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Maurice Gendron -
Teacher Maurice Gendron



Cellist type:

Performing fields:

Grard Hekking
Stphane Odero
Jean Margot
Henri Demarquette
Michal Kaznowski
Paulo Gaio Lima
Roeland Duijne
Jacqueline du Pr
Colin Carr
Cordelia Wikarski-Miedel
Xavier Gagnepain
Frank Dodge
Harro Ruijsenaars
Lluis Claret
Felix Schmidt
Paolo Rivaroli
Orfeo Mandozzi
Josef Hofer
Gerhard Mantel
Renato Ripo
Didier Poskin
Felice Bellini
Mario Rio
Michel Strauss
Hans Mannes

" Music is a moral law, it gives a soul to the universe, wings to thoughts, flight to the imagination, a charm to sadness, gaiety and life everything.
It is the essence of order and aspires towards all that is good, just, and beautiful of which it is the invisible form but yet blinding, passionate and eternal.
So says Plato in describing the art to which I have dedicated my life since childhood, by a vow of faithfulness renewed again and again whith love until my dying day. " Maurice Gendron

Maurice Gendron born near Nice on 26 December 1920, Gendron was brought up in a poor household by his mother and grandmother, his father having deserted them. He could read music at the age of three and began violin lessons at four with his mother, a professional player in the silent cinema, but he did not get on with the instrument and at five changed to a quarter-sized cello specially made for him.

When he was ten his teacher St�phane Odero (in the city of Cannes) took him to hear the virtuoso cellist Emanuel Feuermann, whose playing was a revelation to the boy. He met Feuermann and played for him a number of times but could not afford to travel for lessons to Vienna, Zurich or Feuermann's final base, New York, and his hero died there during the war, aged 39.

Meanwhile Gendron entered the Nice Conservatoire at 12, bat play at only 11 years old the Dvorak cello concerto!, under Jean Mangot, taking a first prize in 1934, and was soon giving local concerts.

But his mother had lost her job with the advent of the "talkies" and he was forced to leave the Conservatoire to scrub floors, clean windows and iron shirts in order to help the family finances.

In 1938, with the help of his teacher Jean Mangot, who gave him a rail ticket and 1,000 francs, he entered the Paris Conservatoire, in G�rard Hekking's class. (All his life Gendron remembered this help from Jean Mangot and later helped pupils when they came long distances to him for study.)

Living in Paris at age 14 he had to live in unheated lodgings and sell newspapers to subsidise his studies. Again he carried off a first prize. At the outbreak of war he was so poor and undernourished that he was found unfit for army service and in due course he joined the Resistance. Unlike Fournier he refused to play in Germany.

His Paris "debut" came in 1943 after the Dutch art connoisseur Jan Heyligers heard him practising and invited him to play for a few friends. With Jean Neveu at the piano, he found himself among such luminaries as Francis Poulenc, Georges Auric, Jean Cocteau and Jean Fran�aix, Messiahn.

As his reputation spread in bohemian society, he got to know Picasso (who made a picture for Gendron), Braque,Chagall, Sartre, Mauriac and Camus.

In 1945 he played the Dvorak cello concerto under Mengelberg with the Paris Orchestra and made a live recording of it.

Gendron's London debut was a more public affair but just as dazzling. On 2 December 1945 he shared the platform of the Wigmore Hall with Pierre Bernac, Poulenc and Benjamin Britten, with whom he played Debussy and Faure. Eight days later he appeared at one of Myra Hess's National Gallery Concerts with Britten and Peter Pears,performing Schubert's Arpeggione Sonata and Faur�s Second Sonata. His reputation with the wider London public was sealed when he gave the first Western performance of Prokofiev's Cello Concerto, Op.58, with the LPO under Walter Susskind. "That's how I began my career," he recalled. "No one wanted to hear Maurice Gendron, but they all wanted to hear Prokofiev!" He was given exclusive rights to the concerto for three years and it made his name.

For his New York debut in January 1958 he chose a memorial concert for Feuermann, playing the Haydn D major and Dvor?�k Concertos also with Mr. Barzin and the National Orchestral Association. He returned to the US a number of times, scoring a smashing success in an appearance with Leonard Bernstein and the New York Philharmonic with Schumann's cello concerto in February 1959 and 27 February 1959 together with pianist Philip Entremont.

