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SAMeRC ANALYSIS OF JACQUES IBERT'S FLUTE CONCERTO:

III. ALLEGRO SCHERZANDO

Lucia Viana Camacho

Summary

The present analysis aims to address the third movement of Jacques Ibert's Flute
Concerto, using the SAMeRC methodology. The main intention is to decipher the multiple
influences present (rather involuntarily) in the composer's style, and how they manifest
themselves through the work: from an expanded and colorful harmony, to a perfectly classical
form, passing through polyrhythm and syncopated motifs.

Keywords: concert, flute, Jacques Ibert, Allegro scherzando, eclecticism.

1. Introduction

Jacques Ibert's Flute Concerto was premiered on 25 February 1934 at the Societé des
Concerts by Marcel Moyse, conducted by Philippe Gaubert (Timlin, 1980). This concerto was
written for Moyse, following his appointment as the new professor of transverse flute at the
Paris Conservatoire in 1932, succeeding his teacher, Gaubert (Dzapo, 2016).

Jacques Ibert (1890-1962) studied violin and piano from a very early age, but it was at
the age of twenty that he began taking classes in harmony, counterpoint and composition at the
Paris Conservatory. His teachers were Emile Pessard, Gédalge and Paul Vidal. It is noteworthy
that he won the Prix de Rome in 1919, despite having been forced to curtail his compositional
activity for four years due to his participation in the First World War. This event was crucial
for his career: it gave him great recognition within the European musical scene of the time and
allowed him to dedicate himself to composition more exclusively (Laederich, 2001).

Ibert was versatile in every sense. He not only devoted himself to academic music, but
was also a film pianist and had a special devotion to film and theatre. This is why his artistic
production also includes incidental music for plays, music for films, operas and ballets, as well
as orchestral and chamber works (Dzapo, 2016).

Regarding his style, there are two paradoxically compatible opinions: the first is that he
is eclectic, and the second, that he prefers not to commit to any aesthetic current or artistic
movement. His language contains neoclassicism (as a reaction to German romanticism),
influences from popular music (including the blues) and impressionist nuances (Powell, 2002).
He himself stated that all systems are valid, as long as one can produce music with them (Ibert,
cited in Mawer, 2006). And this is precisely what this analysis seeks to demonstrate: the
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syncretism of influences in Ibert's music and how it manages to exist without completely
annexing itself to any school.

2. Methodology

The procedure used will be the SAMeRC method, according to which the following
will be studied: Sound, Harmony, Melody, Rhythm and Growth. The interactions between
these parameters will also be observed, and especially how the first four will affect Growth.
The book Analysis of Musical Style, by musicologist Jan LaRue (1989), will be taken as a
guide. The first edition of the original work was published in 1970, under the title Guidelines
for Style Analysis.

3. Analysis

3.1. Sound

According to the SAMeRC method, sound is divided into three interrelated sections:
timbre, dynamics, and texture or plot, the latter being the arrangement of the different timbres
(LaRue, 1989).

3.1.1. Ring

Jan LaRue distinguishes four issues within timbre: the choice of timbres as such; the
scope; the degrees and frequency of contrast, and the language. Regarding the first, this is the
first concert composed by Ibert for a wind instrument, a family of instruments whose timbres
he was fascinated by (Dzapo, 2016). Ibert's orchestration has been defined as transparent,
concise, refined and without unnecessary complexities (Laederich, 2001). This moderate or
economical use of orchestral forces is the result of his neoclassical influence. Furthermore, it
only uses bent woodwinds, two horns, a trumpet, timpani and strings: it could be a Classical
orchestra (Mawer, 2006).

As will be detailed in Growth, this movement has a ternary form in large dimensions.
It could be said that, while the general range of the orchestra is higher in the first and third
parts, in the middle section it is considerably lower, which corresponds to the change in
character. Considering that this is a rondo, every time the ritornello appears (like the cc. 1-14)
the registers are polarized; although the violas pass through the treble clef, and the bassoon 1
and the cellos, through the C in fourth clef. Also, at the end of some sections, the overall range
of the orchestra tends to be higher, as in bar 65. Returning to the middle part or Moderato, it is
worth noting that, although it is more serious (the horns descend to the bass clef), there is a
climatic point in measure 172 in which the register of the entire orchestra rises.
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The solo flute line particularly exploits the medium and high registers, which is
because they are the ones that stand out the most and are most given to virtuosity. It only goes
through the grave in the Moderato and in the cadence of measure 275, since they are sweeter,
more sensual or mysterious sections. The cadence covers the entire range presented by the
flute: it contains both the climax (the high D♭) and the anticlimax (the low C).

