Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Il Conte, Bartolomeo.

See Le Conte, Bartholomeus.

Ileborgh, Adam

(fl c1448). German organist and composer, author of one of the earliest German organ tablatures, dated 1448 (since 1981 in a private collection, previously US-PHci; ed. in CEKM, i). Its title, as the sole source of information concerning his life, indicates that he was a Franciscan brother and rector of the town school at Stendal in the March of Brandenburg. As such he might have served as organist of the Marienkirche, which was consecrated in 1447.

The tablature consists of only seven folios 14·2 x 10·7 cm (the incorrect measurements, 28 x 21 cm, hitherto published, together with other mistakes in description based on Apel's research, have led to untenable hypotheses with respect to the significance of the source) containing eight settings. Five are free preludes with metrically undefined discant declamation over sustained notes in one or two parts in the pedals. They resemble similar pieces in the Erlangen tablature (D-ERu 554), obviously representing early practices in organ improvisation. The remaining three settings (mensurae) of the secular cantus firmus Frowe al myn hoffen an dyr lyed display strict mensural organization in two- or three-part writing, sometimes with additional notes to fill in the harmony. The primitive, ambiguous and partly faulty notation of all pieces prohibits conclusive decipherment.

The composition of the pieces is of much lower quality than that of the south German Paumann circle, particularly with respect to the rudimentary three-part setting and the mechanical discant figuration. The significance of the tablature has been over-emphasized, due to the general lack of sources of 15th-century keyboard music. The fact that Ileborgh as a musician is totally unknown beyond this tablature, taken together with the notational and stylistic peculiarities, suggests that he was an average peripheral figure in 15th-century organ music.

See also Tablature and Sources of keyboard music to 1660, §2(iii).

BIBLIOGRAPHY

W. Apel: ‘Die Tabulatur des Adam Ileborgh’, ZMw, xvi (1934), 193–212

G. Knoche: ‘Der Organist Adam Ileborgh von Stendal: Beiträge zur Erforschung seiner Lebensumstände’, Franziskanische Studien, xxviii (1941), 53–62

G. Most: ‘Die Orgeltabulatur von 1448 des Adam Ileborgh aus Stendal’, Altmärkisches Museum Stendal, viii (1954), 43–80

A. Reichling: ‘Die Präambeln der Hs. Erlangen 554 und ihre Beziehung zur Sammlung Ileborghs’, GfMKB: Kassel 1962, 109–11

C. Wolff: ‘Arten der Mensuralnotation im 15. Jahrhundert und die Anfänge der Orgeltabulatur’, GfMKB: Bonn 1970, 609–13

L. Richter: ‘Praeambeln und Mensurae: Studien zur Orgeltabulatur des Adam Ileborgh’, BMw, xxiii (1981), 265–308

U. Konrad: ‘Aufzeichnungsform und Werkbegriff in der frühen Orgeltabulatur’, Literatur, Musik und Kunst im Übergang vom Mittelalter zur Neuzeit, ed. H. Boockmann and others (Göttingen, 1995), 162–86

For further bibliography see Keyboard music and Sources of keyboard music to 1660.

CHRISTOPH WOLFF

Ileborgh Tablature.

See Sources of keyboard music to 1660, §2(iii) and Tablature, esp. fig.2.

Iliev, Konstantin

(b Sofia, 9 March 1924; d Vidin, 6 March 1988). Bulgarian composer and conductor. Together with Lazar Nikolov he was among the first composers in eastern Europe after World War II to use modernism in music and to experiment with non-tonal techniques. His formative years coincided with the rise of the communist dictatorship in Bulgaria, and as a result of being at the forefront of Bulgaria’s avant garde he was subject to harsh criticism and censorship; the vast majority of his compositions are unpublished.

In 1946 Iliev graduated from the Bulgarian State Music Academy where he had studied composition with Pancho Vladigerov and conducting with Goleminov. He continued his studies in Prague (1946–7) as a composition student of Hába, Řídký and Talich. Following his return to Bulgaria in 1947 Iliev established the Ruse State PO and, two years later, the State Opera in Ruse, becoming its principal conductor. From 1952 to 1956 he was the principal conductor of the Varna State PO and thereafter the chief conductor of the Sofia State PO, a position he held discontinuously until 1984. During his tenure as the latter’s musical director he raised the standard of playing to international heights, and toured extensively with the orchestra in Europe, the Americas and Asia. From 1967 he was professor of conducting at the academy in Sofia; as an advocate of new music, he conducted the Bulgarian premières of works by Webern, Messiaen, Stockhausen and Boulez.

