François DEVIENNE
(1759 - 1803)
6 trios for 3 flûtes
(Op. 19)
"Never before hart wind instrument virtuosus been so numerous and so experienced as in the late XVIII century.
This was as much due to increased familiarisation amongst the public as to the growing skill of the musicians themselves. lndeed, the one lent to the other".
Constant PIERRE Histoire du Concert Spirituel 1725-1790
The history of music in France in the late XVIII century is captivating for a number of remous. Changing styles and the emergence of new tastes immediately spring to mind when considering this era. Indeed, these are the main reasons behind the current infatuation of musicians and public alike. However, another factor which should net bc nefflected is musical sociology. This is the age of Enlightenment, and the influence of philosophy and rationalism will leave its mark on the arts. Music gradually pervades ali social strata. No longer the privilege of the Courts, huge public concerts met with considerable success. Their organisers profited frorn this, gaining genuine social status. The various links in the chain quickly feil into place. Music teaching was granted a structure with the creation of the Paris Conservatory in 1795. Enthusiastic amateurs swelled the ranks of musicians, whilst publishers; took on an increasingly important role. A new balance was in the making, and bas remained practically unchanged to this day. That music was integrated into society is shown by the role of money : the one-to-one relationship between a composer and his employer gave way to the commercial links between a group of professionais (performers, teachers, publishers, concert directors, etc.) and the population as a whole.
More than the simple rediscovery of a vast repertoire, it is the entire Parisian music scene, which underwent its own persona] « revolutien », which captivates both the historian and the musician. François Devienne is one of its most representative figures. Long known only to flutists, his name is now familiar to record enthusiasts and the generai public alike. Let us briefly remind ourselves of the most outstanding dates of his life.
Born in 1759 in Joinville, (Fast of France), he trained in military music. On arriving in Paris, he joined the Paris Opera orchestra as bassoonist. Aged just twenty, he combined his position in the orchestra with flute studies under Félix Rault (1736-ca 1800), a rnember of the same orchestra and a renowned soloist. in 1780, Cardinal de Rohan employed his services. Like many other musicians, he joined the Freemasons of the <, Rëunion des Arts » lodge, and played with the <, Concerts de la Loge Olympique >, orchestra. He went on to enlist as a musician with the Swiss Guard, before joining the Théâtre de Monsieur orchestra as a bassoonist in 1788. He was also a member of the National Guard, today renowned for its pedagogical activities. From a simple school, it was promoted National Music Institute in '1793, before being officially named National Conservatory of Music and the Oratory Arts on 3 August 1795. Devienne was one of its nine administrators, as well as the first flute professor. Aithough he continued te perform concerts, teaching took up most of his time. However, his ceaseless activities took their toil on his health, and he died in Charenton in 1803.
Supply must satisfy a demand, and music itself changed, with melody taking precedence over harmony. Musical works were intended first and foremost to seduce the public, through their expressive, melodious, brilliant lines. The delicacy of colours gave way tu the impressive presence of a full orchestra and soloists. The subtiety of grace notes and improvisation was replaced by virtuosity, with cadences actually being written. Language was no longer descriptive, scorning the structures of the past, deerned too complex. it became more rational, more simple, better constructed and naturally more direct. As with any other form of progress, much was gained, but at a price. indeed, Romantic virtuosos of the early XIX century all too soon became aware of this price, with transcriptions their only means of playing works of any value. Parisian classicism, however, had so far been spared. The great performers saw marvellous opportunities opening up before them. They were diligent in their composing, bringing painstaking finishing touches to their expression and putting their talents to best use. Paris, one of Europe's leading centres for music, offered them the chance te, develop numerous contacts with foreign musicians. They drew inspiration from styles such as that of Mannheim, whilst affirming national characteristics. They brought renown te, the French concerto, whilst the concerted symphony became their speciality. Parisian élégance knew no bounds.