As for the degrees and frequency of contrast, it is a living and changing movement in
every sense (melodies, dynamics, characters...), as if it functioned through energy impulses.
This is why the orchestra experiments with its full range of registers and timbres, but it does so
not in a sudden manner, but rather gradually. Both melodies and accompaniments tend to
describe very gradual patterns of rises and falls; therefore, contrasts in register are common,
but always done in a progressive manner. The transition from bars 15-24 is very exemplary, in
which the orchestra describes an arc that descends to the lowest note and then ascends
chromatically.

Regarding the use of timbres, as a general rule, three melodic planes are distinguished:
the solo flute; the winds, which accompany the flute in a question-answer dynamic or as a
counterpoint; and the strings, which usually act as a rhythmic-harmonic cushion or "motor".
The wind instruments that respond to the soloist or engage in dialogue at the same time as him,
bring different new timbres to the discourse that complement that of the flute.

As regards the language, it is important to note that the entire concerto is a pillar of the
flute repertoire, and one of the most complex works in it. But the third movement in particular
is the most demanding. So much so that it was chosen as the morceau de concours for the
entrance exams to the Paris Conservatory in 1934 (Dzapo, 2016). But not only is it technically
complicated and changes characters as if it were a rhapsody, but Ibert also introduces new
colors into it. Until the last century, it was not common to see extended techniques, such as
frullato or harmonics found in the cadenza, in a flute concerto, bringing a touch of modernity
to Ibert's language.

It also exploits the different colors of the orchestra's instruments. It is evident that he
relates this “motor” function of the strings with the use of pizzicato (for example: cc. 25-28).
But he also uses jeté in some fragments for variety, such as in bars 81-84 of the cellos or 163-
170 of the second violins. The violins also have harmonics just before the Moderato (cc. 109-
113), to create the atmosphere of the later “pseudo-cadenza” of the flute (cc. 114-125). Finally,
equally related to the ethereal atmosphere of the Moderato, are the bouchés of the horns in bars
198-206.
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3.1.2. Dynamics

According to LaRue (1989), one must differentiate between the types of dynamics,
divided into explicit and implicit, and the degree of contrast. See Annex 1, which includes
three tables showing the explicit (written) dynamics by sections. The main difference between
the Allegro and the Moderato is that in the latter there is much less dynamic contrast.

In this middle section, in terms of implicit (unwritten) dynamics, it is observed that the
orchestral density is much lower. This has been achieved by reducing the number of wind
instruments, making the few that there are play a few long figuration notes, and with a very
light accompaniment (sometimes with pizzicato) from the strings. The purpose is to highlight
the melodic and imaginative line of the flute.

As for nuances, three moments can be distinguished, except for the introduction of the
flute. At first, the orchestra moves mostly between pp and mp. The flute has no markings, but a
soft dynamic can be sensed. Next, on the bridge (cc. 162-179) the orchestra and the soloist
perform a crescendo of F ff, further enhanced by the emergence of all the wind and string
sections in measure 172, and the high B ♭ of the flute. After this transition, we return to the
Moderato theme, now a pianissimo that diminishes until it dies away.

However, in the Allegros, the first thing that is observed is that the parts in which there
is more orchestral density are those that present the main material, and then the transitions.
This is enhanced by the polarization of the orchestra's registers, which often occurs in these
sections, and the fact that the solo flute plays in the high register. However, in the episodes or
couplets of this rondo, the orchestra's range is medium-low, and it is only based on the
pizzicato motor of the strings and some counterpoint of some wind.

This is confirmed by the dynamics written in the score. The forte and fortissimo are
found in A and the transitions (except the last one, which links to the Moderato). However, the
piano and pianissimo are in b1 and b2. Furthermore, in b1 the double basses are sometimes
indicated as “la moitié”, that is, they should play half of them.

