Programs

Each year, the works composed for the Paris Conservatoire competition are something of a lottery. Among the pieces Henri Büsser wrote for bassoon and piano in this context, Cantilène et Rondo must have come as a relief to the class of 1925, as it is less demanding than some of his other works, both in terms of virtuosity and range. Following the well-established two-part structure, this charming piece opens with an extended lyrical section that allows performers to showcase their musical expressiveness. A brief cadenza then leads into a lively rondo, where the saltarello-like rhythm provides an opportunity for bassoonists to demonstrate their technical prowess.

Born in 1871 and passing in 1943, Guillaume Balay had a distinguished career as a cornetist within the French military music tradition. Serving as the Chef de musique of the Garde Républicaine from 1911 to 1927, he composed primarily for the cornet à piston. While some of the other works on this program have secured their place in the standard repertoire of their respective instruments, Chanson du Forestier has not enjoyed the same fate. Structured around two alternating themes, this piece holds particular pedagogical value within the horn repertoire, offering an engaging study in phrasing and tonal contrast.

Born into a renowned family of musicians, Henri Rabaud (1873–1949) studied composition with Jules Massenet and won the prestigious Grand Prix de Rome in 1894. He later succeeded Fauré as director of the Paris Conservatoire, a position he held from 1922 to 1941.

Composed in 1901 for the class of Charles Turban, Rabaud’s Solo de Concours, Op. 10, follows a three-part structure. An opening cadenza-like recitative for clarinet leads into a solemn Largo in F minor, evoking the grandeur of J.S. Bach. This, in turn, gives way to a lively Allegro infused with a more modern harmonic language. A testament to its enduring appeal, the piece was used in Conservatoire competitions multiple times, in 1908, 1915, 1925, and 1937.

A staple of the wind quintet repertoire, Jean-Michel Damase’s Dix-sept Variations (1928–2013) unfolds as a series of miniature vignettes, each highlighting the technical possibilities and tonal colors of the five instruments.

Though composed in 1951, the work remains firmly rooted in the tradition of early 20th-century French music, characterized by its charm, elegance, and a touch of playful whimsy. Through these seventeen brief yet vivid variations, Damase crafts a kaleidoscopic showcase of wit and finesse, making the piece as delightful for performers as it is for audiences.

Composed in the summer of 1898 for the Paris Conservatoire competition and dedicated to Paul Taffanel, the father of the French flute school, Fauré’s Fantaisie has captivated listeners for over a century with its irresistible charm. Upon completing the piece, the composer confided in his colleague Camille Saint-Saëns: “I’ve written the competition piece for flute—Andante cantabile and allegrofolichono—and I don’t recall anything in the world ever giving me such trouble!”

Structured in two contrasting sections, the work showcases Fauré’s signature lyricism from its very first notes. The opening Andantino demands impeccable breath control and phrasing, while the dazzling Allegro that follows provides a brilliant display of the flutist’s virtuosity.

A lesser-known gem of the repertoire, Henri Büsser’s Pièce en Sib majeur for oboe and piano is a work of great delicacy, blending harmonic richness with poetic expression. Its expressive melodic lines highlight the warm, resonant qualities of the oboe, supported by subtle harmonies and a dynamic piano accompaniment. Though seemingly straightforward, the piece presents a technical challenge in keeping with the tradition of Paris Conservatoire competition works. With this elegant composition, Büsser offers a work that demands both virtuosity and sensitivity from the performer.

Belgian composer, conductor, violinist, musicologist, poet, and educator André Souris (1899–1970) left behind a body of work as eclectic as it is rich. Composed in 1937, Rengaines is a set of nine brief movements that showcase the colors and character of each instrument in the wind quintet. From waltz to polka, with stops along the way for a romance, a galop, and a presto, these pieces brim with charm, wit, and a playful sense of nostalgia.