Jacques Ibert'in Flüt Konçertosu'nun incelenmesi ve icracılara yönelik bir çalışma kılavuzu
A review of Jacques Ibert's Flute Concerto and a study guide for performers
- Tez No: 930684
- Danışmanlar: PROF. CEM ÖNERTÜRK
- Tez Türü: Yüksek Lisans
- Konular: Müzik, Music
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2025
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Performans Ana Sanat Dalı
- Bilim Dalı: Çalgı-Ses Bilim Dalı
- Sayfa Sayısı: 85
Özet
Yirminci yüzyıl Fransız müziğinin önde gelen bestecilerinden biri olarak kabul edilen Jacques Ibert (1890-1962), müzikal dilinin özgünlüğü ve eserlerinin çeşitliliği ile döneminde fark yaratmayı başarmıştır. Paris Konservatuvarı'nda eğitimini sürdürmüş olan Ibert, dünyanın en büyük müzik ödüllerinden biri olan Prix de Rome ödülünü henüz yarışmaya ilk katılımında kazanarak dünya çapında ün sahibi olmuştur. Ünlü besteci Jacques Ibert flüt repertuvarında oldukça önemli bir yere sahiptir; flüt için bir konçerto, bir solo eser ve birçok oda müziği eseri bestelemiştir. Bestecinin 1932 yılında bestelemiş olduğu flüt konçertosu gerek teknik zorluğu gerek müzikal anlatımı açısından oldukça gösterişli bir eserdir. Flüt icracıları tarafından sıklıkla tercih edilen konçertolar arasında yer alan Jacques Ibert'in Flüt Konçertosu yalnızca konserlerde değil aynı zamanda dünyanın önemli yarışmaları ve seçmelerinde de hem orijinal orkestra eşliğiyle hem de piyano eşliğiyle sıklıkla yer almaktadır. Elbette her eserde olduğu gibi Jacques Ibert'in eserlerini de anlamak, yorumlamak ve icra etmek için bestecinin hayatı, müzikal dili, yaşadığı dönemin özellikleri, etkilendiği müzisyenler ve akımlar hakkında bilgi sahibi olmak büyük bir önem taşımaktadır. Bu amaçla çalışmada geniş bir literatür araştırması yapılarak bestecinin hayatı ve müzikal diliyle ilgili bilgiler aktarılmıştır. Ibert'in eserlerinin listesi verilerek daha sonra flüt kullandığı eserler ile ilgili bilgiler verilmiştir. Flüt konçertosunda oldukça görkemli ve yoğun olan bir orkestrasyon kullanımı mevcuttur; dolayısıyla eseri incelemenin icra bakımından önemli olduğu düşünülmektedir. Bu doğrultuda bestecinin flüt konçertosu formal ve armonik yapı bakımından müzikal analiz yöntemiyle incelenmiştir. Son olarak eseri seslendirecek olan icracılara fayda sağlama amacıyla teknik ve müzikal tavsiyelerde bulunulmuştur. Literatür taraması yapılırken Jacques Ibert ile ilgili Türkçe kaynağın oldukça az sayıda olduğu dikkat çekmiştir. Bu sebeple çalışmada bestecinin flüt konçertosunu icra edecek olan öğrencilere ve flüt sanatçılarına eserin bestecisi ve yapısı hakkında bilgi verilerek teknik ve müzikal zorluklar üzerine yol gösterici olmak hedeflenmiştir. Flüt icracılarına katkı sağlama amacı dışında diğer müzisyenlere ve araştırmacılara da Jacques Ibert ile ilgili Türkçe kaynak sağlanması hedeflenmiştir.
Özet (Çeviri)
This thesis, worked on within the scope of the Instrument-Voice Master's Programme in the Department of Performance at the Graduate School of Istanbul Technical University, aims to guide performers regarding the famous French composer Jacques Ibert's Flute Concerto. In this study, the composer's life, musical language, and the musicians who influenced him are discussed, and the works in which he used the flute are listed. Subsequently, Jacques Ibert's works featuring the flute are examined, with a focus on the formal analysis of the Flute Concerto. Finally, recommendations supported by exercises for performers of the piece are provided. Jacques Ibert (1890-1962), one of the leading composers of 20th-century French music, made a significant impact with the uniqueness of his musical language and the diversity of his works. He studied composition at the Paris Conservatory alongside famous composers such as Arthur Honegger and Darius Milhaud. Despite serving in the French Navy during World War I and having his work interrupted during this period, the composer won the“Prix de Rome”in 1919. Having never composed a cantata before, he achieved what seemed almost impossible by winning the Rome Prize with his cantata Le Poète et la Fée during such a challenging time. This prestigious award granted him a three-year stay at the Villa Medici in Rome. Ibert's success in one of the world's most significant composition competitions, with a piece form he had never previously written in, highlights how unique and limitless his music truly was. The period in which Ibert lived greatly nourished his creative abilities; the 20th century, much like in many other art forms, was a time when music incorporated highly experimental and innovative elements. This era was characterized by a spirit of exploration and a willingness to break away from traditional norms, which had a profound influence on composers like Ibert, inspiring them to push the boundaries of musical language and form. Ibert stated that he did not align himself with any particular school or academy. This is one of the elements that makes his music unique. The composer's music clearly shows influences of Neoclassicism and Impressionism. The use of classical forms such as sonata allegro and rondo in the Flute Concerto is an example of Neoclassicism. In his orchestral work“Escales”, composed inspired by a Mediterranean journey, the influences of the Impressionist movement can be seen. Among his most famous works are“Divertissement”and“Escales”, both composed for orchestra. These compositions exemplify his talent for orchestration and his ability to combine rich, colorful textures with captivating musical themes. In addition to his orchestral works, Ibert wrote a large body of chamber music, which includes both small and large ensemble pieces, often featuring unusual combinations of instruments that showcase his creative use of sound. His chamber music, like his other compositions, is characterized by its expressive qualities and technical brilliance. It