Originally published in The Clarinet 49/3 (June 2022).

Printed copies of The Clarinet are available for ICA members.

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Cyrille Rose (1830 – 1902)

His Life, His Works, His Students

by Jean-Marie Paul

I began this series about French clarinetists in 2006-2007 with Klosé, Paradis and the Jeanjeans, and now turn to Cyrille Rose. All clarinetists know Cyrille Rose’s etudes. But do they know editions other than the one they use? Do they know about his musical life? That is why I did some research to learn more about him; this is excerpted from my future book about clarinet and clarinetists in France.

Cyrille-Chrysogone Rose was born on February 13, 1830, in Lestrem, Pas de Calais, 20 miles away from Lilles. Northern France was the region where the majority of clarinetists came from for a long period, mainly because of the number of wind bands there. Rose, son of tailors Jean-Baptiste and Joséphine in Lestrem, learned music at a young age. At 11, he was a founding member of a band, La société philharmonique de Lestrem, with his brothers Edouard and Charles.

At age 14, Rose arrived in Paris in November 1844 and was soon recognized as one of the best students of Hyacinthe Klosé.¹ Rose studied with Klosé at the Paris Conservatoire, gaining the First Prize in 1847 with Klosé’s Solo Bolero. He was the only laureate that year. Two years before, in 1845, Adolphe Leroy (1827-1880) won the First Prize and became professor at the Conservatory from 1868 to 1880, in between Klosé and Rose.

Cyrille Rose as a Performer

Shortly after arriving in Paris, Rose was hired in 1845 to play in the Théâtre-Français (Comédie française).² Then he played for 10 years in various Parisian theaters (Théâtre de la Gaité Lyrique, Orchestre du Cirque équestre). He also played in a military band, 11ème Légion de la Garde Nationale. At that time, there were 24 military regiments in Paris. Politically speaking, these times were troubled in Paris (Revolution of 1848: in February and June, all the Lyric theatres were closed; end of Monarchy; Second Republic in 1849; Second Empire in 1852).

In 1847, there was a concert of the laureates of the year with François Bazin’s Serenade for 10 instruments. Rose notably played it with horn player Jean-Baptiste Mohr (1823-1891), his future colleague at the Opera and at the Conservatoire. In 1852 he went to Germany with J.B. Mohr, but we do not have records of other tours.

Rose played in the Opera de Paris orchestra; in 1855 he was appointed second clarinet at the Opera, stepping up to first from 1857 to 1891. Gounod and Massenet frequently consulted Rose on technical points. Massenet wrote for him the famous introduction and aria “Pleurez mes yeux” from Act 3 of Le Cid, first played in Palais Garnier on November 30, 1885 (manuscript in the Paris National Library). If you have seen the Musica Rara reduction published in 2007, it is for soprano, alto clarinet in F and piano, with an ad libitum clarinet in A part. Of course, you can play it for basset horn in F. Why an alto clarinet in F? Because Cyrille Rose had such an instrument.

The Paris Opera was destroyed by fire in 1873; that accelerated the construction of Opera Garnier (close to the older one) which was inaugurated on January 5, 1875.

Rose’s colleagues there included Charles Turban, second clarinet, who would succeed him at the Conservatory from 1901 to 1904. There was also the Belgian Louis Mayeur, born in 1837, who received a First Prize at the Conservatory in 1860 under Klosé. In May 1872 he was given a permanent position as clarinetist in the Opera upon the strong recommendation of Meyerbeer, without audition. According to the payrolls, his official title was third clarinetist. In fact, he played the bass clarinet and saxophone. The same three players remained the clarinet section during the entire 22 years that Mayeur was with the orchestra, until December 1893.³

Rose also played for the Société des Concerts du Conservatoire orchestra from 1857 to 1872. He was particularly fond of the Weber concertos and performed one of them with this orchestra in 1862. Also on March 13, 1870, he performed Weber’s Concerto No. 2.⁴ In the works listing included in this article we can see that Rose published the concertos with cadenzas. Unfortunately we do not have recordings of Rose.

Rose succeeded Klosé and Adolphe Leroy at the Buffet-Crampon company as artistic adviser. He made some experiments with the width of bore (I heard he might have had a narrower bore but I could not verify) and with the cones (top and bottom).⁵ Rose used the double-lip embouchure, like his master Klosé and one of his best pupils, Cahuzac. These major figures have been described as the “Three Musketeers” by Philippe Cuper.⁶

Cyrille Rose at the Conservatory

Cyrille Rose was professor at the Conservatoire starting in 1876 as assistant of A. Leroy, then full professor from 1881 until he retired in 1900.

Let’s remember that Klosé (1808-1880) taught for 30 years at the Paris Conservatoire, from 1838 to 1868. Closer to us, Delécluse did the same from 1948 to 1978. Let’s remember also that the yearly commission of solos de concours only began in 1897. This was the case until 1984; actually, new pieces are not written each year now. So Klosé – and before him, Berr – wrote most of the contest pieces. The Weber and Spohr concertos were also used sometimes from 1877 to 1896.

