Ibert
Moderators: Classitar, pied_piper, Phineas
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
lol. I am working on it at the moment, and I understand exactly what you mean. Here are some tips that my teacher Prof./Dr./Ms. Kean [Kris to you because of BUTI], gave me. If you get anything helpful from your teacher, maybe you can send some tips my way too. 
Here are her tips on keeping the piece "moving" and lining up well with a future accomanist.
The 5th measure [where the flute comes in in Mvt. 1] is structured exactly [and intentionally so] like the opening measure of the JS Bach Partita in A minor [Allemande Mvt].
Phrase through the middle and lead toward the down beats.
When you get to the syncopation in m. 8, put the weight of the beat on the high G [downbeat], and pull away [dynamic wise] as you go into the F that is tied into beat 2. Seven measures after rehearsal marking 2, the flute comes in on an Ab. Emphasize the Ab, and pull away towards the Gb [like earlier in m 8]. Hairpin your dynamics as you lead to and from the Cb in the next measure. She recommended that you do this every time when you see this rythmic figure.
At Rehearsal #4, put the weight on the eighth beat.
Phrase through the middle of the runs.
She has told me to hairpin my dynamics on the third page, and it seems to make sense.
Other than the fact that the chromatic 3rds at #12 are a real pain to play, you just have to start slow with a metronome and build your way up.
One thing that I have found to be helpful, is to mark where the metronome hits on the 1st and 4th pages when it goes into the 3/8 then into the 2/4. If you have it marked, you can keep your metronome running the whole time, and it really helps with phrasing and not rushing.
Lastly:
Practice, Practice, Practice!
I hope this helps. I am sure others will have things they have to say, and they could quite likely be entirely different from what I just said.
Here are her tips on keeping the piece "moving" and lining up well with a future accomanist.
The 5th measure [where the flute comes in in Mvt. 1] is structured exactly [and intentionally so] like the opening measure of the JS Bach Partita in A minor [Allemande Mvt].
Phrase through the middle and lead toward the down beats.
When you get to the syncopation in m. 8, put the weight of the beat on the high G [downbeat], and pull away [dynamic wise] as you go into the F that is tied into beat 2. Seven measures after rehearsal marking 2, the flute comes in on an Ab. Emphasize the Ab, and pull away towards the Gb [like earlier in m 8]. Hairpin your dynamics as you lead to and from the Cb in the next measure. She recommended that you do this every time when you see this rythmic figure.
At Rehearsal #4, put the weight on the eighth beat.
Phrase through the middle of the runs.
She has told me to hairpin my dynamics on the third page, and it seems to make sense.
Other than the fact that the chromatic 3rds at #12 are a real pain to play, you just have to start slow with a metronome and build your way up.
One thing that I have found to be helpful, is to mark where the metronome hits on the 1st and 4th pages when it goes into the 3/8 then into the 2/4. If you have it marked, you can keep your metronome running the whole time, and it really helps with phrasing and not rushing.
Lastly:
Practice, Practice, Practice!
I hope this helps. I am sure others will have things they have to say, and they could quite likely be entirely different from what I just said.
Oh yeah! I remember Doriot mentioning the bach in masterclass. It is quite similar. intriguing??
in the 3rd measure of one bring out the eighth notes (f, eb, bb, etc) and use a lot of vibrato. the same goes for the 7th measure of 2, and so on (wherever that rhythmic figure is)
at two, a staccato, let it ring. use bounce
think of the trills as accented (tambourine-like)
7th and 8th measures of 5 should crescendo
6 can be taken in one (helps with phrasing) so prepare for that.
I work with a metronome about 99% of the time right now, moving up one click everyday. it helps! lol
I'm sure you've already seen this but I found this quite interesting:
Across his diverse and successful career, Jacques Ibert kept his distance from the many "isms" of the twentieth century, insisting that "all systems are valid, provided one derives music from them." His Flute Concerto, written for Marcel Moyse and premiered in 1934, is one of the classics of its genre, and in it Ibert demonstrates that his idea of "music" is not as easily "derived" as he seems to suggest. The work is a masterful blend of the new and old, exploring the full range of flute technique without indulging in virtuosity for its own sake. Ibert also takes advantage of new compositional possibilities and his exquisite sense for orchestral color, but, again, without indulging in excess, exercising a typically French restraint within exquisitely balanced forms and textures. The three movements of the concerto are outwardly conventional, with a lyrical slow movement sandwiched between dramatic fast movements, but each movement is individually conceived; both outer movements, for example, shift dramatically between fast and slower tempos to great expressive effect. Throughout, Ibert creates a nicely nuanced balance between orchestral and virtuosic brilliance.
and also this:
Ibert was a young composer in France when Les Six, an upstart group of young French composers associated with Jean Cocteau, escaped the constraints of tradition and expectation by basing their art on the everyday. Although not affiliated with the group, he was friends with several of its members, most notably Honegger, and his music shared with theirs a modernity and freshness of style. His most influential teacher at the Paris Conervatory was Gedalge, from whom he learned counterpoint and orchestration. He won the Prix de Rome on his first try in 1919 after spending much time away from composing during World War I. Although known today mostly for his orchestral works, particularly the well-loved flute and saxopohone concerti, Ibert was a prolific composer of stage works, including operas, ballets, and film scores. Ibert's very personal compositional style is similar to that of the Classical Era in every way except the harmony. His music often sounds jazzy because of his use of 9th, 11th, 13th, and altered and added-note chords. Despite a high level of chromaticism, a tonal center is always audibly retained
I'll report back after my next lesson haha
tell kris I said hi
and thanks so much. I was wondering how I'd be able to use a metronome at 3
in the 3rd measure of one bring out the eighth notes (f, eb, bb, etc) and use a lot of vibrato. the same goes for the 7th measure of 2, and so on (wherever that rhythmic figure is)
at two, a staccato, let it ring. use bounce
think of the trills as accented (tambourine-like)
7th and 8th measures of 5 should crescendo
6 can be taken in one (helps with phrasing) so prepare for that.
