Overview
Overview by Jacques Ibert (1890-1962)
Jacques Ibert was a 20th-century French composer whose music is characterised by its elegance, humour and stylistic diversity. He refused to be confined to a particular style, easily exploring styles ranging from impressionism to neoclassicism, with a touch of fantasy and lightness that was his own.
Training and influences
Ibert studied at the Paris Conservatoire and won the prestigious Prix de Rome in 1919. Although he was a contemporary of Debussy and Ravel, he never identified with the Impressionist movement, preferring a more eclectic and often lighter approach.
Musical characteristics
A great clarity of writing and refined instrumentation.
A taste for humour and irony, particularly in works such as Divertissement.
An ability to write lyrical and orchestral music as well as film music.
Famous works
Escales (1922) – An orchestral suite evoking Mediterranean ports (Rome, Tunis, Valencia), full of colour and exotic rhythms.
Divertissement (1930) – A sparkling and humorous orchestral piece, derived from incidental music.
Concerto for flute (1934) – A virtuoso and elegant work, much appreciated by flutists.
Symphonic suite of Don Quixote (1933) – Taken from the music he composed for a film about Don Quixote.
Piano works – Few in number, but often light and refined, such as Histoires (1922), a series of short pieces inspired by tales and animals.
Ibert was also director of the Académie de France in Rome (Villa Medici) and played an important role in French musical life. His music is still appreciated for its elegance and lively spirit.
History
Jacques Ibert was a French composer whose life and work reflect an artistic freedom that was rare in the musical landscape of the 20th century. Born in Paris in 1890, he grew up in a family where music occupied an important place. His mother, an accomplished pianist, passed on to him a love of the arts and music from a very early age. However, before devoting himself fully to composition, he worked briefly as an employee in a shipping company, an experience that may have influenced his taste for travel and exotic musical styles.
He entered the Paris Conservatoire, where he studied under André Gédalge and Paul Vidal. A brilliant student, in 1919 he won the Prix de Rome, a prestigious award that opened the doors to a promising career. However, the war interrupted his career: mobilised in 1914, he served in the navy, an experience that confronted him with the harshness of the world but also nourished his inspiration.
On his return, he settled at the Villa Medici in Rome, where he composed some of his first outstanding works, notably Escales (1922), an orchestral fresco inspired by his travels in the Mediterranean. Unlike many of his contemporaries who aligned themselves with well-defined movements (such as Debussy’s impressionism or the modernism of the Group of Six), Ibert refused to belong to any specific movement. His style is deliberately eclectic: he alternates between refined music, such as his famous Flute Concerto (1934), and light-hearted, humorous pieces, such as Divertissement (1930), a sparkling work full of irony and wit.
In the 1930s, he also composed for the cinema, notably for Don Quichotte, a film by G.W. Pabst with the famous singer Fyodor Shalyapin. He excelled in this art, setting the images to music with elegance and sensitivity.
In 1937, Ibert was appointed director of the French Academy in Rome (Villa Medici), a prestigious post that placed him at the heart of French musical and artistic life. But the Second World War brought this period to an abrupt end. Because of his position and some of his friendships, he was dismissed by the Vichy regime and forced into exile in Switzerland. He would not regain his post until after the Liberation in 1945.
The end of his life was marked by significant institutional involvement. In 1955, he was elected to the Institut de France and continued to compose until his death in 1962. True to himself, he left behind a body of work characterised by freedom, elegance and a keen sense of orchestral colour. Unlike some composers of his time who sought musical revolution, Ibert cultivated a more timeless approach, in which clarity, humour and poetry occupy a central place.
Chronology
Youth and education (1890-1914)
15 August 1890: Birth of Jacques Ibert in Paris, into a middle-class family where music played an important role.
Early 1900s: Studied piano and violin from childhood, encouraged by his mother, a pianist.
1910: Enters the Paris Conservatoire, where he studies composition with Paul Vidal and harmony with André Gédalge.
1913: First success with a cantata, but his musical career is interrupted by the First World War.
The First World War and the Prix de Rome (1914-1920)
1914-1918: Mobilised in the French navy because of his passion for the sea. He served as an officer and experienced the harshness of war.
1919: Won the Prix de Rome, a prestigious award given to young French composers.
1920: Moves into the Villa Medici in Rome as winner of the Prix de Rome and composes his first major works there.
Success and musical affirmation (1920-1939)
1922: Composes Escales, an orchestral suite inspired by his travels in the Mediterranean, which brings him to the attention of the general public.
