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This work has been identified as being in the public domain in Canada and the United States, as well as countries where the copyright term is life+50 years. However, this work is not in the public domain in countries where the copyright term is life+70 years (including all EU countries), unless an exception (such as the rule of the shorter term) applies. Works still protected by copyright can only be used with the permission of the copyright holder. See public domain for details.
This work may not be in the public domain in all countries. Please check the copyright laws of your country.
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Performances
Naxos
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Sheet Music
Scores
| Publisher. Info.
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Paris: Alphonse Leduc, 1931. Plate A.L. 17760.
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| Copyright
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Arrangements and Transcriptions
For Flute, Violin and Piano
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Composer?
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| Publisher. Info.
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Paris: Alphonse Leduc, 1931. Plate A.L. 17778.
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For Alto Saxophone and Piano
| Arranger
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Composer?
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| Publisher. Info.
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Paris: Alphonse Leduc, 1932. Plate A.L. 19675.
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For Viola or Cello and Piano (Neuberth)
| Arranger
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Paul-Louis Neuberth (1881-1959)
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| Publisher. Info.
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Paris: Alphonse Leduc, 1931. Plate A.L. 17775.
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| Copyright
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| Misc. Notes
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cello part in piano score
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Free Recordings
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General Information
| Work Title
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Aria
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| Alternative. Title
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| Composer
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Ibert, Jacques
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| I-Catalogue NumberI-Cat. No.
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IJI 1
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| Movements/SectionsMov'ts/Sec's
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1 aria
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| Year/Date of CompositionY/D of Comp.
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1930
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| First Publication.
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1930
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| Composer Time PeriodComp. Period
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Early 20th century
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| Piece Style
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Early 20th century
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| Instrumentation
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voice (mezzo-soprano), piano
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Navigation etc.
This piece, a "vocalise-étude" and subtitled "aria", was originally written in 1930 for medium voice and piano. Similarly to Ravel's work by the same name (en forme de habañera), the vocal range and style lent itself well to instruments, and several arrangements and transcriptions were subsequently produced under the composer's hand as well as that of others. Of these, the most popular remain the arrangements for flute and piano, and for alto saxophone and piano. The majority were produced and published between 1931-32. While the vocal original is seldom heard in concert or on recording, the myriad instrumental arrangements are commonplace in the studio and on the recital stage.