Concerning the test pieces of the Paris Conservatory, they were dedicated usually to the Conservatory professor.⁷ Rose had the privilege to inaugurate this system which began in 1897. So dedicated to Cyrille Rose are Premiere Fantaisie by Georges Marty (1897), Introduction et Rondo by Charles Widor (1898) and Fantaisie by Augusta Holmes (1900). It seems that Messager’s Solo de concours (1899) bears no dedication.

Many other works were dedicated to Rose. His colleague Paul Rougnon, professor of music theory, counterpoint and fugue, dedicated to him his 1st Solo in F, Op. 128, for clarinet and piano in 1895. Aurelio Magnani (1856-1921), professor at the San Cecilia Academy in Rome, dedicated his famous Metodo Completo of 1895 to Rose (1900). And Paul Jeanjean (1874-1928) dedicated to Rose his 16 Etudes modernes (original publisher: Buffet-Crampon-Evette in 1926).⁸ Louis Mayeur, his colleague at the Conservatoire and the Opera, dedicated to Rose one of his Fantaisie originale. He transcribed Mendelssohn’s “Romance sans paroles” for alto clarinet in F; likely for Rose’s instrument.

Rose was awarded the the Legion of Honor in 1900. Succeeding him as professor at the Conservatoire was Charles Turban from 1901 to 1904. Turban, also ill at the end like Leroy, suggested his young student Auguste Périer (First Prize, 1904) to take his place. Turban died a year after, but his wish was not granted, or not yet; Prosper Mimart was named professor in 1905 (until 1918) and Auguste Périer was named only in 1920.

Rose’s Family

Rose married Sophie Adolphine in 1854. She was 37, he was 33, and they had a daughter, Amélie, in 1857. A happy year, because he also won the First Prize in clarinet. Sophie died in 1862 at their home in Paris, 49 Quartier des Batignolles (19 Grande rue), so he was a widower for 40 years. Amélie, who was always taking care of her father, died a few years after him, around 1906. In 1893, he was living at 7 rue Clapeyron (parallel to the rue de Rome, the street of music in Paris….). He later lived at 70 rue de Tocqueville (not far from the actual Ecole Normale de Musique-Alfred Cortot). Starting in 1898 he suffered badly from rheumatism and was not always able to attend the Conservatoire.

Rose retired in 1900 from the Paris Conservatoire, after more than 20 years of teaching if we include the four years he was mostly replacing his predecessor Adolphe Leroy on sick leave. For the Opera, he played from 1855 to 1891. An official document, “Bulletin des lois” of 1892, calculated his pension receipt as 35 years, 9 months and 19 days for the Opera.

Rose went to live with this devoted daughter in Meaux, 35 miles east of Paris, and taught at the Conservatoire in Meaux.

Cyrille-Chrysogone Rose died quietly in 1902 at his last home in Meaux, 62 rue de la République, cared for by his daughter. His funerals were great. The Regiment of 4^th Hussards paid homage to him. Representatives of the Conservatory of course, students (and former students like Henri Lefebvre), friends. The coffin was held by professor Turban, successor to Rose and his colleague at the Opera for 25 years. The clarinet maker Mr. Evette was also there. His grave is in Meaux too.

By notarial act on April 13, 1903, his daughter constituted an annuity (200 francs at the time) for a yearly prize for the student winning the First Prize.⁹ (Léon Leblanc would do the same later; that donation goes on.)

Rose’s pupils at the Conservatoire

The following is a list of Rose’s students who placed in the concours each year.¹⁰

1876-1880 (Adolphe Leroy still professor but ill; C. Rose assistant)

1876

1^st accessit (honorable mention): Emile Debauwe (no prizes awarded this year)

1877

1^st: Faustin Perpignan

2^nd: Léandre Taffin (1855-1941) – Orchestres Alcazar, Eldorado (cabarets)

1878

1^st: Prosper Mimart (1859-1928) – Played in the Pasdeloup and Lamoureux orchestras, Opera Comique and société des Concerts. Professor at the Conservatoire 1905-1923. Author of a famous method.

2^nd accessit: Louis Bretonneau (1856-1918) – Played at the Concerts Lamoureux and Opera; reed maker succeeding Fournier; earned medals at Paris Universal Exhibitions of 1878, 1889 and 1900.

1879

1^st: Frédéric Salingue – Became Rose’s assistant. Played at the Opera with Rose and Concerts du Châtelet.

1880

1^st: Henri Paradis – Solo clarinet of the Garde Républicaine (1892-1909) and Opera, succeeding Rose (1891-1934). Also played at Concerts Lamoureux. With the Garde Républicaine band, he recorded more than 60 solo pieces on 78 rpm record.¹¹

2^nd: Henri Selmer – Founded the famous company in 1885 and bought in 1928 Adolphe Sax’s workshop from Sax’s son. He played in Algiers orchestra with his father, and in Lamoureux and Opera-Comique with his brother Alexandre.