Overall, this is a movement with quite a bit of contrast between sections in terms of
dynamics. It also features a large dynamic range, from dpi (cc. 109-113) to the final fff (cc.
280-289), for example. One final aspect to highlight is that all these differences in dynamics
are achieved gradually, and not abruptly, which also corresponds to the serpentine character of
the flute's melodic line. There are always crescendo and decrescendo, or little inflections. The
only times when this is not true are: the first time the main theme is presented (cc. 1-14), the
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second transition to b1 (cc. 69 and 251), and in the flute line, at a moment in b1 (the changes
from forte to piano in cc. 29, 77, 211 and 259).

3.1.3. Texture and Weave

As this is a concerto for solo instrument, it is to be expected that the predominant

texture will be that of melody with accompaniment, and that there will be several parts based
on a question-answer dynamic. Note that the texture of melody with accompaniment is
stereotypically linked to compositions of the classical period. In general, in the Allegro there is
more variety of textures, while in the Moderato there is almost only melody with
accompaniment.

The chorus material, also called A, is the one that presents the most evident
homophony. For contrast, b1 and b2 show specialized textures per section. As explained
above, while the strings usually play a rather rhythmic bass, the winds make melodic
interventions, and can become a fairly prominent counterpoint (for example, the 1st flute in cc.
33-36 or the bassoon in cc. 180-192). In transitions that do not present the chorus material, or
in general, in some section changes, it is common to find polyphony, although it is never
complex. It occurs in bars 19-23, between the orchestra and the brass, or in bars 37-40 between
the syncopated motif and the chromatic descent.

As mentioned above, the Moderato has a more intimate character, so the texture, as
well as the dynamics, becomes less coarse. The main character is this melody with
accompaniment, to which the timid intervention of some wind is added. It only thickens a little
in this climatic fragment from bars 162-174. Evidently, the texture of the pseudo-cadence of
the Moderato and of the cadence of measure 275 is monody.

3.2. Harmony

Ibert was also not tied to any style when it came to the treatment of harmony, but was
guided by his sense of reason, objectivity and symmetry (Timlin, 1980). In his works, tonality
prevails, or at least there is usually a tonal center. In this case, Ibert modulates or changes the
tonal center rapidly. He does not usually establish a tonality clearly over many bars, but rather
composes more by means of patches of colour. In fact, there are places where tonality is very
diffuse, such as the transitions based on the thematic material of A, the monodic transition
between the Allegro and the Moderato or the final cadence of the flute. There are also parts
composed based on chromatic melodic progressions that blur the contours of tonality.

The influence of Debussy on Ibert's harmonic language and orchestral palette is often
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noted, but not at the time he wrote this concerto. It would only be applicable to the string
mixtures in the development transition (cc. 162-171). The influence of jazz on his music has
also been mentioned, with reference to the Concertino da Camera for saxophone (Tunjano,
2012). This was written at the same time as the flute concerto, and both have several
similarities regarding the treatment of themes, colours and harmony. Ibert does not use
impressionistic modes or scales in this case, but an octatonic scale can be observed in measure
116. The vast majority of scales he uses are chromatic, both on the flute, in a virtuoso manner,
and in the melodic drawings of the accompaniment. This resource gives a feeling of frenzy and
instability.

Figure 1. Octatonic scale in bar 116

Another feature of the harmonic vocabulary used is the use of colorful fourth chords,
influenced by neoclassicism and also used in jazz. These are most evident in the transitions
made to the chorus material. Extended chords are also common, and on any scale degree.
There are even trecena chords. And, finally, there is also superposition of chords, as in the
climatic point of the Moderato (bar 172). In this one, a G♭maj7 chord is observed in the
strings, while the winds play a C♭maj7 chord.
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Figure 2. Fourth chord of c. 89 (left) and superimposed chords of c. 172 (right)

Next, we proceed to analyze the relationship of the main tonalities with the structure,
that is, how harmony affects growth. See Appendix 2, which shows three tables with the main
shades by section. The colors are: orange, for shades in the tonic region; green, for the
subdominant, and blue, for the dominant.

