Flute Concerto : Work information
- Jacques (François Antoine) Ibert ( Music, Images,)
- Performed by
- Eugenia Zukerman (Flute), Manhattan Chamber Orchestra, Richard Auldon Clark (Conductor)
- Work name
- Flute Concerto
- Work number
- 1934-01-01 02:00:00
- Newport Classic
- Lawrence J. Kraman
- Stephen J. Epstein
- Recording date
Jacques (François Antoine) Ibert
Jacques Ibert was born in Paris, and his studies at the Conservatoire there were markedly successful. In 1919, after his conscription during the First World War, he received the Prix de Rome for his cantata Le poète et la fèe. A strict composer, he allowed himself few liberties while writing, a process seemingly at odds with the frequently carefree mood of his works. The variety of influences and media Ibert adopted make it difficult to sum up his work, although a leaning towards drama (if not always the dramatic) is a consistent theme - like Richard Wagner Ibert believed in working towards an amalgamation of many artforms, but unlike Wagner he did not envisage this necessarily culminating in works of great profundity. His works range from Le roi d'Yvetot (1928), an opéra-comique, to the bleak orchestral work La ballade de la geôle de Reading (1920), based on Oscar Wilde's poem.
Ibert travelled widely before his appointment as head of the Académie de France in Rome in 1937. He held the post until 1960 when he returned to Paris, dying in 1962.
Composed for Marcel moyse in 1933, this work was premiered at a concert of the Société des Concerts du Conservatoire on February 25, 1934. Although the work had been performed several times in the US in a reduced flute-and-piano version, it did not receive its American premiere until 1948, in a performance by Julius Baker and the CBS Symphony.
In three movements, the concerto features paired winds, one trumpet, timpani and strings. The sonorities are impressionistic, with colours, moods and techniques reflecting Ibert's neoclassical bent.
"In my concertos," Ibert said, "I gave my instruments themes that correspond with thier sonorous qualities and respected their expressive possibilities." This philosophy is very much in evidence here.