Noteworthy

Although not a household name like his contemporary compatriots Claude Debussy and Maurice Ravel, French composer Jacques Ibert was an important musical figure in the early 20th century—a prolific creator whose repertoire spanned genres including orchestral, piano, choral, ballet, opera, and even film. He refused to attach himself to any of the prevalent compositional styles of his time, and his output has often been described as eclectic. His works blend Impressionistic colour, neoclassical structure, and light modernist charm, often with a playful twist. He also served as director of the French Academy in Rome and was briefly banned from holding official musical posts under the Vichy regime, despite being widely respected for his artistry.

One of his notable works is the Flute Concerto, composed in 1932 and premièred in 1934 by the legendary flutist Marcel Moyse. It remains one of the most beloved concertos in the flute repertoire, which most aspiring professional flutists learn at some point in their studies.

This September, the Toronto Symphony Orchestra will perform the entire concerto for the first time in 20 years, with the TSO’s very own Principal Flute, Kelly Zimba Lukić, as the soloist. 

We reached out to Kelly to help us get to know more about Ibert’s Flute Concerto. 

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Noteworthy: What feelings do you get when playing this piece?

Kelly Zimba Lukić: For me, it’s a bit of everything. The first movement is simultaneously mischievous, charming, determined, smart, and humorous. I think it’s the most straightforward of all three movements. The second movement is nostalgic, meditative, and initially somewhat veiled, as if searching for the memory of another time but not being able to pinpoint it. While the feelings associated with the memory are vague at first, they become clearer and more reflective as the movement progresses, ultimately ending with a positive and warm reminiscence. The last movement is high energy and celebratory, with a middle section that is once again reflective but perhaps in a more unresolved way. There are a lot of jazz and cinematic influences in this one, and moments where the flute writing almost sounds like improvisation. The end is ultimately triumphant! 

NW: What do you think makes this concerto special? 

KZL: I just think it’s so well done. Nothing is written in excess—it’s not overly indulgent, and every line has a purpose. It’s complex and also a crowd-pleaser. Maybe I’m biased as a flute player, but there’s truly never a dull moment.

NW: How challenging is this piece compared to other flute repertoire?

KZL: I consider this piece to be really challenging. It’s so virtuosic and encompasses a huge range of styles. Every movement is difficult in its own way, and the technical demands are somewhat relentless. It’s pretty intimidating, if I’m being honest. That said, it’s one of my favourite flute concertos so it’s totally worth it!

NW: How are you preparing for this performance? 

KZL: I’m trying to do a little bit every day. I have a 17-month-old son, so most of my practising happens at night after he goes to bed. 

NW: What personal significance does this work have for you? 

KZL: This is the piece I played for my graduate school auditions in 2013! Anyone who’s ever gone through that process knows that preparing for these auditions can really take over your life for nearly a year, and I practised this piece for months on end. Many schools request this work because it shows whether or not a player has great technique and can transcend the technique in order to get to the essence of the piece. Both are necessary, and it’s immediately obvious when someone gets it. I auditioned at four schools and ended up enrolling at Rice University’s Shepherd School of Music to study with Leone Buyse. The upcoming TSO concert will be my first time performing this piece with a full orchestra. I’m grateful to my 22-year-old self because a lot of that work has stuck, believe it or not!

Join the TSO on September 25 and 27, 2025, to experience the lyricism and technical fire of Ibert’s Flute Concerto. Also featured on the program are Beethoven’s Symphony No. 6 “Pastoral” and Mozart’s Symphony No. 31 “Paris”, all conducted by TSO Music Director Gustavo Gimeno.

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Interview and article by Denise Lai, a Physiotherapist and College Professor, and an alumna of the McGill Choral Society and the Toronto Mendelssohn Choir