As is typical in classical concertos, this third movement is a rondo; specifically, a

sonata rondo with inverted reexposition. However, the organization of the tonalities does not
fit with that of classical rondos. While the B of the exposition of conventional sonata rondo is
usually in the key of the dominant, in this case it oscillates between the main key, its minor
namesake, and keys that are a 3rd lower (A♭M and A♭m). In short, this first couplet is centered
on the tonic. And yet the B of the recapitulation is based on keys that have a 3rd m relationship
with the dominant, when in conventional rondo-sonatas it is usually found in the main key.

It is worth noting that most of the modulations, especially those of the Allegro, are por
medio. These 3rd relationships are visible in the keys of the exposition or first Allegro: F
Major – A Major – C Major – F Major – A ♭ Major and minor – F minor…

The C, the development, is usually in the minor homonym, the IV degree or the VI
degree. In this case it does correspond that the majority of the tonalities of this intermediate
part, the Moderato, are related by a 3rd m with the subdominant. Furthermore, almost all of
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this section is in minor mode.

In conclusion, although this is clearly a tonal work and Ibert's tonal language is tonal in
general, it is obvious that tonality expands. The composer uses devices such as fourth chords,
extended chords, and chromaticism to avoid clearly establishing a tonality. These are typical of
styles of the time, such as neoclassicism or jazz. On the other hand, the tonal structure of the
movement does not correspond to what would be traditional in rondo-sonatas, since the
couplet of the exposition should be in the dominant tonality, and that of the reexposition, in the
main tonality, but rather the opposite occurs.

3.3. Melody

Ibert, as a French musician with a classical reminiscence, has essentially two ways of
dealing with themes: either it is a fast, brilliant and rhythmic phrase that is undone and
combined with other elements, or it is a long melodic line with a more lyrical imprint (Timlin,
1980). There is no trace of romantic pathos and epicness, although there is some virtuosity.
Although there may be exceptions, this is not the case: it is evident how this duality manifests
itself in the work. On the one hand, there is the chorus motif, with the 4/4 that seems like a
truncated 9/8, onto which a small cascade of triplets falls. On the other hand, there are the
extended phrases of the Moderato, which last nine bars and give a more singable (although not
dramatic) impression.

When dealing with this piece, there are no long motifs with their own personality that
are repeated as such throughout the composition, but rather, there are small cells that reappear
spontaneously. The solo flute abandons phrases with melodic meaning in favor of a virtuosity
based on long lines of concatenated triplets. Therefore, as such, only four cells or thematic
motifs can be distinguished that do not even manage to construct sentences.

3.3.1. Reason α

The first is the chorus motif, which has been called α (or 1Pax, in the Growth section).
It is composed of two parts: the question, which is the eighth notes in truncated 9/8, and the
answer, which is the cascade of triplets. Although what really identifies it is the “9/8” motif.
Violas are the only ones that have both elements:

Figure 3. Motif α in the violas, cc. 1-2

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It is an articulated motif, and of a more rhythmic than melodic character. As for the
figuration, it is not very varied, since there are only loose eighth notes and eighth note triplets.
The directionality is rather downward. In “9/8”, the majority of the orchestra either stays
steady or descends melodically. It is worth noting that, due to the cellos, the sound sensation is
one of rising and falling. Apart from that, the cascade of triplets is clearly descending.

Figure 4. α motif in violins, c. 1 (left), and α motif in cellos, c. 1 (right)

As for the continuity of the melody, it goes by joint degrees, so it is totally continuous.
Regarding the culmination, although the last note of the triplets is the second degree of the
tonality (G), it really culminates in a following identical melodic cell, so it would be stable (it
would end in F, first degree).

This motif is repeated in more places throughout the work, but in a transitional context,
not a chorus context. In these cases, the directionality changes: the melodic line remains, it
does not descend. Furthermore, the harmony is more extended and colorful, while in the
chorus it was a tonic chord with seventh. Triplets, which previously performed a sort of
flourish on a descending line, now perform a descent on a repeated note. They remind us of
what the flute does in measure 28, in b1.

Figure 5. Motif α in 2nd violins, cc. 41-42 (left), and flute motif in m. 28 (right)

In the transition to Moderato, when the winds hold a D♭ Major chord, the low strings
repeat the “9/8” cell like a last breath.