1^st accessit: Joseph Dame

1880-1900 (Cyrille Rose full professor)

1881

1^st: Felix Pages – Played at the Toulouse Conservatory and Orchestra.

2^nd: Charles Bernadaux – Conductor of military bands.

1^st accessit: François Courrouy

1882

2^nd accessit: Alexandre Selmer – Brother of Henri; also played in the U.S.: Boston, Cincinnati, N.Y. Phil.

1883

1^st: Prosper Mayeur – Belgium; Louis Mayeur’s son, his colleague at
the Opera

1^st: Charles Hiver

2^nd accessit: Fernand Jourdan

1884

1^st: Eugène Bonnifleau (b. 1863) – Garde Républicaine.

1^st: Fernand Boin

1885

1^st: Clément Bruneau

2^nd: Manuel Gomez – Spain; Manuel and his brother Francisco studied for three years with Rose. Manuel was the first to play in the newly founded London Symphony.¹²

1886

1^st: John-Antony Terrier (Switzerland)

1^st accessit: Jean Guichemerre

1887

1^st: Henri Lefebvre – Rose considered him as his best pupil and like his own son. In 1902 Rose gave his Buffet clarinets to him; and Lefebvre gave them to his pupil and stepbrother Daniel Bonade in turn (Lefebvre married Bonade’s sister). As Bonade wrote:

Papa Rose … left [Lefebvre] the mission of continuing the tradition of beautiful phrasing in clarinet playing that he had created. Before Rose’s time, the clarinet was studied principally as an instrument necessary in military bands since there were so few positions available in orchestras. Rose, who was solo clarinetist at the Paris Opera, had a beautiful tone and phrased artistically and was the first to teach such phrasing.¹³

1^st: Léon Pourtau – In 1894 he became principal in the Boston Symphony. He died in 1868 in the Atlantic Ocean with the sinking of the ship “La Gascogne,” along with some other members of the orchestra.

1888

1^st: Victor Lebailly (1902-1904) – Played in the Boston Symphony.

1889

1^st: Raymond Fichet

2^nd: Joseph Blanc

1^st accessit: Jean Delamothe

1890

1^st: Odener-Fernand Aubrepsy

1891

1^st: Ernest Pujol

1892

1^st: Alphonse Richardot

1893

2^nd: Camille Beaudoin

1^st accessit: Emile Lapasset

1894

1^st: Emile Stievenard – Played at the Concerts Lamoureux and Opera Comique, then as bass clarinet in the Boston Symphony

1^st: Paul Vronne

1^st: Paul Jeanjean – Soloist in the Garde Républicaine until 1900, then went to the Classical Concerts Casino orchestra at Monte Carlo. Everybody knows his studies and the pieces he published in Paris; the self-published or manuscript pieces composed in Monte Carlo in his second part of his life are unknown or lost.¹⁴

1895

1^st: Ernest Pichard – Principal clarinet at the Opera and Concerts Colonne. Also a reed maker; his company was bought by Strasser-Marigaux in the ’60s, then by M.A.R.C.A. in 1967.

1896

1^st: Jean-François Guyot

1^st: Henri Delacroix

1897

1^st: Henri Leroy – Grandson of professor Adolphe Leroy; played for the Colonne orchestra, the Société des Concerts and the Garde Républicaine. In 1904 with Barrère, fl; Tabuteau, ob; Mesnard, bsn; he was brought to the U.S. to Walter Damrosch to form the New York Symphony Orchestra. He gave the first performance of Debussy’s Rapsodie with the N.Y. Phil. in 1912.

1^st: Louis Gazilhou – Member of the ensemble Société moderne d’instruments à vent; Paul Jeanjean dedicated to him his Arabesques.

1^st: Félix Carre

2^nd: Philippe Paquot – Composed or transcribed about 70 pieces.

1^st accessit: Jean-Paul Noel

1898

1^st: René Verney – Before Rose, he was taught by his father, clarinetist in the Garde Républicaine; he became soloist of the Garde, succeeding H. Paradis; also principal of Concerts Lamoureux. He made some recordings, a part reissued on CD by P. Cuper.

1^st: Nicolas Greiner

1899

1^st: Louis Cahuzac – At age 17, he entered Rose’s class, getting a 2^nd prize first. From 1901 he was principal of Concerts Colonne. It is difficult to sum up Cahuzac’s career here; he premiered so many great pieces, made a freelance career, made some remarkable recordings, including concertos: the premiere of Nielsen in 1947, Hindemith conducted by the composer; aged 78, the Milhaud. See the complete and brilliant paper of Philippe Cuper.¹⁵ Cahuzac and Rose were using double-lip embouchure.

