Major Albert Fasce, head of the musical department of the French Army, wrote about Poème du Feu:
The Poème du Feu by Madame Ida Gotkovski is probably one of the original compostitions for symphonic band which has been most successful in recent years. I have had to conduct this work at concerts with different orchestras, and in particular at Budapest, and each performance was greeted by enthusiastic ovations. Moreover, it is quite rare in contemporary music to achieve, at the same time, the satisfaction of the musicians and success with the public. This is significant.
This magnificent work is written remakably for wind instruments. There is no major technical difficulty, but the character of this work calls for meticulous placing and a certain orchestral glow.
There is a “key” to be found in the first movement, which is in some way the rhythmic genesis of the work. The metronome marking of the first movement should be absolutely respected, and proper interpretation of the accents and the articulations are imperative. The fortissimi and rallentandi should not be exaggerated. As far as the little “trick” is concerned, this lies in the execution of the double crochets which should be considered in two ways: the first, a rhythmical one for those which arise from the rhythmic genesis, and the second more melodic for those arising in passages.
Finally, to unseal the rhythmic origin of the double crochets, it is necessary to proceed by recurrence, starting from the four double crochets of the finale.
These four double crochets must be executed very rhythmically in the different times. For the first, they arise:
1: from the second bar of the first movement
2: from the bar three bars before A for the second
3: from the bar from G to the fourth time for the third.
These double crochets must be played rhythmcally, while diminishing, however, those three bars before A.
All this is of great importance, otherwise the whole execution will be in contradition with the spirit and the rhythmic inspiration of the work. Moreover, this beautiful work could very well support a ballet.
As Head of Broadcast Music I must express all our gratitude to Madame Gotkovski for her contribution to constituting a real repertoire for wind ensemble. This articular and sometimes unappreceated band possesses unsuspected riches. This magnificent work is now in the repertoire of Musique de l‘Air de France.
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