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Iruarrízaga (Aguirre), Luis
(b Yurre, Vizcaya, 25 Aug 1891; d Madrid, 13 April 1928). Spanish composer. He studied music in Yurre and in 1907 entered the congregation of the Hijos del Corazón de María in Madrid, where he continued his musical education while training for the priesthood. Essentially, however, he was self-taught in music. In 1916 he was appointed organist of the Santuario del Corazón de María, Madrid, a post he retained until his death. He was greatly interested in plainsong, and he visited the Benedictine monasteries at S Domingo de Silos, Solesmes and elsewhere in order to learn about proper performing practice. In addition, he made extensive studies of 16th-century polyphony and of the composers of the German Cecilian movement, particularly Haller. In 1917 he founded the journal Tesoro musical (renamed Tesoro sacro musical in 1925), in which he published many of his own compositions, works by contemporary Spanish composers, early music, musicological studies and articles on topical matters.
Iruarrízaga's compositions are all religious and have been published in a three-volume complete edition (Madrid, 1944–9, 4/1964). They show an original style which has had many imitators. Simple melody is the basis, noble, beautiful and closely adapted to the text; the harmony is rich and up-to-date, but fundamentally consonant. He composed freely for solo voice and for chorus (usually in only two parts, but sometimes in three or four), with organ, harmonium or piano accompaniment.
BIBLIOGRAPHY
TSM, xiii (1929), 25–88 [incl. catalogue of works]
J.G. Ferrero: Luis Iruarrízaga Aguirre (Bilbao, 1977)
JOSÉ LÓPEZ-CALO
Irving, Washington
(b New York, 3 April 1783; d New York, 28 Nov 1859). American writer. His experiences in Europe, first as a traveller (1804–6) and subsequently as a resident (1812–29) and diplomat (England, 1829–32; Spain, 1842–6), gave him a wealth of colourful material for his published collections of stories, verse, sentimental tales, history and folklore. He is perhaps most closely associated with the characters Ichabod Crane from ‘The Legend of Sleepy Hollow’ and Rip Van Winkle, a deft appropriation of an ancient German folktale, both of which first appeared in Irving’s The Sketch Book of Geoffrey Crayon.
Irving was a flute player of some ability and an enthusiastic opera, concert and theatre goer. He heard more than 130 operas in Europe and was present at a performance of Fidelio in the Kärntnertortheater in Vienna on 23 May 1814.
Bristow’s Rip Van Winkle, produced in New York in 1855, is regarded as the first American grand opera on an American subject; De Koven’s setting of 1920 and Edward Manning’s of 1932 are among the later operatic versions, and there is an early overture on the subject by Chadwick. ‘The Legend of Sleepy Hollow’ has also received several operatic treatments, one of the more interesting being that by Douglas S. Moore as The Headless Horseman, for which Stephen Vincent Benét provided a one-act libretto satirizing progressive education. Several composers have set stories from Irving’s The Alhambra, and Dudley Buck composed a cantata on six scenes from A History of the Life and Voyages of Christopher Columbus.
BIBLIOGRAPHY
G.R. Price: ‘Washington Irving’s Librettos’, ML, xxix (1948), 348–55
P.R. Kirby: ‘Washington Irving, Barhum Livius and Weber’, ML, xxxi (1950), 133–47
H.E. Johnson: Operas on American Subjects (New York, 1964)
JOHN McLAUGHLIN/MICHAEL HOVLAND
Isaac [Isaack], Mr
(fl London, 1675–1718; d by 1728). English dancing-master and choreographer. Little is known about his life; he may have been confused with an earlier dancing-master in Paris, also named Isaac. In 1675 Mr Isaac danced in John Crowne and Nicholas Staggins's masque Calisto in Whitehall, London, and subsequently retained his connections with the English royal court. He was much sought after as a dancing-master (his pupils included the princesses Mary and Anne) and was respected by fellow dancing-masters as a mentor and patron. 22 of his dances survive in Beauchamp-Feuillet notation: 19 were published from 1706 onwards and reissued, with music by James Paisible, to celebrate Queen Anne's birthdays; one was published by Edmund Pemberton in 1711; two were published as New Year dances (1715, 1716) for George I. His Collection of Ball Dances Performed at Court (London, 1706) was commissioned to illustrate the Beauchamp-Feuillet notation system. Despite later claims by John Walsh, only one of them, ‘The Marlborough’, is known genuinely to have been a birthday dance for Queen Anne (1705). The other five are older, perhaps dating back to the 1680s or 1690s. Some of Isaac's dances were performed on stage. The notations reveal sophisticated use of rhythms, phrasing, floor patterns and step vocabulary. According to Musgrave, Isaac died in 1740; he may, however, have retired or died soon after 1718, and in 1728 he was described by Essex as ‘the late Mr Isaac’ (preface to The Dancing Master, London, 1728).
BIBLIOGRAPHY
G.J. Armytage, ed.: Obituary Prior to 1800 (as Far as Relates to England, Scotland and Ireland) Compiled by Sir William Musgrave, iii, Publications of the Harleian Society, xlvi (London, 1900), 302
C. Marsh: French Court Dance in England 1706–1740: a Study of the Sources (diss., CUNY, 1985)
R. Ralph: The Life and Works of John Weaver (London, 1985) [with facs. of some of Isaac's dances, incl. the Collection of Ball Dances Performed at Court (London, 1706)]
M. Goff: ‘Edmund Pemberton, Dancing-Master and Publisher’, Dance Research, xi/1 (1993), 52–81
J. Thorp: ‘John Walsh, Entrepreneur or Poacher: the Publication of Dance Notations 1706–c.1730’, Handbook for Studies in Eighteenth-Century Music, ed. M. Burden and I. Cholij, vii (Oxford, 1996), 1–27
JENNIFER THORP
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