3.3.2. β Motive

As explained above, b1 and b2 do not have a characteristic melody, but rather follow
the same scheme: succession of triplets with rhythmic accompaniment (quarter notes or eighth
notes) of the string. However, it is true that the structure of b2 bears some resemblance to the
second part of b1. The cell they have in common is the one in bars 29-30, which has been
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called the β motif. As can be seen, the triplets remain as the main figure, the continuity by joint
degrees (and 3rd) and the descending directionality.

Figure 5. Motif β on the flute, cc. 29-30

In Appendix 4, bars 29-32 of b1 are compared with the theme of b2 (cc. 49-52). Note
how both retain mainly three melodic elements: the β motif carried by the solo flute, a reply
also based on triplets by another instrument, and the final tail, which consists of an arched
pattern of tied triplets. But the β motif in b2 appears distorted: it is a slurred flourish, rather
than the same note in staccato; continuity is lost with a descending 8th leap, and the
directionality is now ascending. In fact, the violins' response is more similar to the original β
motif.

3.3.3. γ motif

In development there are two themes that, at first, may seem similar. The first is the γ
motif, which first appears in bars 110-111.

Figure 6. Motif γ on the flute, cc. 110-111

It is quite different from the previous two: the figuration is larger and more varied, the
articulation is legato and it seems to have a more melodic than rhythmic sense. The ligature
gives it a beginning and an end, making it something like a sentence. Another difference is that
it is not thetic, but acephalous. As for continuity, the intervals are much wider than in the
previous themes. But, although the melodic drawing is undulating, the directionality continues
to be descending. The culmination is unstable, as it ends on the ♭, V degree of D ♭ Major.
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The introduction of the Moderato takes up this same motif, which has just preceded it,
but with a figuration twice as small, since the time signature is 2/4. Dzapo (2016) includes it
within the final transition of the Allegro, instead of the introduction of the Moderato. It also
appears in the cadence of 275, but the interval is 3-5-6, instead of 3-2-4.

Figure 7. γ motif on the flute, c. 275

3.3.4. Motive δ

The δ motive is the motive on which the vast majority of the Moderato is based. It
appears for the first time in bars 126-128 (it is one bar longer than the previous ones). Of all
the motifs, it is most similar to γ, although the latter has the long figure at the end.

Figure 8. Motif δ on the flute, cc. 126-128

It is a thetic, linked and expressive theme, also with more melodic than rhythmic
character. The drawing is undulating, and as in all themes, the direction is downward. Like the
other development motif, γ, it includes longer figuration (in addition to the omnipresent
triplets), and houses large intervallic leaps. The culmination is stable, as it ends in B ♭, which
is the
I degree of B ♭ minor. However, auditorily and in context, it links to the next cell, which is the
same. It appears again twice in the cadence of 275, but, like γ, with a different intervallic. The
first one happens as soon as the cadence begins (4-1-3-2-3). And the last one is at the end (3-6-
2-5), without the first long note and with a longer figuration.

Figure 9. Variations of the δ motif in the cadence, c. 275

3.4. Rhythm

3.4.1. Tempo

Ibert's concerto is purely classical in structure, as its movements follow the convention
of fast – slow – fast. Thus, the third movement has an accelerated and virtuoso character, so
the speed is high: it is an Allegro scherzando (♩=176). This movement is a rondo-sonata whose
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three parts coincide with agogic changes. The middle section, C or development, has a more
independent meaning; that is, it does not function as a development of the previous thematic
material, but rather acts as if it were the Trio of a minuet. It has a lyrical and intimate imprint,
and develops other new thematic motifs. The agogic indication, Moderato assai, indicates a
considerable lowering of speed (♩=76).

The accelerated character mentioned above is only interrupted by some rallentando

that are found before some section changes. This is the case of bars 46-48, before b2; 71-72,
before b1, or 110-113, to give rise to the Moderato. In conclusion, ritardando or rallentando
are used exclusively to link parts. Another moment in which the tempo is suspended is the
cadence of measure 275, since cadences usually have an improvisatory appearance. This is
why Ibert mixes here passages of very small figuration, with passages of long figuration, and
moments of stringendo or accelerating, with moments of ritenuto or allargando.

