Professional Documents
Culture Documents
Wye-Moyse On 24 Peq. Est. Melodicos
Wye-Moyse On 24 Peq. Est. Melodicos
Marcel Moyse
On my first visit to the legendary Marcel Moyse master classes in Boswil,
Switzerland in 1965, I listened for several days to players of all kinds
playing repertoire. One afternoon, Moyse said, ‘Nobody is playing studies,
only pieces’. After a long silence, he pointed to me and said ‘My Twenty-
Four studies. You. Tonight!’
At the evening class I started off with number two. After a lesson on it, he
said ‘Next!’. This continued until, after nearly 2 hours, I was playing
number 24. When I had finished it, he said, ‘Now the difficult one!’
In the 1920’s Moyse often deputised for Philippe Gaubert at the Paris
Conservatoire, who was occupied in composing and conducting as well as
performing on the flute. Moyse found that many students failed to
understand the fundamentals of music making and phrasing:- The
dominance of the first beat of the bar; the meaning of the slur; the way to
play syncopation; clarity of articulation; the meaning of the appoggiatura.
He wrote these small studies both to illustrate those points and to help the
students to overcome any difficulties. It is interesting to remember that
they were not written for beginners but for Conservatoire students.
I have used these studies constantly since about 1961 in my teaching and
never tired of them.
The letters CPE have been bracketed. They refer to the teaching of CPE
Bach, (His book:- The Interpretation on Music) said by Mozart to be the
‘…greatest teacher we have ever had. Anyone who doesn’t believe that is
a ****!. Moyse was unaware of CPE’s book but taught his principles,
seemingly by instinct. My friends and I often refer to CPE as ‘Kipper!’
Most of the 16 bar studies follow the common phrasing pattern of 2 bars,
2 bars and 4 bars repeated.