Catalogue de l'œuvre de Jacques Ibert (1890-1962) by Alexandra LaederichReview by: James William SobaskieNotes, Second Series, Vol. 56, No. 2 (Dec., 1999), pp. 415-416Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900025 .

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Book Reviews Book Reviews

details on the creative process with motivic, formal, and harmonic analyses, as in the lengthy discussion of the String Quartet no. 1 in C Minor, Honegger's "first real master- piece" (p. 251). Here, Halbreich provides a measure-by-measure analytical narrative.

The worklist is arranged in seventeen categories grouped under the headings "Chamber Music," "Orchestral Music," "Theater and Musical Frescoes," "Inci- dental Music," and "Light Music." Under each heading, works are listed in chrono- logical order by date of composition; Halbreich also includes a full chronological listing as appendix 1, and there is a title index. Individual entries include dates of composition and first performance, vocal and instrumental forces, length, and publi- cation data. The legibility of the music ex- amples is greatly improved over the origi- nal French version. The catalog corrects a number of errors in earlier studies, most notably Spratt's; for example, Halbreich points out that Musiques d'ameublement (Furniture Music) was "wrongly identified by Geoffrey K. Spratt, in his 1987 study of Honegger, as a lost piano concerto" (p. 273).

Concluding the volume is a series of nine short essays titled "Gathering the Threads." They reveal a composer of great talent, strength, and candor, the last aptly illus- trated by Honegger's estimation of dodeca- phonic composers as little more than slaves to their own artificial system of composi- tion (p. 623). Perhaps most illuminating is the essay titled "The Musical Language," where Halbreich attempts to provide a ra- tionale for Honegger's harmonic language under the banner of "metatonality" (p. 612). His practical and thoughtful ap- proach to Honegger's unique sound is de- rived more from the German masters, pri- marily Johann Sebastian Bach, than the music hall.

Despite a few concerns-the imposing length, discursive prose style, and lack of source locations-Arthur Honegger is a major addition to the literature on this composer. Halbreich is to be commended for his exhaustive work on an important but overlooked figure in modern music, presented in a manner appropriate for the general reader and specialist alike. The level of biographical detail is unsurpassed by any source currently available. Roger

details on the creative process with motivic, formal, and harmonic analyses, as in the lengthy discussion of the String Quartet no. 1 in C Minor, Honegger's "first real master- piece" (p. 251). Here, Halbreich provides a measure-by-measure analytical narrative.

The worklist is arranged in seventeen categories grouped under the headings "Chamber Music," "Orchestral Music," "Theater and Musical Frescoes," "Inci- dental Music," and "Light Music." Under each heading, works are listed in chrono- logical order by date of composition; Halbreich also includes a full chronological listing as appendix 1, and there is a title index. Individual entries include dates of composition and first performance, vocal and instrumental forces, length, and publi- cation data. The legibility of the music ex- amples is greatly improved over the origi- nal French version. The catalog corrects a number of errors in earlier studies, most notably Spratt's; for example, Halbreich points out that Musiques d'ameublement (Furniture Music) was "wrongly identified by Geoffrey K. Spratt, in his 1987 study of Honegger, as a lost piano concerto" (p. 273).

Concluding the volume is a series of nine short essays titled "Gathering the Threads." They reveal a composer of great talent, strength, and candor, the last aptly illus- trated by Honegger's estimation of dodeca- phonic composers as little more than slaves to their own artificial system of composi- tion (p. 623). Perhaps most illuminating is the essay titled "The Musical Language," where Halbreich attempts to provide a ra- tionale for Honegger's harmonic language under the banner of "metatonality" (p. 612). His practical and thoughtful ap- proach to Honegger's unique sound is de- rived more from the German masters, pri- marily Johann Sebastian Bach, than the music hall.