1929: Creates Divertissement, an orchestral work full of humour and irony, which becomes one of his most famous.
1933: Composes the music for the film Don Quixote by G.W. Pabst, with Fyodor Shalyapin.
1934: Writes his Concerto for Flute, a virtuoso piece that becomes a standard of the flute repertoire.
1937: Appointed director of the Académie de France in Rome (Villa Medici), a prestigious post that allows him to mentor young composers.
The Second World War and exile (1939-1945)
1939: Because of the war, the Villa Medici closes its doors, and Ibert is forced to return to France.
1940-1944: Under the Vichy regime, he is removed from his post and his works are banned because of some of his friendships and his artistic independence.
1942-1944: Exiled in Switzerland, he composed despite the war restrictions.
1945: After the Liberation, he was rehabilitated and returned to his post at the Villa Medici.
Final years and recognition (1946-1962)
1950: Became a member of the Institut de France (Académie des Beaux-Arts).
1955: Directs the Réunion des Théâtres Lyriques Nationaux, supervising the activities of the Paris Opera and the Opéra-Comique.
1962: Dies on 5 February 1962 in Paris, leaving behind an eclectic and refined body of work.
Legacy
Despite his refusal to adhere to a specific musical trend, Jacques Ibert is recognised as a master of orchestration and musical elegance. His work continues to be performed and appreciated for its diversity and liveliness.
Characteristics of the music
Jacques Ibert is a composer whose music is distinguished by its eclecticism, elegance and humour. Refusing to adhere to a single musical trend, he adopted a free approach, exploring various styles without ever losing his own identity. His work is characterised by great orchestral refinement, formal clarity, and an ability to move from lyricism to burlesque with remarkable ease.
1. An eclectic and independent style
Unlike many of his contemporaries, Ibert did not subscribe to Debussy’s impressionism or the austerity of modernism. He drew as much on neoclassicism and impressionism as on popular music and jazz, adapting to the context of each work. This diversity is one of the reasons why it is sometimes difficult to categorise him in a specific movement.
2. Refined and luminous orchestration
Ibert was a master of orchestration. His works are often characterised by vivid instrumental colours and a subtle use of timbres. He knew how to exploit all the expressive possibilities of the instruments, whether in a lyrical piece such as Escales (1922) or in a humorous work such as Divertissement (1930).
3. A taste for humour and lightness
One of the particularities of Ibert’s music is its lively and sometimes ironic spirit. This tone can be found in several of his works, notably Divertissement, which parodies popular music and incorporates burlesque elements. This lightness does not signify a lack of depth, but rather a desire to play with the forms and the expectations of the listener.
4. A fluid and elegant melodic style
His melodies are often lilting and natural, avoiding overly abrupt dissonances. This quality can be found in his Concerto for Flute (1934), which combines virtuosity and lyricism, or in Histoires (1922), a series of miniatures for piano that evoke poetic and picturesque scenes.
5. An influence of travel and exoticism
Ibert liked to incorporate exotic colours into his music, as can be seen in Escales, in which he musically evokes the ports of the Mediterranean (Rome, Tunis, Valencia). This attraction to faraway places can also be found in some of his film music.
6. A contrasting style: between lyricism and modernity
While some of his works are unashamedly classical, others explore more modern and daring harmonies. His Cello Concerto (1925) and his orchestral works show a sometimes dense writing and a desire to experiment with textures and rhythms.
Conclusion
Jacques Ibert’s music is both accessible and sophisticated, capable of moving as much as it is of surprising. His stylistic freedom, refined orchestration and taste for humour and vivacity make him a unique figure in the French musical landscape of the 20th century.
Relations
Although Jacques Ibert followed an independent musical path, he maintained relationships with many figures from the musical and artistic world. His official functions, particularly at the Villa Medici and the Paris Opera, also placed him at the heart of French musical life. Here are some of his most significant relationships.
1. Relationships with other composers
Arthur Honegger (1892-1955): friendship and collaboration
Jacques Ibert and Arthur Honegger were close and collaborated on several occasions.
Their most notable collaboration was the opera ‘L’Aiglon’ (1937), commissioned by the Paris Opera on a libretto by Henri Cain based on Edmond Rostand.
The work was a joint effort: Honegger wrote acts I and V, while Ibert composed acts II, III and IV.
Despite their very different styles (Honegger being more serious and structured, Ibert lighter and more colourful), they found a balance that made the work a success.