His friendship with Britten and Pears continued and he appeared at the first Aldeburgh Festival in 1948; but Britten's offer to write a work for him was withdrawn, to Gendron's chagrin, when the composer formed a close artistic relationship with Rostropovich. Even so Gendron played at the festival in 1963 with Britten and Menuhin. Gendron gave another recital with Britten that included the Arpeggione sonata, Faure's Elegi� and the sonata Britten had written for Rostropovich, when the Russian cellist was unable to appear. After this concerts Britten thanked Gendron in a letter of 5 July 1963: "We were all immensely grateful to you for coming to the festival, at such short notice, and for playing so magnificently. Your playing created quite a sensation, as you noticed, and it was for me personally a great pleasure to do the Sonata with you. I thought you played it wonderfully".

Maurice Gendron played solo concerts in Asia as Japan, Corea, Sud Africa, America. Gendron made close musical friendships with Hephzibah and Yehudi Menuhin, and agreat musical patnership with Yehudi Menuhin.

In 1956 Gendron formed a famous trio which lasted for 25 years, made records and premired works such as the trio by Alexander Goehr.

(One of the umanitair concert in Paris for Unesco in 1976 whit Menuhin and other big of the classical music of the time, in this concert Gendron played in other a pice of Mozat for cello and piano - Hephzibah Menuhin:"Andantino" a rare composition of Mozart. All people think Mozart never write for cello and piano.. of this esecution is available in premier a recording (live of this concert).

Another quarter-century partnership was with the witty, elegant composer Fran�aix. A marvelous pianist with whom he made up a distinguished duo, Fran�aix wrote for Gendron some pieces for cello and Orchestra and for cello & piano.�

An earlier duo with Dinu Lipatti was of short duration because of the Romanian pianist's illness. Other pianists to play with Maurice Gendron included C.Ivaldi, J.F�vrier, P.Gallion, Rudolf Serkin.

On his own, Gendron was a fine player of solo Bach, "the best interpretation of the cello suites" available now a memorable recording (1968-69), and he made his own contribution to the concerto literature by rescuing the two works by Boccherini which Friedrich Gr�tzmacher had vandalised into a ghastly pastiche. Until Gendron came on the scene, all cellists had played this mangled version. He not only rediscovered the original B minor Concerto which formed most of the basis of the pastiche, but persuaded Pablo Casals after a travel in Prades to conduct his recording of it with the Orchestre des Concerts Lamoureux.

Gendron published a number of transcriptions and was a superb deviser of cadenzas for classical concertos such as those by Haydn. He also made the first critical edition of the D major Concerto and now this editions is required in all cello competitions.

He taught in Saarbr�cken (from 1954), at the Menuhin School and at the Paris Conservatoire (1970-87) and summer Master Classes at Mozarteum of Salzburg (last in 1989, and one of the last concerts and recording in Japan in 1985 whit two concert day for day at 65 years old. In the early 1970s he suffered a fearful car accident in which a shoulder was severely damaged. He fought his way back and in 1985 reappeared in London for a 40th anniversary recital, but was not the same force as before (65 years old). He died on 20 August 1990 at the riverside home in Grez-sur-Loing where he and his wife, a former violinist and gentel person, had lived for years surrounded by the paintings and drawings given to Gendron by his artist friends. Maurice Gendron admired Casals but modelled himself much more on Feuermann. In his early days he had a coruscating technique and although he was always his own man, there was something of Feuermann in the intense focus of his beautiful tone. In 1970 he took up conducting, a discipline he had studied with Mengelberg, Scherchen and D�sormi�re, make Label recording and concerts in Asia and Europe. Apart from excellent versions of the Haydn D major and Saint-Sa�ns Concertos for a label, his early records were made for Decca. They began with a 1946 Dvor?�k Concerto on 78rpm discs, with Karl Rankl conducting, the recordings reissued here were more fortunate and established a foothold in the catalogue for years as more works of Gendron as J.S.Bach cello suites, Haydn cello concert 1&2, Tchaikovsky Rococo variations (under Anserment and other great conductors - Decca),Schumann cello concert whit a great cello cadenza by Gendron (Decca and Philips) (all the great French cellists played the Schumann Concerto better than their rivals from other schools; bat Gendron�s superb interpretation was a most refined, elegant performer. The impression of all Gendron's performances is of Gendron�s dreams music (as Rond� of Dvorak whit Bernard Haiting and Orchestra Filarmonica of London) and seemingly easy tonal production � up to 1958, when he acquired his 1693 Stradivari, he played a 1610 Giovanni Grancino cello which, dare one say, suited him even better. Maurice Gendron recording more classic pices for him time and all are masterpiece of interpretation him patner in this recording are the best of conductors and orchestra.

