reissued c1961 Philips 6517002
Rhapsody in Blue (Gershwin) -Pierre Cochereau (org), Ensemble Armand Birbaum
Divertissement from Concerto in F (Gershwin) collective personnel: Maurice André (solo tp), Marcel Lagor-

13 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild
 ce, Bernard Jeannoutot, Jean Pirot, Jacques Lecointre (tp), Maurice André (tp), Jean-François Paillard Orchestra.
Gabriel Masson, André Gosset, Raymond Katarzynski 1963
(tb), Elie Raynaud (tu) Concerto (J. Haydn)
Notre Dame, Paris, (P)1962, 1963 & 1965 Erato 3261, 50161, 70161, 70371,
Choral Jésus que ma joie demeure, BWV 147 EFM 18018
Choral du veilleur Wachet auf, BWV 645 Christophorus 75796, 75797,
Sinfonia de la Cantate BWV 29 Wir danken Dir, Gott Musical Heritage 533
Choral Nun komm der Heiden Heiland BWV 659 Erato 2564 69066-6 (6 CD)
Passion selon Saint Jean: Choral final
Philips 6517002, CD 442473-2
Choral ‘Num freut euch, lieben Christen g’mein’ (Bach) (°) Maurice André (tp), Annie d’Arco (p), René Allain (tb),
Philips 6517002 Concerts Lamoureux Orchestra cond. by André Jolivet.
Note: (°) 2 trompettes & orgue, prob. M. André ne joue 1964
pas. Concertino (Jolivet)
Erato 3301, 50201, 70201, 70691
Maurice André, Sa Trompette et les Grandes Orgues Westminster 19118, 17118
Maurice André (tp), studio orchestra. Second Concerto (Jolivet)
Paris, 1961 Erato LDE 3301, 50201
La Cavatine, Barbier de Seville (Rossini) (2) (a, b) Erato 70201, 70691, 70439, 70363
La Cavatine, Le cave se rebiffe (M. Legrand) (2)(a) Westminster (US) 19118, 17118
(a) Polydor 657014, (b) Triumph 2472023
Maurice André (tp), Jean-François Paillard Orchestra.
Six Brandenburg Concerti 1964
Maurice André (tp), Pierlot (ob), Redel (fl), Barchet (vln), Concerto (M Haydn)
Munich Pro Arte Orchestra cond. by Kurt Redel. Erato 3310, 50210, 70210, 70371,
1 – 6 May 1962 70439, 70739
2d Brandenburg Concerto (Bach) Musical Heritage Soc 720
Erato LDE3229/30, 50129/30,70130, Erato 2564 69066-6 (6 CD)
EFM 8017
Christophorus 70307, 70308 Maurice André (tp), Luxemburg Radio Chamber Orchestra
cond. by Louis de Froment.
Jean Cocteau (speaker), Peter Ustinov (the devil), J.M. 1964
Fetey (the soldier), Maurice André (cnt), Roland Erato 3327, 50227, 70227
Schnorhk (tb), Ulysse Delécluse (cl), Hury Heberts Musical Heritage Soc 829
(bsn), Manoring Parekian (vln), Jo Gut (b), Charles Concerto (Tomasi)
Peschier (perc) cond. by Igor Markevitch. Erato 3327, 50227, 70227, 70373
Vevey, October 1962 Musical Heritage Soc 829
A soldier’s tale (Stravinsky) Note: some sources give 1956.
Philips 2306, 835181, 6500321
Philips (US) 500046, 900046 Maurice André (tp), Concerts Lamoureux Orchestra cond.
by J.B. Mari.
Duke Ellington 1965
Cat Anderson, Cootie Williams, Roy Burrowes (tp), Ray Concerto en mi majeur (Hummel)
Nance (tp, vln), Lawrence Brown, Buster Cooper (tb), Erato 3368, 50268, 70268, 70372, 70439
Chuck Connors (btb), Russell Procope, Johnny Hodges, Electrola 95056,
Jimmy Hamilton, Paul Gonsalves, Harry Carney (reeds), Musical Heritage Soc 746
Billy Strayhorn (p), Ernie Shepard (b), Sam Woodyard Erato 2564 69066-6 (6 CD)
(dm) + Paris Symphonic Orchestra incl. Louis Ménardi, -Maurice André interprète J.S. Bach
Maurice André, Vincent Casino, Alex Caturegli (tp), Maurice André (tp), Fernandez (vln), Jean-François Paillard
Georges Barboteu (horn), Raymond Fonsèque (btb), Jean- Orchestra.
Pierre Wallez (vln), strings from Opera. 1969
Paris, salle Wagram, February 1963 Suite no 2 for fl BWV1067 (Bach)
Night Creature Erato 70511
Harlem Suite
Reprise R6097, RV 6024

© 2012 International Trumpet Guild June 2012 / Special Supplement to the ITG Journal 14
 Maurice André (tp), Hedwig Bilgram (org). Maurice André (tp), Monte-Carlo National Opera
Germany, 1971 Orchestra cond. by Marc Soustrot.
Semaine Sainte à Cuzco (Tomasi) Monte-Carlo, June 1977
Sonata (Genzmer) Flûte Enchantée, KV 620:
Erato 70689 -Air de la reine de la nuit no14, acte 2
Arioso Barocco (Jolivet) -Air de la reine de la nuit no4, acte 1
Erato 70689, 70691 (WA Mozart)
Casta diva, che inargenti, Norma (Bellini)
Lakmé (Delibes)
Maurice André (tp), Sylvio Gualda (perc). Erato 71132
Paris, 1972
Heptade (Jolivet) Maurice André (tp), Claude Bolling (p), Guy Pedersen (b),
Erato 70691 Daniel Humair (dm).
Paris, 1981
Toot Suite
Maurice André (tp), ORTF National Orchestra cond. by CBS Masterworks CD 36731
Maurice Suzan.
1972
Concerto (Arutunian) Maurice André plays Bach, Haydn, Telemann & Torelli
Concerto (Planel) Maurice André (tp), Philharmonia Orchestra cond. by Ric-
Concerto (Zbinden) cardo Muti.
Erato 70714 1985, reissued 25 oct 1990
2d Brandenburg Concerto (°)
EMI 7473112
Maurice André (tp), Jean Hubeau (p). Note: (°) Maurice André’s favorite version (with Warren
1973 Green, Gordon Hunt, Kenneth Smith, Leslie Pearson).
Sonata (Hindemith)
Légende (Enescu)
Intrada (Honegger)
Sonata (Hubeau)
Erato 70730
Note: Maurice André plays his old small bore Aubertin
trumpet here.

15 Special Supplement to the ITG Journal / June 2012 © 2012 International Trumpet Guild