Iacobus Leodiensis [Iacobus de Montibus, Iacobus de Oudenaerde]

Ivey, Jean Eichelberger

(b Washington, DC, 3 July 1923). American composer and pianist. She studied at Trinity College (BA 1944), the Peabody Conservatory (MM in piano, 1946), the Eastman School (MM in composition, 1956) and the University of Toronto (DMus in composition, 1972). In 1967 she founded the electronic music studio at Peabody, and from 1982 until her retirement in 1997 she coordinated its composition department. Ivey summarized her compositional ideals at the 30th anniversary of computer music at Peabody: ‘I consider all the musical resources of the past and present as being at the composer’s disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion’. Her early music was tonal and neo-classical, drawing particularly on the styles of Bartók and Ravel; in the 1960s she began to incorporate serial and electronic elements, which gave her music greater fluidity. She has been especially fond of writing for the voice in combination with orchestra, ensemble, piano or tape. Some of her works, including the monodrama Testament of Eve (1976), are to her own texts; in general she has preferred poems with a philosophical content, as in Night Voyage (1975), after Matthew Arnold’s Self-Dependence. As a pianist she has toured Europe, Mexico and the USA. She was a director of the League of Composers of the ISCM (1972–5, 1979). Her awards include an Artists’ Fellowship from the New York Foundation for the Arts (1992) and grants from the NEA to compose Sea-Change (1979) and the Cello Concerto (1983–5). She has written many articles on music and is herself the main subject of the WRC-TV documentary A Woman is … a Composer.

WORKS

(selective list))

Stage: Birthmark (op, 1, Ivey, after N. Hawthorne), 1980–82

Vocal: Woman’s Love (S. Teasdale), cycle of 5 songs, Mez, pf, 1962; Tribute: Martin Luther King (spirituals), Bar, orch, 1969; Terminus (R.W. Emerson), Mez, tape, 1970; 3 Songs of Night (W. Whitman, Hovey, Callimachus-Cory), S, a fl, cl, va, vc, pf, tape, 1971; Hera, Hung from the Sky (C. Kizer), Mez, 7 wind, 3 perc, pf, tape, 1973; Night Voyage (M. Arnold), 1975; Testament of Eve (monodrama, Ivey), Mez, orch, tape, 1976; Solstice (Ivey), S, fl + pic, perc, pf, 1977; Prospero (scena, W. Shakespeare), B, hn, perc, 4-track tape, 1978; Crossing Brooklyn Ferry (Whitman), Bar, pf, 1979; Notes toward Time (J. Jacobsen), 3 songs, Mez, fl + a fl, hp, 1984; My Heart is Like a Singing Bird (C. Rossetti), SSA, fls, 1994

Orch: Little Sym., 1948; Passacaglia, chbr orch, 1954; Festive Sym., 1955; Ov., small orch, 1955; Forms in Motion, sym., 1972; Sea-Change, large orch, tape, 1979; Vc Conc., 1983–5; Voyager, vc, orch, 1987; Short Sym., 1988

Chbr and solo inst: Theme and Variations, pf, 1952; Scherzo, wind septet, 1953; Pf Sonata, 1957; 6 Inventions, 2 vn, 1959; Str Qt, 1960; Sonatina, cl, 1963; Ode, vn, pf, 1965, arr. orch, 1965; Aldebaran, va, tape, 1972; Skaniadaryo, pf, tape, 1973; Music, va, pf, 1974; Triton’s Horn, t sax, pf, 1982; Ariel in Flight, vn, tape, 1983; Sonata da chiesa, hp, 1986; Suite, vc, pf, 1993; Flying Colors, brass fanfare, 1994

Elec: Enter 3 Witches, 4-track tape, 1964; Pinball, 1965 [from film score]; Continuous Form, 1967; Theater Piece, 1970; Cortège – for Charles Kent, 1979

2 incid music scores, 1963; 2 film scores, 1963, 1965

Principal publishers: Boosey & Hawkes, C. Fischer; E.C. Schirmer

BIBLIOGRAPY

B.E. Maris: American Compositions for Piano and Tape-Recorded Sound (diss., Peabody Conservatory, 1976) [incl. analysis of Skaniadaryo]

J.W. LePage: Women Composers, Conductors, and Musicians of the 20th Century, i (Metuchen, NJ, 1981)

R.M. Muennich: The Vocal Works of Jean Eichelberger Ivey (diss., Michigan State U., 1983)