Maurice Ravel (1875-1937): Admiration and influence
Ibert was influenced by Ravel, particularly in his attention to orchestration and his taste for refined textures.
Ravel, although older, respected him and appreciated his musical independence.
Both shared a rejection of musical dogma and a free approach to composition.
Darius Milhaud (1892-1974) and the Group of Six: A distant link
Although Ibert was a contemporary of the Group of Six, he never officially joined them.
However, he shared with Darius Milhaud and Francis Poulenc a taste for humour in music and an often light and sparkling style of composition.
Claude Debussy (1862-1918): An indirect influence
Ibert did not know Debussy personally, but his orchestration and sense of colour owe much to Impressionism.
Unlike Debussy, he did not seek to create a revolutionary language, preferring a more accessible and eclectic style.
2. Relations with performers and conductors
Marcel Moyse (1889-1984): Collaboration with the virtuoso flautist
Ibert wrote his famous Flute Concerto (1934) for Marcel Moyse, one of the greatest flautists of the 20th century.
This work, with its blend of virtuosity and elegance, is today a benchmark in the flute repertoire.
Fyodor Shalyapin (1873-1938): Collaboration for Don Quixote
The great Russian bass-baritone Fyodor Shalyapin performed the music that Ibert composed for G.W. Pabst’s film Don Quixote (1933).
Shalyapin had a powerful and expressive voice, and Ibert composed music that showcased his talent.
Charles Munch (1891-1968): Performance of his works
The conductor Charles Munch was a champion of French music and conducted several of Ibert’s works, notably Escales and Divertissement.
Munch appreciated Ibert’s careful orchestration and lively style.
3. Relations with musical and cultural institutions
The French Academy in Rome (Villa Medici)
Appointed director of the Villa Medici in 1937, Ibert trained many young composers there.
During the Second World War, he was dismissed by the Vichy regime and took refuge in Switzerland, before regaining his post after the Liberation.
There he rubbed shoulders with many artists, writers and visual artists.
The Paris Opera and the Opéra-Comique
In 1955, he was appointed director of the Réunion des Théâtres Lyriques Nationaux, overseeing the two major French opera houses.
This prestigious position allowed him to encourage creativity and promote contemporary music.
4. Relationships with non-musical personalities
G.W. Pabst (1885-1967): Cinema and Don Quixote
The German director G.W. Pabst hired Ibert to compose the music for his film Don Quixote (1933).
This was an important collaboration, as it demonstrated Ibert’s ability to adapt to the demands of cinema.
Paul Valéry (1871-1945): A link with literature
Ibert was interested in poetry and literature, and set several texts by French writers to music.
Although his link with Paul Valéry was not direct, he shared with him a taste for clarity and elegance of style.
Conclusion
Jacques Ibert was an open and respected figure in the musical world of the 20th century. Although he never attached himself to a specific group, he maintained strong relationships with composers such as Honegger and Ravel, collaborated with great performers such as Marcel Moyse and Fyodor Chaliapin, and played a key role in cultural institutions such as the Villa Medici and the Paris Opera. His artistic independence did not prevent him from being a central figure in French music of his time.
Similar composers
Jacques Ibert was a composer with an eclectic style, characterised by great stylistic freedom, refined orchestration, a taste for humour and lightness, and sometimes a touch of the exotic. He never aligned himself with a specific movement, but several composers share certain musical characteristics with him.
1. Darius Milhaud (1892-1974) – Eclecticism and exoticism
Things Ibert has in common:
A joyful and colourful style, often inspired by popular music and jazz.
A free approach, without attachment to a specific school.
A taste for syncopated rhythms and exotic influences (Le Bœuf sur le toit, Saudades do Brasil).
Differences:
Milhaud experimented more with polytonality, which sometimes made him more daring than Ibert.
2. Francis Poulenc (1899-1963) – Humour and elegance
Things in common with Ibert:
Music in which humour and irony play a major role (Les Biches, Concerto for Two Pianos).
A fluid and elegant style, without excessive complexity.
A taste for musical theatre and light vocal music.
Differences:
Poulenc is more influenced by sacred music and French melody, while Ibert is more oriented towards orchestration.
3. Jean Françaix (1912-1997) – Light-heartedness and virtuosity
Things in common with Ibert:
Music that is often light, brilliant and sparkling (Piano Concerto, L’Horloge de Flore).
A clear and precise compositional style, with great melodic refinement.
