dimecres, 6 d’octubre del 2021

OZI, Etienne (1754-1813) - Troisieme Simphonie concertante, Op.10 (c.1800)

Louis Albert Guislain (1761-1824) - Incendie de Lyon pendant le siège de 1793


Etienne Ozi (1754-1813) - Troisieme Simphonie concertante pour hautbois et un basson, Op.10 (c.1800)
Performers: Dmitry Bulgakov (oboe); Valery Popov (bassoon); Chamber orchestra; Vyacheslav Valeev (conductor)

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French bassoonist and composer. He was not (as has been suggested) a son of the composer Pierre Iso (or Yzo), nor did he ever use the pseudonym ‘Yzo’. His parents were Marie Piala and Louis Ozy, a carder of floss silk. Like many wind instrumentalists in France at that time, he may have received his early musical training from a musical corps attached to a military regiment. According to Gerber he had settled in Paris by 1777. Ledebur indicated that he studied with G.W. Ritter, the Mannheim bassoonist, who was in Paris 1777-8. In 1779 he made a brilliant debut at the Concert Spirituel, where he played a bassoon concerto by P.D. Deshayes. His performance was described as: ‘free and confident; the beautiful quality of his sounds on such an unresponsive instrument and the perfect accuracy of his intonation have earned for him a place in the ranks of the best artists’. During the next 12 years he appeared as a soloist at the Concert Spirituel 36 times; on 19 occasions he performed his own concertos and symphonies concertantes. Throughout his career he was praised in the Parisian press for his performances and compositions. In 1783, while in the service of the Duke of Orléans, the first of his 32 suites d’harmonies (for two clarinets, two horns and two bassoons) began to appear in Boyer’s catalogues. Ensembles using the same instrumentation were also used extensively in French Masonic lodges, where they were called colonnes d’harmonies. Ozi held membership in three different lodges, one of which was the ‘Loge Olympique de la Parfaite Estime’, whose members participated in the famous Concerts de la Loge Olympique. Ozi was a soloist as well as a member of the orchestra for these concerts. From 1786 to 1788 he was Musicien ordinaire de la Chapelle et de la Chambre du Roy. During this time he married Marie Adelaide Du Pont, with whom he had six children. Shortly after the Revolution, he joined the Garde Nationale Parisienne and became a teacher in its affiliated music school, which became the Conservatoire National de Musique in 1795. He continued his activities in the 1790s as a soloist and orchestral musician in the concerts of the Cirque du Palais-Royal (1790), the Théâtre Italien (1792-4), the Théâtre Feydeau (1796) and the Théâtre de la République et des Arts (1799-1800). He apparently had a talent for administrative activities. Representing the musicians in the Parisian National Guard who had established the Magasin de musique à l’usage des fêtes nationales, he dealt with officials of the new revolutionary governments. In 1797 he was appointed manager of this publishing house, which had become the Imprimerie du Conservatoire. He retained that position, as well as giving bassoon lessons at the Conservatoire, until his death. From 1798 to 1806 he was a member of the virtuoses d’élite of the Opéra orchestra and in 1806 he became first bassoonist of Napoleon’s chapelle-musique.

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