SAM DI BONAVENTURA/GEOFFREY WRIGHT

Ivo [Yvo] Barry

(fl 1525–50). French singer and composer, active in Italy. Some sources (including RISM) have confused him with Ivo de Vento. He was one of a group of singers recruited by Jean Conseil for Clement VII's papal court in 1528, and he remained in papal service until at least 1550. During that time he may also have had some connection with the French national church of S Luigi dei Francesi. In 1540 or 1541 he visited France, and on 22 April 1545 he was granted right of succession to some French benefices. Ivo was one of six papal singers chosen to go to the Council of Trent, and during the years 1546–9 he travelled between Trent, Bologna and Rome. Two manuscripts in Perugia (I-PEc 431, 322) contain, respectively, a canon and a set of Regole del contraponto ascribed to the ‘ecc.mo Ivo’. Whether these rules are by Ivo Barry or Ivo de Vento is unclear; whoever wrote them knew only eight modes and appears not to have read Zarlino. Five motets (in RISM 1539⁷, 1541⁴, 1549⁹) and eight madrigals (c1538²⁰, 1539²⁴, 1541¹⁵, 1542¹⁷) have survived. They are in the style of the Roman school associated with Arcadelt, the aging Costanzo Festa and Morales. One of Ivo's madrigals, Pace non trovo (in 1539²⁴), was exceptionally popular; it was reprinted several times, quoted and paraphrased by Lupacchino and Gero, and made the subject of a remarkable parody composition, Palestrina's Da fuoco così bel.

BIBLIOGRAPHY

K. Huber: Ivo de Vento (ca. 1540–1575) (Lindenberg in Allgäu, 1918)

R. Casimiri: ‘Le “Regole del contraponto” di Ivo de Vento?’, Cantantibus organis (Rome, 1924), 399–410

J. Haar: ‘Pace non trovo: a Study in Literary and Musical Parody’, MD, xx (1966), 95–149

B. Brumana and G. Ciliberti: Musica e musicisti nella cattedrale di S. Lorenzo a Perugia (XIV–XVIII secolo) (Florence, 1991)

JAMES HAAR

Ivo de Vento.

See Vento, Ivo de.

Ivogün, Maria [Kempner, Ilse]

(b Budapest, 18 Nov 1891; d Beatenberg, Switzerland, 2 Oct 1987). Hungarian soprano. She was the daughter of the singer Ida von Günther, from whom she derived her own stage name. Heard by Bruno Walter at an unsuccessful audition for the Vienna Hofoper, she was instantly engaged for Munich, where she appeared in 1913, first as Mimì and then as the Queen of Night. She remained at Munich until 1925, singing such roles as Konstanze, Zerbinetta (in which Strauss described her as ‘simply unique and without rival’), Zerlina, Marzelline, Norina, Gilda, Oscar (Un ballo in maschera) and Nannetta, often performing opposite her first husband, the tenor Karl Erb, with whom she also recorded duets at that period. In 1917 she sang the part of Ighino at the première of Pfitzner’s Palestrina (with Erb in the title role), and two years later she created the title part in the same composer’s Das Christelflein. In 1924 she created a sensation when she sang Zerbinetta at Covent Garden under Walter; a memento of the occasion exists in her exhilarating account of Zerbinetta’s aria. The same season she also performed Gilda, and returned for Konstanze in 1927. She made her début at the Salzburg Festival as Zerlina in 1925, the year she moved to Berlin, where she appeared at both the Städtische Oper and the Staatsoper. There she added to her repertory heavier roles such as Manon, Mignon and Tatyana. She never sang at the Metropolitan but appeared as Rosina in Chicago (1921–2). Ivogün’s operatic career faded somewhat prematurely in the early 1930s but she continued to give frequent recitals with the pianist Michael Raucheisen, whom she married in 1933. All who saw and heard her remarked on her personal charm, light and airy to match her vocal qualities. Her numerous recordings bear out the evidence of her contemporaries. After retirement she taught in Berlin, where her pupils included Elisabeth Schwarzkopf and Rita Streich.

BIBLIOGRAPHY

A. Frankenstein: ‘Maria Ivogün’, Record Collector, xx (1971–2), 98–119 [with discography by J. Dennis], 283–4

A. Blyth: ‘Maria Ivogün: an Appreciation’, Opera, xxxviii (1987), 1372–3

ALAN BLYTH

Ivory Coast.

See Côte d’ivoire.

Ivrea Codex

(I-IV 115). See Sources, MS, §VII, 3.

Ivy, Simon.

See Ives, Simon.

Iwaki, Hiroyuki

(b Tokyo, 6 Sept 1932). Japanese conductor. He studied percussion at the Tokyo National University of Fine Arts and Music while studying conducting with Akeo Watanabe and Hideo Saito. He became an assistant conductor at the NHK SO in 1954, principal conductor in 1963 and subsequently conductor for life. He led the NHK SO on several world tours between 1960 and 1983, and conducted the Bamberg SO on a Japanese tour in 1968. He served as music director of the Fujiwara Opera Company, 1965–7, and has conducted many other orchestras, including the Tokyo Metropolitan SO, the Japan PO, the Residentie-Orkest in The Hague, the Berlin PO and the Vienna PO. In 1988 he organized the Orchestra Ensemble Kanazawa and became its director. Iwaki is a renowned interpreter of contemporary music and has often performed works by Japanese composers abroad. He has given many premières, including those of several orchestral works by Takemitsu. He has also recorded frequently, and won a grand prix du disque in 1976 for his recording of orchestral works by Messiaen.

