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Marcel Moyse (May 17, 1889 in St. Amour, France – November 1, 1984 in Brattleboro, Vermont, United States) was a French flutist. Moyse studied at the Paris Conservatory and was a student of Philippe Gaubert, Adolphe Hennebains, and Paul Taffanel; all of whom were flute virtuosos in their time.〔McCutchan, pg. 49〕 Moyse played principal flute in various Paris orchestras and appeared widely as a soloist and made many recordings. His trademark tone was clear, flexible, penetrating, and controlled by a fast vibrato. This was a characteristic of the ‘French style’ of flute playing that was to influence the modern standard for flutists worldwide.〔Dorgeuille, pg. 104〕 Moyse taught on the faculty of the Conservatoire de musique de Québec à Montréal, and was a founder of the Marlboro Music School and festival. Moyse strove to teach his students “not how to play the flute, but to make music”. Among his students were James Galway, Paula Robison, Trevor Wye, William Bennet Carol Wincenc, Bernard Goldberg, Robert Aitken, September Payne and Julia Bogorad. 〔Marcel Moyse Society〕 Moyse authored many flute studies, including ''De la Sonorite'' and ''Tone Development Through Interpretation'', published by McGinnis & Marx.〔Marcel Moyse Society〕 ==Paris Conservatoire== Marcel Moyse moved to Paris in 1904 to live with his uncle, Joseph Moyse. By living with his uncle, Marcel obsereved firsthand the life of the average professional musician. Joseph played in the cello section of the Lamourreux Orchestra, or Concerts Lamoureux, a highly respected musical institution founded in 1881 by Charles Lamoureux. Marcel depended on his uncle to interpret Parisian life and to guide him in determining his place in it. Joseph established a plan for his nephew, designed to bring him socially and intellectually up to speed. In the first month Marcel could do what he pleased: attend concerts, visit museums, stroll the streets. Marcel had told his uncle that he wanted to be a sculptor, so Joseph enrolled him in a drawing class at the Ecole Boule, however Joseph also intended to find him a flute teacher.〔McCutchan, pg. 47〕 With the help of Alfred Moyse, Joseph purchased a new flute for Marcel and immediately assigned him several daily practice sessions of forty-five minutes each, interspersed with fifteen minutes of reading from his extensive personal library.〔McCutchan, pg. 46〕 Along with this extensive study on flute, Joseph took Marcel to rehearsals and concerts in order to give Marcel an insight of what was possible for the future. In May 1904, Joseph presented Marcel to Adolphe Hennebains. Hennebains remarked favorably on the boy's abilities and accepted him as a pupil, a decision that brought Marcel one giant step closer to the Conservatoire.〔McCutchan, pg. 46〕 After just a few months of studying with Hennebains, Moyse made swift progress with him and was invited to audit Paul Taffanel's class at the Paris Conservatoire.〔McCutchan, pg. 55〕 Taffanel was looked upon highly and although by the time Moyse had him as a teacher, Taffanel was sixty and retired from playing, Moyse's time with Taffanel was invaluable.〔McCutchan, pg. 56〕 Moyse immediately grasped the standard repertoire required for admittance into the Conservatoire. Under the guidance of Hennebains and with the approval of Taffnel, Moyse auditioned for and won a place in the flute class at the Paris Conservatoire in the fall of 1905.〔McCutchan, pg. 57〕 In 1906 with only one year of Conservatoire training, Moyse performed the newly written exam piece, ''Nocturne et Allegro scherzando'' by Philippe Gaubert. If Moyse was nervous, he did not betray it in his performance, with the stretching melody of the nocturne and the skipping, whimisical turns of the scherzo were perfect vehicles for his expressive tone and nimble technique. At the age of seventeen, Moyse accepted a first prize and was deemed ready for a professional career.〔McCutchan, pg. 67〕 Moyse had become one of a handful of flutists in the history of the Conservatoire to qualify for a first prize in one year, but his playing lacked polish, and he knew it. Soon after leaving the school he approached Hennebains for more lessons, but his former teacher turned him down, saying that eighteen-year-old was already an accomplished artist. So Moyse went to Philippe Gaubert, who then played with the Opéra and the Société des Concerts. Gaubert, who had been impressed by Moyse's performance of his concours solo, was pleased to accept him as a private student, every Friday at five o'clock in the evening.〔McCutchan, pg. 72〕 Moyse remained with Gaubert for about four years. "Gaubert was an instinctive musician," he said. "He played as naturally as someone walks, stepping out with his left foot, then his right, avoiding all obstacles. The musical instince of Gaubert was like an instinct of the body-music without thinking about it."〔McCutchan, pg. 74〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marcel Moyse」の詳細全文を読む スポンサード リンク
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