I work with a metronome about 99% of the time right now, moving up one click everyday. it helps! lol
I'm sure you've already seen this but I found this quite interesting:
Across his diverse and successful career, Jacques Ibert kept his distance from the many "isms" of the twentieth century, insisting that "all systems are valid, provided one derives music from them." His Flute Concerto, written for Marcel Moyse and premiered in 1934, is one of the classics of its genre, and in it Ibert demonstrates that his idea of "music" is not as easily "derived" as he seems to suggest. The work is a masterful blend of the new and old, exploring the full range of flute technique without indulging in virtuosity for its own sake. Ibert also takes advantage of new compositional possibilities and his exquisite sense for orchestral color, but, again, without indulging in excess, exercising a typically French restraint within exquisitely balanced forms and textures. The three movements of the concerto are outwardly conventional, with a lyrical slow movement sandwiched between dramatic fast movements, but each movement is individually conceived; both outer movements, for example, shift dramatically between fast and slower tempos to great expressive effect. Throughout, Ibert creates a nicely nuanced balance between orchestral and virtuosic brilliance.
and also this:
Ibert was a young composer in France when Les Six, an upstart group of young French composers associated with Jean Cocteau, escaped the constraints of tradition and expectation by basing their art on the everyday. Although not affiliated with the group, he was friends with several of its members, most notably Honegger, and his music shared with theirs a modernity and freshness of style. His most influential teacher at the Paris Conervatory was Gedalge, from whom he learned counterpoint and orchestration. He won the Prix de Rome on his first try in 1919 after spending much time away from composing during World War I. Although known today mostly for his orchestral works, particularly the well-loved flute and saxopohone concerti, Ibert was a prolific composer of stage works, including operas, ballets, and film scores. Ibert's very personal compositional style is similar to that of the Classical Era in every way except the harmony. His music often sounds jazzy because of his use of 9th, 11th, 13th, and altered and added-note chords. Despite a high level of chromaticism, a tonal center is always audibly retained
I'll report back after my next lesson haha
tell kris I said hi
and thanks so much. I was wondering how I'd be able to use a metronome at 3
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atoriphile
- Posts: 155
- Joined: Sat Nov 11, 2006 2:35 pm
- Location: Washington, DC
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lhampton520
- Posts: 7
- Joined: Wed Apr 02, 2008 7:32 pm
hey this is lhampton, I started the thread. something went weird with my account so...I just made a new one
anyway, about a month ago I went to the midsouth flute festival and saw ian clarke give a masterclass on the ibert. I thought I'd share my notes. (they're a little weird lol)
"you are sharing a piece of music"
"make shapes through notes"
"first three notes are pickups- go to barline"
"it's like FIREWORKS!"
"try "skatting" through the music; find where the weight is" (this helps!)
"ibert is very jazzy- dooo wopp"
"topography of a phrase"
"it's exciting! not robotic. don't just play the notes"
"change personality"
"breathe into your hips" (that sounds like doriot dwyer)
"don't look at the music!!! you are a performer!"
"don't go into a comfortable sound"
I have notes from a masterclass with dwyer on the ibert, too. I'll try and find those.
oh and these are my two sources:
http://www.math.umd.edu/~mmb/familyphotos/p.html
http://www.smsymphony.org/sms9798/program4.html
I've found that orchestra performance notes are very handy!
anyway, about a month ago I went to the midsouth flute festival and saw ian clarke give a masterclass on the ibert. I thought I'd share my notes. (they're a little weird lol)
"you are sharing a piece of music"
"make shapes through notes"
"first three notes are pickups- go to barline"
"it's like FIREWORKS!"
"try "skatting" through the music; find where the weight is" (this helps!)
"ibert is very jazzy- dooo wopp"
"topography of a phrase"
"it's exciting! not robotic. don't just play the notes"
"change personality"
"breathe into your hips" (that sounds like doriot dwyer)
"don't look at the music!!! you are a performer!"
"don't go into a comfortable sound"
I have notes from a masterclass with dwyer on the ibert, too. I'll try and find those.
oh and these are my two sources:
http://www.math.umd.edu/~mmb/familyphotos/p.html
http://www.smsymphony.org/sms9798/program4.html
I've found that orchestra performance notes are very handy!
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fluteguy18
- Posts: 2311
- Joined: Sun Jul 16, 2006 3:11 pm
I hope you find Mrs. Dwyer's notes. THAT would be interesting. 
It just reminds me about a comment that Dr. Kean [my "official" flute teacher] says Mrs. D made about her when she first played the Ibert.
She was playing the slow portion of the 1st movement. Mrs. Dwyer stopped her, and said:
"Congradulations! That was terrible. What did you do, run a marathon before you got here? Play it again. It can't be any worse than that."
It just reminds me about a comment that Dr. Kean [my "official" flute teacher] says Mrs. D made about her when she first played the Ibert.
She was playing the slow portion of the 1st movement. Mrs. Dwyer stopped her, and said:
"Congradulations! That was terrible. What did you do, run a marathon before you got here? Play it again. It can't be any worse than that."
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lhampton520
- Posts: 7
- Joined: Wed Apr 02, 2008 7:32 pm