Performing the 'Group of the Six'

Federico Forla

Name: Federico Forla Main Subject: Oboe Research supervisor: Wouter Verschuren Title of Research: Performing the 'Group of the Six' Research Question: Which are the common aesthetic aspects found in the Group of the Six? How can one exemplify it in the performance? Summary of Results: A new French style starts to develop at the beginning of twentieth-century. This style will flourish and develop trough all the century. We can find in the 'Group of the Six' a first controversial example of this new aesthetic. In my research I used historical sources, writings of the composers and writers of the time, together with detailed analysis of representative compositions. Merging all this information, I was able to create a clearer picture of the new French aesthetic of the 'Group of the Six'. Performance practice is a central aspect: specific examples of the aesthetic's reflection in the scores are intended as a suggestion for the execution. A case-study at the end of the research shows a practical example of how the collected information can be used and related within a specific piece. Biography: Since the beginning of my musical studies I got really interested in chamber music. It was for me the most direct, simple and democratic way to make music together. In the following years this interest persisted, giving me the urge to explore and experiment new repertoire. My initial period at the Royal Conservatoire was characterized by my first serious approach to French chamber music of twentieth-century. My research was inspired by the issues, doubts and reflections of that period.

CHAPTER 5

Conclusions

Awareness is an essential characteristic for musicians, especially in the performance.

The reader, trough the information enclosed in this research, can contextualize in a wider and more precise scenery the works of the composers previously discussed.

The collected acquaintance does not always lead to unconventional or innovative way of interpretation. Nevertheless, the performer should use this consciousness to present these works under a different light. Historical contextualization, aesthetic principles and compositional techniques allow us to enrich the mere music notation, and bring us closer to the musical idea of the composer. This informed approach to the performance is essential to achieve a faithful, varied and convincing execution.

Further studies could be done about the instruments itself, focusing on the sound and timbre that featured them at the time. This would help in creating an even more precise idea about what Poulenc, Auric and Milhaud tried to express with their music.

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