Henri Brod (1799-1839) - Wind Quintet in C No.3, Op.2
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Composer: Henri Brod (1799-1839)
Work: Wind Quintet in C No.3, Op.2
Performers: Dаrаjа Ensemble
Painting: Philibert Louis Debucourt (1755-1832) - La promenade publique
Image in high resolution: https://flic.kr/p/2iMiU5z
Further info: https://imslp.org/wiki/Category:Brod%2C_Henri
Listen free: https://open.spotify.com/album/1pZwMfXu5AZaOiUnUmDaK7
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Henri Brod
(Paris, 13 June 1799 - Paris, 6 April 1839)
French oboist, wind instrument maker and composer. He studied at the Paris Conservatoire from 1812 under Gustave Vogt, who shared Brod’s Protestant Alsatian background. Having received the premier prix in 1818, the following year Brod was appointed second oboist in the Opéra orchestra alongside his teacher. During Vogt’s absences in 1826 and 1828 Brod filled Vogt’s place as first oboist. The abilities of the two players were often compared; Fétis found Brod’s tone sweeter than that of his teacher. A statuette by Dantan jeune (Paris, Musée Carnavalet) caricatures Brod playing a musette. He died just 3 months before he would have been eligible for a pension to support his wife and young son. His widow petitioned repeatedly for support from the administration of both the Conservatoire and Opéra. Oboes by Brod, some made in collaboration with his brother Jean-Godefroy (b ?1801) were held in high regard. Brod had acquired tools and plans from Christophe Delusse (fl.1781-1789), and his earliest oboes were modelled on those of Delusse. Brod quickly gained a reputation for innovation and did much to influence the oboe’s development. He was probably the first oboe maker in France to add octave keys, to extend the range to b (and on some instruments to a) and to design a pierced plate to half close the first hole. Brod promoted a straight english horn (cor anglais moderne), conceived an hautbois baritone, pitched an octave below the treble oboe, and made a petit hautbois, pitched above the treble oboe. It was reported that he was developing an oboe with Boehm keywork. Other inventions include a gouging machine used in oboe and bassoon reed making. His two-part Méthode pour le hautbois (Paris, 1825–35), includes important technical information and explains the rationale for these innovations. In addition to pièces de salon, romances and operatic fantasies for oboe, including Variations on Lucia di Lammermoor and Siège de Corinthe, Brod composed an opera on Quinault’s libretto Thesée which was rejected by the audition panel of the Opéra in 1826. The only known performance of excerpts of this score (now lost) took place in 1837 under the direction of F.-A. Habeneck. A definitive list of Brod’s compositions has yet to be established. #ClassicalMusic