20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Ibert Jacques
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
Baker, Michael Conway
Baksa, Robert
Barber, Samuel
Barrere, Georges
Bartók, Béla Viktor János
Baton, René-Emmanuel
Beaser, Robert
Bennet, Richard Rodney
Berg, Gunnar
Berio, Luciano
Bernofsky, Lauren
Bernstein, Leonard
Bloch, Ernest
Bolling, Claude
Bon, Maarten
Bonis, Mel
Boughton, Rutland
Boulanger, Marie-Juliette
Boulez, Pierre
Bourdin, Roger
Bournonville, Armand
Bowen, Edwin York
Bozza, Eugène Joseph
Bréville, Pierre
Brings, Allen
Brotons, Salvador
Brown, Elizabeth
Brun, Georges
Burkhard, Willy
Burton, Eldin
Büsser, Henri
Camus, Pierre
Carmichael, John
Carter, Elliott
Casella, Alfredo
Chaynes, Charles
Clarke, Ian
Colgrass, Michael
Colquhoun, Michael
Copland, Aaron
Corigliano, John
Cortese, Luigi
Currier, Sebastian
Dahl, Walter Ingolf Marcus
Damase, Jean-Michel
Davidovsky, Mario
De Lorenzo, Leonardo
Debussy, Claude
Del Tredici, David
DeLaney, Charles Oliver
Delerue, Georges
Denisov, Edison
Dèsbriere, Jacques
Dick, Robert
Dinicu, Grigoraș
Dodgson, Stephen
Dohnányi, Ernő
Dubois, Pierre Max
Dukas, Paul
Durey, Louis
Dutilleux, Henri
Enescu, George
Farkas, Ferenc
Feld, Jindřich
Ferroud, Pierre-Octave
Flothuis, Marius
Folio, Cynthia
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
Gade, Jacob
Gál, Hans
Gaubert, Philippe
Genzmer, Harald
George, Thom Ritter
Ghidoni, Armando
Gieseking, Walter
Glass, Philip
Glière, Reinhold
Golovin, Andrei
Gordeli, Otar
Grier, Lita
Griffes, Charles Tomlinson
Grinblat, Romuald
Grovlez, Gabriel
Guarnieri, Mozart Camargo
Gubajdulina, Sofia
Hahn, Reynaldo
Hailstork, Adolphus
Halphen, Fernand
Hanson, Howard Harold
Harberg, Amanda
Harbison, John
Harsányi, Tibor
Harty, Hamilton
Heiss, John
Heith, David
Henze, Hans-Werner
Higdon, Jennifer
Hindemith, Paul
Holliger, Heinz
Holmboe, Vagn
Honegger, Arthur
Hoover, Katherine
Hosokawa, Toshio
Hovhaness, Alan
Hüe, Georges Adolphe
Hurel, Philippe
Ibert, Jacques
Ichiyanagi, Toshi
Ittzés, Gergely
Ives, Charles
Jacob, Gordon
James, Bob
Jemnitz, Sándor
Jirák, Karel Boleslav
Jóhannsson, Magnús Blöndal
Jolivet, André
Jongen, Joseph
Karg-Elert, Sigfrid
Kay, Ulysses
Kelterborn, Rudolf
Ķeniņš, Tālivaldis
Kennan, Kent Wheeler
Kennedy, Martin
Kernis, Aaron Jay
Khachaturian, Aram
Kocsár, Miklós
Kodaly, Zoltan
Koechlin, Charles
Kornauth, Egon
Kraft, Leo
Krzywicki, Jan
Kupferman, Meyer
La Montaine, John
Lauber, Joseph
Lavista, Mario
Lee, Eugene
Leeuwen, Ary van
Levinson, Gerald
Liebermann, Lowell
Loudova, Ivana
Mack, Dieter
Mahler, Gustav
Maresz, Yan
Martin, Frank
Martino, Donald
Martinů, Bohuslav
Meltzer, Harold
Messiaen, Olivier
Mihalovici, Marcel
Milhaud, Darius
Mouquet, Jules
Mower, Mike
Muczynski, Robert
Nielsen, Carl
Norby, Erik
Nordenstrom, Gladys
Offermans, Wil
Olsen, Carl Gustav Sparre
Paget, Daniel
Perle, George
Petrovics, Emil
Piazzolla, Astor
Piston, Walter
Poulenc, Francis
Prokofiev, Sergey
Rachmaninoff, Sergei
Ran, Shulamit
Raphael, Günter
Rautavaara, Einojuhani
Ravel, Maurice
Reynolds, Verne
Riegger, Wallingford
Rivier, Jean
Rodrigo, Joaquin
Rota, Nino
Rotaru, Doina
Rouse, Christopher
Roussel, Albert
Rutter, John
Saariaho, Kaija
Sancan, Pierre
Schmidt, Ole
Schocker, Gary
Schulhoff, Erwin
Schwantner, Joseph
Sciarrino, Salvatore
Shostakovich, Dmitri
Sibelius, Jean
Smit, Leo
Tailleferre, Germaine
Takemitsu, Tōru
Taktakishvili, Otar
Tansman, Alexandre
Tomasi, Henri
Tower, Joan
Uébayashi, Yuko
Varèse, Edgar
Vasks, Pēteris
Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Pièce for flute solo
Jacques Ibert: Pièce for flute solo was written in 1936 and dedicated to Marcel Moyse, the legendary French flautist who was the primary exponent of the French Flute School during the mid-20th century.
According to Marcel Moyse’s own recollections, Jacques Ibert presented the Pièce to Moyse at a dinner that was held to celebrate the successful premiere and early performances of Ibert’s Flute Concerto. Ibert reportedly handed Moyse the manuscript of the Pièce (which was written on a single sheet of paper, sometimes described as a napkin or a menu card in more embellished versions of the story) as a "thank you" gift. Moyse supposedly stood up and performed the work right then and there for the assembled guests, making it a "private premiere" in an intimate social setting.
In 1936, Ibert was preparing for a major institutional transition. In 1937, he was appointed the Director of the Académie de France at the Villa Medici in Rome. The composition of Pièce occurred during his final year as a fully independent composer in Paris, a time when he was deeply integrated into the city's cosmopolitan musical life. Ibert was a close friend of Marcel Moyse. Having recently completed his massive Flute Concerto (1934) for Moyse, Ibert wrote this solo piece as a more intimate, "portable" gift for the flautist to use as an encore or recital opener.
In 1936, while other composers were experimenting with dense serialism, Ibert remained committed to Impressionist clarity and wit. This work reflects his belief that music should be "unencumbered" and essentially Gallic in its lightness.
Ibert Jacques
Jacques Ibert (1890 - 1962) was a French composer who studied composition with Paul Vidal at the Paris Conservatory. After the World War I during which he served as a naval officer at Dunkirk, Ibert won the Prix de Rome composition competition in 1919 and was able further to pursue his career as a composer. One of his most known orchestral works, symphonic poem Escales (Port of call) was written during that time (1922) and brought him recognition.
Besides prolific career as a composer during which he wrote seven operas, five ballets, works for orchestra, chamber music etc. Ibert was talented administrator. He was the director of the Académie de France at the Villa Medici in Rome (1937-1960), and for almost a year ran the Réunion des Théâtres Lyriques Nationaux, which administrated both the Paris Opera and the Opéra-Comique. As opposed to many other French composers of that time Ibert didn't join any musical movements, trying to maintain his musical independency. Thus, his musical style has been described as an eclectic.