A luminous and fluid orchestration.
Differences:
Françaix is even more attached to the neoclassical aesthetic, while Ibert remains more diverse.
4. Albert Roussel (1869-1937) – The attraction of the exotic and formal clarity
Things in common with Ibert:
A taste for the exotic in music, influenced by his travels (Padmâvatî, Évocations).
A clear and direct style of composition, often energetic.
Differences:
Roussel has a more structured and rigorous style, marked by an underlying classicism.
5. André Jolivet (1905-1974) – The attraction of timbres and instrumental originality
Things in common with Ibert:
A rich and expressive orchestration, with extensive sound research.
A taste for vivid and varied instrumental colours.
Differences:
Jolivet is more inclined towards a mystical and experimental approach, with an interest in percussion and primitive sounds.
6. Manuel de Falla (1876-1946) – Orchestral finesse and Mediterranean influence
Similarities with Ibert:
A fine and luminous orchestration (Nights in the Gardens of Spain, The Three-Cornered Hat).
A subtle use of instrumental colours.
An influence of folklore and traditional music.
Differences:
De Falla is more influenced by Spanish music and flamenco, while Ibert draws inspiration from a broader exoticism.
Conclusion
Jacques Ibert belongs to a French tradition that favours clarity, colour and humour. He shares common ground with Milhaud and Poulenc in his lightness, with Françaix and Roussel in his orchestral virtuosity, and with Jolivet and De Falla in his richness of sound and his taste for the exotic. His unique style places him somewhere between neoclassicism, impressionism and light modernity, making him a composer apart, close to several influences without ever limiting himself to just one.
Famous works for solo piano
Jacques Ibert is not primarily known for his solo piano music, but he did compose a few notable pieces. Here are some of his most famous works for solo piano:
1. Histoires (1922-1923)
A suite of ten short, evocative pieces, each inspired by a scene or a picturesque image. This is Ibert’s best-known work for solo piano. Among the most famous pieces:
‘La meneuse de tortues d’or‘ (The Golden Turtle Conductor) – A delicate and mysterious piece.
‘Le petit âne blanc’ (The Little White Donkey) – Very popular, with a skipping rhythm and a childlike character.
‘A Giddy Girl’ – Energetic and full of mischief.
2. The Wind at Ruins (1915)
A short, melancholy piece written during the First World War.
Its atmosphere evokes a landscape in ruins, swept by the wind.
3. Petite suite en 15 images (1943)
A cycle of miniatures, highly expressive and varied.
Each movement is a musical ‘image’, often tinged with humour or poetry.
4. Three Pieces (1944)
A collection of pieces in various colours, illustrating Ibert’s diversity of style.
Although Ibert’s music for solo piano is relatively scarce, it is a good illustration of his lively spirit, subtle humour and sense of colour.
Famous works
Jacques Ibert is known for his eclecticism and refined style. Here are some of his most famous works, excluding pieces for solo piano.
Orchestral and concertante works
‘Escales‘ (1922) – An orchestral suite evoking stopovers in the Mediterranean (Rome-Palermo, Tunis-Nefta, Valence).
‘Divertissement’ (1929) – A light and humorous work for orchestra, derived from incidental music.
‘Concerto for Flute and Orchestra‘ (1932-1933) – A virtuoso and lyrical piece, very popular with flutists.
‘Concertino da camera’ for alto saxophone and orchestra (1935) – A staple of the classical saxophone repertoire.
‘Marine Symphony’ (1931) – An orchestral work inspired by the sea.
Chamber music
‘Cinq pièces en trio‘ (1935) – For oboe, clarinet and bassoon, a witty suite.
‘Deux interludes’ (1946) – For flute, violin and harp.
Vocal and lyrical music
‘Chansons de Don Quichotte‘ (1932-1933) – A song cycle written for a film about Don Quixote starring Feodor Chaliapine.
‘Angélique’ (1926-1927) – One-act operetta.
‘L’Aiglon‘ (1937) – Opera in collaboration with Arthur Honegger, based on the play by Edmond Rostand.
Stage and film music
‘Persée et Andromède’ (1921) – Stage music for the play by Jean Lorrain.
‘Macbeth’ (1959) – Music for an adaptation of the play by Shakespeare.
Ibert also composed several film scores, notably for ‘Golconda’ (1936) and ‘The Lovers of Verona’ (1949).
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
Best Classical Recordings
on YouTube
Best Classical Recordings
on Spotify
