Flute Flute For Solo Flute. Composed by Andre Jolivet Classical, Contemporary. This name will appear next to your review.

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Jennifer C. The Cinq incantations pour flucircte seule by Andreacute Jolivet are the manifestation of many of the philosophical, spiritual, and musical ideas that occupied the composer early in his career.

Somewhat of an auto-didact in philosophical matters, through his studies Jolivet became convinced of the power of music to affect the listener in such a way as to be a means of communication between people, a pathway to self-knowledge and a bridge to spiritual transcendence. He sought to capture the 'magic' that would allow a composition to work on the psyche, and even the physiology, of the listener.

These three interests resulted in the development of the musical philosophy that became the impetus for the compositions from his early period, , when the Cinq incantations were written. An in-depth analysis of each incantation follows, concentrating on motivic development and how these motives work to express his extra-musical ideas. Next, the document examines two specific compositional techniques which most obviously serve to further Jolivet's aims of creating a 'magic spell': repetition and juxtaposition of contrasting elements.

Repetition has long been used as a means of reaching altered or ecstatic states; it works in these pieces in a similar way, serving to focus the mind like a chanted prayer or mantra. The juxtaposition of contrasting elements is so effective because it heightens the awareness of the listener while mimicking the constant motion and flux of our own inner lives. The document concludes that Jolivet is successful in his aim of capturing both the programmatic theme of each incantation evocations of singular moments in the life of a person and community, such as inter-personal communication, childbirth, daily labor, spirituality and death and, on a deeper level, accessing the resonance of universal experiences.


Cinq Incantations

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Jolivet, A. - Cinq Incantations

He could make the flute sing and lament, ascend to the highest peaks of jubilation or cry out in despair; he could make the instrument chant rhythmically, or show off its virtuosity. None of this was ever virtuosity for its own sake, but manifested itself as deeply felt music communicating a humanist message. Jolivet examined the flute from every possible perspective—deploying it on its own, as a solo instrument with string orchestra or percussion, and in any number of sound combinations in chamber music. He never abandoned the flute throughout the four decades of his compositional activity, and returned to the instrument again and again.


Jolivet, A :: Cinq Incantations

It represents his creativity, anguish, sorrow and hope. His mother died on the 19th of June , a few weeks before he began to compose Incantations. It is fascinating, magical music, expressive and virtuose, profound and noble, described by the composer as follows:. In when I wrote Cinq Incantations for solo flute, I wanted to state the prime importance of the monodic element in music, i. The only purpose, however, of the carefully measured combinations of these different elements is to generate musical feeling and, in the most sensitive or the "newest" listeners, a feeling similar to the panic impulses of primitive man.


André Jolivet: Cinq Incantations: Flute

History regards 20th-century French composers as a hotbed of innovation in color, timbre, and texture. But of that group, Andre Jolivet may be best remembered as a nonconformist--one who synthesized musical styles in order to communicate his deeply held spiritual beliefs. Born to artistic parents father a painter, mother a pianist , Jolivet was exposed to the arts at an early age. He began piano lessons with his mother at age 4, posed for artist Poulbon, and attended performances. Greatly inspired at age 13 by a performance at the Comedie-Francaise, he created his first work, Romance barbare, comprised of a paper theatre complete with sets, characters, original poetry, dialogue, and music. He later became musical director for the Comedie-Francaise, from until

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