Despite a few concerns-the imposing length, discursive prose style, and lack of source locations-Arthur Honegger is a major addition to the literature on this composer. Halbreich is to be commended for his exhaustive work on an important but overlooked figure in modern music, presented in a manner appropriate for the general reader and specialist alike. The level of biographical detail is unsurpassed by any source currently available. Roger

Nichols effectively preserves the spirit of the original French in his admirable trans- lation. Devotees of French music will re- turn to this admirable volume again and again.

KEITH CLIFTON

University of Northern Iowa

Catalogue de l'oeuvre de Jacques Ibert (1890-1962). By Alexandra Laederich. (Musikwissenschaftliche Publikati- onen, 9.) Hildesheim: Georg Olms, 1998. [xxviii, 346 p. ISBN 3487-10273- 0. DM 78 (pbk.).]

For many listeners, the works of Claude Debussy and Maurice Ravel are synony- mous with twentieth-century French music. Though few would seriously question the importance of these composers, their reputations tend to obscure some of the admirable accomplishments of their peers and successors. This perception of Debussy's and Ravel's predominance is sus- tained by our standard music histories, tra- ditions, and perhaps even some latent cul- tural myopia, and it has had the effect of further marginalizing a rich legacy, for it represents yet another barrier that lesser- known modern French music must sur- mount to be heard. Indeed, many are hardly aware of the enormous amount of vital, innovative music composed and pre- miered during the first half of the twenti- eth century in Paris-a unique cultural mi- lieu that fostered imaginative artists and welcomed the new.

Among the most notable scholars and performers now "rediscovering" many French masters from this era is Jean-Michel Nectoux, whose veritable revelation of Gabriel Faure has provided a model for those engaged on behalf of composers deserving more recognition. Having thor- oughly immersed himself in the whole of Faure's oeuvre, Nectoux reexamined all biographical details in their social and cultural contexts, conducted systematic re- search on original documents, and ulti- mately developed a new image of the com- poser. Alexandra Laederich has begun a similar process for Jacques Ibert. Based on research conducted for her dissertation ("Jacques Ibert [1890-1962]: Histoire

Nichols effectively preserves the spirit of the original French in his admirable trans- lation. Devotees of French music will re- turn to this admirable volume again and again.

KEITH CLIFTON

University of Northern Iowa

Catalogue de l'oeuvre de Jacques Ibert (1890-1962). By Alexandra Laederich. (Musikwissenschaftliche Publikati- onen, 9.) Hildesheim: Georg Olms, 1998. [xxviii, 346 p. ISBN 3487-10273- 0. DM 78 (pbk.).]

For many listeners, the works of Claude Debussy and Maurice Ravel are synony- mous with twentieth-century French music. Though few would seriously question the importance of these composers, their reputations tend to obscure some of the admirable accomplishments of their peers and successors. This perception of Debussy's and Ravel's predominance is sus- tained by our standard music histories, tra- ditions, and perhaps even some latent cul- tural myopia, and it has had the effect of further marginalizing a rich legacy, for it represents yet another barrier that lesser- known modern French music must sur- mount to be heard. Indeed, many are hardly aware of the enormous amount of vital, innovative music composed and pre- miered during the first half of the twenti- eth century in Paris-a unique cultural mi- lieu that fostered imaginative artists and welcomed the new.

Among the most notable scholars and performers now "rediscovering" many French masters from this era is Jean-Michel Nectoux, whose veritable revelation of Gabriel Faure has provided a model for those engaged on behalf of composers deserving more recognition. Having thor- oughly immersed himself in the whole of Faure's oeuvre, Nectoux reexamined all biographical details in their social and cultural contexts, conducted systematic re- search on original documents, and ulti- mately developed a new image of the com- poser. Alexandra Laederich has begun a similar process for Jacques Ibert. Based on research conducted for her dissertation ("Jacques Ibert [1890-1962]: Histoire

415 415

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NOTES, December 1999 NOTES, December 1999

d'une vie, aspects d'un style, catalogue de l'oeuvre [Universite de Paris-Sorbonne, 1994]), Laederich's catalog under review here provides a valuable profile of the com- poser and an essential resource for any fu- ture investigation.

Ibert was a prominent figure in French musical life for over four decades. Winner of the Prix de Rome in 1919 (one hundred years after Hector Berlioz and thirty-five years after Debussy), he returned to the Villa Medici in 1937 and served as director of the Academie de France a Rome for the next twenty-three years. Today, Ibert may be best known for works that showcase solo winds, like the Flute Concerto and the Concertino da camera, his lyrical melodies, and his diverse chamber repertory. Yet he also completed seven operas (two written in col- laboration with Arthur Honegger), com- posed numerous symphonic works (includ- ing commissions from major orchestras in Europe and the United States), con- tributed to collective works with Albert Roussel and Ravel, and even furnished film music for Orson Welles and Gene Kelly. Clearly, a career this multifaceted deserves thorough documentation.

Catalogue de l'oeuvre deJacques Ibert (1890- 1962) features chronologically ordered en- tries for 121 principal works composed be- tween 1908 and 1958. Each numbered entry is headed by the composition's title, and the names of any individual move- ments are given immediately below, along with tempo indications. Entries for vocal works include a brief text incipit. Date and place of composition (in some cases de- duced by Laederich) appear next, followed by dedications. When appropriate, Lae- derich provides details on performing forces and any textual sources. Scholars will find subsequent information on manu- scripts, corrected proofs, editions, and signed copies valuable for their research, while performers will find the data on dura- tions and published transcriptions helpful for programming Ibert's works. All will ap- preciate the illuminating commentary, which often draws on Ibert's own words to provide helpful context, and the detailed recording lists at the end of most entries.

Prefacing the catalog is a photograph of Ibert, an introductory biographical sketch, and a chronology of significant events in the composer's life. After the 121 principal entries, there are appendixes devoted to a

d'une vie, aspects d'un style, catalogue de l'oeuvre [Universite de Paris-Sorbonne, 1994]), Laederich's catalog under review here provides a valuable profile of the com- poser and an essential resource for any fu- ture investigation.

Ibert was a prominent figure in French musical life for over four decades. Winner of the Prix de Rome in 1919 (one hundred years after Hector Berlioz and thirty-five years after Debussy), he returned to the Villa Medici in 1937 and served as director of the Academie de France a Rome for the next twenty-three years. Today, Ibert may be best known for works that showcase solo winds, like the Flute Concerto and the Concertino da camera, his lyrical melodies, and his diverse chamber repertory. Yet he also completed seven operas (two written in col- laboration with Arthur Honegger), com- posed numerous symphonic works (includ- ing commissions from major orchestras in Europe and the United States), con- tributed to collective works with Albert Roussel and Ravel, and even furnished film music for Orson Welles and Gene Kelly. Clearly, a career this multifaceted deserves thorough documentation.

Catalogue de l'oeuvre deJacques Ibert (1890- 1962) features chronologically ordered en- tries for 121 principal works composed be- tween 1908 and 1958. Each numbered entry is headed by the composition's title, and the names of any individual move- ments are given immediately below, along with tempo indications. Entries for vocal works include a brief text incipit. Date and place of composition (in some cases de- duced by Laederich) appear next, followed by dedications. When appropriate, Lae- derich provides details on performing forces and any textual sources. Scholars will find subsequent information on manu- scripts, corrected proofs, editions, and signed copies valuable for their research, while performers will find the data on dura- tions and published transcriptions helpful for programming Ibert's works. All will ap- preciate the illuminating commentary, which often draws on Ibert's own words to provide helpful context, and the detailed recording lists at the end of most entries.

Prefacing the catalog is a photograph of Ibert, an introductory biographical sketch, and a chronology of significant events in the composer's life. After the 121 principal entries, there are appendixes devoted to a

variety of subjects, including pseudony- mously published popular songs, school compositions, cadenzas, lost works, tran- scriptions, choreographic adaptations, in- terviews with the composer, and Ibert's own writings (primarily music criticism). The volume concludes with a list of pub- lishers, a chronological list of works, a list of works by genre, a bibliography, an index of titles and textual incipits, and an index of names.

