Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Ingelius, Axel Gabriel

(b Säkylä, 26 Oct 1822; d nr Uusikaupunki, 3 March 1868). Finnish composer, writer and critic. He studied classical philology and literature at the University of Helsinki, worked as a teacher in Turku from 1847, lectured on music history and wrote novels, short stories and plays as well as reviews on music for several newspapers in Turku and Helsinki. As a composer he was self-taught, but nevertheless wrote the first symphony ever composed in Finland (1847). Its third movement (‘Scherzo finnico’) is in 5/4 metre, characteristic of Finnish rune singing, although it otherwise lacks the distinctive features of rune melodies. His opera Junkerns förmyndare (N.H. Pinello, 1853) was based on a subject from 16th-century Finnish history, and he also wrote about 100 choruses and songs to Finnish poetry (J.L. Runeberg, Z. Topelius and others) as well as some German songs (Schiller, Heine). As one of the first representatives of Finnish national Romanticism in music and as a pioneer of music criticism he has a place in Finnish music history in spite of his inadequate compositional skills.

BIBLIOGRAPHY

F. Dahlström: ‘Den första inhemska symfonin’ [The first domestic symphony], Suomen musiikin vuosikirja 1965–66, 64–72

M. Ringbom: Musikkritikens första framträdande i Finland [The first appearance of music criticism in Finland] (Åbo, 1985)

E. Salmenhaara, ed.: Suomalaisia säveltäjiä [Finnish composers] (Keuruu, 1994), 127–9

F. Dahlström and E. Salmenhaara: Suomen musiikin historia, i: Ruotsin vallan ajasta romantiikkaan [A history of Finnish music, i: from Swedish rule to Romanticism] (Helsinki, 1995)

ILKKA ORAMO

Ingenhoven, Jan

(b Breda, 29 May 1876; d Hoenderloo, 20 May 1951). Dutch composer and conductor. He studied with Brandts Buys in Rotterdam and later with Mottl in Munich, where he conducted the Munich Madrigal Society from 1909 to 1912. This was a famous ensemble of soloists which made many concert tours under his direction. By conducting the Munich Orchestra Association and organizing music festivals he introduced a great deal of contemporary Dutch and French music into Germany. In 1913 Ingenhoven retired as a performing artist to devote himself primarily to composition. During World War I he resided in Switzerland and Paris. After 1930 he retired as a composer and returned to the Netherlands.

Ingenhoven’s preferred genres changed over time. During his first period in Munich he wrote orchestral works alongside pieces for chorus, vocal quartet and solo voice; before World War I he devoted himself to string quartets and from then until 1918 he composed chamber music for various trio combinations. In the years around 1920 he wrote the sonatas for violin and for cello and the final period was taken up with works for solo instruments within small ensembles.

Ingenhoven inherited certain stylistic elements from 16th-century music. His early works were always conceived polyphonically. Paired duets, imitation and polyrhythm are outstanding characteristics, especially in the vocal works from the Munich period. His song ‘Nous n’irons plus au bois’ (1909) from the 4 quatuors à voix mixtes, which Ingenhoven claimed to be the first atonal vocal work by a Dutch composer, is a brilliant example of this style.

In the chamber works Ingenhoven’s style became even more exclusive through a combination of the polyphonic elements and a new homophonic approach, with tonally indefinite chords, subtle dynamics and delicate timbre. He devised cantilena-like melodies, quasi-improvised as if he wanted to create Jugendstil in music. Although he used cellular motivic technique, the structure of his works always tends towards symmetry.

WORKS

(selective list)

Orch: 3 Symphonische Tonstücke: no.1, 1905, no.2, 1906, no.3, 1908; Symphonische Fantasie über Zarathustras Nachtlied, 1906; Balladen, Bar, small orch, 1909

Chbr: Str Qt no.1, 1907–8; Str Qt no.2, 1911; Wind Qnt, 1911; Pièces pour 3 instruments divers no.1, pf trio, 1912–13; Str Qt no.3, 1912–13; Pièces pour 3 instruments divers no.2, fl, cl, hp, 1914–15; Sonata, cl, pf, 1916–17; Pièces pour 3 instruments divers no.3, vn, vc, hp, 1918; Sonata, vc, pf, 1919; Sonata, vn, pf, 1919–20; Sonata, vn, pf, 1921; Sonata, vc, pf, 1922; Sonatina, cl, vn, 1925; works for chbr orch with solo inst

Vocal: 4 quatuors à voix mixtes (1903–9); other works for chorus; works for 1v, pf

Principal publishers: A.A. Noske, Senart, Tischer & Jagenberg, Wunderhorn

BIBLIOGRAPHY

MGG1 (E. Reeser)

D. Ruyneman: De componist Jan Ingenhoven (Amsterdam, 1938)

E. Reeser: Een eeuw Nederlandse muziek 1815–1915 (Amsterdam, 1950, 2/1986)

M. Hoedeman: ‘Stylistic Experiments in the Songs of Jan Ingenhoven’, TVNM, xxxiv/1 (1984), 68–78

L. Samama: Zeventig jaar Nederlandse muziek 1915–1985 (Amsterdam, 1986)

E. van Zoeren: De muziekuitgeverij A.A. Noske (1896–1926) (Buren, 1987)

A. Zielhorst: ‘Jan Ingenhoven and Jugendstil: Stylistic Development in the Four Vocal Quartets’,TVNM, xxxviii (1988), 123–35

ANTHONY ZIELHORST

Inghelbrecht, D(ésiré)-E(mile)

(b Paris, 17 Sept 1880; d Paris, 14 Feb 1965). French conductor and composer. The son of a viola player at the Opéra, he played the violin from an early age. He enrolled at the Conservatoire, studying solfège in Ambroise Thomas’ class and harmony with Taudou, but was later expelled, whereupon he joined an orchestra. His conducting début was at the Théâtre des Arts in 1908, where he directed 50 performances of Schmitt’s La tragédie de Salomé. He mixed with artists and writers at Madeleine Lemaire’s salon, and counted Reynaldo Hahn among his close friends. His most important musical friendship, however, was with Debussy: he directed the chorus for the première of Le martyre de St Sébastien in 1911, and continued to champion Debussy’s music, Pelléas et Mélisande especially, throughout his life.