1^st accessit: Octave Vinck

1900

1^st: Achille Grass – Member of Société Paul Taffanel, the famous flutist; he made several recordings of chamber music

1^st: Paul Delacroix

Rose’s pedagogical works

Rose’s studies quickly earned worldwide use. For instance, Keith Stein, the professor at Michigan State University for 41 years, wrote:

The clarinet etudes of Cyrille Rose constitute a basic part of the clarinetist’s training and that repeated study of them never fails to be profitable. They are invaluable as a means of developing control and beauty of tone, and in instilling a sense of phrasing and melodic line in
the student. The musical value of the Rose etudes is beyond question, and I find them extremely well-suited to the clarinet in every respect.¹⁶

Each volume of Rose’s etudes is based on music originally devised for other instruments that he has transposed, altered or expanded. As Lawrence Maxey observes, “Rose freely modifies the factors of rhythm, articulation, tempo, range, melody, dynamics, expression markings, meter, phrasing and key.”¹⁷

Rose first published the 20 Etudes and 40 Etudes in 1884 at Richault, then at Evette & Schaeffer the 26 Etudes in 1890 and the 32 Etudes in 1893.

In France, generations of clarinetists have used the editions of Leduc (by Lefebvre around 1946) and Billaudot (by Blachet or Lancelot in the ’80s), but people could not tell the difference between Rose’s original intentions and the added markings of pedagogues. That is why recently Philippe Cuper released the original editions – that were out of print for a long time – with the musical indications, notes, tempi, nuances and articulations that Rose wanted. When Rose’s original markings were forgotten, Cuper indicated some suggestions. For the 32 Etudes, Cuper asked composer Patrice Sciortino to make a piano part, but in the style of the time. And the publisher added a CD where they both play.

The 32 Etudes were also recorded on CD in 2006 by Christopher Hill, clarinet and John Walker, piano, with the pianist’s own score (on CD Baby); and in 2007 with Sean Osborn, using the Dover edition (Albany records and on www.dramonline.org). There was even a series of eight 78 rpm discs in the ’50s played by Harry I. Phillips and published in Old Greenwich, Connecticut (Ficker Recording Service). A copy is stored at SUNY College at Potsdam College Libraries. Sixteen studies of the 32 are recorded, two on each 78 disc.

More generally, most of the publications about the Rose studies have been made in France and the U.S. In Japan, Yasuaki Itakura has published all the Rose studies reprinted from the original (Zen-on Publications: www.zen-on.co.jp/world/Woodwind). And the 32 Etudes and 40 Etudes have been recorded by Kazuo Fujii and Sachiko Fujii in 1997 (ALM RECORDS/Kojima Recordings). The piano accompaniments were composed by Mariko Mogi (ARUSO Publishing).

Toward the end of this list, you will see various compilations, or excerpts. For instance in 2007 Larry Guy reunited in one volume all the publications of Daniel Bonade; and in 2014 Rose 118 Studies
was published, gathering the four books
of studies.

You will also notice that Rose seems to have published a book of scales! I just discovered this in making this list, so I did not have a look. It was never reprinted since its original printing of 1896; but you can buy a copy at the Paris Library (see below).

20 Grandes Etudes d’après Rode¹⁸

These 20 studies were selected from the 24 Caprices of violinist Pierre Rode (1774-1830), soloist at the Opera de Paris and professor at the Paris Conservatoire starting in 1799 (so not at he same time as Rose; but he himself played clarinet in a military band during the French Revolution).

1884. 20 Grandes Etudes choisies dans les œuvres de Rode et arrangées pour la clarinette. Paris. Richault (BNF Paris, British Library, etc.)
1885. 20 grandes études choisies dans les œuvres de Rode: et arrangées pour la clarinette pour le cours du Conservatoire national de musique de Paris. Paris: Editions Costallat (bought by Billaudot)
1886. 20 grand studies for clarinet: Selected from the Caprices by Rode; Stanley Drucker, New York: I.M.C. (International Music Company)
1887. 20 grandes études pour clarinette; J. Lancelot, Paris: Gérard Billaudot
1888. Twenty grand studies: From the works of Rode; H. Bettoney, New York: Carl Fischer-Cundy-Bettoney
1889. 20 grandes études: choisies dans les 24 caprices pour violon de Rode; Philippe Cuper, Paris: I.M.D. (International Music Diffusion)–Arpèges

26 Etudes

The 26 Etudes are selected from the works of violinists Jacques Féréol Mazas (1782-1849) and Rodolphe Kreutzer (1766-1831, famous for the Sonate dedicated to him by Beethoven). Other works of both composers were also used in the 40 Studies.

