Paul Paray led the Lamoureux Orchestra, in Paris. Pierre Monteux conducted. He was born in Paris during the Belle Epoque and died there seventy-two years later, having weathered two world wars. His mother had studied piano at the Paris Conservatory and encouraged his musical education as a child.
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But since is the th anniversary of his birth, this is a good time for Discoveries from the Fleisher Collection to assess his music. What stands out most of all about Ibert, though, is that he is a remarkably resourceful composer. His efficiently scored works are always beautiful, and more often than not have a theatrical flair. Critics have often called Jacques Ibert eclectic, but that may have more to do with their not being able to pigeon-hole him.
He knew what he was doing from the beginning. Even through these years, however, his compositional gifts were percolating. Wilde, who had been imprisoned at Reading, witnessed the hanging of a man who had murdered his wife. Another success immediately followed it. He salutes Rome and Palermo in the first movement, the Tunisian cities of Tunis and Nafta in the second, and gives over the final movement to the Spanish port of Valencia.
Ibert composed Divertissement as incidental music for a theatrical comedy, but within a year produced a concert version. It and Escales are his two most popular orchestral works, and along with Reading Gaol made a name for Ibert, opened doors to publishers, and eventually led to the directorship of the French Academy in Rome, where he spent much of his life as an ambassador in Italy for all things French. He composed operas, piano music, film music even for Gene Kelly and Orson Welles , and much else.
His life was not without setback, however. He ended up in Switzerland, but returned to France—and his beloved Italy—when peace returned to Europe. View the discussion thread. Or is it even a symphony? Richard Strauss calls his own minute work An Alpine Symphony , and the composer ought to have some authority here, but he referred to his earlier Domestic Symphony as a tone poem.
In 22 continuous movements, not four separate ones, An Alpine Symphony certainly sounds like a symphonic poem, and not a symphony. He did write two symphonies, No. When he was in a position to record his own music, he never bothered with them.
The tone poem, with its literary and philosophical underpinnings, each one with a form unique to itself, became his signature. They all poured out in less than 10 years. Strauss created operas and many, many other works during this time, but by he was able to work on this, the final version of the Alpine Symphony.
It depicts an hour excursion, from night through sunrise, forests, meadows, pastures, a wrong turn, a glacier, the summit, a storm, a hurried descent, sunset, and night again.
He calls for a gigantic ensemble about twice the size needed for even large orchestral works. Strauss, recognized by all as the consummate orchestrator among his colleagues past, present, and future, joked that he finally learned how to orchestrate with this piece. He would live to , but this would be the last purely symphonic work he ever composed. He was already a gifted raconteur. Historian John Cooper is an authority on Wilde in America.
Related Programs:. Classical Through the Night on HD Share Tweet Email. Jacques Ibert. Oscar Wilde. The Ballad of Reading Gaol.
Escales ('Ports of Call')
It is very unlikely that this work is public domain in the EU, or in any country where the copyright term is life-plus years. However, it is in the public domain in Canada where IMSLP is hosted and other countries where the term is life-plus years such as China, Japan, Korea and many others worldwide. As this work was first published before or failed to meet notice or renewal requirements to secure statutory copyright with no "restoration" under the GATT amendments, it is very likely to be public domain in the USA as well. Escales Ibert, Jacques It is very unlikely that this work is public domain in the EU, or in any country where the copyright term is life-plus years.
But since is the th anniversary of his birth, this is a good time for Discoveries from the Fleisher Collection to assess his music. What stands out most of all about Ibert, though, is that he is a remarkably resourceful composer. His efficiently scored works are always beautiful, and more often than not have a theatrical flair. Critics have often called Jacques Ibert eclectic, but that may have more to do with their not being able to pigeon-hole him. He knew what he was doing from the beginning.