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TROIS GRAND TRIOS Op.24 No.3

TROIS GRAND TRIOS Op.24 No.3

 
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Printed Edition
Composer:Gallay, Jacques-Francois (1795-1864)
Instrumentation:3hn.
Publisher Ref:PPP1507

Price: £16.00
Qty
Editor:Scott, Anneke
Skill Level:D
Duration:12'00
Publisher:Plumstead Peculiar Press
Year of Issue:2015
ISMN:M900236036
ISBN:none specified
Jacques-Franc¸ois Gallay is considered one of the most distinguished horn players France has ever seen. He was born in Perpignan in 1795 and his earliest musical training was with a local musician, Artus, with whom the ten-year-old Gallay studied solfe`ge. Two years later he began to learn the horn with his father, an amateur horn player; his early progress is thought to have been due more to the student’s disposition than to the teacher’s talent. Gallay first came to public attention when, at the precocious age of fourteen, he stepped into the shoes of the indisposed cor solo (principal horn) of the local theatre orchestra. This was all the more remarkable as the work in question was Devienne’s Les Visitandines, which contains a demanding obbligato horn solo in the aria ‘O toi dont ma me´moire’.
For a time Perpignan offered Gallay sufficient musical opportunities both as a horn player and as a composer, but eventually, encouraged by visiting musical dignitaries, Gallay made the decision to travel to Paris with a view to enrolling at the Conservatoire. From its early days the Paris Conservatoire placed the training of wind and brass students at the centre of its curriculum, attracting several important teachers. The calibre of hand-horn players in France helped prevent the new valve-horn gaining acceptance during the nineteenth century, and led instead to the development of a hand technique that pushed the instrument almost to its limits. Gallay was to epitomise this level of musicality and virtuosity. His career was, however, almost thwarted from the start as, despite being accepted as a student by Dauprat, Gallay, now aged twenty-four, was technically too old to enrol. But dispensation was eventually granted and he was accepted on both the horn and the composition courses.
Upon graduation Gallay quickly established himself in the Parisian musical scene. He initially joined the orchestra of the Ode´on, but this position was soon superseded by his appointment as cor solo of the The´a^tre-Italien, a position that would bring him into contact with a number of important musicians, notably Gioacchino Rossini. Whilst this was not the only position Gallay was to hold – he was a member of the Socie´te´ des concerts du Conservatoire, the Chapelle Royale, the Musique du Roi, the Cercle Musical (also known as the Socie´te´ Musicale) and professor at the Paris Conservatoire – this was a role that greatly influenced his compositions, which are highly dramatic works, redolent of Italian Grand Opera. In recognition of the high regard in which he was held, Gallay was created a Chevalier de la Le´gion d’Honneur. In accounts of Parisian musical life we often see Gallay identified as one of the leading performers of the time:
"M. Gallay, M. Tulou, M. Labarre, here are three names who provide the idea of perfection for their three instruments. Each of these artists would seem to be born for his instrument: I cannot conceive of the harp without M. Labarre, the horn without M. Gallay, or the flute without M. Tulou." - Anonymous, Revue Musicale, 21st of January 1832
Solo instrumentalists were by default composers as well and charged with creating much of their own repertoire. This was especially the case with wind and brass instrumentalists, who saw rapid development of their instruments during the century. This made them best placed to understand both the risks and the potential of emerging designs and techniques. Gallay was a prolific composer, writing over sixty works and contributing to every genre of horn repertoire, from solo caprices and preludes through to large works for horn and orchestra. In addition to his solo works for horn, Gallay composed two of the most challenging works for horn ensemble; the set of Trois grands trios Op. 24 and the Grand quatuor Op. 26.
The Trois grands trios call for an ensemble of three horns in E, the same key that Reicha, to whom Gallay dedicates these works, writes for in his own Op. 82 Trios. Whilst the Reicha works, dating from some time before 1815, contain technical challenges for all three musicians, the Gallay trios, composed roughly fifteen years later, are much more dramatic and developed works. The title ‘Grands Trios’ seems particularly apt: each set is constructed with a quasi-symphonic structure of opening Allegro, slow movement, menuet or scherzo and trio, and virtuosic finale.
Contrapuntal amblings open the amiable Troisième Trio. The Andante grazioso is a pleasant intermezzo before the darker Menuetto – Allegro moderato and the babbling Trio – Più allegro. The Finale – Vivace con brio is a sprightly conclusion to the work.

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