Ibert, Jacques (François Antoine)
Ibert, Jacques (François Antoine)
Ibert, Jacques (François Antoine), distinguished French composer; b. Paris, Aug. 15, 1890; d. there, Feb. 5, 1962. He studied at the Paris Cons, with Gédalge and Fauré (1911–14). During World War I, he served in the French navy. He then returned to the Paris Cons. after the Armistice and studied with Vidal. He received the Prix de Rome in 1919 for his cantata Le Poète et la fée. While in Rome, he wrote his most successful work, the symphonic suite Escales (Ports of Call), inspired by a Mediterranean cruise while serving in the navy. In 1937 he was appointed director of the Académie de France of Rome, holding this post until 1960; was also administrator of the Réunion des Théâtres Lyriques Nationaux in Paris (1955–56). He was elected a member of the Institut de France (1956). In his music, Ibert combined the most felicitous moods and techniques of Impressionism and neo-Classicism. His harmonies were opulent, and his instrumentation was coloristic. There was an element of humor in lighter works, such ashis popular orch. Divertissement and an even more popular piece, Le Petit Ane blanc, from the piano suite Histoires.His craftsmanship was excellent. An experimenter in tested values, he never failed to produce the intended effect.
Works
dramatic: Opera: Angélique (Paris, Jan. 28, 1927); Persée et Andromède, ou Le Plus Heureux des trois (1921; Paris, May 15, 1929); Le Roi d’Yvetot (Paris, Jan. 15, 1930); Gonzague (Monte Carlo, Dec. 7, 1931); L’Aiglon (Monte Carlo, March 11, 1937; in collaboration with A. Honegger); Les Petites Cardinal (Paris, 1938; in collaboration with A. Honegger); Bar-bebleue, radio opera (Lausanne Radio, Oct. 10, 1943). ballet (all first perf. in Paris): Les Rencontres (Nov. 21, 1925); Diane de Poitiers (April 30, 1934); Les Amours de Jupiter (March 9, 1946); Le Chevalier errant (May 5, 1950); Tropismes pour des Amours Imaginaires (1957). ORCH.: Noël en Picardie, symphonie poem (1914); Ballade de la geôle de Reading, after Oscar Wilde (Paris, Oct. 22, 1922); Escales, 3 symphonie pictures (Paris, Jan. 6, 1924); Féerique, symphonie scherzo (Paris, Dec. 12, 1925); Concerto for Cello and Wind Instruments (Paris, Feb. 28, 1926); Divertissement, suite (Paris, Nov. 30, 1930; from incidental music to Le Chapeau de paille d’Italie); Paris, suite for Chamber Orch. (Venice, Sept. 15, 1932; from incidental music to Donogoo); Flute Concerto (Paris, Feb. 25, 1934); Concertino da camera for Saxophone and Chamber Orch. (Paris, May 2, 1935); Capriccio (1938); Ouverture de fête (Paris, Jan. 18, 1942); Suite élisabéthaine (1944); Symphonie concertante for Oboe and Strings (Basel, Feb. 11, 1949); Louisville Concerto (Louisville, Ky., Feb. 17, 1954); Bostoniana (1956-61); Hommage à Mozart (1957); Bacchanale (1958). CHAMBER: 6 pieces for Harp (1917); 2 mouvements for 2 Flutes, Clarinet, and Bassoon (1923); Jeux, flute sonatina (1924); 3 pièces brèves for Flute, Oboe, Clarinet, Horn, and Bassoon (1930); Pastoral for 4 Fifes (in Pipeaux, by various composers, 1934); Entr’acte for Flute and Guitar (1935); piece for Flute (1936); String Quartet (1944); Trio for Violin, Cello, and Harp (1944); 2 Interludes for Violin and Harpsichord (1949). Piano: Histoires (10 pieces); Les Rencontres, arranged from the ballet (5 pieces); Petite suite en 15 images (1943). VOCAL: Le Poète et la fée, cantata (1919); 3 chansons de C. Vidrac for Voice and Orch. or Piano (1923); Chant de folie for Solo Voices, Chorus, and Orch. (1923-24; Boston, April 23, 1926); La Verdure dorée for Voice and Piano (1924); 4 chansons de Don Quichotte for Bass and Orch. or Piano (1932); Chanson du rien for Voice and Piano; Quintette de la peur for Chorus and Piano (1946).
Bibliography
J. Feschotte, J. I. (Paris, 1959); G. Michel, J. I., L’Homme et son oeuvre (Paris, 1968).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire