1. Life
Maurice Maréchal's life, marked by significant musical achievements and profound resilience, spanned a period of immense historical upheaval, including both World Wars.
1.1. Early life and education
Maurice Maréchal was born in Dijon, France, on October 3, 1892. His father was Jules Jacques Maréchal, an employee for Posts and Telegraphs, and his mother was Martha Justine Morier, a music-loving school principal. He began studying piano at the age of six, practicing diligently, but soon transitioned to the cello, under the tutelage of Professor Agnuyé. By the age of ten, Maréchal captivated audiences with his performances at public concerts held at the Dijon Municipal Theater.
In May 1907, he graduated from the Dijon Conservatory, earning a first prize for his performance of Davydov's Concerto No. 2, and subsequently moved to Paris. Initially, he studied with Louis Feuillard. Maréchal then entered the prestigious Paris Conservatory, where he honed his skills studying cello with Jules-Leopold Loeb, chamber music with Lefebvre, and theory and orchestra with Paul Dukas. He was greatly influenced by the renowned cellist Pablo Casals, who was also residing in Paris at the time. In 1911, at the age of 19, Maréchal graduated with a first prize from the Conservatory.
1.2. World War I
Three years after his graduation, France entered World War I, and Maréchal was drafted into military service in August 1914, serving for four years. During this period, he meticulously documented his daily experiences in his diaries, covering the period from August 1914 to February 1919. In the challenging conditions of the front lines, unable to access a proper instrument, Maréchal sought the help of two carpenter comrades. They ingeniously crafted a rudimentary wooden cello for him from an ammunition box. This unique instrument, later known as the "war cello," allowed him to perform for religious services and for officers, and notably, to play morale-boosting concerts for injured soldiers. The instrument bears the signatures of prominent Allied generals, including Ferdinand Foch, Henri Gouraud, Charles Mangin, and Philippe Pétain.
While in service, Maréchal met and befriended several other musicians, forming a small ensemble that performed for the officer staff. These musicians included Gustave Cloëz, Lucien Durosoir, André Caplet (with whom he forged a friendship due to their shared admiration for Claude Debussy), and Henri Lemoine. For his service and bravery, Maréchal was awarded the Croix de Guerre in 1916 and later became an Officer of the Legion of Honour.
1.3. Post-war career and rise to prominence
After the war, Maurice Maréchal married Lois Perkins, an American he had met in France, and they settled in Paris. In 1919, he joined the Concerts Lamoureux as a vice-principal cellist and soloist for a year, and subsequently became a soloist for the Paris Conservatory Orchestra. He also joined the New York Orchestra before embarking on a highly successful solo career that earned him overwhelming critical acclaim. His friend, pianist Émile Poillot, frequently accompanied him on extensive tours throughout his career, including trips to Spain (in 1925 and 1926), France (1928), Singapore (1933), and the Dutch Indies (1933).
Maréchal's reputation grew steadily. In 1922, he performed Brahms's Double Concerto with concertmaster Enric Casals, brother of his mentor Pablo Casals, alongside the Pablo Casals Orchestra led by Pablo Casals himself. On April 6, 1922, Maréchal, with violinist Hélène Jourdan-Morhange, gave the historic world premiere of Maurice Ravel's Sonata for Violin and Cello, a work that Ravel dedicated to him. His premiere performance of André Caplet's Épiphanie captured the attention of conductor Leopold Stokowski, leading to Maréchal's American debut in 1926 with the Philadelphia Orchestra under Stokowski's baton. This significant event propelled his activities across Europe, America, and the East, firmly establishing him as a premier French cellist. He also performed as part of a renowned trio with pianist Alfred Cortot and violinist Jacques Thibaud. His international presence included a tour to Japan on October 30, 1935, where he gave concerts in Nagoya and Tokyo, and his performance was broadcast on Japanese radio on November 3, 1935.