Maurice Gendron's LPs

from the Bellini collection. info:

78 rpm DECCA

Decca - Gendron play Dvorak cello concerto whit London Philarmonic Orchestra - Karl Rankl conductor.

33 tours LONDON

London Decca - Gendron play Schubert and Schumann.

33 tours DECCA

Decca - Gendron play Tchaikovsky and Schumann under Anserment.

45 tours PHILIPS

Philips - A PORTRAIT Gendron play Dvorak Rond� and Silent Woods whit London Philarmonic Orchestra Bernard Haitink conductor.

33 tours PHILIPS

Philips - Gendron play Dvorak cello concerto, rondo, silent wood.London Philarmonic Orchestra Bernard Haitink.

33 tours PHILIPS

Philips - Gendron play Tchaikovsky and Schumann under Dohn�nyi.

33 tours PHILIPS

Philips - Gendron play Lalo cello concerto, Saint-Saens cello concerto n�1, Faur� Elegie op.24 - Orchestre de L'Oper� de Monte-Carlo dir. Roberto Benzi.

33 tours PHILIPS

Philips - Gendron play Haydn cello concerto n�2 in Re, Boccherini cello concerto n�9 in si b magg., Orchestre des Concerts Lamoureux dir. Pablo Casals.

33 tours PHILIPS

Philips - Gendron play Haydn cello concerto n�1 in Do, Boccherini cello concerto n�3 in sol, London Symphony Orchestra dir. Raymond Leppard.

33 tours PHILIPS

Philips - Gendron play Debussy cello sonata, Francaix serenade, rondino staccato, moto perpetuo, bercause, nocturne, Faur� cello sonata n�2, Messiaen louange a l'eternit� de Jesus. piano Jean Francaix.

33 tours PHILIPS

Philips - Gendron play Schubert "Arpeggione" and Beethoven "cello variations" piano Jean Francaix.

33 tours PHILIPS

Philips - Gendron play Debussy cello sonata, piano Jean Francaix.

33 tours PHILIPS

Philips - Gendron play Vivaldi six cello sonatas.

33 tours PHILIPS

Philips - Gendron on recital, piano Peter Gallion.

33 tours COLUMBIA

Columbia - Gendron play Beethoven sonata n�3 and Brahms sonata n�2, piano P.Entremont.

33 tours RCA

RCA -Gendron play Locatelli cello sonata, Marais La follia, Schubert cello sonata Arpeggione - piano Inoe

33 tours OCEANIC

Oceanic - Gendron play Haydn cello concerto n�2 in Re, Saint-Saens cello concerto n�1, Vienna State Opera Orchestra dir. Jonathan Sternberg.

33 tours EMI

EMI - Gendron play Debussy cello sonata, piano Jacques Fevrier.

33 tours EMI

EMI - Beethoven two piano trios op.70 Gendron cello Y.Menuhin violin H.Menuhin piano

33 tours EMI

EMI - Tchaikovsky piano trio in a minor op.50 Gendron cello Y.Menuhin violin H.Menuhin piano

33 tours EMI

EMI Brahms piano trio C dur n�2 op.87 Gendron cello Y.Menuhin violin H.Menuhin piano

33 tours EMI

EMI Schubert two piano trios, nocturne and sonata (piano trio) Gendron cello Y.Menuhin violin H.Menuhin piano

33 tours EMI

EMI "A Mozart Soiree" live recording - Gendron cello and friends (Y&H.Menuhin, Bianchi, Debost, Bourgue).

33 tours EMI 33 tours

EMI Faure piano quartet no1 op.15 + other cello and violin pice - Gendron cello Y&J.Menuhin violin piano Wallfisch viola

33 tours EMI

EMI Brahms two strings sextett - Y.Menuhin & Masters violins Aronowitz & Wallfisch violas Gendron & Simpson cellos.

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This cellist was posted by Karel and last edited on 6 April 2007 at 11:48:53 AM.