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Issandon, Jean.
See Yssandon, Jean.
Isserlis, Steven (John)
(b London, 19 Dec 1958). English cellist. Grandson of the Russian pianist and composer, Julius Isserlis, he studied with Jane Cowan at the International Cello Centre (1969–76) and Richard Kapuscinski at Oberlin College (1976–8). He made his London début in 1977, and has subsequently performed as a soloist with most of the world's leading orchestras and many period-instrument groups. He is also a noted player of chamber music: he gives regular recitals with Melvyn Tan, and in 1991 formed a trio with Joshua Bell and Olli Mustonen. In 1996 he succeeded Sándor Végh as artistic director of the International Musicians Seminar in Cornwall, where he teaches and gives masterclasses. He has given first performances of works by Robert Saxton, Elizabeth Maconchy, Howard Blake and John Tavener, including The Protecting Veil (1989, London), of which his recording won a Gramophone Award. Among his many other recordings are the concertos by Elgar and Barber, Britten's Cello Symphony and much chamber music. He was presented with the Piatigorsky Artist Award (1992) and the Royal Philharmonic Society's Instrumentalist of the Year Award (1993). Isserlis' sensitive, stylish and passionate playing reflects his highly individual personality.
BIBLIOGRAPHY
M. Campbell: ‘Steven Isserlis: a Profile’, The Strad, xcii (1981–2), 815–18
J. Talbot: ‘Doing his own Thing’, The Strad, cvii (1996), 668–75
MARGARET CAMPBELL
Istanpitta
(It.).
See Estampie.
Istel, Edgar
(b Mainz, 23 Feb 1880; d Miami, 17 Dec 1948). German musicologist and composer. He studied the violin at Mainz but soon turned to composition and became a pupil of Volbach. In 1898 he went to Munich, where he completed his studies under Thuille and Sandberger. He took the doctorate in 1900 with a dissertation on Rousseau's music to Pygmalion and worked as a lecturer, music critic and essayist until 1913. He was then appointed lecturer in aesthetics at the Humboldt Academy, a post he held until 1919, when he took a position at the Lessing-Hochschule; he also worked as music critic for several newspapers. In 1920 he moved to Madrid, where he represented the Verband deutscher Bühnenschriftsteller und Bühnenkomponisten and the Vienna Gesellschaft der Autoren, Komponisten und Musikverleger. In 1936 he emigrated to England and in 1938 to the USA. He established his reputation with his work on the history of opera, especially opera librettos; his book on the libretto is one of the best accounts of the outlines and characteristics of opera texts. His major compositions include five operas, incidental music for Goethe’s Satyros and a Hymn to Zeus for chorus and orchestra; he also wrote several choral works and songs.
WRITINGS
Jean-Jacques Rousseau als Komponist seiner lyrischen Scene ‘Pygmalion’ (diss., U. of Munich, 1900; Leipzig, 1901/R)
Das deutsche Weihnachtsspiel und seine Wiedergeburt aus dem Geiste der Musik (Langensalza, 1901)
Richard Wagner im Lichte eines zeitgenössischen Briefwechsels (Berlin, 1902)
‘E.T.A. Hoffmann als Musikschriftsteller’, NZM, xcix (1903), 569–72, 581–3
ed.: P. Cornelius: Literarische Werke, ii: Aufsätze über Musik und Kunst (Leipzig, 1904/R)
Peter Cornelius (Leipzig, 1906)
Die komische Oper: eine historisch-ästhetische Studie (Stuttgart, 1906)
Die Entstehung des deutschen Melodramas (Berlin, 1906)
ed.: E.T.A. Hoffmanns musikalische Schriften (Stuttgart, 1907)
ed.: C. Ditters von Dittersdorf: Lebensbeschreibung (Leipzig, 1909)
Das Kunstwerk Richard Wagners (Leipzig, 1910)
ed.: E.T.A. Hoffmann: Musikalische Novellen (Leipzig, 1910)
ed.: E.T.A. Hoffmann: Der Dichter und der Komponist (Leipzig, 1913)
ed.: E.T.A. Hoffmann: Kreisleriana (Leipzig, 1913)
Das Libretto: Wesen, Aufbau und Wirkung des Opernbuchs (Berlin, 1914, 2/1915)
Die moderne Oper vom Tode Richard Wagners bis zum Weltkrieg (1883–1914) (Leipzig, 1915, enlarged 2/1923)
‘German Opera since Richard Wagner’, MQ, i (1915), 260–90
Das Buch der Oper: die deutschen Meister von Gluck bis Wagner (Berlin, 1919, 2/1920)
Nicolo Paganini (Leipzig, 1919)
Revolution und Oper (Regensburg, 1919)
‘Carmen: Novel and Libretto, a Dramaturgic Analysis’, MQ, vii (1921), 493–510
The Art of Writing Opera-Librettos (New York, 1922) [rev. Eng. version of Das Libretto, 1914]
‘Meyerbeer's Way to Mastership’, MQ, xii (1926), 72–109
Bizet und ‘Carmen’ (Stuttgart, 1927)
‘The Music in “Don Quixote”’, MQ, xiii (1927), 434–50
‘Goethe and Music’, MQ, xiv (1928), 216–54
‘Schubert’s Lyric Style’, MQ, xiv (1928), 575–95
‘Peter Cornelius’, MQ, xx (1934), 334–43
ALFRED GRANT GOODMAN
Istesso tempo, l'
(It.: ‘the same pace’).
A direction to maintain the tempo in spite of apparent disturbances, particularly changes of time signature or note value. Thus in a change from 2/4 to 6/8 time the beat would remain constant: the crotchet of the former would equal the dotted crotchet of the latter. Medesimo tempo was also used. By the later 19th century these directions were increasingly replaced by equivalence equations.
DAVID FALLOWS
Istituto di Studi Verdiani.
Institute established in 1963 in Parma.
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