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Inzegneri, Marc’Antonio.
See Ingegneri, Marc’Antonio.
Inzenga (y Castellanos), José
(b Madrid, 3 June 1828; dMadrid, 28 June 1891). Spanish composer. After studying with his father and at the Madrid Conservatory with Pedro Albéniz, he spent the years 1842–8 in Paris, where he was a composition pupil of Carafa at the Conservatoire. Through Auber’s influence, he was in 1847 appointed a chorus master at the Opéra-Comique, but the next year was driven back to Madrid by the Revolution of 1848.
Although betraying French influences, his first zarzuela, the one-act El campamento (8 May 1851), dedicated to the Duke of Osuna, who had subsidized his Parisian studies, won immediate and lasting acclaim. In cooperation with Hernando he next composed the zarzuela El confitero de Madrid (7 November 1851) and with Barbieri, Gaztambide, Hernando and Oudrid the highly successful four-act Por seguir a una mujer (24 December 1851) and the fiasco Don Simplicio Bobadilla (7 May 1853). Apart from other unhappy collaborations, he independently composed three more failures in the 1850s, closing his zarzuela career with ¡Si yo fuera rey! (6 September 1862).
In 1857 the Spanish government commissioned him to gather regional songs and dances, the first collection from Galicia (including Asturias) appearing in 1874 as volume i of Cantos y bailes populares de España, published by A. Romero in Madrid. In 1888 volumes ii (Murcia) and iii (Valencia) appeared. The third volume includes his valuable ‘Relación y explicación históricas de la solemne procesión del Corpus Christi que anualmente celebra la … ciudad de Valencia’. In 1890 the same publisher issued Cantos populares de España: miscelánea para piano with some overlap of contents from the 1888 volumes. These collections were reissued by Unión Musical Española several times in the 20th century, beginning in 1910, as Ecos de España. Inzenga also wrote Impresiones de un artista en Italia (Madrid, 1876), La música en el templo católico (Madrid, 1878) and a pamphlet Arte de acompañar al piano. From 1860 to his death he taught singing at the Madrid Conservatory.
WORKS
(selective list)
all stage works, first performed in Madrid
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El campamento (1, L. Olona), Circo, 8 May 1851 (Madrid, 1851)
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El confitero de Madrid (2 or 3, Olona), Circo, 7 Nov 1851, collab. R. Hernando
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Por seguir a una mujer (4, Olona), Circo, 24 Dec 1851, collab. F.A. Barbieri, J. Gaztambide, Hernando and C. Oudrid
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Don Simplicio Bobadilla (3, M. and V. Tamayo y Baus), Circo, 7 May 1853, collab. Barbieri, Gaztambide and Hernando
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Un día de reinado (3, J. García Gutiérrez and Olona), Circo, 15 Feb 1854, collab. Barbieri, Gaztambide and Oudrid
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¡Si yo fuera rey! (3, M. Pina and M. Pastorfido), Circo, 6 Sept 1862
| BIBLIOGRAPHY
J.M. Esperanza y Sola: Treinta años de crítica musical: colección póstuma de los trabajos (Madrid, 1906), ii, 394–402, 616–21
E. Cotarelo y Mori: Historia de la zarzuela, o sea el drama lírico (Madrid, 1934), 315, 467, 509
A. Peña y Goñi: La ópera española y la música dramática en España en el siglo XIX (Madrid, 1934), 480ff
J. Henken: Francisco Asenjo Barbieri and the Nineteenth-Century Revival in Spanish National Music (diss., UCLA, 1987), 57ff
E. Casares, ed.: Francisco Asenjo Barbieri: Documentos sobre música española y epistolario, Legado Barbieri, ii (Madrid, 1988), 393, 661–7, 1174 [incl. letters to Barbieri]
J.B. Varela de Vega: ‘Un castellano, pionero en la recopilación del folklore musical gallego’, Revista de folklore, no.99 (1989), 100–02
ROBERT STEVENSON
Ioachimescu, Călin
(b Bucharest, 29 March 1949). Romanian composer. After studying composition with Niculescu at the Bucharest Academy, graduating in 1975, he became a sound engineer at Romanian Radio-Television in 1980. As well as attending classes in Darmstadt in 1980 and 1984, Ioachimescu refined his electronic techniques at IRCAM in Paris, taking a computer music course there in 1985. He directs the electro-acoustic laboratory of the Romanian Composers' and Musicologists' Union. Fascinated by the diversity of sound phenomena, Ioachimescu investigates the relationship between instrumental and electronic timbres. After his atmospheric modal works of the mid-1970s he began to incorporate synthetic elements, often involving harmonic spectra. With Tempo 80 (1978) and Oratio (1979, 1981) he explores new sonorities ranging from fluid transparency to complex conglomerations of sound. Natural timbres are interlocked with electronically-produced sounds in Spectral Music (1985), while in Celliphonia (1988) Ioachimescu explores the relationship between two harmonic spectra with fundamentals a minor 3rd apart.
WORKS
(selective list)
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Inst: Str Qt no.1, 1974; Tempo 80, orch, 1978; Hierophonies Alpha, fl, cl, bn, str qt, perc, 1983; Hierophonies Beta, fl, cl, sax, bn, vn, va, vc, db, perc, 1984; Str Qt no.2, 1984; Conc., trbn, db, orch, 1985; Palindrom 7, ens, 1993; Sax Conc., 1994
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With tape: Oratio I, fl, ob, cl, hn, tpt, trbn, tape, 1979; Oratio II, chbr conc., fl, ob, cl, hn, tpt, trbn, perc, tape, elec delay, 1981; Spectral Music, s + a + bar sax, tape, 1985; Celliphonia, vc, tape, 1988; Les éclats de l'abîme, cb sax, tape, 1995
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Vocal: Suite of Carols, 1973; Magic Spell (trad. text), 8 female vv, 3 str trios, perc, 1974
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G. Tartler: Melopoetica (Bucharest, 1984)
A.-M. Avram and H. Halbreich: Roumanie: terre de neuvième ciel (Bucharest, 1992)
OCTAVIAN COSMA
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