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Isabella of Castile.
Queen of Spain and patron of music, one of the Catholic Monarchs.
Isacco Argiropulo.
See Argyropoulos, Isaac.
Isaiah the Serb
(fl end of the 15th century). Serbian scribe and composer of Byzantine chant. Active at the monastery of Matejče, Macedonia, he is known chiefly from GR-An 928, an akolouthia which he compiled, at least in part, during the latter years of the 15th century. In it he included psalm settings of his own and of other Serbian composers. In addition, he showed himself to be a competent writer of chants with bilingual texts (Slavonic and Greek) and purely Greek hymns. A mode 2 polyeleos Servikos attributed to him appears twice in the manuscript, once with a Church Slavonic text of the Serbian redaction and once with a Greek text. He also composed a Greek Trisagion displaying some novel features of form and style. Isaiah’s settings show that he was highly inventive and capable of introducing new and imaginative elements while conforming to basic traditional principles of Byzantine composition. (D. Stefanović, ed.: Stara srpska muzika [Old Serbian music], Belgrade, 1974–5)
DIMITRI CONOMOS
Isaksson, Madeleine
(b Stockholm, 1956). Swedish composer. She studied the piano (Gunnar Hallhagen) and composition and electro-acoustic music (Gunnar Bucht, Sven-David Sandström and Pär Lindgren) at the Royal College of Music in Stockholm, graduating in 1987. Contact with Xenakis, Ferneyhough and Emmanuel Nunes convinced her to continue her composition studies in France, where she has settled. In addition to Nunes and Ferneyhough, important influences have been Giacinto Scelsi, Helmut Lachenmann, Morton Feldman and John Cage. She is a member of the Swedish Composers’ Guild and has regularly received important commissions.
Isaksson’s music is largely acoustic, with an ascetic sensitivity to unusual sound combinations, reinforced by her use of micro-intervals. She aims at a homogenous body of sound, although she often strives to use the extremities of the vocal and instrumental ranges. Each voice or instrument asserts its individuality, but with balance and restraint. Her forms are carefully designed through sketches that show timespan, register and sound. She speaks of her pieces as naked, vulnerable, empty landscapes where sounds seed themselves, take root and sprout. Creation for her is an organic process, involving the deconstruction then synthesis of elements.
WORKS
(selective list)
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Vocal: 3 sånger (S. Hagliden), S, cl, pf, 1982; Löp [Run] (Isaksson), S, A, accdn, 5 perc, 1985; Därimellan [Inbetween] (textless), S, elec gui, 1987; Så [So], Mez, b fl, perc, gui, 1992; å svävare [oh, suspended you], S, Mez, Bar, va, vc, 1993–5
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Inst: Tång [Seaweed], ob, bn, b cl, cb cl, hpd, hp, vc, db, 1985; Vindflöjel [Windmill], pic, a fl, 1988; Stråkvåg [Stringwave], str qt, 1990; Tjärnöga – ö blå [Tarn Eye – Blue Island], hn, 1990; Som om [As if], a fl, v cl, perc, va, vc, db, 1991; Färde [Journey], vn, pf, 1991; Tillstånd – avstånd [State/s – Distance/s], 15 insts, 1992; inné, fl, ob, sax, hn, bn, vn, va, vc, db, 1993; Fästen o fall [Strongholds and Falls], str orch, double wind qnt, 1995–6
| BIBLIOGRAPHY
K. Frostensson and M. Isaksson: ‘Samtal mellan Katarina Frostensson och Madeleine Isaksson’, Halifax: litterär kalender, vii (1993), 88–107
A. Jallén: ‘Musikalisk tyngdkraft – om Madeleine Isaksson’, Nutida musik, xxxvii/1 (1994), 18–26
J.O. Rudén: Swedish Women Composers (Stockholm, 1996) [pubn of the Swedish Music Information Centre]
MARGARET MYERS
ISAM.
See Institute for Studies in American Music.
Isamitt (Alarcón), Carlos
(b Rengo, 13 March 1887; d Santiago, 6 July 1974). Chilean composer, ethnomusicologist and painter. He studied music at the Escuela Normal in Santiago, where he took a teaching diploma (1904). Subsequently he studied composition with Brescia and Allende at the National Conservatory and the violin with Saint Lo Priore privately. He also studied painting and drawing at the Santiago School of Fine Arts, which he directed in 1927–8. Between 1924 and 1927 he was in Europe, continuing his education and attending conferences. Among the posts he held in later years were those of general director of arts education at the Ministry of Public Education, professor of music education and methodology at the National Conservatory and president of the Association of Chilean Composers. In 1957 he was elected vice-president of the Chilean Instituto Indigenista, and in 1965 he was invited to permanent membership of the Chilean Academy of Fine Arts. Other honours include the Chilean National Arts Prize (1966) and a gold medal and diploma from the Institute of Musical Research at the University of Chile (1967). He received further awards for his compositions and paintings, as well as grants for ethnomusicological research, chiefly among the Araucanian Indians. This work, most of it conducted during the years 1931–7, resulted in a collection of hundreds of transcriptions and recordings. Isamitt’s compositional style reflects to some extent his interest in indigenous music, but from 1939 he also used 12-note methods, the first Chilean to do so. He published many articles on music and the visual arts in Latin American periodicals.
WORKS
(selective list)
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Stage: Gato con botas (children’s play), 1941; El pozo de oro (ballet), 1942; Grito de la sangre (ballet), 1968–9
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Orch: Sym. Suite, 1932; Mito araucano, 1935; Suite, vc, chbr orch, 1950; 4 Sym. Movts, 1960; Conc., hp, chbr orch, 1962; Vn Conc., 1966; Lautaro, sym. poem, 1970
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Vocal: Friso araucano, S, T, orch, 1931; Cantos de paz, 1v, str, 1932; Trawin ül, Bar, cl, bn, 2 D-tpt, timp, vc, 1941; Te küduam mapuche (Isamitt), 1v, bn, kultrun, 1958; Evocaciones huilliches, S, B, orch, 1963–5
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Chbr: Str Qt, 1928; Pastorales, vn, pf, 1939; Suite, fl, 1953; Danzas, hp, 1961; Pf Qnt, 1972
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Songs: 8 tonadas chilenas, 1918–23; 15 cantos araucanos, 1932; 5 cantos huilliches, 1945
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Pf: Sonata ‘Evocación araucana’, 1932; Studies nos.2–7, 1934–9; 2 Leyendas, 1939
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Principal publisher: Instituto de Extensión Musical
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V. Salas: La creación musical en Chile, 1900–1951 (Santiago, 1951)
RMC, no.97 (1966) [Isamitt issue]
Compositores de America/Composers of the Americas, ed. Organizacion de los Estados Americanos, xiii (Washington DC, 1967), 60
M. Vicuña: ‘Carlos Isamitt Alarcón 1887–1974’, RMC, nos.126–7 (1974), 161 [obituary]
JUAN A. ORREGO-SALAS/LUIS MERINO
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