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(b Christiania [now Oslo], 13 April 1894; d Sicily, 11 April 1969). Norwegian composer. He studied literature and languages at the University of Oslo, during which time he also composed. Self-taught in composition and theory, he received his only formal music instruction in the piano. He made his début as a composer in 1920 with freely tonal songs in a late Romantic idiom. During the 1920s and 30s he simplified his style while retaining his music’s lyrical aspects. Characterized by modal polyphony and classical ideals of form, but with strong expressive qualities, his music was quite different to that of his Norwegian contemporaries, and came to inspire others. He achieved fame through his prize in the Schubert competition for his orchestral work Passacaglia (1928), probably the most performed Norwegian orchestral piece from this period. In 1930 his dramatic symphony for soloists, chorus and orchestra Heimferd (‘Coming Home’) won the first prize in a competition for the 1930 St Olav Festival. Even though its text is closely linked to the national celebration, the work contains little Norwegian folk music; the composer’s outlook was rather towards Europe. During World War II Irgens-Jensen composed music to poems by resistance poets, which was anonymously broadcast from London’s free Norwegian Radio. He served on various boards, committees and juries. In 1945 he was awarded an annual grant from the Norwegian national assembly, and in 1947 was elected a member of the Swedish Royal Academy of Music.
WORKS -
Stage: Driftekaren [The Drover] (incid music, H.E. Kinck), 1937; Kong Baldvines Armring (incid music, H. Stibolt), 1937; Mennesket [Mankind] (H. Wergeland), 1945; Robin Hood (incid music, Irgens-Jensen and S. Hagerup-Bull), 1945; Heimferd [Coming Home] (op, O. Gullvåg), 1947 [version of his Dramatic Symphony]
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Vocal: Japanischer Frühling (Jap. poetry, Ger. trans. H. Bethge), 1v, orch, 1920, rev. 1957; Chrysantemum (Solstad), 1v, orch, 1922; Le flambeau vivant (C. Baudelaire), 1v, orch, 1922; Skumring [Twilight] (E. Solstad), 1v, orch, 1922; Hägring [Mirage] (Gripenberg), 1v, orch, 1923; Das Mädchen auf der Brücke (Chin., trans. Bethge), 1v, orch, 1923; Ökenridten (B. Gripenberg), 1v, orch, 1923; Heimferd (dramatic sym, Gullvåg), solo vv, chorus, orch, 1930; Der Gott und die Bajadere (cant., J.W. von Goethe), solo vv, chorus, orch, 1933; Bols vise [Bol’s Song] (Kinck), 1v, orch, 1938; Altar (H. Moren Vesaas), 1v, str, 1939, rev. 1963; Lutad motgärdet (J.L. Runeberg), 1v, orch, 1941, rev. 1963; De brendtevåre gårder [They Burnt our Farms] (I. Hagerup), male chorus, orch, 1945; Til Kongen (A. Øverland), 1v, orch/pf, 1945; other songs, choral works
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Orch: Tema con variazioni, 1925; Passacaglia, 1928; Bols vise, vn, orch, 1938; Altar, vn, str orch, 1939, rev. 1963; Kong Baldvines Armring, suite, small orch, 1939 [from incid music to play]; Partitasinfonica, sym. suite, 1939, rev. 1951 [from Driftekaren]; Pastorale religioso, small orch, 1939, rev. 1944, rev. 1963; Rondomarziale, 1942; Sinfonie, d, 1942; Canto d’omaggio, 1950; Air, small orch, ?1959
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Chbr: Rondo, vn, pf, 1924; Sonate, vn, pf, 1924; Pf Qnt, 1926; Bols vise, vn, pf, 1938; Altar, vn, pf, 1939; I blodethans blømde, str qt, 1939; Pastorale religioso, str qt, 1939; Duo, 2 vn, 1943
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Pf pieces
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Principal publisher: Norsk Musikforlag/NMIC
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NBL (J. Arbo)
J. Arbo: ‘Filologen som overrasket verden med musikk’, Norsk musikkliv, x/1 (1943), 6–9
S. Lind: ‘Ludvig Irgens Jensen som komponist: en skisse på grunnlagavtre orkesterverker’, Nordisk musikkultur, ii (1953), 111–14
B. Wallner: Vår tids musik i norden: från 20-tal till 60-tal (Stockholm, Copenhagen and Oslo, 1968)
A.O. Vollsnes: Modernisme på norsk – Komponisten Ludvig Irgens-Jensen (Oslo, 1996)
ARVID O. VOLLSNES
Irian Jaya.
See Melanesia, §II.
Iriarte [Yriarte], Tomás de
(b Puerto de la Cruz de Orotava, Canary Islands, 18 Sept 1750; d Madrid, 17 Sept 1791). Spanish poet and devotee of music. He was educated in Madrid by his uncle Juan, librarian to the king. While pursuing a successful literary career, he held government posts as translator and archivist. An ardent amateur musician, he is said to have studied with Rodríguez de Hita; he played violin and viola and was active in various musical circles of the city. His very popular didactic poem La música was first published in Madrid in 1779. Numerous reprints followed, and it was translated into French, Italian, German and English (by John Balfour in 1807); a facsimile reprint of the first edition was published in Barcelona in 1984. Its five cantos begin with a treatment of the elements of music – scales, melody, harmony, rhythm and tempo; canto II discusses expression – the styles of music which invoke or depict joy, tranquillity, militancy, sadness, wrath or terror. The section on church music – chant, polyphony, concerted works and the organ – mentions Morales, Guerrero and Victoria among earlier masters. In describing theatrical music – the past and present state of opera and the native zarzuela – Iriarte praised the operas of Gluck in particular. In the last canto, which describes social music, the symphonic and chamber forms, he gave special praise to Haydn, notably for his string quartets. The work is followed by explanatory footnotes and an essay on the merits of Spanish as a language for musical settings.
Iriarte’s other literary works include many musical references. He also wrote poems and dramas for musical treatment, including the libretto to Guzmán el bueno, first performed in Cádiz in 1790, and later in Madrid in 1791. This work launched the Spanish vogue for melodrama, in which spoken drama is accompanied by instrumental music. For this production Iriarte also composed ten brief orchestral pieces (MS in E-Mm) which are interesting illustrations of his musical interpretations of the emotions. Unfortunately the numerous quartets and sonatas he is said to have composed have not been found.
BIBLIOGRAPHY
subiráHME
M. Menéndezy Pelayo: Historia de las ideas estéticas en Espana (Madrid, 1883–91, rev. 3/1962 by E. Sáchez Reyes), iii
E. Cotarelo y Mori: Iriarte y su época (Madrid, 1897)
R. Mitjana y Gordón: ‘La musique en Espagné’, EMDC, I/iv (1920), 1913–2351, esp. 2178, 2185
J. Subirá: El compositor Iriarte (Barcelona, 1949–50) [contains excerpts from the music of Guzmán el bueno]
R.M. Cox: Tomás de Iriarte (New York, 1972)
F.J. León Tello: La teoría española de la música en los siglos XVII y XVIII (Madrid, 1974)
A. Martín Moreno: Historia de la música española, iv: Siglo XVIII (Madrid, 1985)
ALMONTE HOWELL
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