Louis Rosoor

Louis Rosoor (September 1883 – March 1969) was a French cellist,[1] performer and teacher.

Biography

Louis Rosoor was born in Tourcoing (in northern France), 1 September 1883. He studied cello first with Émile Dienne at the conservatory of Lille and then with Jules Loeb at the conservatory of Paris.[C 1]

He started being solo violoncello at the Concerts Hasselmans[2] then, in 1909, succeeded to the famous cellist André Hekking as cello professor in the conservatory of Bordeaux, position that he kept until 1953.[A 1] He was also teaching Chamber music.[B 1] He has been member of juries in the conservatories of Paris[3] and Toulouse.[4]

He played in various chamber music ensembles: the Marsick Quartet (with whom he traveled through Europe and stayed three months in Cairo[1]), the Thibaud[5] – Arthur – Rosoor Trio (1909–1945), the Gaspard Quartet (1910–1940),[B 2] the Quartet of Bordeaux[B 3] as well as with Francis Planté, in duo, trio with Noëla Cousin playing violin and in Piano quartet with also Marie-Valentine Rosoor, his wife, playing viola (1921–1927).[6]

He gave quite a number of concerts, most in Bordeaux[7] and around (e.g. in Arcachon [A 2] from 1910 to 1926) including in Spain, but also some in Paris where he was one of the earliest performers of pieces like Debussy's sonata [A 3] – accompanied by pianist Paule Dencausse,[8] Fauré's second sonata or Vincent d'Indy's trio, all rehearsed with their composers.[9]

He was close to, or played with, other composers like Halina Krzyżanowska,[10] Maurice Ravel,[11] Jean Roger-Ducasse,[12] Guy Ropartz,[13] Albert Roussel,[14] Florent Schmitt[15] or Charles Tournemire[16] and performers like Lucien Capet,[9] Claire Croiza,[13] Paul Loyonnet,[17] Gaston Poulet[18] or Blanche Selva.[14] Julien Fernand Vaubourgoin dedicated his Sonata for piano and cello to him.[A 4]

He played a Testore cello at the beginning of his career[C 2] and, later, a Gigli ; occasionally[19] a Tecchler.

He was one of Le Violoncelle magazine's contributors since its first edition in March 1922.

He recorded in 1933 by Gramophone-His Master's Voice (K-6960 et K-7027).[20] His interpretations were broadcast on the "T.S.F." radio (1933–1938).

He was the author of a transcription of seven Bach Inventions called "Sept pièces pour deux violoncelles concertants ou pour violon et violoncelle – sans accompagnement de piano", still edited today.

He transcribed the Mozart Sonata for bassoon and cello (K.292/196c) into a cello concerto.[21]

Main founder of the Society of Chamber Music of Bordeaux,[22] he remained, as well as his wife Marie-Valentine, Technical Adviser for a long time.[B 3] Louis Rosoor has been an outstanding actor in the musical activity of Bordeaux in the first half of the 20th century.

References
  1. Edmund Sebastian Joseph van der Straeten. History of the violoncello, the viol da gamba, their precursors and collateral instruments: with biographies of all the most eminent players of every country,
    Volume 2    . AMS Press, 1976, p. 656.
  2. Louis, Alphonse Hasselmans' son, who conducted and organized concerts in Paris before making a conductor's career in the US.
  3. Anne Bongrain. Le Conservatoire national de musique et de déclamation, 1900–1930 : documents historiques et administratifs. VRIN, 2012, pp. 222, 223 & 276 (fr).
  4. Le midi socialiste, July 1, 1917 (fr).
  5. Joseph, pianist, brother of violinist Jacques Thibaud.
  6. Le Ménestrel, June 10, 1921 and May 14, 1926, Le Petit Parisien, June 8, 1926 and La Revue Limousine, July 1, 1927 (fr).
  7. Evelyn T. Walker. A Graduation in Bordeaux. The American Journal of Nursing, Vol. 37, No. 10 (Oct., 1937), pp. 1124–1126.
  8. who, after her marriage with Georges Carrère, got a son, Louis, who married the one who hence became Hélène Carrère d'Encausse.
  9. Jean et Bernard Guerin. Des hommes et des activités – autour d'un demi-siecle. Editions B.E.B., 1957, p. 615 (fr).
  10. La Petite Gironde, December 9, 1927 (fr).
  11. Le Ménestrel, February 1921 (fr).
  12. Revue Française de Musique, February 1, 1913, p. 518-519 (fr).
  13. Le Ménestrel, January 1921, pp. 5–6 (fr).
  14. Le Ménestrel, December 2, 1921 (fr).
  15. Revue Française de Musique, March 10, 1914, p. 402 (fr).
  16. Le Courrier Musical, May 15, 1911, p. 359 (fr).
  17. L'Avenir d'Arcachon, February 7, 1926 (fr).
  18. Le Ménestrel, December 8, 1933 (fr).
  19. Les Spectacles, September 21, 1923 (fr).
  20. « CHARM », the AHRC Research Centre for the History and Analysis of Recorded Music.
  21. of which he sent in 1938 a copy of his manuscript score of the reduction for cello and piano to Maurice Eisenberg, held at the University of North Carolina at Greensboro.
  22. François Lesure. Dictionnaire musical des villes de province. Klincksieck, 1999, p. 103 (fr).

A. Stephen Sensbach. French cello sonatas, 1871–1939. Lilliput Press, 2001.

  1. p. 299.
  2. where he had, with Claude Debussy, a play-through of his Sonata for cello (see pp. 52–53 as well as Moray Welsh, The Pierrot Puzzle).
  3. p. 53.
  4. p. 234.

B. Edmond Cardoze. Musique et Musiciens en Aquitaine. Aubéron, 1992 (fr).

  1. p. 203.
  2. p. 87.
  3. p. 204

C. Camille Liégeois and Edouard Nogué. Le Violoncelle: son histoire, ses virtuoses. Costallat, 1913, pp. 168–169 (fr).

  1. pp. 168–169.
  2. p. 54.
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