Barrère, Georges. (1876-1944). Rare Signed Photograph Inscribed to Josef Franzel. Original 8 x 10 inch Mishkin photograph of the Barrère ensemble, signed and inscribed on the verso from Barrère to Josef Franzel, principle horn of the New York Symphony Orchestra and later horn player of the first New York Chamber Music Society and Barrère Ensemble: "To Josef Franzel / Best Wishes from Georges Barrère / New York, Nov. 30th. 1912." One corner chipped, overall in very fine condition.
"Georges Barrere holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance." (Nancy Toff, "Monarch of the Flute")
"Trained at the Paris Conservatoire, first with Altès under whom he made slow progress, then under Taffanel, Barrère was one of the most brilliant pupils to win a premier prix. His studies completed, he filled a number of important posts leading to the Opéra and Colonne orchestras. In 1895 he formed the Société Moderne des Instruments à Vent which replaced Taffanel's group, disbanded in 1893; during this period Barrère contributed a flute section to Widor's continuation of Berlioz's treatise on orchestration. In 1905 Damrosch invited Barrère to join the New York SO, with which he played, with only one break, for the rest of his life. As an exponent of the French style of flute playing, Barrère's influence was profound, and it is sad to realize that, in spite of his kindly and generous nature, his success led to the eclipse of Carl Wehner, Boehm’s pupil and the doyen of flute teachers in New York. In the USA, as in France, Barrère founded small instrumental groups: in 1910 the Barrère Ensemble of Wind Instruments, and in 1915 the Little Symphony chamber orchestra. These activities continued until his death." (Philip Bate, Grove Online)
"Georges Barrere holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance." (Nancy Toff, "Monarch of the Flute")
"Trained at the Paris Conservatoire, first with Altès under whom he made slow progress, then under Taffanel, Barrère was one of the most brilliant pupils to win a premier prix. His studies completed, he filled a number of important posts leading to the Opéra and Colonne orchestras. In 1895 he formed the Société Moderne des Instruments à Vent which replaced Taffanel's group, disbanded in 1893; during this period Barrère contributed a flute section to Widor's continuation of Berlioz's treatise on orchestration. In 1905 Damrosch invited Barrère to join the New York SO, with which he played, with only one break, for the rest of his life. As an exponent of the French style of flute playing, Barrère's influence was profound, and it is sad to realize that, in spite of his kindly and generous nature, his success led to the eclipse of Carl Wehner, Boehm’s pupil and the doyen of flute teachers in New York. In the USA, as in France, Barrère founded small instrumental groups: in 1910 the Barrère Ensemble of Wind Instruments, and in 1915 the Little Symphony chamber orchestra. These activities continued until his death." (Philip Bate, Grove Online)
Barrère, Georges. (1876-1944). Rare Signed Photograph Inscribed to Josef Franzel. Original 8 x 10 inch Mishkin photograph of the Barrère ensemble, signed and inscribed on the verso from Barrère to Josef Franzel, principle horn of the New York Symphony Orchestra and later horn player of the first New York Chamber Music Society and Barrère Ensemble: "To Josef Franzel / Best Wishes from Georges Barrère / New York, Nov. 30th. 1912." One corner chipped, overall in very fine condition.
"Georges Barrere holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance." (Nancy Toff, "Monarch of the Flute")
"Trained at the Paris Conservatoire, first with Altès under whom he made slow progress, then under Taffanel, Barrère was one of the most brilliant pupils to win a premier prix. His studies completed, he filled a number of important posts leading to the Opéra and Colonne orchestras. In 1895 he formed the Société Moderne des Instruments à Vent which replaced Taffanel's group, disbanded in 1893; during this period Barrère contributed a flute section to Widor's continuation of Berlioz's treatise on orchestration. In 1905 Damrosch invited Barrère to join the New York SO, with which he played, with only one break, for the rest of his life. As an exponent of the French style of flute playing, Barrère's influence was profound, and it is sad to realize that, in spite of his kindly and generous nature, his success led to the eclipse of Carl Wehner, Boehm’s pupil and the doyen of flute teachers in New York. In the USA, as in France, Barrère founded small instrumental groups: in 1910 the Barrère Ensemble of Wind Instruments, and in 1915 the Little Symphony chamber orchestra. These activities continued until his death." (Philip Bate, Grove Online)
"Georges Barrere holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance." (Nancy Toff, "Monarch of the Flute")
"Trained at the Paris Conservatoire, first with Altès under whom he made slow progress, then under Taffanel, Barrère was one of the most brilliant pupils to win a premier prix. His studies completed, he filled a number of important posts leading to the Opéra and Colonne orchestras. In 1895 he formed the Société Moderne des Instruments à Vent which replaced Taffanel's group, disbanded in 1893; during this period Barrère contributed a flute section to Widor's continuation of Berlioz's treatise on orchestration. In 1905 Damrosch invited Barrère to join the New York SO, with which he played, with only one break, for the rest of his life. As an exponent of the French style of flute playing, Barrère's influence was profound, and it is sad to realize that, in spite of his kindly and generous nature, his success led to the eclipse of Carl Wehner, Boehm’s pupil and the doyen of flute teachers in New York. In the USA, as in France, Barrère founded small instrumental groups: in 1910 the Barrère Ensemble of Wind Instruments, and in 1915 the Little Symphony chamber orchestra. These activities continued until his death." (Philip Bate, Grove Online)