can be observed that Ibert's interest in chamber music grew significantly after his years at the conservatory. Many composers have noted that wind instruments play a much more prominent role in his works compared to other instruments. In most of his chamber music compositions, Ibert frequently employs the flute, and it is believed that his deep understanding of the instrument's structure and potential was crucial in shaping these pieces. Despite composing only two concertos (the Cello Concerto and the Flute Concerto), the fact that one of them was written for the flute is thought to be closely related to Ibert's acquaintance with the renowned flutist Marcel Moyse and his personal fascination with the instrument. This connection likely provided him with a greater appreciation for the flute's technical and expressive capabilities, which is reflected in the concerto's intricate and demanding design. Ibert's chamber works, particularly include flute, demonstrate his mastery of the instrument, highlighting his ability to exploit its unique sound qualities. His chamber music, especially in its use of wind instruments like the flute, reveals Ibert's distinctive style and his innovative approach to orchestration and instrumentation. He used flute in Deux Mouvements for wind quartet, Jeux- Sonatine for Flute and Piano, Le Jardinierde Samos, Deux Steles Orientees for Flute and Voice, Trois Pieces Breves for wind quintet, Aria for Flute and Piano, Piéce for solo Flute, Capriccio for ten instruments, Entr'acte for Flute and Guitar, Deux Interludes for Flute, Violin and Piano. Due to its high technical capabilities and the brilliance of its timbre, the flute is a highly soloistic instrument. In his works that feature the flute, Ibert has provided performers with the opportunity to reflect the different sound colors and characters of the instrument. Furthermore, Ibert's contributions to the flute repertoire are particularly significant. He composed a flute concerto, a solo work named“Piéce”, and several chamber pieces featuring the flute, all of which have become staples of the flute repertoire. His Flute Concerto, composed in 1932, is regarded as one of his most remarkable works, both in terms of its technical difficulty and its rich musical expression. It has become one of the most frequently performed flute concertos in the 20th century, and its place in the repertoires of flutists worldwide is firmly established. The concerto's complexity, paired with its lyrical qualities, presents unique challenges for performers, making it a favorite among advanced flutists. It is not only a common concerto in concert performances, also regularly appears in major international competitions and auditions. The orchestration of the concerto, aside from the solo flute, includes two flutes, two oboes, two clarinets, two bassoons, two horns, one trumpet, two timpani, and strings. The concerto, which consists of three movements, lasts approximately 20 minutes. The premiere of the work took place on February 25, 1934, at the Société des Concerts du Conservatoire, performed by the legendary flutist and pedagogue Marcel Moyse, conducted by Philippe Gaubert. Understanding, interpreting, and performing any musical work requires insight into the composer's life, musical language, the characteristics of the period in which they lived, and the musical influences that shaped their work. This is especially true for Ibert's compositions, as they often reflect the cultural and artistic movements of his time. To facilitate a deeper understanding of his works, this study includes an extensive literature review on the composer's life, his musical style, and the influences that shaped his compositions. This review not only delves into Ibert's broad output but also provides a list of his works, followed by a detailed analysis of those in which the flute plays a central role. As with any piece, performing Jacques Ibert's works requires knowledge of the composer's life, musical language, the characteristics of the era he lived in, the musicians and movements that influenced him. To this end, a comprehensive literature review has been conducted to provide information about the composer's life and musical language. The list of Ibert's works is provided, followed by specific details on the works in which he used the flute. In the Flute Concerto, the orchestration is grand and intense, making it important to study the piece in terms of performance. Thus, the concerto has been analyzed through a musical analysis method, focusing on its formal analysis. In addition to the analysis, this study provides technical and musical advice for performers, focusing on how to approach the work's technical challenges while maintaining its expressive integrity. When examining the role of each instrument in the orchestration, it becomes clear that there are certain elements to pay attention to while performing the piece. The recommendations aim to help flutists understand not only the physical demands of the concerto but also the emotional depth that must be conveyed in its performance. Given the technical challenges posed by the piece, it is important for performers to approach it with a deep understanding of both its musical and technical complexities. While doing the literature review, it became evident that there are very few sources available in Turkish related to Jacques Ibert. Therefore, this study aims to provide information about the composer. and the structure of his work for students and flute performers who will perform the Flute Concerto, and to offer guidance on its technical and musical challenges. In addition to supporting flute performers, the study aims to contribute to other researchers, musicians and musicologists in Turkey by providing Turkish-language resources about Jacques Ibert.
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