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Ivanovici, Iosif
(b ?1845; d Bucharest, 28 Sept 1902). Romanian composer and conductor. He studied in Galaţi with Alois Riedl and in Iaşi with Emil Lehr, and became director of the military bands of Galaţi and Bucharest. He composed fanfares, marches, waltzes and potpourris of folk melodies, and in 1889 was awarded a composition prize at the International Exhibition in Paris. His piano and vocal pieces became popular at the soirées of the day, and his fanfare Valurile Dunării (‘The Danube waves’), also arranged for piano, has become widely known.
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Military band: Valurile Dunării [The Danube waves] (Bucharest, 1880); Zîna munţilor [The mountain fairy] (Bucharest, 1886); Porumbeii albi [The white pigeons], op.132 (Hamburg, 1894); La fille du marin (Hamburg, 1894)
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Pf: La vie de Bucarest (Bucharest, n.d.); Un rêve sur le Volga (Paris, n.d.); Nathalia (Leipzig, n.d.); Abendträume (Leipzig, n.d.); Der Liebesbote (Vienna, n.d.); Im Mondenglanz (Leipzig, n.d.); Sur le bord de la Neva (Paris, n.d.); Wanda (Paris, n.d.); Parade militaire (Bucharest, n.d.)
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Many other marches, pf pieces and songs
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M.G. Posluşnicu: Istoria muzicii la Románi (Bucharest, 1928)
V. Cosma: Maiorul I. Ivanovici: schiţă monografică de popularizare (Bucharest, 1958)
V. Cosma: Muzicieni Români (Bucharest, 1970)
ROMEO GHIRCOIAŞIU
Ivanov-Kramskoy, Aleksandr (Mikhaylovich)
(b Moscow, 26 Aug 1912; d Minsk, 11 April 1973). Russian guitarist and composer. He studied the guitar with Agafoshin, a student of Segovia, composition with Rechmensky and conducting with Saradzhev. His concert career began in 1933, but he toured very little outside the USSR. He made several recordings and composed over 500 works, including two concertos and other works for the guitar, which reveal him as an excellent musician and an accomplished technician. He was a leading figure in the establishment of the classical guitar in Russia, and his self-study method (1948) is still used there. His daughter, Nataliya Ivanova-Kramskaya, described his life in Zhizn' posvyatil gitare: Vospominaniya ob otse [A life dedicated to the guitar: memories of my father] (Moscow, 1995).
JOHN W. DUARTE
Ivanovs, Jānis
(b Preiļi, nr Daugavpils, 9 Oct 1906; d Riga, 27 March 1983). Latvian composer. He graduated in 1931 from Vītols’s composition class and Schnéevoigt’s orchestral conducting class at the Latvian State Conservatory, where he remained until 1933 in Vītols’s practical composition class. From 1931 he worked for Latvian radio, and from 1945 to 1963 he was artistic director of the Latvian radio committee. He was appointed to teach composition at the conservatory in 1944, was made professor in 1955 and continued to teach there until 1983. He was president of the committee of the Soviet Latvian Composers’ Union, 1950–51.
Ivanovs worked primarily in symphonic genres, the 21 symphonies standing at the core of his oeuvre. Deeply humanistic thought is evident in his orchestral works, where the language is characterized by broad melodies frequently rooted in the old scales of Latvian folk music, a lyrically dramatic expressiveness and rich textures. In his early works, those of the 1930s, he was to a certain extent subject to Impressionist influences and wrote programme works on the natural features and people of his native province of Latgale, occasionally using folksong melodies. His first three symphonies are also from this period, though the first two were lost in the war years. With his Fourth Symphony ‘Atlantīda’ (1941), he arrived at an innovatory monumental concept of symphonism which marked a new stage in the development of Latvian symphonic music. His Fifth Symphony (1945) reflects the experiences of the war years. As a result of the communist party's decree against formalistic music in 1948, performances of Ivanovs's fourth and fifth symphonies were for many years prohibited. The Sixth, ‘Latgales’ (1949), illustrates scenes of the sufferings and final freedom of his native land; for this he was awarded the USSR State Prize in 1950. Power, energy and lyricism characterize the Seventh (1953) and Eighth (1956). In the Ninth, Tenth and Eleventh, Ivanovs became more deeply involved with psychological and philosophical concepts, and his musical language evolved towards a more complex harmony, making use of polytonality and linear polyphony. His next symphonies deal with wider social themes, the Thirteenth, Symphonia humana (1969), being dedicated to Lenin. Nos.14–16, however, reveal a tendency towards simpler forms and are in more of a chamber style. The music of the final symphonies synthesizes dramatic style with sophisticated, lyrical scenes and reminiscences transformed from his early works. Ivanovs's chamber music is characterized by weighty musical ideas, a vivid dramatic quality and laconic form.
WORKS
(selective list)
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Syms.: nos.1–2, lost; no.3, c1938; no.4 ‘Atlantīda’, 1941; no.5, 1945; no.6 ‘Latgales’, 1949; no.7, 1953; no.8, 1956; no.9, c1960; no.10, c1963; no.11, c1965; no.12 (Sinfonia energica), 1967; no.13 (Symphonia humana), 1969; no.14 (Sinfonia da camera), 1971; no.15 (Symphonia ipsa), 1972; no.16, 1974; no.17, 1976; no.18, 1977; no.19, 1979; no.20, 1981; no.21, 1983, inc., orchd 1984 J. Karlsons
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Other orch works: Zilie ezeri [The Blue Lakes], suite, 1935; Padebešu kalns [Hill above the Clouds], sym. poem, 1938; Vc Conc., 1938; Varavīksne [Rainbow], 1939; Rāzna, brass band, 1940; Svinīgā prelūdija [Solemn Prelude], 1940; Vn Conc., 1951; Salna pavasarī [Frost in Spring], suite, 1955 [from film score]; Lāčplēsis, sym. poem, 1957; Pf Conc., 1959; Poema luttuoso, str, 1966
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Chbr and solo inst: 3 str qts, 1933, 1946, 1961; Variations, e, pf, 1948; Variations-études, pf, 1959; Sonata brevis, pf, 1962; 24 Sketches, pf, 1967–72; Pf Trio, 1976
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Vocal: choral and solo songs
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Principal publishers: Liesma, Muzgiz, Muzyka, Sovetskij kompozitor
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N. Gryunfel'd: Yanis Ivanov (Moscow, 1959)
V. Bērziņa: Dzīves simfonija [A symphony of life] (Riga, 1964)
L. Kārkliņš: Jāņa Ivanova simfonisms [The symphonic music of J. Ivanovs] (Riga, 1990)
JĒKABS VĪTOLIŅŠ
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