Jacques-François Gallay (1795-1864)
- Fantaisie pour le cor avec accompag. de piano sur l'opéra L'Elisire d'amore, de Donizetti, Op.46 (1842)
Performers: Annеkе Scοtt (horn); Stеvеn Dеvinе (pianoforte)
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French horn player, teacher and composer. He studied solfège with a
local musician when he was only ten, and two years later, he began to
learn the horn with his father. At the age of 14, already a member of
the Perpignan theatre orchestra, he made his solo début in Devienne’s
Les visitandines. In 1818 he was appointed director of a new local music
society, and began composition lessons with the son of the bassoonist
Ozi who had settled there. After six months, his First Horn Concerto was
completed and performed. In 1820, though over-age, he entered the Paris
Conservatoire to study with Dauprat. He won the premier prix a year
later, and was allowed to play his own composition at his laureate
concert. After graduation, he joined the Odéon orchestra, leaving in
1825 to become principal horn at the Théâtre Italien, a post he held for
many years. In 1830 he joined the royal chapel, and two years later
became first horn for Louis-Philippe’s private ensemble. After ten years
as an extra, Gallay succeeded Dauprat at the Société des Concerts in
1841, and in 1842 succeeded him again, as natural horn professor at the
Conservatoire, where he remained until his death. He was made a
Chevalier of the Légion d’Honneur. Gallay was the last major hand-horn
figure in France. Reports of his playing praise a bright tone quality,
evenness between open and stopped notes (aided by a preference for a
narrow bell throat), secure attacks and clear technique; he produced
trills in a curious manner, using a fluttering of the tongue. He
composed concertos, solos and chamber music, primarily for horn, and a
considerable number of exercises, addressing technical and musical
issues, still widely used today. Most significant are his Préludes
mésurés et non mésurés, which provide insights into cadenza-type
performing practices. Gallay also produced a Méthode (Paris, 1843)
which, though using ‘first’ and ‘second’ designations, focusses on the
upper two octaves of the range, promoting even stopped and open tone
colours. This limited range was the most practical for solo playing,
though some, including Fétis, found it occasionally monotonous. Gallay’s
compositions demonstrate a player’s understanding of the instrument,
which may account for his apparent influence on the sound and technique
associated with horn-playing in France for many years.
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