As director of music at the Théâtre des Champs Elysées (1913), he conducted the first production in French of Musorgsky’s Boris Godunov. He went on to conduct at the Ballets Suédois, the Opéra-Comique (1924–5 and 1932–3), the Concerts Pasdeloup (1928–32), the Algiers Opera (1929–30) and the Paris Opéra (1945–50). In 1934 he formed the Orchestre National de la Radiodiffusion Française, inspired by the success of the BBC SO. During the war, he was suspended from his post for refusing to conduct La marseillaise while France was under occupation; he did not conduct again until the war was over. Besides his Debussy, Inghelbrecht’s performances of Ravel, Roussel and Schmidt were particularly outstanding.

Inghelbrecht gained early recognition as a composer with the five piano suites which make up La nursery (1905–11), a collection of childhood scenes presented with charmingly contrived naivety, which he later orchestrated. Less well known are the other orchestral suites, the operas and ballets. In these, the orchestration is polished and masterly, and the style richly eclectic, often suggestive of Fauré or Debussy. A number of works, such as Pour le jour de la première neige au vieux Japon (1908), the Six danses suédoises (1929) and the Ballade dans le goût irlandais (1939), explore foreign or ‘exotic’ influences. His last orchestral work, the suite Vézelay (1954), takes its name from the ancient pilgrimage town in which Inghelbrecht spent much of his life, and is one of his most bizarre, haunting creations. The Requiem (1941), written during World War II, is his only liturgical sacred work: the setting is theatrical and emotional, with echoes of Verdi in the ‘Dies Irae’ and some lyrical Italianate solo writing. His last work, the opera-ballet Le chêne et le tilleul (1960) represents, after its two comic predecessors (La nuit vénitienne, 1908 and Virage sur l’aile, 1947), the culmination of his operatic writing. Set in ancient Greece, its charming and initially directionless harmonies, in the style of Debussy, give no hint of the impending Bacchic frenzy of a wild dance with pungent rhythmic accompaniment.

WORKS

(selective list)

Stage: La nuit vénitienne (op, after A. de Musset), 1908; El greco (ballet), 1920; Le diable dans le beffroi (ballet after E.A. Poe), 1922; La métamorphose d’Eve (ballet), 1928; Jeu de couleurs [from La nursery, pf], 1933; Virage sur l’aile (operetta) (1947): Le chêne et le tilleul (opera-ballet, after J. de La Fontaine), 1960

Orch: Marine, 1903; La serre aux nénuphars, 1903; Automne, 1905; Pour le jour de la première neige au vieux Japon, 1908; Rhapsodie de printemps, 1910; 3 poèmes dansés, 1923–5; 6 danses suédoises 1929; Sinfonia breve da camera, 1930; La valse retrouvée, 1937; Ballade dans le goût irlandais, hp, orch 1939; Pastourelles sur des Noëls anciens, 1943; Ibériana, vn, orch, 1948; Vézelay, 1954

Vocal: Par-delà les fleuves taris, 1v, pf (1905); Au jardin de l’infante, 1v, pf (1910); Cantique des créatures, 1v, chorus, pf, orch (1910); 4 chansons populaires françaises, chorus, 1915; Vocalise-étude, 1v, pf (1929); La légende du grand Saint Nicolas, 1v, orch (1932); Requiem, S, T, Bar, SATB, orch, 1941; Tant que Noël durera, 1v, chorus, orch, 1943; Chantons jeunesse, chorus (1946); Mowgli (after R. Kipling), 1v, chorus, orch (1946)

Chbr: 2 esquisses antiques, fl, hp (1902); Nocturne, vc, pf (1905); Prélude et saltarelle, va, pf (1907); Qnt, c, hp, str qt (1917); Sonatine, fl, hp, 1919; Impromptu, va, pf, 1922; 4 Fanfares, wind (1932); Str Qt, 1954

Pf: 2 esquisses (1903); La nursery, 5 vols., pf/2 pf (1905–11), orchd n.d.; Suite ‘Petite russienne’ (1908); Paysages (1918); Dernières nurseries (1932)

Principal publishers: Durand, Salabert

WRITINGS

Comment on ne doit pas interpréter Carmen, Faust et Pelléas (Paris, 1933)

Diabolus in musica (Paris, 1933)

Mouvement contraire, souvenirs d’un musicien (Paris, 1947)

Le chef d’orchestre et son équipe (Paris, 1949)

with G. Inghelbrecht: Claude Debussy (Paris, 1953)

Le chef d’orchestre parle au public (Paris, 1957)

BIBLIOGRAPHY

D. Sordet: Douze chefs d’orchestre (Paris, 1924)

G. Samazeuilh: Musiciens de mon temps (Paris, 1947)

J. Bruyr: ‘D.-E. Inghelbrecht’, Musica: revue d’informations et d’actualités musicales, no.21 (1955), 24–7

A. Goléa: ‘Quelques chefs d’orchestre de notre temps’, Musica: revue d’informations et d’actualités musicales, no.14 (1955), 17–23

G. Bauer: ‘Un caractère au pupitre’, Musica: revue d’informations et d’actualités, no.133 (1965), 5–7

G.Inghelbrecht: D.E. Inghelbrecht et son temps (Neuchâtel, 1978)

NICHOLAS KAYE