1.4. World War II and resistance
Maréchal's career was again interrupted by war, with a long American tour in 1939 marking his last international performance before the outbreak of World War II. When Paris was occupied by German forces in 1940, Maréchal escaped the city, first to his hometown of Dijon, then further south to Marseille. Although his family was safely evacuated to the United States, Maréchal chose to remain in France, performing in various cities across Southern France and participating in radio broadcasts.
In 1942, he was appointed professor at the Paris Conservatory, succeeding Gérard Hekking, a position he held until 1963, just a year before his death. During the occupation, Maréchal demonstrated unwavering patriotism and support for the French Resistance. He steadfastly refused all invitations to perform in Germany or participate in concerts on French radio programs that were under German control, a clear act of defiance against the occupying forces.
1.5. Later career and final years
Following World War II, Maréchal resumed his concert career, touring across Europe. However, his performance capabilities became increasingly limited due to a progressive muscular disease affecting his right arm. He gave his last formal concerts in 1950, which included a final performance with the Concerts Lamoureux Orchestra. In 1950, he was again awarded the Legion of Honour, and in 1957, he received the Cultural Order. His very last performance took place in 1963, at a memorial mass for Marc Laberte, a cello maker who had crafted one of Maréchal's instruments.
In his later years, Maréchal dedicated himself to his influential teaching role at the Paris Conservatory and served as a respected judge for international cello competitions. Notably, he was a member of the jury for the 2nd International Tchaikovsky Competition in 1962, adjudicating alongside other renowned cellists such as the jury chairman Mstislav Rostropovich, Gregor Piatigorsky, Gaspar Cassadó, Pierre Fournier, Sviatoslav Knushevitsky, and Daniil Shafran.
Maurice Maréchal died on Sunday, April 19, 1964, at his home in Paris, at the age of 72, following a kidney operation. His funeral was held on April 22, 1964, at the Cathedral of St. Benignus in his hometown of Dijon, where he was laid to rest in the Péjoces cemetery.
2. Musical contributions
Maurice Maréchal's contributions to the world of music extended beyond his performances to include a diverse repertoire, groundbreaking premieres, influential teaching, and the iconic "war cello" that symbolized his enduring spirit.
2.1. Repertoire and premieres
Maréchal was celebrated for his active engagement with contemporary compositions. He gave the world premiere of Maurice Ravel's Sonata for Violin and Cello in 1922, a work that was dedicated to him. He also premiered André Caplet's Épiphanie and performed works such as Ernest Bloch's Rhapsodies and Édouard Lalo's concertos.
A notable highlight of his career was the world premiere of Arthur Honegger's Concerto, which he performed on February 17, 1930, in Boston. For this performance, Maréchal himself composed the cadenza. Additionally, Darius Milhaud's Concerto, which premiered in Paris in 1934, was dedicated to Maréchal.
Beyond the Western classical canon, Maréchal developed a keen interest in non-Western music during his extensive international tours. He actively researched the works of Japanese composers and fostered collaborations with Asian musicians. During his visit to Japan, he notably recorded an album titled "Japanese Melody," showcasing his diverse musical interests.
2.2. Teaching career
As a highly influential professor of cello at the Paris Conservatory from 1942 to 1963, Maurice Maréchal shaped the next generation of cellists. His notable students included Christine Walevska, Alain Lambert, Jean Moves, Alain Meunier, and Takao Kurata. Maréchal's teaching philosophy emphasized artistic freedom and intuition, encouraging his students to explore their personal interpretations. He notably advised Christine Walevska to "play as you feel. Even if a passage is marked piano, if you feel like playing it forte, don't hesitate and follow your intuition. Surrender completely to the music you are playing and play with a free spirit."
