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(b Nikopol, 14 Dec 1900; d Sofia, 27 March 1973). Bulgarian composer and conductor. He studied in Sofia (1920–26) and later in Paris with d’Indy and Guy de Lioncourt at the Schola Cantorum, and with Boulanger and Roussel; he also took a conducting course with Weingartner in Basle in 1934. In 1937 he returned to Bulgaria, where he held various appointments, working with the Bulgarian film institute (1948–56) and Sofia Radio (head of the music department, 1957–60). During his stay in Paris, Ikonomov had fruitful contacts with Stravinsky, Honegger and Milhaud. Predominantly a composer of instrumental music, he nevertheless wrote several works for the stage, including a historical opera in 1960 in the mainstream Bulgarian tradition – Ihdzhe voyvoda (‘Indzhe the Resistance Fighter’). His style is largely rooted in Bulgarian folksong, and of particular influence were its modal inflections and unusual rhythmic characteristics.
WORKS
(selective list)
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Stage: Sedemte smurtni pregresheniya [The Seven Deadly Sins] (ballet), 1933; The Tragedy of Othello (ballet), 1946; Indzhe voyvoda [Indzhe the Resistance Fighter] (op, prol, 5 scenes), 1960, Stara Zagora, Opera House, 1969; Malkite hitreci [The Cunning Little Boys] (children’s operetta), 1960; The Light Floods Everything (ballet), 1967
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Vocal: George Dimitrov (cant.), 1954; The Legend of Shipka (orat), 1968; Poem about Lenin (cant.), 1969; Vassil Levsky (orat), 1972; choruses and songs
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Orch: Haidouk Rhapsody, 1932; Sinfonietta, 1934; Kaliakra, sym. poem, 1935; Pastorale, chbr orch, 1937; Sym. [no.1], 1937; Pastorale and Dance, 1939; Shar Planina, sym. poem, 1942; Sym [no.2], 1947; Vn Conc., 1951; Sym. [no.3], 1955; Divertimento, str qt, orch, 1956; Pf Concertino, pf, orch, 1958; Sym. [no.4], 1971
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Chbr: Str Qt [no.1], 1933; Trio, ob, cl, bn, 1935; Str Qt [no.2], 1937; Str Qt [no.3], 1941; Str Qt [no.4], 1944; Str Qt [no.5], 1945; Str Qt [no.6], 1949; Trio, ob, cl, bn, 1968
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Film scores, incid music, solo inst works
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Ikonomov, Stefan
(b Sliven, 8 May 1937; d Sofia, 27 Aug 1994). Bulgarian composer. At the recommendation of Veselin Stoyanov he attended a boarding school in Sofia for gifted children. His first composition teachers were Vladigerov and Hadjiev. From 1955 to 1960 he studied the piano with Viktor Merdzhanov and composition with Anatoly Aleksandrov at the Moscow Conservatory. After graduating he returned to Sofia and was appointed lecturer in harmony at the State Music Academy; he later taught score reading and in 1993 was made full professor. His compositional method entailed thorough preliminary configuration of the material (on several staves) followed by precise arrangement of voicings. Stylistically, his output subscribes to the Romantic tradition, as suggested by the titles and instrumentation of his works as well as the manner in which texture is formed. The musical idea may be presented in several contrasting or variant forms, couched in a dramatic or balladic style or in a scherzo-like playfulness that betrays Ikonomov’s in-depth knowledge of instrumental fingering. His erudite style serves as a bridge between most profound elements of the Bulgarian tradition, its place within a European context and a fusion of ‘archaic’ and ‘new wave’ folk music traditions in contemporary music.
