Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Itiberê, Brasílio (da Cunha Luz)

(b Curitiba, 17 May 1896; d Rio de Janeiro, 10 Dec 1967). Brazilian composer. Although he had had music lessons with Leo Kessler in his native city, he studied engineering in Rio de Janeiro and was self-taught in composition. In 1934 he settled in Rio, where he became intimately acquainted with popular music, studying the samba schools and using popular material in such works as O cravo tropical for two pianos (1944), some of whose rhythmic figures recall Nazareth’s tangos. His investigations of folk music were stimulated by his friendship with Villa-Lobos, who appointed him to teach folk music at the Conservatorio Nacional de Canto Orfeônico in 1942 (he had occupied a similar position at the Universidade do Distrito Federal from 1938). Itiberê’s small output was produced between 1934 and 1954. In the early works the characteristics of folk and popular music are clearly evident, but later they were transformed. His best music is in the choral works and the piano pieces, of which the Estudos have a high place in the Brazilian keyboard literature. The first is a study in syncopation, the fifth has the typical accompaniment figures of the popular chôro, and the sixth is in embolada style, with its repeated notes and octaves. Another major piano work is the Suite litúrgica negra, based on the ritual macumba music.

WORKS

(selective list)

Orch: Momento eufórico, 1951; Prelúdio vivaz, 1951

Choral: A infinita vigília, 3vv, 1941; A dor, meu senhor, 3vv, 1942: Rito do Irmão Pequeno, 3vv, 1942; Contemplação, chorus/female vv, orch, 1942; Canção, 3vv, 1943; I Couldn’t Hear Nobody Pray, 1943; Oração da noite, 3vv, 1945; O canto absoluto, 1947; Estâncias (C. Drummond de Andrade), 1947; Epigrama, 3vv, 1948; Ps cl, chorus, orch, 1954

Chbr: Pf Trio no.1, 1939; Introdução e allegro, fl, pf, str, 1945; Str Qt no.1, 1946; Duplo quinteto, wind qnt, str qt, db, 1946

Pf: Invocação, canto e dança, 1934; Poema, 1936; Toccata, 1937; Invençãono.1, pf/hpd, 1938; 6 estudos, 1939; Suite litúrgica negra, 1940; Rito do Irmão Pequeno [after chorus], 1942; O cravo tropical, 2 pf, 1944

Songs for 1v, pf: Ponteio para São João, 1938; Cordão de prata, 1939

Principal publisher: Associação Artística Brasileira

BIBLIOGRAPHY

V. Mariz: História da música no Brasil (Rio de Janeiro, 1981, 4/1994)

J.M. Neves: Música brasiliera contemporânea (São Paulo, 1981)

GERARD BÉHAGUE

Itier, Bernardus

(b 1163; d 27 Jan 1225). French chronicler of St Martial of Limoges and monk. Received as a boy scholar at St Martial in 1177, Itier held a succession of important offices, culminating in appointments as librarian (1204) and precentor (by 1211), posts he evidently held concurrently. Annotations in Itier's hand, scattered through surviving remnants of the St Martial library, testify to his interest in preserving the monastery books. One manuscript that he had bound includes a collection of early polyphonic music. Other musical manuscripts from the St Martial collection very probably owe their survival to his care.

Although not himself a professional scribe, Itier had charge of the monastery scriptorium and knew how to notate music. One composition in his hand, a Parisian motet based on the duplum of Perotinus's four-voice organum Sederunt (F-Pn lat.2208 f.1), shows a musical connection between Paris and St Martial in Itier’s lifetime. The chronicle written by Itier is a central source of information on the monastery.

BIBLIOGRAPHY

H. Duplès-Agier: Chroniques de Saint-Martial de Limoges (Paris, 1874)

M.-T. d’Alverny: ‘L'écriture de Bernard Itier et son évolution’, Medievalia et humanistica, xiv (1962), 47–54

M. Fassler: ‘The Office of the Cantor in Early Western Monastic Rules and Customaries: a Preliminary Investigation’, EMH, v (1985) 29–51

M. Fassler: Gothic Song (Cambridge, 1993), 110–13

SARAH FULLER

Iturbi, José

(b Valencia, 28 Nov 1895; d Hollywood, CA, 28 June 1980). Spanish pianist and conductor. He studied at the Valencia Conservatory and then with Victor Staub at the Paris Conservatoire, where he gained a premier prix in piano in 1913. During World War I he played in Swiss cafés, then taught at the Geneva Conservatoire, 1919–23. Extensive tours followed. He first played in the USA (where he settled) in 1928; in 1930 he gave 77 concerts on one American tour. In 1936 he was appointed conductor of the Rochester PO, a post he held for several seasons. His connection with films began when his fingers impersonated Chopin’s in A Song to Remember; he then appeared in several more films. He was the most famous Spanish pianist of his day, with a large popular following; in 1950 he became the first classical musician whose sales of a single record exceeded a million copies. Some critics held reservations about his Beethoven and Chopin, but his playing of the music of his native land was idiomatic, ebullient and vital. Iturbi composed a number of pieces in a Spanish idiom, including the Pequeña danza española for piano and a Seguidillas for orchestra. His sister Amparo (1898–1969), with whom he often performed, was also a pianist.