It is important to highlight the function of the strings, which are responsible for
maintaining the tempo throughout the movement. They have a more rhythmic meaning than
the timpani, which, although they are the only percussion instrument, practically only have a
timbral reason for being.

3.4.2. Compass and figuration

Precisely, something that stands out in this piece and in Ibert's language is the rhythm
and the meter. Generally speaking, only binary subdivision measures appear throughout the
movement: while the Allegros are (mostly) in 4/4, the Moderato is in 2/4. However, the chorus
and transitions that use the same material stand out because they are not stable in terms of
meter. They alternate a 4/4 beat for the question, with a 3/4 beat for the answer, and sometimes
they also include some 2/4 beats.

Ibert often mixes different measures or different subdivisions in his works (Timlin,
1980). In this case, what happens is that, despite all the bars being of binary subdivision, the
figuration rarely gives this sensation: it seems as if it were written in 12/8. For this, the main
rhythmic cell is the eighth note triplet. In fact, the chorus material itself is written asyncoped,
as if it were a 9/8 beat interrupted on its last eighth note by the response of the next bar.

There are certain passages in which the composer uses syncopation, which gives a
jazzy or danceable character. This is the case of: the accompaniment motif at the end of theme
B; the accompaniment at the end of transitions with material from A, or the trumpet in the
transitions from theme b2 to theme b1 (whose motif recalls the truncated 9/8 at the beginning).
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In the Moderato the metrical sensation is also distorted. On the one hand, although the
time signature is 2/4, the flute line seems to be in 6/8, with its triplets and sextuplets. On the
other hand, the accompaniment does not play triplets, but eighth notes. What creates a ternary
feel in the accompaniment is the shifting of the accent, which is achieved by the pizzicato of
the cellos every three eighth notes. This accompaniment does become binary in the middle
transition section. In conclusion, both the flute and the accompaniment give a sense of ternary
subdivision, but they achieve it in different ways.

Figure 10. Polyrhythm between flute and strings, cc. 126-128

One last topic to discuss is polyrhythm. The case of the Moderato has been analyzed,
but it exists in more places. In the b1 endings, some instruments make an asyncopate pattern
starting upwards, while other instruments make a chromatic descent in quarter notes. The same
thing happens with the trumpet in the transitions between b2 and b1, which plays dotted
quarter notes while the orchestra clearly marks the 4/4 time.

Ultimately, by using syncopation, polyrhythm and devices to achieve a ternary feel in a

binary subdivision bar, Ibert also achieves an imbalance in rhythm. This makes the work a
little closer to modernity than to classicism, and contributes to the precipitous nature of the
movement.

3.5. Growth

As has been said throughout the work, one of Ibert's influences is neoclassicism. This
is very evident in the formal structure of the movement. Like the great classical concertos for
solo instrument, the third movement is a rondo-sonata. And not only that, but the divisions
between sections, themes, motifs and cells are clearly symmetrical and perceptible. On the
other hand, it is important to remember that it is better to speak of main motifs than of main
themes, since these are very small cells that do not last more than one measure. What really
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gives cohesion to the whole movement, in the sense that they are found everywhere, are the
triplet lines without any thematic intention. Its purpose is none other than to be a constant
“tongue twister”, a challenge for the most virtuoso flutists.

See Appendix 3 to complete the reading of Growth. The exhibition follows the ABA
structure. In turn, B is divided into two themes: b1 and b2. There are two transitions that
present the material from A, but with different harmony and instrumentation, which gives a
more rondo feel as there are more choruses (A-b1-A'-b2-b1-A'-A). The symmetry of this
section is clear, A-b1-b2-b1-A: b2 would be in the middle. However, in the restatement there
is no such symmetry, since the first A does not exist. Therefore, the re-exposition would be
only in B'-A. Furthermore, the score indicates that the first b1 and b2 can be avoided for
reasons of difficulty.

A notable anomaly in A is that the first time the chorus occurs, it is followed by a
theme that does not appear again in the entire work (cc. 5-7 and 12-14), which has been named
1Pay-1Peace in the growth scheme. Only the material from 1Paz is used as a basis to develop
the transition from bars 15-24.