MASAKATA KANAZAWA

Izarra, Adina

(b Caracas, 27 Aug 1959). Venezuelan composer. She studied in Caracas with Alfredo del Mónaco, then at the University of York (doctorate, 1988), where her teachers included Hoyland (composition) and Orton (electro-acoustic music). She was appointed a lecturer in music at the Simón Bolívar University in Caracas.

Izarra is one of the emerging Latin American composers of the post-1950 generation, and her work has earned international recognition in festivals worldwide. Her early works show the influence of post-war European experimentalism, but since 1982 she has used the rhythmical and instrumental resources of traditional Venezuelan music with varying degrees of abstraction and manipulation. Her harmonic language is dissonant, with tonal resolutions on unisons, while her melodic material often imitates the calls of Venezuelan birds, notably in works for the flute, for which she employs a variety of extended techniques (e.g. Pitangus sulphuratus). After 1990 Izarra has experimented with minimalism, medieval techniques and Baroque forms, such as isorhythm, canon and the Spanish folía. She pays special attention to the guitar, composing prolifically for her husband, Rubén Riera. Izarra's approach stems from a playful exploration of contemporary compositional tools, but her style always manifests assured technique and refined expression.

WORKS

(selective list)

Orch: Oshunmare, vn, chbr orch, 1982; Mujer con telar, orch of Latin Amer. insts, 1985; Tejedora de arpilleras mágicas, orch, 1986; Pitangus sulphuratus, fl, str, 1987; Luna de aves, chbr orch, 1988; Conc., gui, chbr orch, 1991

Chbr and solo inst: Hasta que el tiempo, fl, ob, cl, bn, tpt, vc, 1981; Ahora, fl, ob, cl, tpt, vc, 1982; Mira!, nar, 2 pf, 1983; Plumismo, pic, 1986; Al palimsesto, fl, kena, zampoña, tape, 1987; Merenguitos, perc, tape, 1987; Desde una ventana con loros, gui, 1989; Querrequerres, fl/ob/pic, tpt, 1989; Reverón, fl, ob, db, 1989; Silencios, gui, 1989; 2 movimientos pare quinteto, gui, str qt, 1990; A través de algunas transparencias, hp, 1990; A dos, fl, gui, 1991; El amolador, fl, 1992; Dos jornadas, gui, 1992; Luvina, b fl, 1992; Carrizos, fl, 1994; Folías de España, gui, 1995

Vocal: Margarita, female v, fl + pic + b fl, gui, 1988; Vojm, female v, elecs, 1988; Las troyanas (incid music), male chorus, tape, 1993, rev. male chorus, ob, bn, hn, tpt, db, 1995; Estudio sobre la cadencia Landini, pf, 1996 Orat profano, S, Bar, fl, gui, hp, perc, 1996; Hp Conc., 1997; Retratos de Macondo, cl, bn, pf, 1997; Sistemas delirantes, fl, gui, 1997; 3 cortos, fl, gui, 1998

Tape: Lamento, 1984

MSS in Latin American Music Center, Indiana University, Bloomington

Principal publisher: Fundación Vicente Emilio Sojo (Caracas)

BIBLIOGRAPHY

N. Tortolero: Sonido que es imagen … imagen que es historia (Caracas, 1996)

CARMEN HELENA TÉLLEZ

Iznaola, Ricardo

(b Havana, 21 Feb 1949). American guitarist of Cuban birth. After the Cuban revolution his family moved to Colombia and then to Venezuela. He studied at the Escuela Superior de Música in Caracas with Manuel Perez Días, and subsequently with Regino Sainz de la Maza in Madrid and with Alirio Diaz at the summer school in Caracas. He won many international prizes, including first prize at the Francisco Tárrega Competition in 1968 and 1971. In 1969 he began his international career, touring Asia, Europe and North and South America, and the next year made the first of many recordings, concentrating particularly on Spanish and South American music. He gave his London début in 1976. In 1983 he was appointed professor of guitar at the University of Denver. He has published many articles, compositions and arrangements, and two books on the guitar, Kitharologus: the Path to Virtuosity (Heidelberg, 1993) and On Practising (Aurora, CO, 1992). Iznaola is a virtuoso recitalist of immense technical resources and powerful intellect, with a deep awareness of Hispanic culture.

BIBLIOGRAPHY

S. McReadie: ‘Ricardo Fernandez Iznaola’, Guitar, viii/9 (1979–80), 16–18

C. Postlethwaite: ‘Iznaola’, Guitar International, xiv/7 (1985–6), 15–19 [interview]

C. Cooper: ‘Ricardo Iznaola and the Long-Term Approach’, Classical Guitar, ix/12 (1990–91), 11–16

M.J. Summerfield: The Classical Guitar: its Evolution and its Players since 1800 (Newcastle upon Tyne, 1992)

GRAHAM WADE