{"id":1108,"date":"2022-03-02T22:15:35","date_gmt":"2022-03-03T04:15:35","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=1108"},"modified":"2022-03-02T22:15:35","modified_gmt":"2022-03-03T04:15:35","slug":"sources-for-desire-emilie-inglebrecht","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2022\/03\/02\/sources-for-desire-emilie-inglebrecht\/","title":{"rendered":"Sources for D\u00e9sir\u00e9-\u00c9milie Inglebrecht"},"content":{"rendered":"
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Desire Emile Inghelbrecht (1880-1965), French conductor and composer. April 1938.(Photo by Roger Viollet via Getty Images\/Roger Viollet via Getty Images)<\/figcaption><\/figure>\n

D\u00e9sir\u00e9-\u00c9milie Inglebrecht<\/span><\/a> was a conductor, composer, and writer, debuting as a conductor in 1908 in Paris. He was a student of the Paris Conservatoire, and debuted at the Th\u00e9\u00e2tre des Arts, later known as the Opera, and went on to have a long and exciting conducting career in Paris before his death after WWII in 1965. He was close friends with Debussy, and this friendship was important to his own composition and conducting style. His most prestigious conducting positions were at the <\/span>Th\u00e9\u00e2tre des Champs Elys\u00e9es beginning in 1913, the Op\u00e9ra-Comique in 1924, and the Paris Op\u00e9ra during WWII. His piano suites titled <\/span>La nursery<\/span><\/a> garnered attention from the composing world as well. His final works are his famous <\/span>V\u00e9zelay<\/span><\/i><\/a> (1954), a <\/span>Requiem<\/span><\/a>, composed during the second World War, and an opera-ballet called <\/span>Le ch\u00eane et le tilleul<\/span><\/i><\/a> (1960) that are considered his most masterful works.\u00a0<\/span><\/p>\n

Since Inglebrecht isn\u2019t someone we\u2019ve discussed much in class so far, I needed something familiar that we had already learned about to relate him to\u2013like the Th\u00e9\u00e2tre des Arts that he debuted at. This institution rang a bell because of readings like <\/span>Simeone\u2019s \u201cParis – A Musical Gazetteer,\u201d<\/span><\/a> which provides a brief history of music in Paris during this time period. It neatly outlines the conception of most prestigious musical organizations in Paris in the early 1600s, as well as how they developed through the centuries into the Opera that Inglebrecht conducted. This gives context on what kinds of organizations Inglebrecht was a part of as his career began and continued through two world wars and a modernist\/Impressionist art movement in Paris.\u00a0<\/span><\/p>\n

Simeone\u2019s writings also talk about the <\/span>Expositions Universelles<\/span><\/i>, which involved a lot of large music organizations in Paris like the <\/span>Th\u00e9\u00e2tre des Champs Elys\u00e9es, which Inglebrecht was conducting in 1913.<\/span><\/p>\n

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A Postcard of the Exposition des Art Decoratifs et Industriels Modernes, Paris 1925<\/figcaption><\/figure>\n

Although it\u2019s not stated in this specific article, I wonder if Ingelbrecht was involved in these expositions. The <\/span>Soci\u00e9t\u00e9 Nationale de Musique<\/span><\/i> was formed around the same time that Inglebrecht debuted, and since he was friends with Debussy, a member of this society, and a busy conductor and supporter of \u201cFrench\u201d music at the time, I am eager to find sources that link Ingelbrecht to these nationalist organizations that we\u2019ve been so heavily discussing in class. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

D\u00e9sir\u00e9-\u00c9milie Inglebrecht was a conductor, composer, and writer, debuting as a conductor in 1908 in Paris. He was a student of the Paris Conservatoire, and debuted at the Th\u00e9\u00e2tre des Arts, later known as the Opera, and went on to have a long and exciting conducting career in Paris before his death after WWII in […]<\/p>\n","protected":false},"author":4375,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1108","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1108","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/users\/4375"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=1108"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1108\/revisions"}],"predecessor-version":[{"id":1113,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/1108\/revisions\/1113"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=1108"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=1108"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=1108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}