Ibert Piece-Solo Flute-Leduc. Piece for Solo Flute was premiered by Marcel Moyse. Comprised of three movements with two contrasting themes. Sheet Music – £ – Jacques Ibert’s Piece pour Flute Seule (Piece for Solo Flute ). Published by Alphonse Leduc. Ibert Piece for Solo Flute. January 3, | Author: Allison Q. Kessinger | Category: N/A Short Description. Ibert.
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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. This is followed by 1 beat of triples and one beat of 4 sixteenth notes: What is clear, however, is that there are striking similarities between both of these pieces, dlute as piwce as and harmonically.
Welcome to Flute Friday Monday! The most significant similarity, however, is the repetitive notes that create a sense of recitative without words. The same duple vs. This of course is all just speculation. You are commenting using your Facebook account. 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.
Learn how your comment data is processed. Image is written in ternary ABA form with a slower, fantasy-like introduction. This is followed by 1 beat of triples and one beat of 4 sixteenth notes:. In foor Ibert, such a figure appears at the very beginning of the piece: Both Ibert and — leave the true musical fireworks in the cadenza sections connecting the Flyte section to the repetition of the A section. 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.
Finding Moyse – Ibert vs. Bozza | Rachel Taylor Geier
What is the significance of the duple vs. 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 brooding performer who perhaps lets his thoughts bubble not once, not twice, but three times before he takes action sounds like a Taurus…. 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.
Perhaps Ibert was trying to set the groundwork for the Image. Leave a Reply Cancel reply Enter your inert here There are several works throughout the history of Western Music that could be considered imitations of ppiece another. Is there a joke buried in these lines that only Moyse would understand? You are commenting using your Twitter account. Is this intended to be the voice of Moyse? Notify me of new posts via email.
This pattern replays throughout the B section namely in and around the impending Animanto: Perhaps this was an exercise used at the Paris Conservatoire.
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. Where they somehow commenting on fog Moyse style? Fill in your details below or click an icon to log in: 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 some of the technical passages, I began to hear a clear influence of other works written around this time period.
Octave displacements complete the cadenza and introduce the return of the A section at the Piu lento. Is there a sentence or a phrase known only to the composer that is created using these rhythmic syllables? The Introductions of both piefe are strikingly similar — meandering lines creating fantasy-like imagery using echo effects and rapid lines leading to false climaxes. Repetitive Recitative The Introductions of both works are strikingly similar — meandering lines creating fantasy-like imagery using echo effects and rapid lines leading to igert climaxes.
What is similar, however, is that each section is connected by rhythmically intricate cadenzas.
Ibert Piece for Solo Flute
The faster, technically demanding A sections are enhanced by a slower, more lyrical B section. Notify me of new comments via email.
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 piecf the work. Email required Address never made public. Was this swirling figure somehow evocative of Moyse? In the Ibert, we see grouping of sextuplets ibertt by septuplets followed by eight 32 nd notes and a grouping of nine 32 nd notes.
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Jacques Ibert – Piece pour Flute Seule
Each section is linked together with virtuosic cadenzas exploring the range of the instrument and incorporating extended techniques such as flutter tonging.
They say that imitation is the finest form of flattery.
Bach as does many of the works by Felix Mendelssohn. Ibett similarities between these swirling figures in both pieces are quite eerie. You are commenting using your WordPress.