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Iliński, Count Jan [Janusz] Stanisław
(b Romanów, 1795; d Brody, 23 Dec 1860). Polish composer and poet. He studied in Vienna under Salieri, Kauer and possibly Beethoven. He held posts in the senate in Warsaw and in the diplomatic service, and from 1853 was an adviser to the tsar. Active as a composer and man of letters, he employed a band on his estate at Romanów. His grandfather Jan Kajetan Iliński (1730–81), the starosta of Zhitomir, had founded a chorus and an orchestra of about 100 players; his father, Józef August Iliński (1766–1844), enlarged the orchestra and brought musicians and singers from Italy. The choir and band were conducted by Ignacy Dobrzyński (father of Ignacy Feliks), and there was also a band of horn players. Some of Iliński's compositions were published in Vienna by Mechetti and Cappi & Diabelli.
WORKS
(selective list)
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Sacred: Mass, d, op.22, 1826 (Vienna, c1837); Requiem, e; Requiem, b; Te Deum; Stabat mater; 2 psalms: De profundis, Miserere
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Orch: Sym., F (Vienna, n.d.); 2 pf concs.; Ov. fuguée, on a theme by Salieri; Ov. et entr'acte, to Howald's Der Leuchtthurm; Ovs. to plays, incl. Schiller's Maria Stuart; 4 marches, wind insts
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Chbr: Marche, pf (Vienna, 1821); Duo concertant, E , 2 pf, op.11 (Vienna, c1825); 3 valses avec trio, pf (Vienna, c1825); 8 str qts; 3 fugues, pf 4 hands (St Petersburg, n.d.)
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Songs: 8 romances françaises, 1v, pf (Vienna, 1821); 6 romances nouvelles, 1v, pf, op.7 (Vienna, 1823); 6 romances nouvelles, 1v, pf, op.3 (Vienna, 1823); Preghiera, O bella speranza, op.13 (Vienna, 1829); Der blasse Mann (J.N. Vogl), op.21 (Vienna, c1837)
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FétisB
M. Gozdawa: ‘Zakłady naukowe w Romanowie’ [Learned institutions at Romanów], Księga pamiątkowa na uczczenie setnej rocznicy urodzin Adama Mickiewicza (1798–1898), ii (Warsaw, 1898), 26–44
A. Mrygoń and M. Burchard: ‘Katalog poloników muzycznych w zbiorach austriackich’ [Catalogue of Polish music in Austrian collections], Szkice o kulturze muzycznej XIX w, ed. Z. Chechlińska, v (Warsaw, 1984)
IRENA PONIATOWSKA
Il'insky, Aleksandr Aleksandrovich
(b Tsarskoye Selo, 12/24 Jan 1859; d Moscow, 23 Feb 1920). Russian composer and teacher. He studied in Berlin with Bargiel (composition) and Kullak (piano), and graduated from the St Petersburg Conservatory in 1885. From 1885 he taught at the music and drama school of the Moscow Philharmonic Society; he was appointed professor in 1896 and remained until 1905, when he became professor of theory, history and composition at the Moscow Conservatory. As a composer he is known for an opera Bakhchisarayskiy fontan (‘The Fountain of Bakhchisaray’) and for some choral and orchestral works. He also wrote a number of books.
WORKS
(selective list)
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Stage: Bakhchisarayskiy fontan [The Fountain of Bakhchisaray] (op, after Pushkin), pf score (Moscow, 1911); Nur i Anitra, dance scene, op.13, Moscow, Bol'shoy, 1907; Oedipus rex (incid music, Sophocles); Philoctetes (incid music, Sophocles); Eros i Psikheya [Eros and Psyche] (dramatic poem, after Žulawski), op.34, pf score (Moscow and Leipzig, n.d.)
