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Irish harp (ii).
Since 1819 the term Irish harp has been applied to various small, lightly built, gut-strung harps used in solo and ensemble performances of Irish and other Celtic-derived music. These have curved forepillars but otherwise little in common with the older forms (see Harp, §V, 3(i)).
JOAN RIMMER
Irish Music Rights Organisation [IMRO].
See Copyright, §VI (under Ireland).
Irish National Opera.
See Dublin, §3.
Irish whistle.
See Tin whistle.
Irízar y Domenzain, Miguel de
(b Artajona, Navarra, bap. 18 Sept 1635; d Aug 1684). Spanish composer and music director. He trained as a choirboy at León Cathedral and, from 1650, at Toledo Cathedral, in both places as a pupil of the elder Tomás Miciezes. His professional career began in 1657 when he was appointed maestro de capilla of the cathedrals of Oviedo and S Domingo de la Calzada, and in August 1657 he was made maestro de capilla of the collegiate church of Vitoria. He applied for similar posts at Orense Cathedral (1664), the collegiate church of Roncesvalles (1666) and elsewhere, but stayed at Vitoria until 1671, when he obtained the position of music director at Segovia Cathedral, where he remained until his death.
Irízar left to the cathedral numerous autograph manuscripts of his own works (masses, psalms, lamentations, motets and villancicos) as well as copies of works by other important Spanish musicians of the time (Miciezes, Carlos Patiño, Cristóbal Galán and Juan Hidalgo among others). Some of these were copied on the reverse side of more than 400 personal letters he received between 1664 and 1684. This correspondence is of incalculable value to an understanding of how music and musicians circulated in the Iberian peninsula, and it allows us to reconstruct the personal contacts of a 17th-century Spanish maestro de capilla. As well as members of his family, his correspondents included other maestros, organists, cantors and copyists, from Avila, Córdoba, Madrid, Palencia, Pamplona, Toledo and elsewhere.
Irízar's works are exclusively sacred and show clearly the influence of his various epistolary contacts, especially the musicians of the Madrid royal chapels. In fact, adaptations of works, both sacred and secular, by composers active in Madrid at that time (Juan Hidalgo, Cristóbal Galán and Matías Ruiz) exist among his compositions. His music is predominantly polychoral, for two or three vocal choirs (he scarcely used instrumental choirs), and usually treats the voices homophonically, especially in the villancicos.
BIBLIOGRAPHY
J. López Calo: ‘Corresponsales de Miguel de Irízar (I)’, AnM, xviii (1963), 197
J. López Calo: ‘Corresponsales de Miguel de Irízar (II)’, AnM, xx (1965), 209
J. López Calo: ‘Las misas policorales de Miguel de Irízar’, Principe de viana, xlvi (1985), 297–313
J. López Calo: ‘Los villancicos policorales de Miguel de Irízar’, Inter-American Music Review, x/2 (1988–9), 27–48
C. Villanueva Abelairas: ‘Los villancicos en gallego de Miguel de Irízar’, De musica hispanica et aliis: miscelánea en honor al Prof. Dr José López-Calo, S.J., en su 65 cumpleaños, ed. E. Casares (Santiago de Compostela, 1990), 697–725
M. Olarte Martínez: Miguel de Irízar y Domenzain (1635–1684?): biografía, epistolario y estudios de sus lamentaciones (thesis, U. of Valladolid, 1992)
P.-L. Rodríguez: ‘“Solo Madrid es Corte”: villancicos de las capilla reales de Carlos II en la catedral de Segovia’, Artigrama, xii (1996–7), 237
PABLO L. RODRÍGUEZ
Irman, Regina
(b Winterthur, 22 March 1957). Swiss composer, guitarist and percussionist. After gaining her teaching diploma in guitar (1982) at the Winterthur Conservatory, she chose to concentrate on percussion (diploma 1995). During this period she began to write her own music. As composition progressively became her main concern, she acquired a reputation that extended beyond both regional borders and her interest in the women's movement. She has often found inspiration for her works in poetry, particularly that of Anna Akhmatova, interpreting texts through musical parameters without necessarily bringing the words themselves to the fore. Ein vatter-ländischer Liederbogen is a particularly successful example of her approach to the sometimes abstruse writing of Adolf Wölfli. She has also composed with micro-tonal intervals. She has received commissions from the Basle International Festival of Recorder Music and the city of Zürich, among others, and in 1991 co-founded mikro, a composers' self-publishing collective.
WORKS
(selective list)
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Incid music: Heimweh macht unfruchtbar, perc, 1995–6
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Vocal: In Darkness Let Me Dwell, Mez, ob, vn, va, vc, 1982 [based on J. Dowland lute song]; Ein vatter-ländischer Liederbogen (A. Wölfli), Mez, prep pf, 1985–6; Ein Trauermarsch (Wölfli), spkr, 3 perc, 1987; Tabellen (Wölfli), 3 spkrs, 3 perc/tape, 1991; Requiem (A. Akhmatova: An den Tod), 25 female vv, 3 or more male vv, 1991–3; Maskerade, 8 pieces, chorus, 1993; Wie eine Heuschrecke über die Meere … (after M. Oppenheim), chorus, tape, 1995–6; 5 Sprach-Klang-Objekte (S. Sekula), Sprechstimme, perc, 1996; 3 Tänze (Akhmatova), S, cl, pf/Sprechstimme, accdn, 1996–7
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Inst: Hügel bei Céret, (2 va, db)/any 3 str, 1983; Speculum, 4 E -cl, 2 perc, 1984; Mélodie, quarter-tone gui/any melody inst, 1985; Drive, quarter-tone gui, 1987; Schwarzes Glück, prep pf, 1988–9 [incl. poem by H. Arp]; Passacagliae, cl, 1989–90; Schwarzes Glück 2, 4 perc, 1990; Spiegeltanz, 2 sopranino rec, 2 timp, 1993, collab. D. Jordi; Wörter, sax ens, perc, 1994–5; Fächer, pf 4 hands, 1996; Tisch mit Vogelfüssen, tape, 1996 [after an object by M. Oppenheim]; Sculptures (for Bruce Nauman), quarter-tone va da gamba qt, 1997
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Other: Vögel, 4 people with CD players, tape, writer, ornithologist, 1996
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JEAN-PIERRE AMANN
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