1890. 26 études choisies dans les œuvres de F. Mazas et Kreutzer, et arrangées pour la clarinette seule, Paris: Evette & Schaeffer
1891. 26 études pour la clarinette: d’après Mazas & Kreutzer;
      P. Lefebvre, Paris: Leduc
1892. 26 Etudes choisies dans les œuvres de Mazas et Kreutzer;
      F. Blachet, Paris: Billaudot
1893. 26 études choisies dans les œuvres de Kreutzer et Mazas;
      P. Cuper, Paris: I.M.D.–Arpèges

32 Etudes

Here we come to the most famous and studied etudes for the clarinet! The 32 Etudes are based on the 48 Exercises for Oboe, Op. 31 (1837) of Franz Wilhelm Ferling (1796–1874). Ferling was not only an oboist; he also played the clarinet! He composed a clarinet concerto, but it is a lost work, as only fragments remain (see the Manning paper below).

In two of the etudes, Rose incorporated excerpts from works for solo violin by J.S. Bach (see Maxey’s D.M.A. document listed below). In etude No. 16 (Ferling study No. 20), Rose inserted a 12-measure section between measures 8 and 9 of the Ferling study, very close to Bach’s Partita in B minor (but Bach’s movement was in quadruple meter; Rose’s is in duple meter). In etude No. 20 (Ferling study No. 32), Rose inserts a 30-measure section between measures 32-33 of the original study. The final eight measures of this section are close to the beginning of the Sonata I in G minor.

1893. 32 études arrangées d’après celles de Ferling et développées pour la clarinette – Paris: Evette & Schaeffer
1894. Thirty-two Etudes for Clarinet – NY: C. Fischer.
1895. 32 études pour la clarinette: d’après Ferling; Lefebvre, P. – Paris: Leduc.

19– ?. Cyrille Rose Forty Studies for Clarinet. Collis, J. Miami Beach, FL: Charles Hansen Publications.

1960. Thirty-two Studies for Clarinet; Cochrane,W.E. – Boston: Cundy-Bettoney.
1961. 32 études pour clarinette: d’après Ferling; Blachet, F. – Paris: Billaudot.
1962. 32 Studies for Clarinet; Drucker, S. – NY: International Music Co.
1963. Artistic Studies by David Hite, Book 1. Rose: 40 studies, 32 Etudes; 9 Caprices (selected from 24 Caprices by Rode). – San Antonio, TX: Southern Music Company.
1964. 32 Rose Etudes for Clarinet: Based on the Etudes of Franz Wilhelm Ferling; Walker, J., Warner, M; (piano accomp. available) – NY: C. Fischer.
1965. 32 Etudes and 40 Studies for Clarinet – Mineola, NY: Dover.
1966. 32 études pour la clarinette; Cuper, P.; Sciortino (composer, piano part) +CD (Ph. Cuper, cl.; Patrice Sciortino, pno) – Paris: I.M.D.–Arpèges

Further Reading – Rose 32 Etudes

Abramson, Armand R. “The Thirty-two Etudes for Clarinet by C. Rose Revisited.” Woodwind World, 13, 1 (1974), p. 13.

Bronson, Karen A. “Through his own words: An exploration of the pedagogy of Robert Marcellus.” DMA diss., University of North Texas (2019). Chapter 5, p. 37-57 (Rose Etudes 13, 21, 32).

Etheridge, David. “A practical approach to the clarinet: For advanced clarinetists,” rev. ed. Norman, Oklahoma: Woodwind Educators’ Press, 2009. A selection of Rose 40 Studies and 32 Études are represented with warmups and practice tips.

Hewitt, Stephen. “On learning Wilhelm Ferling’s Forty-eight Studies, Rose’s Thirty-two Studies for Clarinet.” The Double Reed, 15, 2 (1992), p. 61-72.

Larsen, Henry. The 32 Rose studies: Analysis and study guide. Avon, CT: Larsen Audiographics, 1998.

Manning, Dwight. “Franz Wilhelm Ferling’s Life and Work.” The Double Reed. International Double Reed Society, 24, 2 (2001), p. 137–138.

Maxey, Lawrence. “The Rose Thirty-Two Etudes: A Study in Metamorphosis.” The Clarinet 1, No. 4 (1974): 8-9.

_____. “An analysis of two pedagogical approaches to selected Etudes from the Cyrille Rose Thirty-two Etudes for clarinet.” DMA diss., Eastman School of Music, 1968.

Osborn, Sean. “Performing and Teaching Rose 32 Etudes.” Lecture, ClarinetFest® 2021. https://clarinet.org/wp-content/uploads/2021/06/Sean-Osborn-SeanOsbornSupplement1.pdf. Osborn uses the Dover edition on his CD quoted above. This edition, a copy of the original of 1893, has some errors, that he lists in this document.

40 Etudes

These 40 studies were written originally for violin. They are taken from composers Charles Dancla (1817-1907), Federigo Fiorillo (1755-1823), Pierre Gaviniès (1728-1800), Franz Ries (1849-1932), Schubert; and F. Mazas and R. Kreutzer, whose works were also used in the
26 Studies.

