Early years[ edit ] Ibert was born in Paris. From the age of four, he began studying music, first learning the violin and then the piano. After leaving school, he earned a living as a private teacher, as an accompanist, and as a cinema pianist. He also started composing songs, sometimes under the pen name William Berty. After the war he married Rosette Veber, daughter of the painter Jean Veber. The two works made Ibert an early reputation both at home and abroad.
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He left behind numerous works in nearly every contemporary musical genre Rapp, When preparing to perform a work, a musician should research the composer and his or her compositional style.
Having done this, I am optimistic that I have made a recording that comes as close as possible to realizing his intentions. Here is some of what I have learned. Ibert was a composer who could be distinguished as independent. This character trait appeared at a young age, when he first studied piano. He was much more interested in improvisation than in practicing endless scales, and would play wrong chords just to experiment.
On the belief that composition was his calling, he attended the Paris Conservatoire until he was drafted in to serve in World War I, where he initially was a nurse and then as a naval officer stationed at Dunkirk. After the war, Ibert never joined any of the modern musical movements that were popular during his time. Because of his opposition to the German occupation of France, the Vichy Government banned his music in and he was forced to leave Paris and take refuge in Antibes, southern France.
After the liberation of Paris in , Charles De Gaulle summoned him. In , he was appointed the director of the Assembly of National Lyric Theaters. Unfortunately, he had to resign after a year due to ill health Timlin, Ibert sought to develop a personal style that absorbed what was useful from the past but that was also individual.
His music embraces a wide variety of genres and moods. His music can be lyrical and inspired, festive and lively, or descriptive and evocative, often with gentle humor. The harmonies that Ibert uses relate closely to those we associate with the Classical tradition. Like his other contemporaries such as Poulenc and Milhaud, Ibert attempted to revive the French virtues of clean-cut melody and clear tonality.
Perhaps his inspiration for this revival was a reflection of his political views against German occupation in addition to a musical choice Laederich, The first theme, the A section, is a slow lyrical melody while the second theme, the B section, contains a faster, wittier theme.
This use of two contrasting themes is traditional. When the A section returns, the lyrical theme is brought back with ornamentation.
The use of ornamentation on the return of the theme and the use of recurring motives was a common performance practice. Ibert also gave the work an improvisatory feel that was characteristic of past musical eras Timlin, When a performer begins to learn a new piece, it is vital to research the composer and his compositional style in order to develop an interpretation of the piece.
Without this information, a musician might perform the piece in an uninformed fashion. Instead of using a thick, heavy tone, I used a lighter sound that would have been common in the Classical and Baroque eras. I made sure to make a distinction between the two contrasting sections of the work and to understand the harmonic structure to make musical decisions. Armed with information about the composer and his aesthetic viewpoints, I was able to cultivate a style that Ibert might have appreciated.
Pièce (Ibert, Jacques)
Meztik Bach as does many of the works by Felix Mendelssohn. What is similar, however, is that each section is connected by rhythmically intricate cadenzas. In both fulte, 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. This site uses Akismet to reduce spam. Finding Moyse — Ibert vs.
IBERT – PIECE FOR FLUTE SOLO PDF