The Ballad of Reading Gaol brought Ibert distinction and recognition, but it is primarily for his ballets and piano pieces that he has attained the important position he now holds in modern French music. Here, a remarkably individual style asserts itself--a style in which a malicious, often sardonic, humor rears its head. Here a new type of expressiveness and musical effectiveness is reached, which seems to be the product of Ibert's pen alone. Finally, we find here a style often brilliant, often touched with soft shades of beauty, but always enormously powerful and effective."In whatever Jacques Ibert presents to his hearers," writes André George, "there is clarity and good quality, an impression of work well done. . . . There is always about his music, as about his person, an air of good fellowship and delicate amiability that shows the artist of breeding. He pleases without trifling. Generously gifted as he is in many directions, his musical temperament expands with singular felicity in the orchestra where he revels in the subtlest management of exquisite sound values. . . . His music is always found to reflect his apt sense of color and his gift for contriving these iridescent effects which are so striking a feature of his work."Principal works by Jacques Ibert:
'And there till Christ calls
forth the dead,
In silence let him lie,
. . .
The man had killed the thing he
And so he had to die.'"
|ORCHESTRA: Ballad of Reading Gaol; Les Escales; Concerto for Flute and Orchestra; Noël en Picardie; Féerique; Concerto for Violoncello.|
|BALLET: Les Rencontres; Angélique; Diane de Poitiers.|
|CHORAL: Chant de Folie; Le Poête et la Fée.|
|CHAMBER MUSIC: T wo Movements for Wind Quartet; Sonata for Flute and Piano; Sonata for Violin and Piano.|
|Pieces for piano, etc.|
About Jacques Ibert:
Chesterian 8:73December 1926; Revue Musicale 10:8July 1929.
Important recordings of music by Jacques Ibert:
COLUMBIA: Les Escales (Staram).
HIS MASTER'S VOICE: Histoires; Four Songs from Don Quichotte.
VICTOR: Le Petit Ane Blanc (Moiseiwitsch).
PAUL MARIE THÉODORE VINCENT D'INDY, who was one of the undisputed masters of modern French music, was born in Paris on March 27, 1851. His father wished him to become a lawyer and, altho Vincent yielded to his wish by undertaking legal studies, he also satisfied his own deep cravings by studying harmony and composition under Lavignac during leisure hours. The Franco-Prussian War interrupted his studies, and D'Indy served as a volunteer in the 105th Regiment, taking active part in the defense of Paris, notably in the battle of Montretout. The war over, D'Indy returned to Paris determined to give up all thoughts of law, which he detested. Against the wishes and commands of his parents, he became a professional musician. He entered the orchestra of the Association Artistique des Concerts du Châtelet, which was conducted by Colonne, as kettledrummer, and in a short while he rose to the position of chorusmaster, which he held with prestige for five years.
1872 was an important year in the life of Vincent D'Indy. In that year he was introduced to César Franck, the great composer, who at the time was professor of the organ at the Conservatory. Somewhat diffidently, D'Indy showed Franck a quartet he had composed, and Franck was so enthusiastic over its inherent talent that he urged the young man to enter the Conservatory and complete his studies. The method of instruction meted out at the Conservatory soon proved to be so irritating to young D'Indy, that he decided he could remain there no longer. He urged