1884. 40 Etudes: choisies dans les œuvres de Ch. Dancla, Kreutzer, Mazas, Ries, Schubert et arrangées pour la clarinette; Richault. Copy of the original edition in: https://s9.imslp.org/files/imglnks/usimg/6/68/IMSLP634091-PMLP64394-Rose_Cl_studies.pdf
1885. 40 Studies for Clarinet: Published in two books. New York: C. Fischer
1886. 40 études en deux livres choisies dans les œuvres de Ch. Dancla, Fiorillo, Gaviniès, Kreutzer, Mazas, Ries, Schubert et arrangées pour la clarinette. Paris: Costallat/L. de Lacour (bought by Billaudot)
1887. 40 Studies for Clarinet: Book 1 & II; Drucker, S. NY: I.M.C.
1888. 40 études: choisies dans les œuvres de Dancla, Kreutzer, Mazas, Ries, Schubert et arrangées pour la clarinette; Lancelot, J. Paris: Billaudot.
1889. Artistic Studies, Book 1. Rose: 40 studies, 32 Etudes; 9 Caprices (selected from 24 Caprices by Rode); Hite, David. San Antonio, TX: Southern Music Co.
1890. 40 Studies for Clarinet; McCathren, D. VanNuys,Calif: Belwin-Mills.
1891. Cyrille Rose Forty Studies for Clarinet (revised ed.); Hite, Jean & David – San Antonio, TX: Southern Music Co.
1892. 32 Etudes and 40 Studies for Clarinet. Mineola, N.Y: Dover Publications.
1893. 40 études choisies dans les œuvres de Ch.Dancla, Fiorillo, Gaviniès [et al.] ; Cuper, P. – Paris: I.M.D.-Arpèges.

Further Reading – Rose 40 Etudes

Britz, Joanne Marie. “A Systematic Approach to Five Clarinet Fundamentals as utilized in Rose’s Forty Etudes.” DMA diss, University of Texas at Austin, 2004.

Campione, Carmine. Campione on Clarinet: A Complete Guide to Clarinet Playing and Instruction. Fairfield, Ohio: J. Ten-Ten Publishing, 2001, 2010. (Contains an entire chapter about the Rose 40 Studies with musical examples and explanations).

Messenger, Joseph. “Music Review: Cyrille Rose – Forty Studies for clarinet, Hite edition.” The Clarinet, Vol. 29/1 (December 2001), p. 86-87.

Pierce, Jerry D. “Music Review: Cyrille Rose – 40 Studies for Clarinet” The Clarinet, Vol. 18/3, (May/June 1991), p. 49.

Gammes

1896. Gammes: Majeures et mineures dans tous les tons pour la clarinette (système Boehm) ; Rose, C. Paris: Evette et Schaeffer.

I discovered that Rose wrote scales! A copy is stored at the Paris Library (BNF). You can buy a PDF or photocopies (ref. of the score: VM9-579): https://achatsreproduction.bnf.fr/views/vel/mon_panier.jsf?provenance=Catalogue&urlReferer=/ark:/12148/cb43241924s&AppOrigine=Catalogue

Haydn: Echo, arr. for 2 clarinets

1900. 1900. Haydn, J. Echo arr. pour 2 clarinettes; Rose, C. Evette & Schaeffer.

Originally for four violins and two cellos, Hob II 39.

To purchase PDF or photocopies (ref. of the score: VM9-575): https://achatsreproduction.bnf.fr/views/vel/mon_panier.jsf?provenance=Catalogue&urlReferer=/ark:/12148/cb43041622x&AppOrigine=Catalogue

Reissued in Cuper’s collection at IMD, #870: https://www.arpeges.fr/fr/editions-musicales/echo_1012189

Spohr

1895. Spohr, Louis (1784-1859). Solo de clarinette avec accompagnement de piano extrait du 3e concerto par C. Rose. Paris: Evette et Schaeffer.

Weber¹⁹

Concertino

1880. Concertino pour clarinette avec accompagnement de 2 violons, alto, violle., flute, 2 hautbois, 2 bassons, 2 cors, 2 trompettes et timballes, oeuvre26. Rose, C. Paris: Evette & Schaeffer. (copy at McGill University Library)
1881. Concertino de Weber: pour clarinette et piano; Rose, C.; Lefebvre, P. Paris: A. Leduc.

Concerto No.1

1860. 1er concerto pour clarinette avec accnt de piano, Op. 73, Nouvelle édition revue par C. Rose. Paris: Richault.
1861. 1er concerto en fa mineur: clarinette et piano, Op. 73. Rose, C. Paris: Costallat (reprint: 1947).

Concerto No. 2

1903. 2^e concerto en mi, Op. 74. Rose, C. Paris: Costallat.
1904. 2^e Concerto en mi bémol, Op. 74; Rose, C.; Lancelot, J. Paris: G. Billaudot.
1905. Concerto for clarinet, No. 2, Op. 74; Weston, P. With cadenzas of Baermann, C., Stark, R., & Rose, C. Corby: Fentone.

