1935 IBERT Concertino da CAMERA SAXOPHONE Marcel Mule CREATOR Philipe Gaubert 78

$

25

Welcome to my auctions of great records

This is my FINAL WEEK of 3 weeks of great auctions – I WILL PACK AND BILL YOUR RECORDS after the close on September 27.

PLEASE DO NOT PAY before I send you an invoice. It will take me up to 48 hours to pack your records, but this is the ONLY WAY to get you the LOWEST POSTAGE. If you pay before I sent you an invoice, the EBAY system will charge you a HIGHER POSTAGE for shipping.

International shipping: approx postage 1x10"=$25: 1x12"=$28: 10"Album 4 Rec=45$: 12" Album 2 Rec=45$

About 30% less to Canada. Pls ignore international postage displayed in Ebay, rates are too high

Please wait for me to send you an invoice. DO NOT USE EBAY CHECKOUT if you want the lowest possible postage.

I am currently selling a series of great classic European 78 rpm orchestral recordings on all the great European labels:

As inconceivable as a Sax Concerto may sound, this is a great, ingenious piece by Ibert:

Great first Recording by the Creator and dedicatee :

Jacques Ibert's Concertino da Camera, Marcel Mule Saxophone, Philippe Gaubert conducting.

2x 12" 78 rpm records w original album and notes

Condition: EXCELLENT  rare faint scuff, needs cleaning, album great

It was in the spring of 1947 that I heard, for the first time, Marcel Mule's recording of Jacques lbert's Concertino do Camera. I was 14 years old. That hearing was a defining moment in my life. For while I had had an affection for the saxophone from my introduction to it in 1940, I had never before heard it played so artistically, and with such a marvelous tone. It was stunning. From the time I heard that recording I nurtured what seemed to be an impossible dream; to study with le Maltre. Thirteen years later, in 1960, my vision became a reality. It was an unforgettable experience that changed my life.

As a young man Mule saw the classical potential of the saxophone, and was truly a pioneer in the development of the instrument as a classical medium. Virtually without a mentor, he was the one who would lead the way for others; he had no idea how profound and widespread his influence would be.

In 1942 he was appointed Professor of Saxophone at the Paris Conservatory, a position first held during 1857?1870 by the instrument's inventor, Adolphe Sax. Many of his students went on to develop influential careers; the list includes Serge Bichon, Daniel Deffayet, Georges Gourdet, Ruben Haugen, Frederick Hemke, Guy Lacour, Jean?Marie Londeix, Michel Nouaux, and Leo Potts, Mule remained Professor at the Paris Conservatory until his retirement in 1968. His classes were notable, quite apart from the knowledge and insights he shared, due to his gentle manner, clarity, and quiet way of expressing his valuable opinions. He set an impeccable example as both artist and human being; he was a magnificent role mode!.

In 1917 he enrolled in the Ecole Normale, pursuing a course that would enable him to teach in the public schools. In 1921, after teaching for only six months, he was called to military service and became a member of the Fifth Infantry Regiment Band. Following his discharge from the army he played frequently in dance bands, and during this same period had occasion to hear many Americans playing jazz in the night clubs of Paris. This exposed him not only to a different tonal concept, but also to the use of vibrato, inspiring him to experiment with and to develop the vibrato for use in classical performance.

In 1923 he won a place in la Musique de la Garde Republicaine, France's most prestigious military band, where he formed a quartet that soon became famous, and was to continue in its fame for some 40 years. In 1936 the ensemble was known as the Paris Saxophone Quartet until 1951, when, at the urging of Georges Gourdet, it became the Marcel Mule Saxophone Quartet.

At the time of his appointment to the Conservatory in 1944, it was indeed one of the most difficult periods in the history of France, for Paris was occupied by the Germans. Mule, while serving in the French military in 1939, became a prisoner of war. It is difficult to imagine, but the artistic life in Paris continued to thrive throughout the German occupation. As Mule himself related, "Upon my release I was freed because my duty was as a medical corpsman; I returned to Paris. In that great city even during this difficult period of occupation the artistic activity kept going at the insistence of the Germans. The intensity of the artistic life and concert?going was perhaps at a higher level than during peacetime, partly because of the German dictates, but also due to the spiritual needs of the French people. I became extremely busy."

Mule was active as a soloist throughout Europe during the 1920s, and in 1935 had the distinction of being the first to appear as a soloist with orchestra, performing the Vellones Concerto with the Pasdeloup Orchestra in Paris, His long career as a soloist is perhaps most notable by his performances of Jacques Ibert's Concertino da Camera, a work that he first recorded in the 1930s for RCA Victor, Philippe Gaubert conducting.

Marcel Mule's career culminated in 1958 when he was invited by Charles Munch, Musical Director of the Boston Symphony Orchestra, to be featured soloist in a twelve concert tour of the United States. This was indeed high recognition for the classical saxophone, and for this historic occasion Mule chose the lbert Concertino, which had been composed only twenty three years earlier, and Henri Tomasi's Ballade.

While in the U. S., Mule visited the Selmer factory in Elkhart, Indiana, where he presented a recital with the collaboration of pianist Marion Hall that was for most saxophonists the highlight of his American tour. He declined many offers for future appearances in the U.S. and Canada, preferring a more tranquil life in France with family and friends.

It was also in 1958 that, in recognition of his outstanding contributions to his country, Marcel Mule was made a Chevalier de la legion d'honneur, the highest distinction awarded to a French citizen. On June 24, 2001, the day of his 100th birthday, former students and friends paid hommage to him with a visit and a commemorative collection of memorabilia.

It is a simple matter to list the accomplishments, honors, and awards that Marcel Mule earned in, his lifetime, but those facts by themselves do not depict the enduring, qualities of warmth, enthusiasm, and encouragement that were always evident in his performances and pedagogy. He had great depth of character. Le Maitre justly earned the profound respect and affection of his colleagues and students while making inestimable contributions in establishing the saxophone as a viable voice for musical expression. It remains for all those whose lives he touched (directly and indirectly) to uphold the principles for which he stood. Le Maitre est mort, mais le saxophone vive.

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