Word: ibert
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Dates: during 1950-1959
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Saxophonist Mule chose for his debut program the works of two contemporary French composers-Jacques Ibert's Concertino da Camera and Henri Tomasi's Ballade. What the audience heard was an open, evenly controlled sound that could sing with a clean vibrato or a finely trimmed staccato, swell robustly and solidly with no trace of the breathy "air sound." Under Mule's scurrying fingers, the saxophone sometimes took on the quick sheen of strings, or the water-clear inflections of the flute, or the warm quality of the bassoon. Gone were the wah-wahs and wobbles...
Although a few composers, among them Ibert, Arthur Honegger and Darius Milhaud, have since written for the saxophone, serious Saxophonist Mule, 56, still feels like a man without a musical country. It pains him to hear of abuses such as those practiced by the rock 'n' roll players who put chewing gum in the sax to dull its glorious tone. Mule notes sadly that even at the Paris Conservatory, where he is professor of saxophone, most of his students graduate into jazz or military music. "I have one mission in life," he says. "That is to make people...
...idea functions most impressively at Versailles. At dusk, some 2,000 to 6,000 visitors perch quietly on steel folding chairs on the vast graveled terrace, listening to the piquant yet noble strains of an orchestral prelude, the work of Jacques Ibert, distinguished French composer (Ports of Call) and former manager of the Paris Opéra. "Here intrigues are woven and romance prevails," proclaims a voice which seems to come from the heart of the chateau itself (it is the recorded voice of Charles Boyer, via 28 loudspeakers, speaking a text by André Maurois). "Here all France...
Circus is a simple, romantic ballet, set to some suitable music by France's Jacques Ibert, laid in a village square of placardized baroque, and dressed in costumes that suggest the saltimbanques of Picasso. It is pretty and sweet, but not too sweet. As the play begins, Pierrot (Kelly) appears in his baggy white costume to open the program of a teatro circo, an Italian traveling circus. With the stilted gestures of mimetic tradition, he tells of his hopeless love for the leading lady of the troupe (Sombert), hopeless because she loves the daring aerialist (Youskevitch...
...quite a different and equally valid ideal. Unfortunately, composers have not yet shown what this might be. The two classical works on the program (by Beethoven and Haydn) were both transcriptions, and of the contemporary quintets played, only the Hindemith has serious merit, though three short pieces by Ibert offer facile pleasure by their eclectic and clever ideas. The fact that a work is a transcription need not condemn it, however; and the two performed by the Quintet proved to be first Yale. The opening Haydn Divertimento in B flat was especially pleasing. Each of its four short movements...