Freyschutz, solo arr. clar. and piano

1876. Solo de clarinette sur Le Freyschutz avec accompagnement de piano; Rose, C. Paris: P. Goumas.
1877. Solo sur le Freyschutz de Weber: pour clarinette et piano; Rose, C. Paris: A. Leduc.

Quintet Op. 34 (Fantasy and Rondo excerpts; arr. clar. and piano)

c.1900. Fantaisie et rondo: de l’œuvre 34 pour clarinette. Arr. Rose, C. Paris: Evette & Schaeffer.

1945. Fantaisie et rondo: pour clarinette et piano, de l’op. 34; Rose, P.; Lefebvre, P. Paris: A. Leduc.

Variations Op. 33 (on the opera Sylvana)

Variations concertantes pour clarinette et piano; Rose, C. Paris: M.R. Braun (bought by Billaudot).

Compilations – Bonade

1952. Bonade, D. 16 phrasing studies: for clarinet: Taken from Rose 32 etudes. New Hope, Pennsylvania: Self-published. (N.B. Bonade renumbered the Etudes…)
1953. Bonade, D. 16 grand etudes for clarinet: In articulation, interpretation and correct fingerings taken from Rode and Rose. Kenosha, Wis.: Leblanc Educational Publications.
1954. Bonade, D. Sixteen phrasing studies for clarinet: Taken from Rose 32 etudes, reedited with correct marks, dynamics, punctuation and interpretation. – Elkhart, Indiana: Conn-Selmer.
1955. Guy, Larry. The complete Daniel Bonade: Bonade’s complete published texts together in one volume. Stony Point, NY: Rivernote Press.

Compilations – Other

19–?. Studies for clarinet: With fingerings for Boehm and Albert clarinets. Boston: Cundy-Bettoney.

1950. Rose, C., & Arban, J.B. Two etudes, with band accompaniment; Lillya, C.P. (arr.) NY: Carl Fischer.²⁰
1951. 66 Selected studies for clarinet: Book 2; Arnold, J., Kietzer, R,. Carlstadt, N.J.: E.Schuberth.
1952. Mazzeo, Rosario. Rose Studies. Manuscript (University of California, Northern Regional Library Facility, Richmond).
1953. Artistic studies by David Hite, Book 1. From the French school / Rose: 40 Études, 32 Études, & 9 Caprices. San Antonio, Texas: Southern Music.
1954. Elegy: From a study by Cyrille Rose after Ries; Bolls, R., & Stupp, M. San Antonio, Texas: Southern Music.
1955. Davies, John, & Harris, Paul. 80 Graded Studies for Clarinet. Book One, 1-50. London: Faber Music.
1956. Davies, John, & Harris, Paul. 80 Graded Studies for Clarinet. Book Two, 51-80. London: Faber Music.
1957. Mauz, R. Die schönsten Etüden für Klarinette (The finest etudes for clarinet). Mainz: Schott.
1958. Didier, Yves. Les essentielles avec Cyrille Rose: Etudes progressives accessibles aux premières années. Paris: Lemoine
1959. 21 Rose etudes for clarinet (based on the etudes of Cyrille Rose). NY: C. Fischer.
1960. The Complete Clarinet: C. Rose Revisited: 118 Etudes for Clarinet. Ben Andrew Garcia and Luuk De Vries, editors. (Contains: 26 Etudes, 32 Etudes, 20 Grand Etudes, 40 Studies) Fort Worth, TX: Complete Works Music Publisher.

Conclusion

Could Cyrille Rose have imagined that, more than a century later, his etudes are still perhaps the most popular in the world? And that the 32 Etudes would be published in more than 10 different editions throughout the world? And that today people would consult the original text, in order to see what Rose really wanted?

On our side, can we imagine how Rose was, as a professor or a player? We have very few testimonies. “Papa Rose,” as he was called by Bonade, sounds like a caring teacher; this does not mean he was not also a demanding teacher. Most of the professors of the French school were modest and did not write about themselves or their pedagogy. For Rose the player, we do not have recordings. Testimonies of the time, as related by Pamela Weston in her second volume of More Clarinet Virtuosi of the Past, mention a “fine performer, with a beautiful tone and artistic phrasing.”²¹ As Bonade relates it, he was “the first to teach such phrasing.”²² From Lefèvre to Klosé, they perhaps emphasized training military musicians. And the examination pieces, written by the professors themselves like Berr and Klosé (solos, Airs variés) contained more technique than music.

As soon as Rose became assistant professor, replacing Adolphe Leroy, he introduced the German repertoire with the concertos of Weber (and the Quintet Op. 34!) and Spohr. His own Etudes
reveal a good knowledge of the repertory of the other instruments, like violin or oboe, and a clever way to use them. He also sought a variety of styles with the 1882 concours solo of Jules Demersseman, a flutist who composed of course
much for his instrument, but also for
the new saxophone.

