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Ismaïl, Aly
(b Cairo, 28 Dec 1924; d Cairo, 16 June 1974). Egyptian composer. He studied the clarinet, saxophone and bassoon at the Institute for Theatre Music in Cairo, graduating in 1949. After a period as an orchestral musician he began to compose songs for the radio, but from 1959 he became closely associated with the Reda Troupe, a folkdance ensemble, eventually serving as its conductor–composer. With them he initiated the movement for folklorism in dance and song, presenting Egyptian material in stylized form. He composed the music for all 26 of their shows, using an orchestra including Arab instruments, and with them he toured through most of the Arab countries, Asia, Europe, the USSR, the USA and Latin America. In addition, he did much arranging for most of the song composers in Egypt, but his most important contribution was in his work for the cinema, in which he showed imagination, humour and skill in the use of local features. His film music won him four first prizes from the Egyptian Ministry of Culture; he also received awards in international festivals of popular song, and in 1973 he was given the Gamal Abdel Nasser Prize. In style, his music is essentially a mixture of folk and classical Arab elements (in melody, rhythm and instrumentation) with Western elements (in instrumentation, harmony and syntax). The result is a light and sometimes jazzy style with a strong oriental flavour; his orchestration tends towards a rather heavy use of the brass. He used folktunes from various parts of the country, treating them with some melodic liberty, though his rhythm shows interesting features (irregular phrases, irregular groups of five and seven) derived from the patterns of classical Arab music. Many of the lyrics for his songs were written by his wife, including those for some popular patriotic pieces. He composed patriotic songs for Hāfez and other singers. In 1975 he was awarded a posthumous state prize.
BIBLIOGRAPHY
Z. Nassār: Al-mūsīqā al-Misriyya al-mutatawwira [Egyptian art music] (Cairo, 1990), 100–105
A.T. Zakī: A‘lām al-mūsīqā al-Misriyya‘abr 150 sana [Great figures of Egyptian music through 150 years] (Cairo, 1990), 117–21
SAMHA EL KHOLY
Ismailov, Abduhashim
(b Fergana Basin, 9 June 1952). Uzbek ghidjak player and composer. He came from a family of musicians and played the ghidjak and the rubāb from an early age. He also performed Uzbek traditional music on the violin; in the Fergana area, the ghidjak was sometimes replaced in ensembles by the violin. In 1967 he began to study at the Fergana College of Music, and in 1971 he became a student at the Tashkent State Conservatory. From 1975 to 1996 he performed in the Uzbek State Radio makom ensemble founded by Yunus Rajabi. In 1978 he took part in an international symposium for traditional music held in Samarkand, and two years later he was awarded the title of Honoured Artist of Uzbekistan. The Tashkent division of Melodiya released six recordings of his performances, and in 1987 he received the company’s Golden Gramophone award. In 1990 he was named Artist of the People of Uzbekistan. His repertory includes pieces from the Tashkent-Fergana makom, the Khorezm makom and the Bukhara shashmakom as well as Indian rāgas and western art music.
His importance lies in his contribution to the ghidjak repertory in Uzbekistan. Ismailov introduced rapid and technically demanding solo passages for the ghidjak into well-known Uzbek traditional classical songs. He also developed a new combination of instruments; in 1984 he founded an ensemble including the ghidjak, the nay (played by Abdulahat Abdurashidov) and the kanun (Abdurahman Holtojiev). The ensemble subsequently toured extensively and was noted for its rapid and complex development of musical material within the Uzbek traditional classical style; it performed traditional melodies as well as pieces created specifically for the combination of ghidjak, nay and kanun, including about 20 of Ismailov’s compositions.
RECORDINGS
Music of the Past Uzbek Empires, UNESCO (forthcoming)
RAZIA SULTANOVA
ISME.
See International Society for Music Education.
Isnard.
French family of organ builders. Jean-Esprit (bap. Bédarrides, Vaucluse, 22 Jan 1707; bur. Tarascon, 16 March 1781), a priest at the Dominican convent in Tarascon, except for a period spent with the Jacobin order in Toulouse, was one of the geniuses of French organ building. Among his instruments are those for: Ste Marie-Madeleine, Aix-en-Provence (1743); St Cannat, Marseilles (1747); St Trophime, Arles (1767); and the basilica at Saint Maximin-la-Sainte-Baume (1772–4). This last is Isnard's masterpiece and survives in its entirety. The 16' Grand orgue contains a Gross nazard 51/3', a Grosse tierce 31/5', three chorus mixtures and a second treble Trompette en chamade; the Positif contains three 8' flue stops, both the full separate mutations including a Quart de nasard and a Larigot and also a five-rank Cornet, and three reeds; a three-stop Récit of 32 notes constitutes the fourth manual while the third manual, called La résonance, consists of a 27-note Echo of Flûte à cheminée 8', Cornet V, another Trompette en chamade, and a full-compass manual Bombarde consisting of Flûtes 16', 8' and 4' and reeds 16', 8', 8' and 4', which serves both as a pedal division and as an extra manual with grand jeu effects. The organ is still tuned in an unequal temperament, and its pitch is still about two semitones below present pitch. It remains one of the most remarkable, beautiful-toned organs ever built in France.
Jean-Baptiste Isnard (b Bédarrides, 24 June 1726; d Orléans, 18 Aug 1800), nephew and pupil of Jean-Esprit, worked in Le Puy (1750), Lyons (1756) and Orléans (1756). He also worked in Blois, where he married Gabrielle Mollet. They had a daughter and a son. He built the organ at Pithiviers parish church (1784–9); the church was converted to a hospital after the Revolution, but the organ survives. Joseph (b Bédarrides, 5 April 1740; d Bordeaux, 9 April 1828), Jean-Baptiste's brother, was also a pupil of Jean-Esprit and assisted his uncle with the building of the organ for Saint Maximin-la-Sainte-Baume. He worked with F.-H. Clicquot (1767), then for Adrien L'Epine (1768, Nogent-sur-Seine). He built the organs at the convent of the Minims, Marseilles (1777), and Notre Dame, Lambesc (1788). He took refuge in Spain during the Revolution, then returned to Bordeaux where he restored the organs at Ste Croix and the cathedral.
BIBLIOGRAPHY
F. Raugel: Recherches sur quelques maîtres de l'ancienne facture d'orgues française (Paris, 1924)
F. Raugel: ‘Les Isnard’, Cahiers de l'art sacré, no.6 (Paris, 1946), 29–32
P. Williams: The European Organ 1450–1850 (London, 1966/R)
F. Douglass: The Language of the Classical French Organ (New Haven, CT, 1969)
GUY OLDHAM/PIERRE HARDOUIN
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