Clarinet recital videos: Ibert

[youtube http://www.youtube.com/watch?v=9IU5R9dR43E]

Trois Pièces Brèves by Jacques Ibert

Jacques Ibert (1890-1962) was a French composer who wrote in a modern, yet Romantic style. Romanticism appeals to wider audiences because of its tangible, often extreme emotions, lyricism, and memorable melodies. It is often programmic, meaning that it characterizes a specific story. As Allan McMurray (now retired from CU-Boulder after 35 years as Director of Bands) would say, “All music is doing one of two things. It’s either singing or it’s dancing.” Trois Pièces Brèves (Three Short Pieces) for flute, oboe, clarinet, bassoon, and horn by Jacques Ibert has examples of both.

Movement one is a fun, carefree country dance. While there is an oboe solo in the middle that seems to call into question the carefree atmosphere, the dance resumes and works itself into a frenzy by the end of the movement. Though the form is not technically the same, the melody of this dance sounds like an Irish Gigue to which Ibert would have had some exposure. A gigue is characterized by a strong backbeat which can inspire toe-tapping, even knee-slapping. Please keep the knee-slapping to a dull roar during the performance.

Movement two is a ballad (love song) featuring the flute and clarinet. It is a conversation between the two, sometimes in close harmony, sometimes fairly independent of one another. It contains some rubato which is defined as the pushing forward and pulling back of tempo (speed), where the performer is allowed to be more expressive and free than in other music. It is the performer’s objective to imitate the human voice in these passages. The horn player in this movement is made to count dozens of measures of rest and then play one long, low, muted note. Brass players often find themselves doing this in orchestral music, but it is rare to rest that long in a woodwind quintet setting.

Movement three opens tentatively with solos in horn and bassoon that are reminiscent of George Gershwin’s An American in Paris. The two dances in this movement are a quick dance in 4 and a waltz in 3. The exuberant clarinet and flute solos pass to oboe who again represents the more serious voice. In general, this movement could be characterized as “episodic” meaning that it passes from one event to the next quickly, with little transitional material, similar to a TV series episode.

[youtube http://www.youtube.com/watch?v=x0Xn5IoXpeY]

Fantasia and imagination

I turned 16 years old on January 1, 2000 – Y2K. While many people were huddled in their bomb shelters at home surrounded by months of non-perishable food stuffs due to the Y2K scare, my family and I went to the local IMAX theater to see Disney’s Fantasia 2000. This event changed my life.

Fantasia is another form of music in motion. Walt Disney and Leopold Stokowski teamed up to select seven orchestral works that were animated for the movie theater. Some of these animations were abstract, some depicted real stories with characters, and some featured Disney characters, such as Mickey in the The Sorcerer’s Apprentice by Dukas. It was released in 1940 and was to be the first of an on going series of Classical music pieces set to animation that would rotate in and out of the theater. No pieces were added, but Fantasia was re-released in theatres again in 1985 and it was remastered for a 1990 release for VHS as well.

Roy Disney, producer of Fantasia 2000

Roy Disney (Walt’s nephew) used the profits from the re-release of Fantasia to produce Fantasia 2000. While the original Fantasia used many new animation techniques and “Fantasound,” one of the first multi-channel recording systems, Fantasia 2000 used many new techniques as well. Most notable among them were IMAX technology and computer animation. The commentary and special features on the DVD are fascinating.

For this new Fantasia, Roy Disney teamed with James Levine to select these eight pieces:

Beethoven: Symphony No. 5, Mvt. 1 (shortened version)
*Respighi: The Pines of Rome, Mvts 1, 3 & 4 (shortened versions)
Gershwin: Rhapsody in Blue
Shostakovich: Piano Concerto No. 2, Allegro
Saint-Saens: Carnival of the Animals, Finale (shortened version)
Dukas: The Sorcerer’s Apprentice
Grieg: Pomp and Circumstance, Marches 1-4
*Stravinsky: Firebird Suite, Mvts. 4-7

*Works I’d like to discuss on this blog in detail.

Here is the official movie trailer:

This film demonstrates something I call “mutual inspiration.” When art media are crossed, such as Classical music and animation (visual art), the artists from both sides may be inspired by one another. Many of the animators for Fantasia 2000 noted that they chose to pursue a career in animation because they had watched the original Fantasia and saw how the music could inspire great visual art. I pursued a career in music in part because of how exciting Classical music became when I learned to use my imagination and picture in my mind what the music was depicting. Disney’s achievement in this film was his use of animation to enhance the tangible emotions found in Classical music.

In future posts, I want to explore the way Classical music expresses emotions in ways that few other art forms can. One possible format is to pick one emotion per week and choose a different piece each day that expresses that emotion in a profound way. Emotions may include anger, rage, fear/suspense, ecstasy, peace/tranquility, and the various emotions wrapped up in love.

Getting back on topic, Fantasia 2000 is an influence because it demonstrates the great potential of human imagination in relation to Classical music. Between the two Fantasias, 15 pieces were animated out of the thousands of powerful, inspiring works the genre has to offer. This is not to mention the thousands of ways these pieces could be animated.

In my experience, it is impossible to enjoy Classical music without using my imagination and developing specific images, ideas, or characters in my mind. To me, the music has no meaning if it does not speak to some part of human experience, including my specific memories: love gained, love lost or love missed, elation in success or depression in failure, innocence or the loss of it, loneliness, personal intimacy, and divine transcendence.

Get it? Use you imagination!

Here is a quote from my next topic, the YouTube Symphony Orchestra:

“Classical music is a wonderful 1200 year-old tradition that witnesses everything that it has meant and what it means right now to be human.”  – Michael Tilson Thomas