Rose was probably also involved in the choice of sight-reading pieces composed for the concours. When they asked composers of the level of Delibes (1877 and 1885) and Massenet (1881), that was before the institution of a yearly commission in 1897. And even after, until his retirement in 1900, the solo de concours and sight-reading piece were by the same composer: 1897: Marty, 1898: Widor, 1899: Messager, 1900: Holmès. After 1900, this new formula happened more regularly (Rabaud, R. Hahn, Debussy, etc.).

I am still researching newspapers and music journals of this era to know more about this fascinating professor. Perhaps a dissertation on this topic will bring us more info on Cyrille Rose.

 

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Endnotes

1       Jean-Marie Paul, “Klosé (1808-1880), His Works for Clarinet,” The Clarinet, Vol.33/3 (June 2006), p. 66-71.

2       Historical details are primarily drawn from Pamela Weston, Yesterday’s Clarinetists of the Past, a Sequel (2002); and Vincent Andrieux L’univers sonore d’Henri Chaussier. Perspectives sur le jeu des instruments à vent en France au début de l’ère de l’enregistrement (ca. 1898–1938).

3       Nancy L. Greenwood, Louis Mayeur, his life and works for saxophone based on Opera themes – D.M.A. diss., University of British Columbia, 2005, p.29.

4       See http://harmonie.lestrem.free.fr/historique/cadrebouton/p1841.htm.

5       Pamela Weston, More Clarinet Virtuosi of the Past, Fentone Music (1977), p. 210.

6       Philippe Cuper, “La clarinette de Klosé à aujourd’hui,” Mistenflute No. 7, p. 43, published by the Museum of La Couture Boussey.

7       Philippe Cuper and Jean-Marie Paul, “Paris Conservatoire Supérieur: ‘Solos de Concours’ and Prize Winners,” The Clarinet Vol.15/3 (May/June 1988), p. 40-48.

8       Jean-Marie Paul, “The Jeanjeans and the Clarinet,” The Clarinet Vol. 33/4 (September 2006), p. 38-43.

9       Le Ménestrel, June 29, 1903.

10     For a complete list of solos de concours and prize winners, see: Philippe Cuper and Jean-Marie Paul, “Paris Conservatoire Supérieur: Solos de Concours and Prize Winners,” The Clarinet, Vol. 15/3, (May/June 1988), 40-48.

11     Jean-Marie Paul, “Henri Paradis (1861-1940),” The Clarinet Vol. 34/2 (March 2007), p. 72-73.

12      Pedro Rubio, “Manuel Gomez and the Gomez-Boehm Clarinet: The Legacy of a Legendary Clarinetist,” The Clarinet Vol. 46/3 (June 2019), p. 58-62. See also the official website https://gomezclarinet.com/manuel-gomez-patudo.

13     To read Bonade’s paper online: https://rharl25.wixsite.com/clarinetcentral-2/henri-lefebvre  To go further about Bonade: Kycia, Carol Anne – Daniel Bonade : a founder of the American style of clarinet playing – Captiva, FL : Captiva Publishing, 1999. 176 p

14     Jean-Marie Paul, “The Jeanjeans and the Clarinet.”

15     Philippe Cuper, “Louis Cahuzac: The 20th-Century French Clarinetist,” The Clarinet Vol. 28/1 (December 2000), p. 46-57.

16     Lawrence Maxey, “The Rose Thirty-Two Etudes: A Study in Metamorphosis,” The Clarinet 1974, Vol. 1/4 (1974), p. 8-9.

17     Ibid.

18     See Glenn Bowen, “Rose & Rode Twenty Grand Etudes,” The Clarinet, Vol. 13/3 (Spring 1986), p. 32.

19     See Pamela Weston, “Cadenzas for the Clarinet Concertos and Concertino of Weber,” The Clarinet Vol. 9/3 (Spring 1982), p. 22-23.

20     UC Berkeley Libraries or University of Miami, Otto G. Richter Library. Includes Rose Etude No. 30 for clarinets, 19 parts (unison); Arban Etude 11 for cornets has 20 parts. Originally for solo clarinet and cornet respectively with piano. Arranged by Clifford P. Lillya. Duration: about 3 min. Score + Parts (some are missing).

21     Pamela Weston, More Clarinet Virtuosi of the Past; Pamela Weston, Yesterday’s Clarinettists: a sequel, Emerson Edition (2002), p. 140.

22     Daniel Bonade, “Henri Lefébvre.”

About the Writer

Jean-Marie Paul was awarded a First Prize in clarinet from a French Conservatory but has focused on researching repertoire, writing papers and giving lectures at conservatories and ClarinetFest® conferences. Due to a jaw surgery which prevented him from continuing to play, Paul founded the French Clarinette magazine (1984-1996). Paul has served as the ICA country chair for France since 2012, succeeding Guy Deplus, and writes the column “News from France” for The Clarinet.