The development works like another couplet, called C. Both the material and the
energy of this new section are totally independent of anything heard before. As explained
above, it does not develop the previous themes, but rather introduces two new motifs.
Specifically, one of them is the motif on which the phrase repeated throughout this section is
built (motif δ). The development presents a ternary structure, since, without counting the
introductory pseudo-cadence of the flute, it is divided into: c1 and its repetition; a transition or
“development” of the theme, and c1. This intermediate transition, consisting of ascending and
descending chromatic scales, contains the climatic point of the Moderato, located at bar 272.
Curiously, it is the figure that results from multiplying the number of bars in C by the golden
ratio. Therefore, this section is perfect in structure according to the classical canon.

Regarding the proportionality between the parts, they follow one another from greatest
to least: the exposition lasts 113 bars, the development covers 93, and the reexposition, 82.
The climax of the movement is located in bar 247: it is the second highest note played by the
flute, the orchestral mass thickens and is the consequence of a crescendo.

Finally, the question of the coda must be addressed. Timlin (1980) and Dzapo (2016)
set the coda at measures 284 and 280, respectively. They practically treat almost or all of A as
a coda. But this does not hold, since A has already appeared exactly as in the cc. 280-285 in
the cc. 97-102, this has not been called a coda or even a codetta. It is true that A has in both
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cases a conclusive section, in which the figuration is accelerated, and which has been called
1Pk in the diagram. But what is really new is what happens from bar 286 onwards. These last 4
bars are the true coda to the movement.

4. Conclusions

1. Ibert is a composer who is difficult to classify in terms of style due to his eclecticism.
2. The influence of classicism is evident in his use of orchestral mass, the duality in the
treatment of themes, the symmetrical structure and the rondo form.
3. A more modern imprint can be seen in the expanded, colorful harmony and use of the
chromatic scale (related to neoclassicism and jazz); the syncopated rhythms (also from
jazz) and polyrhythm, and the extended techniques.
4. The slight, almost imperceptible influence of impressionism in this work by Ibert is
present in an octatonic scale and the use of mixtures in one section.

5. Literature

Dzapo, K. J. (2016). Notes for flutists: a guide to the repertoire. Oxford University Press.
Laederich, A. (April 21, 2022). Ibert, Jacques. Retrieved from Grove Music Online:
https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.
001.0001/omo-9781561592630-e-0000013675
LaRue, J. (1989). Analysis of musical style. Labor Publishing House, S.A.
Mawer, D. (2016). 'Dancing on the Edge of the Volcano': French Music in the 1930s. In R.
L. Smith, & C. Potter, French Music Since Berlioz (pp. 249-280). Routledge.
McCutchan, A. (1994). Marcel Moyse: Voice of the Flute. Amadeus Press.
Powerll, A. (2002). The Flute. Yale University Press.
Timlin, F. AND. (1980). An Analytic Study of the Flute Works of Jacques Ibert. [Doctoral
dissertation, University of Washington]. ProQuest Central.
Tunjano Romero, DA (2012). The influence of jazz on Jacques Ibert's "Concertino da camera"
for saxophone and eleven instruments. [Unpublished work] Pontifical Javeriana
University.
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6

ANNEX 1
Table 1
Explicit dynamics in the first Allegro scherzando or exposition
1 7 15 25 33 41 49 57 65 73 81 89 97 103
B
TO TO
shape transition b1 transition / b2 b1 transition / transition
transition
to to b1 b1' A' b2 b2' b1 b1' A' to
flute F F F ff > ff ff p>
ff pp fp <> pp F f< f ff< > pp <> pp <> pp <> pp ff pp fp <> pp f< f ff
orchestr ff pp ff pp >p >pp p>ppp F ff fff>mf>pp ppp
a
Table 2
Explicit dynamics in the Moderato assai or development
117 126 135 144 153 162 180 189 198
C
shapecadential c1 c1 c1
transition codetta
intro c1 c1' c1 c1' c1 c1'
flute pp <f > (p) <> (p) < (p) <> (p) <> (mp) < ff > pp
pp pp
orchestra pp (pp) <> pp pp p<> p<> p<> p<> F pp >ppp

