Louis Rosoor (September 1883 – March 1969) was a French cellist,[1] performer and teacher.

Biography

Louis Rosoor was born in Tourcoing (in northern France), 1 September 1883. He studied cello first with Émile Dienne at the conservatory of Lille and then with Jules Loeb at the conservatory of Paris.[C 1]

He started being solo violoncello at the Concerts Hasselmans[2] then, in 1909, succeeded to the famous cellist André Hekking as cello professor in the conservatory of Bordeaux, position that he kept until 1950.[A 1] He was also teaching Chamber music.[B 1] He has been member of juries in the conservatories of Paris[3] and Toulouse.[4]

He played in various chamber music ensembles: the Marsick Quartet (with whom he had a three-month tour in Cairo[1] and around in 1909), the Gaspard Quartet (1910–1920),[B 2] the Thibaud[5] – Arthur – Rosoor Trio (1909–1933), the Quartet of Bordeaux (1936–?)[B 3] as well as with Francis Planté, in duo, trio with Noëla Cousin playing violin and in Piano quartet with also Marie-Valentine Rosoor, his wife, playing viola (1921–1927).[6]

He gave quite a number of concerts, most in Bordeaux[7] and around (e.g. in Arcachon[A 2] from 1910 to 1926) including in northern Spain, but also a few in Paris. He was one of the earliest performers of pieces like Debussy's sonata,[8] Fauré's second sonata or Vincent d'Indy's trio, all rehearsed with their composers.[9]

He was close to, or played with, other composers like Halina Krzyżanowska,[10] Maurice Ravel,[11] Jean Roger-Ducasse,[12] Guy Ropartz,[13] Albert Roussel,[14] Florent Schmitt[15] or Charles Tournemire[16] and performers like Lucien Capet,[9] Claire Croiza,[13] Paule Dencausse,[17] Paul Loyonnet,[18] Gaston Poulet[19] or Blanche Selva.[14] Julien Fernand Vaubourgoin dedicated his Sonata for piano and cello to him.[A 3]

He played a Testore cello at the beginning of his career[C 2] and, later, a Gigli ; occasionally[20] a Tecchler.

He was one of Le Violoncelle magazine's contributors since its first edition in March 1922.

He recorded in 1933 by Gramophone-His Master's Voice (K-6960 et K-7027).[21] His interpretations were broadcast on the "T.S.F." radio (1933–1938).

He was the author of a transcription of seven Bach Inventions called "Sept pièces pour deux violoncelles concertants ou pour violon et violoncelle – sans accompagnement de piano", still edited today.

He transcribed the Mozart Sonata for bassoon and cello (K.292/196c) into a cello concerto.[22]

Main founder of the Society of Chamber Music of Bordeaux,[23] he remained, as well as his wife Marie-Valentine, Technical Adviser for a long time.[B 3] Louis Rosoor has been an outstanding actor in the musical activity of Bordeaux in the first half of the 20th century.

References

  1. 1 2 Edmund Sebastian Joseph van der Straeten. History of the violoncello, the viol da gamba, their precursors and collateral instruments: with biographies of all the most eminent players of every country,
    Volume 2    . AMS Press, 1976, p. 656.
  2. ↑ Louis, Alphonse Hasselmans' son, who conducted and organized concerts in Paris before making a conductor's career in the US.
  3. ↑ Anne Bongrain. Le Conservatoire national de musique et de déclamation, 1900–1930 : documents historiques et administratifs. VRIN, 2012, pp. 222, 223 & 276 (fr).
  4. ↑ Le midi socialiste, 1 July 1917 Archived 12 May 2014 at the Wayback Machine (fr).
  5. ↑ Joseph, pianist, brother of violinist Jacques Thibaud.
  6. ↑ Le Ménestrel, 10 June 1921 and 14 May 1926, Le Petit Parisien, 8 June 1926 and La Revue Limousine, 1 July 1927 (fr).
  7. ↑ Evelyn T. Walker. A Graduation in Bordeaux. The American Journal of Nursing, Vol. 37, No. 10 (Oct., 1937), pp. 1124–1126.
  8. ↑ As early as 1 February 1917 in Bordeaux with pianist Yvonne Gellibert-Lambert ; see La Gironde 31 January 1917 and 7 February 1917.
  9. 1 2 Jean et Bernard Guerin. Des hommes et des activités – autour d'un demi-siecle. Editions B.E.B., 1957, p. 615 (fr).
  10. ↑ La Petite Gironde, 9 December 1927 (fr).
  11. ↑ Le Ménestrel, February 1921 (fr).
  12. ↑ Revue Française de Musique, 1 February 1913, p. 518-519 (fr).
  13. 1 2 Le Ménestrel, January 1921, pp. 5–6 (fr).
  14. 1 2 Le Ménestrel, 2 December 1921 (fr).
  15. ↑ Revue Française de Musique, 10 March 1914, p. 402 (fr).
  16. ↑ Le Courrier Musical, 15 May 1911, p. 359 (fr).
  17. ↑ who, after her marriage with Georges Carrère, got a son, Louis, who married the one who hence became Hélène Carrère d'Encausse.
  18. ↑ L'Avenir d'Arcachon, 7 February 1926 (fr).
  19. ↑ Le Ménestrel, 8 December 1933 (fr).
  20. ↑ Les Spectacles, 21 September 1923 (fr).
  21. ↑ « CHARM », the AHRC Research Centre for the History and Analysis of Recorded Music.
  22. ↑ of which he sent in 1938 a copy of his manuscript score of the reduction for cello and piano to Maurice Eisenberg, held at the University of North Carolina at Greensboro.
  23. ↑ François Lesure. Dictionnaire musical des villes de province. Klincksieck, 1999, p. 103 (fr).

A. Stephen Sensbach. French cello sonatas, 1871–1939. Lilliput Press, 2001.

  1. ↑ p. 299.
  2. ↑ where he had, with Claude Debussy, a play-through of his Sonata for cello (see pp. 52–53 as well as Moray Welsh, The Pierrot Puzzle).
  3. ↑ p. 234.

B. Edmond Cardoze. Musique et Musiciens en Aquitaine. Aubéron, 1992 (fr).

  1. ↑ p. 203.
  2. ↑ p. 87.
  3. 1 2 p. 204

C. Camille Liégeois and Edouard Nogué. Le Violoncelle: son histoire, ses virtuoses. Costallat, 1913, pp. 168–169 (fr).

  1. ↑ pp. 168–169.
  2. ↑ p. 54.
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