Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Ivanov, Mikhail Mikbaylovich (ii).

See Ippolitov–ivanov, mikhail mikhaylovich.

Ivanov-Boretsky, Mikhail Vladimirovich

(b Moscow, 4/16 June 1874; d Moscow, 1 April 1936). Russian music historian and composer. He studied law at St Petersburg University, graduating in 1896, and music at the St Petersburg Conservatory, where his teachers included Rimsky-Korsakov. In 1901 he went to Italy to study at the Florence Conservatory; this fired in him an interest in Italian music and inspired him to write his first book, a short monograph on Palestrina. In 1905 he returned to Russia, where he undertook teaching commitments in Moscow and was a council member of the music theory department at the Institute for the History of the Arts in Petrograd. At about the same time he produced a number of compositions; almost all have remained in manuscript, and include a Symphonic Suite (1893), the operas Adol'fina (1908) and Koldun'ya (‘The Sorceress’, 1913; performed St Petersburg, 1918), chamber music, piano pieces, choral works and songs. In 1922 he was appointed dean of the faculty of theory and composition at the Moscow Conservatory, and under his supervision the research department was founded (1923).

Ivanov-Boretsky is considered to be the founder of the Moscow school of music historians; he taught many well-known Russian musicologists, including Livanova and Tumanina, who later became professors at the conservatory. He was the first Russian musicologist to write extensively on Western music, and early in his career produced a number of popular pamphlets on Mendelssohn, Schumann, Josquin and others. He followed these with more generalized studies of music history, which formed the foundation of the teaching courses he established at the conservatory.

WRITINGS

‘Zabïtïy muzïkant: Ė.T.A. Gofman’ [A forgotten musician: Hoffmann], RMG, xv (1908), 737–45, 773–8, 873–7, 903–7; repr. in Muzïkal'noye obozrenye, i–ii (1926)

Palestrina (Moscow, 1909)

Gendel' [Handel] (Moscow, 1910)

Mendel'son (Moscow, 1910)

Ocherki istorii messï [An essay on the history of the mass] (Moscow, 1910)

Shuman (Moscow, 1910)

Zhoskin de Pre (Moscow, 1910)

‘Muzïkal'naya nauka v Germanii za vremya s nachala voynï do 1921g.’ [Music research in Germany from the beginning of the war until 1921], K novïm beregam, no.2 (1923), 48–52

Karmen: opera Bize (Moscow, 1924)

‘Russie’, Bulletin de la Société ‘Union musicologique’, iv (1924), 162–72

Tablitsï po obshchey istorii muzïki [Tables on the general history of music], i (Moscow, 1924)

Pervobïtnoye muzïkal'noye iskusstvo [Primitive music] (Moscow, 1925, 2/1929)

Pyat' let nauchnoy rabotï Gosudarstvennogo Instituta Muzïkal'noy Nauki 1921–6 [Five years of research in the State Institute for Musical Research] (Moscow, 1926)

Betkhoven: k 100-letiyu so dnya smerti 1827–1927 [Beethoven: on the centenary of his death] (Moscow, 1927)

‘Ein Moskauer Skizzenbuch von Beethoven’, Muzikal'noye obrazovanige (1927), nos.1–2, pp.7–58 [facs.], 59–91 [commentary in Russ. and Ger.]

‘Val'sï Shuberta: opït stilisticheskogo issledovaniya’ [Schubert’s waltzes: an attempt at stylistic analysis], Venok Shubertu 1828–1928: ėtyudï i materialï, ed. K. Kuznetsov (Moscow, 1928), 34–51

Choix de morceaux de musique des siècles passés (Moscow, 1929)

Muzïkal'no-istoricheskaya khrestomatiya [The history of music: a reader] (Moscow, 1929, enlarged 2/1933–6)

Materialï i dokumentï po istorii muzïki,, ii: XVIII vek, Italiya, Frantsiya, Germaniya, Angliya [Documents and other material on the history of music, ii: the 18th century in Italy, France, Germany and England] (Moscow, 1934)

‘Ot operï k oratorii: k 200-letiyu so dnya rozhdeniya Georga Friderika Gendelya’ [From opera to oratorio: on the 250th anniversary of Handel’s birth], SovM (1935), no.3, pp.30–38

ed. T. Livanova: Stat'i i issledovaniya: vospominaniya o nyom [Articles and research: reminiscences about him] (Moscow, 1972)

‘I.V. Nest'yev’, in I.V. Nest'yev: Vek nïneshniy i vek minuvshiy: sbornik statey (Moscow, 1986), 316–20