Table 3
Explicit dynamics in the second Allegro scherzando or reexposition
207 215 223 231 239 247 255 263 271 275 276 280 286
B'
TO
shape b1 transition / b2 b1 transition /
transition cadence transition
b1 b1' A' b2 b2' b1 b1' A' to codetta
flute ff > (pp <) < pp p < ff
pp mf p<> pp F f< f ff< > pp <> pp <> pp <> pp ff pp fp <> f< f ff pp < < fff <sfff
orchestra p>ppp pp (ff) ff
 1
7

ANNEX 2
Table 4
Main keys in the first Allegro scherzando or exposition
1 7 15 25 33 41 49 57 65 73 81 89 97 103
B
TO TO
shape transition b1 b2 b1 transition / transition
transition / A' transition
to to b1 b1' b2 b2' b1 b1' A' to
shades Fa M The M Sun Fa M mod. The♭ A♭ m A♭ M Fa m If M The M Fa M A♭ M F M Fa m Fa M D♭ M mod.
Yo III V Yo M
III/i iii/i III/i Yo III/ii III Yo III/i Yo Yo Yo III/iv

Table 5
Main keys in the Moderato assai or development
117 126 135 144 153 162 166 180 189 198
C
shape cadential c1 c1 c1
transition codetta
intro c1 c1' c1 c1' c1 c1'
shades mod. Yes♭ m Mi♭ m Yes♭ m mod. D♭M D♭m The m Re m The m
iv vi/II♭ iv III/iv iii/iv iii or vi/V I saw iii or vi/V

Table 6
Main keys in the second Allegro scherzando or reexposition
207 215 223 231 239 247 255 263 271 275 276 280 286
B'
TO
shape b1 b2 b1 transition /
transition / A' transition cadence transition
b1 b1' b2 b2' b1 b1' A' to codetta
shades Sun♭ M mod. The M The m The M F# m Sun Yes♭ Sun♭ M The M Fa M Fa m Fa M
II♭ III iii III vi/III V M
IV II♭ III Yo Yo Yo
 1
8

ANNEX 3
Table 7
Growth diagram of the first Allegro scherzando or exposition
1 3 5 7 8 10 12 14 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 45 49 51 53 55 57 59 61 63 65 67 69 73 75 77 79 81 83 85 87 89 91 93 # 99 101 103 106 110 112
EXPOSURE
TO LINK B TO LINK
1P 1T 1S 2T 2S 3T 1S 2T 1P 3T
to to to b t to to to to to to to to t to to to to k(1Pax) to b
a x(1Peac x(1Peac x(1Peac x1(1Peace x(1Pax x(1Pax and
1 x(1Pax x(1Pax
x x z x x and z x and z w x 1x k k1
t x(1Saz) and x(1Saz) and x1
(1Saz) x1
(1Saz) t x 1x x and z w x 1x k k1 t1
x x x(1Pax) x(1Pax) x x
n e) e) e) ) +1Say) +1Say) +1Say) +1Say)

Table 8

Moderato assai growth scheme or development

114 126 129 132 135 138 141 144 147 150 153 156 159 162 164 166 168 170 172 174 180 183 186 189 192 195 198 201 204
DEVELOPMENT
C
cadence 1N 1N 4T 1N K
(3TB) to to to to to b to to to
and1 and1 1 0.1
1 x and 1x
1 1.1 x(1Nax x(1Nax
x x and
x x x x and
x x x x x xt x tx x and
x(1Nax)
) )

Table 9

Growth scheme of the second Allegro scherzando or reexposition

207 209 211 213 215 217 219 221 223 225 227 231 233 235 237 239 241 243 245 247 249 251 255 257 259 261 263 265 267 269 271 273 275 276 280 282 284 286 288
REEXPOSITION
B' TO CODA
1S 2T 2S 3T 1S 2T cadence 5T 1P K
to to to to to to to to t to to to (1Nax+3Tbx) to to k(1Pax) to
x(1Pax x(1Pax and1 1 1 x(1Pax x(1Pax
x and
z w x 1x k k1
t x(1Saz) and
x(1Saz) and x1
(1Saz) x1
(1Saz) t x x x and
z w xx k k1
x x x x and
+1Say) +1Say) +1Say) +1Say)
 1
9
Annex 4

Figure 11. Thematic comparison by color between cc. 29-32 of b1 (above) and the cc. 49
52 of b2 (below)