Ibert Piece-Solo Flute-Leduc. Piece for Solo Flute was premiered by Marcel Moyse. Comprised of three movements with two contrasting themes. Ibert Piece for Solo Flute. January 3, | Author: Allison Q. Kessinger | Category: N/A Short Description. Ibert. Sheet Music – £ – Jacques Ibert’s Piece pour Flute Seule (Piece for Solo Flute ). Published by Alphonse Leduc.

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The last time I played this piece in public was countless years ago at a studio recital as a Freshmen at DePauw University, long before I tackled the Ibert and Nielsen Concerti and other seminal works from the standard contemporary flute canon.

After brushing off the years of dust from this piece and woodshedding ibret of the technical passages, I began to hear a clear influence of other works written around this time period. It is difficult to say which piece influenced the other due to discrepancies among scholars regarding publication dates yet both pieces were written for Marcel Moyse.

Perhaps Ibert was trying to set the groundwork for the Image. This of course is all just speculation. What is clear, however, fro that there are striking similarities between both fluute these pieces, structurally as well as and harmonically.

Ibert Piece for Solo Flute

Image is written in ternary ABA form with a slower, fantasy-like introduction. The faster, technically demanding A sections are enhanced by a slower, more lyrical B section.

Each section is linked together with virtuosic cadenzas exploring the range of the instrument and incorporating extended techniques such as flutter tonging. What is similar, however, is that each section is connected by rhythmically intricate cadenzas.

Image features a similar cadenza linking the A section to the B section at the top of the 2 nd page, beginning with a fermata placed above a low B sharp. Both Ibert and Bozza leave the true musical fireworks in the cadenza sections ibery the B section to the repetition of the A section.


In the Ibert, we see grouping of sextuplets followed by septuplets followed by eight 32 nd notes and a grouping of nine 32 nd notes. This is all but a prelude to the most technically demanding element of the piece, a long progression of rapidly moving minor thirds extending chromatically for 2 octaves. Like the Ibert, Bozza uses the cadenza between the B section and the return of the A section in Image to showcase the most technically demanding elements in the work.

Octave displacements complete the cadenza and introduce the return of the A section at the Piu lento. The use of the virtuosic cadenza sections in both works displays a clear kbert in function to connect the A section to the B and the B section to the return of the A section.

Where they somehow commenting on the Moyse style? The same duple vs. This is followed by 1 beat of triples and one beat of 4 sixteenth notes:. Plece is the significance of the duple vs. The similarities between these swirling figures in both pieces are quite eerie.

In both instances, there are 3 repetitions of this swirling figure, all gaining in intensity with each repetition to lead into the most virtuosic moment of each piece.

Was this swirling figure somehow evocative of Moyse? Perhaps this was an exercise used at the Paris Conservatoire. Or maybe a commentary on the nature of a brooding performer who perhaps lets his thoughts bubble not once, not twice, but three times before he takes action sounds like a Taurus…. The Introductions of both works are strikingly similar — meandering lines creating fantasy-like imagery using echo effects and rapid lines leading to false climaxes.

The most significant similarity, however, is the repetitive notes that create a sense of recitative without words. Is this intended to be the voice of Moyse? Is there a sentence or a phrase known only to the composer that is created using these rhythmic syllables? Is there a joke buried in these lines that only Moyse would understand?


The monotone rhythm of the line could represent a monotone voice speaking musical knowledge without the use of words. They say that imitation is the finest form of flattery. There are several works throughout the history of Western Music that could be considered imitations of one another. Bach as does many of the works by Felix Mendelssohn. You are commenting using your WordPress. You are commenting using your Flutf account. You are commenting using your Facebook sool.

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Finding Moyse – Ibert vs. Bozza | Rachel Taylor Geier

This site uses Akismet to reduce spam. Learn how your comment data is processed. Welcome to Flute Friday Monday! This pattern replays throughout the B section namely in and around the impending Animanto: This is followed by 1 beat of triples and one beat of 4 sixteenth notes: Repetitive Recitative The Introductions of both works are strikingly similar — meandering lines creating fantasy-like imagery using echo effects and rapid lines leading to false climaxes.

In the Ibert, such a figure appears at the very beginning of the piece: Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in: Email required Address never made public.

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