Kidal A testament to the universality of his music is that when Bozza died at midnight on September 28,his woodwind quintet Scherzo was being played on Belgian Radio at the request of a listener. Some of the lore around this piece says that it aira written very quickly after Bozza was questioned about how much he had accomplished in the first few months in Rome. An unaccompanied work for solo fluteImage is a substantial piece that showcases many elements of flute technique including extreme registral and timbral changes and flutter tongue. As eugee of the prize, he lived in Rome at the Villa de Medici for the following four years and five months so he could focus on growing as a composer, developing a voice, and honing his art. Most of his wind music was composed and published during his time in Valenciennes.
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Biography[ edit ] Childhood and early years [ edit ] Bozza was born in to an Italian musician and a French woman in the coastal town of Nice, France. His father, Umberto Bozza, was a violinist who made his living playing in French casinos along the Mediterranean coast. He graduated in with a Professor of Violin diploma.
He married Juliette Arnaud, his first wife, in and had a son, Pierre, in After 5 years of touring Europe with the orchestra, Bozza resigned and returned to the Conservatoire to study conducting with Henri Rabaud.
His wife once confided that, "In fact, he was haunted by stage fright. Bozza was hired as the conductor for the Ballets Russes of Monte Carlo where he stayed for only a year before returning the Paris Conservatoire for a third and final time in to study musical composition. As part of the prize, he lived in Rome at the Villa de Medici for the following four years and five months so he could focus on growing as a composer, developing a voice, and honing his art.
In Rome, Bozza composed several large-scale works such as his opera Leonidas, his Psalms, and the Introduzione and Toccata for piano and orchestra. He composed many of his books of etudes and solo works during this time for students and staff at his school. He divorced Juliette Arnaud in the early s. After retirement in Bozza stayed in Valenciennes and continued to write music. He fell ill late in life and died in Beginning in the mids, Bozza published at least one new work each year until just a few years before his death in Though a trained violinist, Bozza wrote an enormous amount of music for winds during his life.
Most of his wind music was composed and published during his time in Valenciennes. There are over known published works as well as a wealth of manuscripts. Cocteau said, "We have had enough clouds, waves, aquaria, watersprites, and nocturnal perfumes. Pastorale Provencale" on YouTube His style shows many traditions of French Impressionist school mixed with the fundamental mastery of harmony of Bach. His compositions can be placed within the Neo-Classicist genre which is also populated by Darius Milhaud and Igor Stravinsky.
The influx of American and African American soldiers brought new styles and attitudes about music which were assimilated in French villages. This style of music quickly became part of French popular music and Bozza was introduced to it at an early age. Elements of jazz style and harmony are present in many of his works. Important works[ edit ] An unaccompanied work for solo flute , Image is a substantial piece that showcases many elements of flute technique including extreme registral and timbral changes and flutter tongue.
Recit, Sicilienne, et Rondo is a solo piece with piano accompaniment that explores both the high and low range of the bassoon. Due to its technical demands and lyrical melodies, this piece is a mainstay of the conservatory repertoire for bassoon. Some of the lore around this piece says that it was written very quickly after Bozza was questioned about how much he had accomplished in the first few months in Rome. This scherzo focuses on the image of clouds and showcases masterful technique on the saxophone.
Written in , this piece comes from his time as the director of the Paris Opera Comique and had the best instrumentalists available to him. This piece is one of the mainstays of the solo horn repertoire as well as one of the most difficult pieces overall. Since that instrument has fallen to obscurity, this solo is now frequently played on bass trombone or tuba. Influenced heavily by the jazz culture of New Orleans , this piece explores many styles that might be heard walking around the city such as ragtime and dixieland.
His work transcended the metropolitan mentality and he felt the music would be well served in this more pastoral area. His large works—such as symphonies, concertos, and operas—are largely unknown outside of central Europe, but his solo and chamber works are fixtures in music schools throughout the world.
His style was normally highly accessible to listeners, students, and academics; and he composed such a mass of solo and chamber music that his name is commonly heard in studios. However, for whatever reason, very little has been written about his life, especially the earlier years. Reference editions such as the Grove Music Dictionary have very short entries or sometimes no entries whatsoever. Most modern writing about his past cites a single dissertation, published in , by Denise Rogers Rowen about his bassoon music.
EUGENE BOZZA ARIA PDF
Eugene Bozza Aria PDF