FRANK DAWES

Iturriaga, Enrique

(b Lima, 3 April 1918). Peruvian composer and teacher. He studied the piano with Lily Rosa and harmony with Sas (1934–9), and then composition with Holzmann at the National Conservatory of Music (1946–50); his studies were completed in Paris (1950–51) with Simone Plé-Caussade and Honegger. He was awarded the Duncker-Lavalle prize twice, the first time in 1947 for Canción y muerte de Rolando, the second for Homenaje a Stravinsky, and, in 1957, the Landaeta prize in Caracas for his Suite no.1 for orchestra. Appointed professor of composition and harmony at the National Conservatory in 1957, he also taught at the San Marcos University (1964–82), later becoming emeritus professor there, and at the Catholic University (1970–82). In addition, he has collaborated with UNESCO on many regional projects to train music teachers.

Each work in Iturriaga's relatively small output addresses anew the problem of finding a personal style which at the same time expresses the multi-culturalism of Peru. In the early Pequeña suite, Preludio y danza and Obertura para una comedia, he stylizes popular genres, occasionally resorting to irony. In the Suite (1957) the references are more fragmented and dramatic, the rhythm more pronounced and the orchestration characterized by sudden shifts and contrasts. The Homenaje a Stravinsky for orchestra without upper strings and cajón (1971) is an example of Iturriaga's interest in building textures out of multiple instrumental planes; while the later Llamada y fuga para un santiago (1990) shows him still employing popular materials in an individual fashion, using an objective and analytical fugal form to arrive at a traditional three-part melody. Iturriaga's musical language has remained, for the most part, one of extended tonality – displaying the use of ‘Arequipa 3rds’, major and minor 3rds superimposed or juxtaposed to produce bimodal passages – or polytonality. The sober Webern-like serialism of Vivencias I–IV (1965), notable for its invention and expressivity, is an isolated example. Throughout his career his vocal writing has remained an important element, in particular in the Ejercicios poéticos (1951) and the Cuatro poemas de Javier Heraud (1977).

WORKS

(selective list)

Ballets: Estudio; La muerte del Inti

Orch: Preludio y danza, 1954; Suite no.1, 1957; Obertura para una comedia, 1964, arr. as Tango, 2 pf, 1966; Vivencias I–IV, 1965; Homenaje a Stravinsky, cajón, orch, 1971; Sinfonía Junín-Ayacucho, 1974

Vocal: Canción y muerte de Rolando (J. Eielson), S, orch, 1947; 4 canciones sobre temas tradicionales infantiles (trad.), chorus, 1950; 2 ejercicios poéticos (Eielson), S, pf, 1951; 3 canciones (trad., trans. J.M. Arguedas), chorus, orch, 1956, rev. 1971; Las cumbres (S. Salazar Bondy), chorus, 1960; 4 poemas de Javier Heraud, Mez, pf, 1977; 3 adivinanzas (trad.), chorus (Lima, 1989); De la lírica campesina (trad.), Mez, orch, 1994; Disiertos (Hopkins), chorus, 1996

Chbr and solo inst: Pequeña suite, vn, vc, 1947; Pregón y danza, pf, 1953; 4 expresiones, vn, 1970; Llamada y fuga para un santiago, brass qt, 1990

Incid music: Dos viejas van por la calle (Salazar Bondy); Ifigenia en el mercado (Salazar Bondy); Santiago, el pajarero (Ribeyro)

Film scores: La ciudad y los perros (dir. F.J. Lombardi), 1985; Atusparia (dir. J.L. Rouillón); Las botellas y los hombres (dir. J. Huayhuaca); El Ichikolo; José Maria Eguren, pintor (dir. Rouillón)

BIBLIOGRAPHY

G. Béhague: Music in Latin America: an Introduction (Englewood Cliffs, NJ, 1979)

E. Pinilla: ‘Informe sobre la música en el Perú’, Historia del Perú, ix, ed. J. Mejía Baca (Lima, 1980), 363–677

E. Iturriaga: Método de composición melódica (Lima, 1985)

E. Pinilla: ‘La música en el siglo XX’, La música en el Perú (Lima, 1985), 125–213

J. CARLOS ESTENSSORO