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Iglesias Álvarez, Antonio
(b Orense, 1 Oct 1918). Spanish pianist, composer, conductor, administrator, critic and writer on music. He studied piano and composition with José Cubiles and Conrado del Campo at the Madrid Conservatory, taking diplomas in piano (1935) and composition (1944); later he was a pupil of Marguerite Long, Lazare Lévy and Yves Nat in Paris and of Isidore Philipp in New York, and studied conducting with Luís de Freitas Branco and Louis Fourestier. He has made concert tours of Europe, North Africa and the USA. His professional activities have included the founding (1957) and directing of the Orense Conservatory of Music, giving piano masterclasses and teaching the interpretation of Spanish music at Música en Compostela (from 1958) and organizing the Manuel de Falla seminars and courses at Granada. He created (1962) the Semanas de Música Religiosa at Cuenca and as music adviser to the Instituto de Cultura Hispánica planned music festivals in Spain and the USA in collaboration with the Organization of American States; he has served as secretary-general of the Spanish section of ISCM (whose festivals he organized in 1965) and of the Spanish National Committee of the IMC, and as music critic of the newspaper Informaciones, later known as ABC. In 1965 he began to serve as technical director of the scholarly series Investigaciones concerned with sacred music and sponsored by the Institute of Religious Music at Cuenca. At the Dirección General de Bellas Artes he has had a decisive role in determining current musical activities. He has written chiefly on early 20th-century Spanish composers. His compositions include the symphonic poem Primera salida de Don Quijote (1944), first performed in 1945 under Stokowski in San Antonio, Texas, and Ao lonxe for voice and piano (1961), as well as transcriptions and revisions of Marcial del Aldalid’s piano works (1962). In 1989 he was made an Officier de l'Ordre des Artes et Lettres (Paris), and in 1996 he became secretary-general of the Real Academia de Bellas Artes de S Fernando (Madrid).
WRITINGS
Oscar Esplá: su obra para piano (Madrid, 1962)
Joaquín Rodrigo: su música para piano (Madrid, 1965)
ed.: Música religiosa de Cuenca (Cuenca, 1965–77)
Oscar Esplá (Madrid, 1973)
Federico Mompou: su obra para piano (Madrid, 1976)
Federico Mompou (Madrid, 1977)
Rodolfo Halffter: su obra para piano (Madrid, 1979)
ed.: Escritos de Joaquín Turina (Madrid, 1982)
Manuel de Falla: su obra para piano (Madrid, 1983)
ed.: Escritos de Conrado del Campo (Madrid, 1984)
Enrique Granados: su obra para piano (Madrid, 1985–6)
Isaac Albéniz: su obra para piano (Madrid, 1987)
Joaquín Turina: su obra para piano (Madrid, 1989–90)
Manuel Quiroga: su obra para violin (Santiago de Compostela, 1992)
Rodolfo Halffter: tema, nueve décades y final (Madrid, 1992)
Música in Compostela (Santiago de Compostela, 1994–5) [covering the period 1958–94]
Coro Nacional de España, 24 años, 1971–96 (Madrid, 1996)
Joaquín Rodrigo: su obra para piano, piano a 4 manos, dos pianos y piano y orquesta (Madrid, 1996)
ed.: Escritos de Joaquín Rodrigo (Madrid, 1997)
ISRAEL J. KATZ
Ignacio, Rafael
(b San Francisco de Macorís, 15 June 1897; d Santo Domingo, 1984). Dominican composer and conductor. He studied solfège and the cornet with Andrés Requena and Oguís Negrette in his home town, co-founding the town hall’s Children’s Band at the age of 10. He established several dance orchestras and studied the string bass with L.A. Betances, becoming a founder member of the Orquesta Filarmónica Beethoven (c1918). After moving to Santo Domingo in 1923 and teaching himself the tuba and the alto saxhorn, he joined the municipal band on the tuba under the direction of J. de J. Ravelo. In Azua in 1927 he was appointed director of the municipal Academy of Music and the municipal band, also conducting a dance orchestra. A captain in the army, he became the conductor of the regimental bands of Santo Domingo (1930) and Santiago (1941), later rising to become Supervisor of Bands of the Armed Forces and the Police. In the capital he was a founder member of the Orquesta Sinfónica de Santo Domingo (1932), which evolved into the Orquesta Sinfónica Nacional (1942).
Along with J.F. García, Ignacio was an early orchestrator of the merengue, the main folkdance of the northern region; its introduction into the dance hall legitimized its use by the urban élite. Popular abroad through recordings, his orchestrations were at the start of a process of evolution into a popular music of international commercial success. In his most well-known piece, the Suite folklorica (1939) for band, which he arranged for orchestra then chorus and orchestra, he included Afro-Dominican long drums and the paloma, an unaccompanied and unmetered work song of Spanish origin. His music, more than that of other composers of his generation, shows an authentic connection to folk sources, a link attributable both to his origins and to his work with band, a medium of musical interface between the non-literate and literate populations.
WORKS
(selective list)
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Orch: Hoja de album, 1932; Canción de Cuna, 1933; Dominicanización de la frontera, sym. fantasy, 1952; Sym. no.1, c; Cosas añejas, sarambo, 1965; Diálogo campesino, sarambo, 1972; Rondó popular, 1973
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Band: Celeste, polka, tpt, band, 1935; Lamentos del Corazón, 1936 ; Suite folklórica, 1939, arr. orch, 1941, arr. chorus, orch, 1969; Rondó popular, 1941; Scherzando, 1953; Marcha de coronación, 1955; Himno del Ateneo de Azua, 1966
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Chorus: Misa dominicana, d, chorus, orch, 1966
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Dance music (1913–73): 18 merengues, 12 danzones, 14 danzas, 9 criollas, 6 foxtrots, 6 valses, 3 tangos, 2 habaneras, sarambo, pregón, pambiche, pachanga-merengue
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J.M. Coopersmith: Music and Musicians of the Dominican Republic (Washington DC, 1949), 31 only
B. Jorge: La música dominicana: siglos XIX–XX (Santo Domingo, 1982)
A. Incháustegui: Por amor el arte: notas sobre música, compositores e intérpretes dominicanos (Santo Domingo, 1995), 24–6
MARTHA ELLEN DAVIS
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