Maréchal also played a significant role in fostering musical collaboration and innovation. He frequently invited Paul Tortelier, a cellist who had studied with Maréchal's own teacher Louis Feuillard, to his classes to guide students on his compositions. It was in one of these classes that Tortelier met his future wife, cellist Maud Martin. Maréchal's standing in the international music community was further solidified by his participation as a judge in prestigious international cello competitions. He notably served on the jury of the 2nd International Tchaikovsky Competition in 1962, where he adjudicated alongside an esteemed panel of cellists, including the jury chairman Mstislav Rostropovich, Gregor Piatigorsky, Gaspar Cassadó, Pierre Fournier, Sviatoslav Knushevitsky, and Daniil Shafran.
2.3. The "War Cello"
During World War I, while serving in the trenches, Maurice Maréchal's deep passion for music led to the creation of a remarkable instrument: the "war cello." As he was unable to access a proper cello in the harsh conditions of the battlefield, two of his carpenter comrades, demonstrating remarkable ingenuity and comradeship, crafted a makeshift cello for him from an ammunition box. This unique, rudimentary instrument became a powerful symbol of resilience and the enduring human spirit amidst the conflict.
Maréchal used this "war cello" to perform for various audiences in the field, including religious services, officers, and most poignantly, for injured soldiers, offering them solace and boosting their morale. The instrument's historical significance is further enhanced by the signatures of prominent Allied generals, including Ferdinand Foch, Henri Gouraud, Charles Mangin, and Philippe Pétain, inscribed upon its surface, marking it as a relic of that tumultuous era. The "war cello" was carefully preserved by the Maréchal family for decades and was eventually donated to the Museum of Instruments of the Paris Conservatory in 1969, where it remains a treasured exhibit, testifying to the power of art to transcend even the direst circumstances.
3. Personal life
Maurice Maréchal was married to Lois Perkins, an actress originally from Norwich, Connecticut, United States. The couple first met in France in 1920, where Lois was working as a volunteer canteen worker with the American Expeditionary Forces during the post-World War I period. Together, they had a daughter named Denise, and a son.
4. Assessment and legacy
Maurice Maréchal is remembered as a pioneering cellist who vigorously championed contemporary music, dedicating himself to premiering and performing works by leading composers of his time. His interpretations of pieces by Maurice Ravel, Arthur Honegger, and Darius Milhaud significantly expanded the cello repertoire and left a lasting mark on 20th-century classical music.
Beyond his technical mastery, Maréchal's life exemplifies remarkable resilience and integrity. The story of his "war cello," ingeniously crafted during World War I from an ammunition box, stands as a powerful testament to the enduring human spirit and the vital role of art in providing hope and comfort amidst conflict. This narrative, combined with his unwavering support for the French Resistance during World War II and his steadfast refusal to perform under German occupation, solidified his reputation as a patriotic artist deeply committed to his country's values and democratic ideals. His actions demonstrated a profound sense of personal and artistic integrity that resonated far beyond the concert hall.
As an influential professor at the Paris Conservatory, Maréchal imparted a philosophy of artistic freedom and intuitive expression to his students, including notable figures like Christine Walevska, thus shaping the interpretive approaches of future generations of cellists. Fellow musicians, such as Louis Feuillard, who taught Paul Tortelier, often cited Maréchal as an exemplar of warm and expressive playing, further indicating his influence on pedagogical methods and performance styles. Through his extensive concert tours, his dedicated teaching, and his active participation in international juries, Maréchal exerted a considerable and lasting influence on the global landscape of classical cello music, ensuring his enduring legacy as a significant figure in musical history.
5. Bibliography
Insights into Maurice Maréchal's life and musical world are richly provided through key literary works. His wife, Lois Perkins-Maréchal, extensively documented their life together and her husband's artistic activities in her book, L'Amérique avant les gratte-ciel (America Before the Skyscrapers), which was published in 1979 by France-Empire. Further invaluable perspectives into Maréchal's experiences, particularly during wartime, are offered in Two Musicians in the Great War. This volume, compiled in 2005 by Luc Durosoir, the son of Maréchal's friend Lucien Durosoir, contains nine of Maréchal's personal diaries alongside letters from Lucien Durosoir, providing a unique and intimate look into their lives during the First World War.