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 most significant similarity, however, is the repetitive notes that create a sense of recitative without words. Where they somehow commenting on the Moyse style? Notify me of new posts via email. Is there a joke buried in ibet lines that only Moyse would understand?
Each section is linked together with virtuosic cadenzas exploring the range of the instrument and incorporating extended techniques such as flutter tonging. There are several works throughout the history of Western Music that could be considered imitations of one another. You are commenting using your WordPress. Fill in your details below or click an icon to log in: 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.
Perhaps this was an exercise used at the Paris Conservatoire.
Bach as does many of so,o works by Felix Mendelssohn. Notify me of new comments via email. They say that imitation is the finest form of flattery. The Introductions of both works are strikingly similar — meandering lines creating fantasy-like imagery using echo effects and rapid lines leading to false climaxes. 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.
What is clear, however, is that there splo striking similarities between both of these pieces, structurally as well as and harmonically.
The faster, technically demanding A sections are enhanced by a slower, more lyrical B section. The monotone rhythm of the line could represent a monotone voice speaking musical knowledge without the use of words. Or maybe a commentary on the nature of a pifce performer who perhaps lets his thoughts bubble not once, not twice, but three times before he takes action sounds like a Taurus….
Was this swirling figure somehow evocative of Moyse? Octave displacements complete the cadenza and introduce the return of the A section at the Piu lento. What is similar, however, is that each section is connected by rhythmically intricate cadenzas.
Perhaps Ibert was trying to set the groundwork for the Image.
This fof course is all just speculation. Is there a sentence or a phrase known only to the composer that is created using these rhythmic syllables?
After brushing off the years of dust from this piece and woodshedding some of the technical passages, I began to hear a clear influence of other works written around this time period. Image features a similar cadenza linking the A section to the B section at the top of the 2 nd page, beginning with a ibery placed above a low Wolo sharp. Is this intended to be the voice of Moyse? You are commenting using your Twitter account. In the Ibert, such a figure appears at the very beginning of the piece: The use of the virtuosic cadenza sections in both works displays a clear similarity in function to connect the A section to the B and the B section to the return 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 followed by 1 beat of triples and one beat of 4 sixteenth notes:. Learn how your comment data is processed. The similarities between these swirling figures in both pieces are quite eerie. Welcome to Flute Friday Monday! Leave a Reply Cancel reply Enter your comment here 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.
Email required Address never made public. 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. 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. This pattern replays throughout the B section namely in and around the impending Animanto: 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.
Image is written in ternary ABA form with a slower, fantasy-like introduction. This site uses Akismet to reduce spam. This is followed by 1 beat of triples and one beat of 4 sixteenth notes: The same duple vs.
What is the significance of the duple vs. Both Ibert and Bozza ssolo the true musical fireworks in the cadenza sections connecting the B section to the repetition of the A section. You are commenting using your Facebook account.