BIBLIOGRAPHY

Obituary, SovM (1936), no.4, p.104 only

D. Ivanov-Boretsky and M. Iskrin: ‘Vïdayushchiysya muzïkant: k 25-letiyu so dnya smerti M. Ivanova-Boretskogo’ [A distinguished musician: on the 25th anniversary of Ivanov-Boretsky’s death], SovM (1961), no.8, pp.45–8

Yu.V. Keldïsh: ‘Mikhail Vladimirovich Ivanov-Boretskiy’, Vïdayushchiyesya deyateli teoretiko-kompozitorskogo fakul'teta Moskovskoy Konservatorii, ed. T.F. Muller (Moscow, 1966), 100–06

T. Livanova: ‘Bol'shoy uchyonïy’ [A great scholar], SovM (1966), no.10, pp.21–4

G.B. Bernandt and I.M. Yampol'sky: Kto pisal o muzïke [Writers on music], i (Moscow, 1971) [incl. complete list of writings]

L. Mazel: ‘Ėntuziast nauki’ [An enthusiast for research], SovM (1971), no.4, pp.63–7

T. Livanova, ed.: Stat'i i issledovaniya: vospominaniya o nyom [Articles and research: reminissences about him] (Moscow, 1972)

IGOR BĖLZA

Ivanovich, Cristoforo

(b Budva, Dalmatia, 1628; d Venice, before 6 Jan 1689). Italian librettist and theatre chronicler of Dalmatian birth. He went to Italy in the mid-1650s to escape the war over Crete. He settled first at Verona, where he was a member of the Accademia Filarmonica and the Accademia dei Temperati, which organized opera and theatre performances there. From 1657 he lived in Venice, where he became a member of the influential Accademia Delfica. Soon after moving there he became secretary to Leonardo Pesaro, one of the procurators of S Marco, where in 1676 he obtained the position of sottocanonico and in 1681 that of canonico. He wrote librettos for Venice, Vienna and Piacenza; he also adapted Moniglia’s Florentine extravaganza Ipermestra to Venetian taste as La costanza trionfante. His exchange of letters with Pagliardi (Poesie, Venice, 1675) contains an interesting and rare description of that taste: ‘The character of this city likes the heroic to be serious but lively, the pathetic not excessively languid, and the comic full of vigour but easy-going’. His principal contribution to musical theatre is a catalogue of Venetian opera performances from 1637 to 1681 (continued, in a second edition, to 1687), ‘Le memorie teatrali di Venezia’, published as an appendix to his Minerva al tavolino (Venice, 1681, 2/1688). Although it contains many inaccuracies (see Walker), it is a valuable source of information about 17th-century operatic repertory and is the basis for all subsequent catalogues; it also contains an extensive discussion of contemporary theatre practice. Ivanovich’s will was proved on 6 January 1689.

WORKS

L’amor guerriero (dramma per musica), P.A. Ziani, 1663; La Circe (dramma per musica), Ziani, 1665 (D. Freschi, 1679); Coriolano (dramma), F. Cavalli, 1669; La costanza trionfante (dramma per musica), G.D. Partenio, 1673 (B. Pasquini, 1679, as Dov’è amore è pietà); Lisimaco (dramma per musica), G.M. Pagliardi, 1673; L’africano trionfo di Pompeo (dramma per musica), 1678 [unperf.]; La felicità regnante (serenata), 4 Sept 1681

BIBLIOGRAPHY

M. Velimirović: ‘Cristoforo Ivanovich from Budva: the First Historian of the Venetian Opera’, Zvuk, nos.77–8 (1967), 135–45

T. Walker: ‘Gli errori di “Minerva al tavolino”: osservazioni sulla cronologia delle prime opere veneziane’, Venezia e il melodramma nel Seicento: Venice 1972, 7–20

M. Milosević: ‘Il contributo di Cristoforo Ivanovich nell’evoluzione del melodramma seicentesco’, Il libro nel bacino adriatico (secc. XV–XVIII) [Venice 1989], ed. S. Graciotti (Florence, 1992), 111–24

N. Dubowy: Introduction to C. Ivanovich: Memorie teatrali di Venezia (Lucca, 1993) [facs. of second edn, Venice, 1688]

I. Cavallini: ‘Questioni di poetica del melodramma del Seicento nelle lettere di Cristoforo Ivanovich’, Giovanni Legrenzi e la Cappella ducale di San Marco: Venice and Clusone 1990, 185–99

THOMAS WALKER/NORBERT DUBOWY