Rochut thoroughly selected and edited the wonderfully lyrical vocalises composed by master vocal pedagogue Marco Bordogni, and so the study of the trombone was forever changed. After more than 80 years, Carl Fischer Music editors decided it was time to give this long-established publication a fresh new look. We asked the renowned trombonist and author Alan Raph to re-edit the book to fix errors that have existed since its inception. It was Raph s intent, however, to preserve the important pedagogical sequence established by Rochut, while also taking this new edition one step further.
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Most players today are unaware that Rochut played in the Boston Symphony, and his tenure in Boston will be the story of a subsequent article on The Last Trombone. See the photo above of my early copy of Book I. But No. So who wrote it? Many people have assumed that Rochut composed this etude. It happens to be one of my favorite exercises in Book I and I, too, have puzzled over this, wondering who wrote it.
And on page 12, exercise 11 is found: What is this? Allard and Couillaud were the chickens; Rochut was the egg. Louis Allard and Henri Couillaud were trombone professors at the Paris Conservatoire; Allard from and Couillaud from So here we have a situation.
Clearly authorship of the etude points to Allard and Couillaud , not Rochut Which begs the question: why did Rochut include it in his book when it had been published in another book in France the year before? Was he paying tribute to his teacher? If so, why did he not credit Allard and Couillaud as the composers?
Another haystack; another needle to be found. Detail from a photo of the Boston Symphony Orchestra brass section,
The elusive “Rochut No. 1.”
Bach Joannes Rochut is well known to trombonists for the three volumes of "Melodious Etudes for Trombone" which he transcribed from the "Vocalises" of Marco Bordogni. These books, first published by Carl Fischer New York in , were arranged when Rochut was principal trombonist of the Boston Symphony Orchestra Rochut, a first prize winner at the Paris Conservatorie, was an organizer of the first of the famous "Concerts Koussevitzky" in Paris which brought him to the attention of the then music director of the Boston Symphony, Serge Koussevitzky. Koussevitzky brought Rochut to Boston where he stayed until celebrated friction between the Frenchman and the Russian trombonist Jacob Raichman who had been brought by Koussevitzky to the Boston Symphony as co-principal trombone in led Rochut to leave Boston and return to France.