WORKS
(selective list)
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Ballet: Khoro [Line Dance] (4), 1963
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Orch: Pastorale, solo wind, hp, chbr orch, 1972; Pf Conc., 1978; Sym., str, 1982; Conc. Suite, va, chbr orch, 1983; Musica concertante, 2 pf, str, 2 bongos, 1990
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Chbr and solo inst: 4 Stücke, cl, 1954–5; 3 Stücke, pf, 1955; Str Qt, 1957; Obrazi [Images], vc, pf, 1961; Pastoral i tants [Pastoral and Dance], ob, pf, 1964; Nastroyeniya [Moods], str qt, 1969; Pastorale, hn, pf, 1969; Scherzo, 2 hp, 1970; Sonata, 2 hp, 1970; Burlesque, hn, pf (1971); Vavedeniye i tants [Introduction and Dance], vc, pf, 1973; Geroiko-kharakteristichen tants [Heroic Dance], pf 4 hands, 1974; Shega [Joke], tpt, pf (1974); Epitaph, hn, pf (1976); Music, pf, perc (1977); Introduction and Dance, vn, pf, (1978); Ritmichni dvizheniya [Rhythmical Moves], ob, cl, bn, hn, 1979; Malkata palavnitsa [Mischievous Girl], fl, pf, 1982; Capriccio, 4 tpt (1983); Meditatsii, cl, pf, perc, 1985; Sonata, 2 pf 4 hands (1985); Prelude, Chorale and Fugue, org, 1987; Nocturne, hp (1989); Wind Qnt, fl, ob, cl, bn, hn, 1991; Posveshteniye [Dedication], vc, org, 1991
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Principal publishers: Muzika (Sofia)
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TOMI KURKLISIJSKY
Ikuta Kengyō
(b 1656; d Kyoto, 14/23 June 1715). Japanese instrumentalist and composer. He specialized in the heikyoku, which he probably studied with Imai Kengyō, and the koto, which he probably studied with Kitajima Kengyō. In 1696 he was promoted to the rank of Kengyō in the guild of professional blind musicians. He may have inaugurated the Ikuta-ryū school of koto playing. He has been attributed with transforming the koto tsume (plectrum) from the narrow, long version used by the tsukushi-goto into the modern ikuta form (square-shaped); with inventing two new tuning systems, hon-kumoi-jōshi and nakazora-chōshi; and with producing the first ensemble combination of koto and shamisen (shamisen) by adding a jiuta. All of these are significant milestones in the development of sōkyoku and its relationship with jiuta. However, there is no evidence that he made these innovations alone; it is widely thought that they should be equally attributed to Kitajima Kengyō, who died before Ikuta was promoted to the rank of Kengyō. The name ‘Ikuta Kengyō’ was later adopted by Ōmori Kengyō and Hideshima Kengyō on their respective promotions to the rank of Kengyō in 1715 and 1740.
The following works are probably by Ikuta: 3 koto kumiuta (Kagami no kyoku; Koryū shiki genji (also attributed to Yatsuhashi); Omoigawa (also attributed to Kitajima)); the danmono Godan no shirabe (also attributed to Kitajima and Tomino Kōtō); Kinuta; the nagauta (Ozasa); and Jūnidan sugagaki (for shamisen).
At first, Ikuta's music was transmitted orally and later it was transcribed and printed. Omoigawa and Godan no shirabe were printed in Sōkyoku tailshū (Tokyo, 1792), while Kagami no kyoku and Koryū shiki genji were secretly transmitted and notated only in 1941. Kinuta was printed in Yanoichi zōhan bon kinuta no fu (Tokyo, 1822) and its slightly transformed version is still practised. Ozasa was not notated and only its song text is preserved. Many of these works are in an edition by H. Kikuhara (Jiuta Sōkyoku gskufu zensha, Tokyo, 1987).
BIBLIOGRAPHY
GroveJapan (‘Sō’, M. Nogawa)
E. Kikkawa: Nihon ongaku no rekishi [History of Japanese music] (Osaka, 1965)
K. Hirano: Shamisen to koto no kumiuta: sōkyoku jiuta kenkyū [Kumiuta for koto and shamisen] (Tokyo, 1987)
K. Hirano: ‘Ikuta kengyô’, Nihon ongaku dai jiten [Encyclopedia of Japanese music] (Tokyo, 1988), 593b–c
E. Kikkawa: A History of Japanese Koto Music and Ziuta, ed. O. Yamaguti (Tokyo, 1997) [trans. and suppl. by L.C. Holvik]
YOSIHIKO TOKUMARU
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