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Louis François
DAUPRAT (1781-1868)
Grand Sextet for horns in different keys, Op.10 [37:41]
Grand Trios, Op.4: Nos. 1 [12:17]; 2 [11:20]; 3 [14:37]
Richard
Burdick (natural horn)
rec. 2007 I CHING
MUSIC CD 19 [75:46]
Louis François Dauprat is unlikely
to be a familiar name even to readers of these pages.
He was a French horn player, teacher and composer who
had considerable success as a soloist and orchestral
performer. Among other works he published five horn concertos.
He was also a noted teacher and his Méthode pour cor
alto et cor basse is said to be unsurpassed.
Dauprat
was the winner of the first “premier prix” for a horn
player, travelling with military bands before completing
his studies and later becoming a professor at the National
Institute or Conservatoire of Music. He also played in
the courts of Napoleon, Louis XVIII, Charles X and Louis-Philippe.
After these positions Dauprat went into semi-retirement
in Egypt until shortly before his death. He specialised
in teaching, and his treatises convey detailed methods
and performance instructions. All of this I have gleaned
from the web. There is no information with the CD.
There
is however plenty on information on Canadian horn player
Richard Burdick’s distinguished career on the websites
given above, so I shall restrict myself to commenting
on the music and how it appears on this disc.
Richard
Burdick has recorded all of the parts for these horn
ensemble pieces, something which he had already done
with Dauprat’s Grand Duos. The cute picture of
the same player pretending to be six different ones by
dint of a change of shirt illustrates this. I’m just
an old Mr. Picky, but a change of trousers would have
made the effect more convincing. There are inevitable
disadvantages to recording music in this way, and the
tracks do lack a feel of real abandon where the music
becomes more lively. The multi-tracking has been bathed
in a glow of what sounds like artificial reverberation,
and the results in the Grand Sextet make it seem
as if the players are performing to you from the bottom
of a large well. This effect is however not entirely
unpleasant, and is less in evidence with the Grand
Trios. The restrictions and artificiality of the
studio environment are only worth noting if you are hoping
for the kind of abandoned and free-blowing fun which
you get from someone like Hermann Baumann. The Grand
Sextet also has a little comb-and-paper left-channel
buzz at certain pitches which is unfortunate, but is
a relatively small irritant other than on headphones.
The general aural picture from Burdick’s sound is one
of quite gentle and refined music-making, which, rather
surprisingly would appear suitable as much for performance
in a domestic setting as the hue and cry of open-air
horn playing. There is no reason why this should not
be the case. Dauprat’s high-classical writing is idiomatically
hand-in-glove with the nature of an instrument which
falls into the softer world of early music and historical
performance. Burdick’s expertise means that any extremes
of range which do occur are well balanced and always
in control.
The
natural horn is a punishingly difficult instrument to
play well, and I dearly love the sense of strain and
variety of colour and tuning which is all part of the
techniques of obtaining a tune by pushing air into what
is after all just a curled up length of metal tube. There
are no keys to facilitate easy chromaticism, and the
player has to use hand-stopping to adjust for and to
obtain certain pitches. There are a few moments where
the playing goes off the rails a little here and there
on this disc, but in general the performances are very
good, and Richard Burdick is to be complimented on his
execution of a project which would be tricky enough to
bring off under any circumstances. I think I would ultimately
prefer a recording in which the contrasts in the music
and playing were allowed more freedom with an ensemble
of different players and their accompanying variety of
instruments, but I don’t know anywhere else where you
can find this repertoire, so it’s hats off once again.
Dauprat’s music is deceptively easy on the ear, but within
a classical idiom and with the technical restrictions
of the instrument his inventiveness and creative prowess
is much to be admired. I suppose a fair comparison might
be made with something like the wind quintets of Antonin
Reicha, if you are looking for stylistic equivalents.
Richard
Burdick has plenty of sound samples on his website, so
you can go along and see for yourself if this will be
worth your while. Beyond being of interest to horn specialists,
this is an interesting and unusual sound which I for
one have found quite entertaining in an undemanding,
background music kind of way. I know of a few horn clubs
who will be interested in this, so I shall of course
be spreading the word – whoop whoop!
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