Only three works here are currently in the catalogue, namely Escales, the Flute Concerto and Paris, and this enterprising disc deserves a warm welcome. A Prix de Rome winner, Ibert has never had his due as a serious composer, even in France, although there at least he was much in demand for stage and film scores. This is a pity, for his music is superbly crafted and of a life affirming quality rare in our century, even more positive (though no less witty) than that of Poulenc.Each of these pieces is stylish and finely scored; furthermore, Charles Dutoit and his superb Montreal orchestra perform with skill and panache (as does Timothy Hutchins in the Concerto), while the recording, made in their favourite location of St Eustache's Church, is all that one could ask, encompassing every delicate texture or exciting burst of sound. Thus Escales (1922) has rarely sounded so deliciously Mediterranean and North African.
But the real treasure here is the unfamiliar music, which takes us up to the composer's unfinished Second Symphony 40 years later, written for the Boston Symphony and existing only as a single movement, posthumously entitled Bostoniana. As its names suggests, the Louisville Concerto (1953) was also written for an American orchestra, but Paris (1932) is a six-movement symphonic suite that the composer made from his music to a play by Jules Romains with the curious name of Donogoo-Tonka. Finally, Hommage a Mozart (not a pastiche) was commissioned as a tribute for the bicentenary of Mozart's birth. What more need I say? Recommended to all save gloom merchants.- Christopher Headington, Gramophone 6/1994Works on This Recording. A cookie is an alphanumeric identifier that is transferred to your computer's hard drive through your web browser. A cookie enables our system to recognize your browser and allows us to keep your session intact on ArkivMusic.com.
A career highlight was a performance of Penderecki's flute concerto with the Oregon Bach Festival Orchestra under the baton of the composer in 2004. As a chamber musician and recitalist, she has performed throughout Europe and North America in such venues as London's Wigmore Hall, Barge Music in New York, the Louvre, Paris and the Schubertsaal. Ibert Flute Concerto Program Notes Beethoven Kreutzer. Chailly, a spetacular production of Shostakovich's ballet The Golden. Age from the Bolshoi, and a weird video of music of John Cage. ACCENTUS / BEL AIR / MODE)Percussionist. Christoph Sietzen plays a program of contemporary music, new viola.
'In my concertos I have allotted the instruments the types of themes which correspond to their particular tone qualities and respect their expressive possibilities.' This statement of 's certainly applies to his Flute Concerto, written over the years 1932-1933. The work was dedicated to, who was the featured soloist in its premiere performance, under 's direction, in Paris on February 25, 1934. Both Moyse and Gaubert, incidentally, were students of the great French flutist and teacher, for whom many of the greatest French flute works were written.'
Beethoven Violin Concerto Program Notes
S Concerto was dedicated to Moyse, who didn't play it often. In fact, the work lay neglected for many years due to its perceived difficulty. The opening Allegro is based on a perky first theme with a neoclassical shape, and a slower, more languorous second theme. Throughout, the flute is kept constantly busy. A sweet, lyrical Andante follows, the flute's long-breathed song accompanied by gentle strings. The longest of the work's three movements is the last, a jazzy Allegro scherzando with a virtuoso solo cadenza; this Finale is such a challenge for flutists that it became a test piece at the Paris Conservatoire.
Parts/Movements. Allegro. Andante.
Jacques Ibert Flute Concerto
Allegro scherzandoAppears On.