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Choral: Strekozï [Dragonflies] (cant.); Rusalka (cant.), pf score (Moscow, 1900)
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Orch: Suite, d, op.4; 1 other suite; Sym. scherzo, op.3; Danses des Croates, sym. scherzo; Psyche, sym. frag., op.14; Tsar Fyodor, ov. to A.K. Tolstoy's play
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Inst: Str Qt; pf pieces; works for vn and pf
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Obshchiye nachala garmonii: prakticheskoye rukovodstvo [The general principles of harmony: a practical guide] (Kharkiv, 1889)
Biografiya kompozitorovs IV po XX vekov [Biographies of composers from the 4th century to the 20th] (Moscow, 1904)
Mikhail Ivanovich Glinka: yego zhizn' i muzïkal'nïye proizvedeniya [Life and works] (Moscow, 1908)
L. Betkhoven: zhizn' i tvorchestvo [Life and works] (Moscow, 1909)
A.S. Dargomïzhsky (Moscow, n.d.)
Rikhard Vagner: yego zhizn' i tvorchestvo [Life and works] (Moscow, 1913)
Kratkoye rukovodstvo k prakticheskomu izucheniyu instrumentovki [A short guide to the practical teaching of orchestration] (Moscow, 1917)
JENNIFER SPENCER/R
Illario [Ylario; Illarius, Johannes]
(fl early 16th century). ?Spanish composer, not to be identified with Hylaire.
Illica, Luigi
(b Castell’Arquato, nr Piacenza, 9 May 1857; d Colombarone, 16 Dec 1919). Italian playwright and librettist. At an early age he ran away to sea; in 1876 he fought against the Turks. Three years later he settled in Milan and became well known in literary circles. An ardent republican, he was associated with the poet Giosuè Carducci on a radical literary review. In 1882 he produced a collection of prose sketches, Farfalle, effetti di luce, and the following year wrote his first play, I Narbonnier-Latour, in collaboration with Ferdinando Fontana. His greatest success in this field was a comedy in Milanese dialect, L’eriditàa di Felis (1891).
Illica’s activity as a librettist began in 1889 with the crudely melodramatic Il vassallo di Szigeth written for Smareglia. The association with Puccini began in 1892, when Leoncavallo suggested that Illica complete the much tormented libretto of Manon Lescaut. As much of Domenico Oliva’s work remained in the final text, including the entire fourth act, Illica tactfully withheld his name from the title-page, and the libretto was published without an attribution. In Puccini’s next three operas – La bohème, Tosca and Madama Butterfly – Illica worked in partnership with the playwright Giacosa, who versified the dialogue that his colleague had drafted out. When Giacosa died in 1906 Puccini turned to other librettists, while continuing for some years to keep Illica employed on the book of a Maria Antonietta which he never set. They discussed further projects until their contact was finally broken when in 1915 Illica volunteered for military service, although well over the age limit.
Illica’s 35 librettos run the gamut of contemporary fashions, from near-verismo to historical drama, from art nouveau symbolism to evocations of the commedia dell’arte, and range as far afield as an adaptation of Thomas Hardy’s Tess of the D’Urbevilles. Though negligible as literature, they show considerable stage sense as well as invention (he was one of the earliest librettists to devise his own plots, as in Andrea Chénier and Siberia). He was especially skilful with what could be termed the ‘dynamic’ or ‘kinetic’ ensemble during which the action moves forward (e.g. the roll-call of the prostitutes in Manon Lescaut, the Café Momus scene in La bohème, the parade of the People’s Representatives in Andrea Chénier). Above all he was instrumental in breaking down the rigid system of Italian operatic metres into lines of irregular length, which Giulio Ricordi jokingly called ‘illicasillabi’ but which were eminently suited to the prevailing musical style.
BIBLIOGRAPHY
GroveO (J. Budden) [with list of libs]
G. Adami: Giulio Ricordi e i suoi musicisti (Milan, 1933)
E. Gara, ed.: ‘Il carteggio Puccini – Illica – Ricordi’, Carteggi pucciniani (Milan, 1958)
M. Morini: Luigi Illica (Piacenza, 1961)
V. Bernardoni: ‘Il femminile secondo Illica: osservazioni in margine ai libretti per Mascagni’, Studi musicali, xxiii (1994), 203–29
JULIAN BUDDEN
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