Alexandra Laederich has provided a wealth of data on Ibert in a very compact package. The volume's density and the lack of music incipits may discourage casual browsers-compare Nicole Labelle's ele- gant Catalogue raisonne de l'oeuvre d'Albert Roussel (Louvain-la-Neuve: Departement d'archeologie et d'histoire de l'art, College Erasme, 1992)-but this work should be- come the first and most frequent stop for anyone interested in Ibert's music. It will best serve those committed to developing a balanced and complete view of the twenti- eth-century French musical landscape, a view that cannot fail to include a faithful representation ofJacques Ibert.

JAMES WILLIAM SOBASKIE University of Minnesota

Elizabeth Sprague Coolidge: American Patron of Music. By Cyrilla Barr. New York: Schirmer Books, 1998. [xxiv, 436

p. ISBN 0-02-864888-9. $42.]

Elizabeth Sprague Coolidge (1864-1953) inhabited a life of "irreducible multiplic- ity," a term Bonnie G. Smith coined for Germaine de Stael ("History and Genius: The Narcotic, Erotic, and Baroque Life of Germaine de Stael," French Historical Studies 19 [1996]: 1059-81).

At first glance, the reduction of Coolidge in the title here to the four words "Ameri- can patron of music" seems confining. After all, the six-foot-one-half-inch Coolidge possessed stature in several arenas-as a pi- anist, a composer, an amateur musicologist, a daughter-wife-mother-grandmother, a woman of Chicago society, a descendant of Massachusetts Bay colonists, a wealthy ac- tivist. Nicknames given her by others affirm her stature, for good or ill: "an American Maecenas" to Henry Prunieres (p. 380, n. 45), "Eccellentissima Santa Cecilia" and

variety of subjects, including pseudony- mously published popular songs, school compositions, cadenzas, lost works, tran- scriptions, choreographic adaptations, in- terviews with the composer, and Ibert's own writings (primarily music criticism). The volume concludes with a list of pub- lishers, a chronological list of works, a list of works by genre, a bibliography, an index of titles and textual incipits, and an index of names.

Alexandra Laederich has provided a wealth of data on Ibert in a very compact package. The volume's density and the lack of music incipits may discourage casual browsers-compare Nicole Labelle's ele- gant Catalogue raisonne de l'oeuvre d'Albert Roussel (Louvain-la-Neuve: Departement d'archeologie et d'histoire de l'art, College Erasme, 1992)-but this work should be- come the first and most frequent stop for anyone interested in Ibert's music. It will best serve those committed to developing a balanced and complete view of the twenti- eth-century French musical landscape, a view that cannot fail to include a faithful representation ofJacques Ibert.

JAMES WILLIAM SOBASKIE University of Minnesota

Elizabeth Sprague Coolidge: American Patron of Music. By Cyrilla Barr. New York: Schirmer Books, 1998. [xxiv, 436

p. ISBN 0-02-864888-9. $42.]

Elizabeth Sprague Coolidge (1864-1953) inhabited a life of "irreducible multiplic- ity," a term Bonnie G. Smith coined for Germaine de Stael ("History and Genius: The Narcotic, Erotic, and Baroque Life of Germaine de Stael," French Historical Studies 19 [1996]: 1059-81).

At first glance, the reduction of Coolidge in the title here to the four words "Ameri- can patron of music" seems confining. After all, the six-foot-one-half-inch Coolidge possessed stature in several arenas-as a pi- anist, a composer, an amateur musicologist, a daughter-wife-mother-grandmother, a woman of Chicago society, a descendant of Massachusetts Bay colonists, a wealthy ac- tivist. Nicknames given her by others affirm her stature, for good or ill: "an American Maecenas" to Henry Prunieres (p. 380, n. 45), "Eccellentissima Santa Cecilia" and

416 416

This content downloaded from 91.229.248.202 on Sun, 15 Jun 2014 02:40:59 AMAll use subject to JSTOR Terms and Conditions