Iliev was a prolific composer who wrote in all genres but principally chose instrumental and symphonic music. Having viewed favourably the direction contemporary music was taking, he was sharply opposed to the folk and Romantic traditions typified by his teacher Vladigerov; he was also opposed to the official ideology of socialist realism. Believing that music should be ‘clear, simple and logical’, Iliev embarked on a study of technique that concentrated on the works of Stravinsky, Hindemith and the Second Viennese School with whose works he had become acquainted in Prague. In 1948–9 he made his first experiments in applying principles of 12-note serialism to the polyphonic style of Hindemith. This culminated in the Concerto grosso (1949–50), the third movement of which is a highly effective six-part fugue. The most significant work of this period, however, is his Second Symphony (1950–51) which demonstrates his mastery of serial techniques. With Fragmenti (1968) Iliev began introducing folk elements into his music, finding a corollary between folk music and aleatory techniques, which he successfully fused in works such as Bukoliki (‘Bucolics’, 1977), Glasovete na Ravninata (‘The Voices of the Plain’, 1971) and the Sixth Symphony (1983–4) In spite of his death in 1988, his influence is still felt among Bulgarian composers. His monographs Lyubomir Pipkov and Slovo i delo (‘Word and deed’) were published in Sofia in 1958 and 1997, respectively.

WORKS

(selective list)

vocal and dramatic

Ops: Boyanskiyat maystor [Boyana’s Master] (4, M. Hadzhimishev, after S. Zagorchinov), 1962, Sofia, National Opera, 3 Oct 1962; Elenovo tzarstvo [The Kingdom of the Deer] (3, Iliev), 1973, Ruse, 1976

Choral: Chudnoto khoro [The Miraculous Dance] (suite), female chorus, ww qnt, pf, 1956; Selska pesen [Peasant Song] (cant.), 1965; Zeleni oblatsi [Green Clouds] (cycle), 1965; Godishnite vremena [The Seasons] (cant.), children’s chorus, orch, 1966; 3 improvizatsii varkhu Don Kikhot [3 Improvisations on Don Quixote], 1966; 2 Poems, 1966; Pokhvalno slovo za Konstantin filosof [Eulogy for Konstantin the Philosopher] (orat), T, B, chorus, insts, 1970; Sedenkarski pesni [Sedenka Songs], 1971; Poema za martvite, posvetena na zhivite [Poem for the Dead, Dedicated to the Living], S, A, T, B, 4 spks, children’s chorus, 3 choruses, insts, loudspeaker, 1972; Proletni praznitsi [Spring Festivals], S, T, female chorus, male chorus, chorus, insts, 1975; Surnata [The Doe], female chorus, 1976; Gorata i ptitsite [The Forest and the Birds] (cant.), female chorus, 1981; Koleda [Christmas], T, B, spkr, female chorus, male chorus, insts, 1984

Other vocal: Lyato [Summer], song cycle, 1954; Otrazheniya [Reflections] (L. Hughes), cant., S, pf, 1966; Glasovete na Ravninata [The Voices of the Plain], 12 solo vv, 1971

instrumental

Syms.: no.1, 1946–7; no.2, sym. band, 1950–51; no.3, 1954, rev. 1965; no.4, B, str, 1957–8; no.5, 1958–9; no.6, 1983–4

Orch: Sonatina, 1944–5; 2 Improvisations, str, 1948; Divertimento, 1949; Conc. grosso, pf, perc, str, 1949–50; Sym. Variations, 1952–3; Fragmenti, 1968; Tempi concertati I, 13 str/(str qt, str orch), 1968; Vn Conc., 1971; Muzikalni momenti [Musical Moments, 1973; Bukoliki [Bucolics], 1977; Igri [Games], 1980; Kitka [Posy], 1980; Li in memoriam, 1982; Retrospektsii, str, 1982; Ochite na noshtta [The Eyes of the Night], 1987

Chbr: Str Qt no.1, 1948; Shega [A Joke], ob, pf, 1951; str qts: no.2, 1951–2, no.3, 1955, no.4, 1956; Komentarii, vc, pf, 1968; Tempi concertati II, fl, hpd, 12 str, 1975; Trio, vn, vc, pf, 1976; Tempi concertati III, vc, 3 inst groups, 1977; Ad Libitum, va, vc, 1978; Tempi concertati IV, vn, vc, perc, celeste, 1980; Tempi concertati V, 14/18 wind, 1981; Tempi concertati VI, fl, vc, hp, 1986; 7 Bagatelles, cl, vc, 1987

Solo inst: Sonata, vc, 1953; Sonata, vn, 1957; Dvizheniya [Movements], pf, 1964; Stranitsi ot albuma [Pages from an Album], 5 pieces for young pianists, pf, 1972; Solo per Ventischello, vc, 1987; Solo per Violingio, vn, 1987; Solo per Clavistella, pf, 1988

Principal publisher: Nauka i izkustvo, Bulgarian Composers’ Union

BIBLIOGRAPHY

I. Spasov: Simfoniite na Konstantin Iliev [The symphonies of Iliev] (Sofia, 1995)

ANNA LEVY, GREGORY MYERS