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.
|Published (Last):||14 September 2004|
|PDF File Size:||2.44 Mb|
|ePub File Size:||5.6 Mb|
|Price:||Free* [*Free Regsitration Required]|
Learn how your comment data is processed. This site uses Akismet to reduce spam. You are commenting using your Facebook account.
Both Ibert and Bozza leave the true musical fireworks in the cadenza sections connecting the B section to the repetition of the A section. The last time I played this piece in public was countless years ago at a studio recital as a Freshmen at DePauw University, long oiece I tackled the Ibert and Nielsen Concerti and other seminal works from the standard contemporary flute canon. Perhaps Ibert was — to set the groundwork for the Image.
Rachel Taylor Geier
You are commenting using your Twitter account. 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 Introductions of both works are strikingly similar — meandering lines creating fantasy-like imagery using echo effects and rapid lines leading to false climaxes.
There are several works throughout the history of Western Music that could be considered imitations of one another. Each section is linked together with virtuosic cadenzas exploring the range of the instrument and incorporating extended techniques such as flutter tonging.
Notify me of new comments via email.
Is this intended to be the voice of Moyse? The similarities between these swirling figures in both pieces are quite eerie. Was this swirling figure somehow evocative of Moyse?
They piecw that imitation is the finest form of flattery.
The same duple vs. Email required Address never made public.
The faster, technically demanding Piefe sections are enhanced by a slower, more lyrical B section. Is there a sentence or a phrase known only to the composer that is created using these rhythmic syllables? Welcome to Flute Friday Monday! Bach as does many of the works by Felix Mendelssohn.
Octave displacements complete the cadenza and introduce the return of the A section at the Piu lento. Perhaps this was an exercise used at the Paris Conservatoire. Or maybe a commentary on the nature of fluhe brooding performer who perhaps lets his thoughts bubble not once, not twice, but three times before he takes action sounds like a Taurus…. Is there a joke buried in these lines that only Moyse would understand?
Finding Moyse – Ibert vs. Bozza | Rachel Taylor Geier
This is followed ibdrt 1 beat of triples and one beat of 4 sixteenth notes: 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. This is followed by 1 beat of triples and one beat of 4 sixteenth notes:. You are commenting using your WordPress. Notify me of new posts via email. In the Ibert, such a figure appears at the very beginning of the piece: 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 fllute works written around this time period.
The monotone rhythm of the line could represent a monotone voice speaking musical knowledge without pice use of words. This pattern replays throughout the B section namely in and around the impending Animanto: 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. Repetitive Recitative The Introductions of both works are strikingly similar — meandering lines creating fantasy-like imagery using echo effects and rapid lines leading clute false climaxes.
Leave a Reply Cancel reply Enter your comment here Fltue 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.
This of course is all just speculation. Fill in your details below or click an icon to log in: The most significant similarity, however, fpr the repetitive notes that create a sense of recitative without words. 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.
In the Ibert, we see grouping of sextuplets followed by septuplets followed flutte eight 32 nd notes and a grouping of nine 32 nd notes. What is clear, however, is that there are striking similarities between both of these pieces, structurally as well as and harmonically. Where they somehow commenting on the Moyse style? It is difficult to say which piece influenced the other aolo to discrepancies among scholars regarding publication dates yet both pieces were written for Marcel Moyse.
What is the significance of the duple vs. Image is written in ternary ABA form with a slower, fantasy-like introduction. What is similar, however, is that each section is connected by rhythmically intricate cadenzas.