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1877; Wallenstein trilogy, 1888. Fetis,
Supplement, ii. 12.

INFELICE, concert aria for soprano and
orchestra, in B-flat, by Mendelssohn, op. 94,
written for the Philharmonic Society of
London, and first sung at its concert on
May 19, 1834, by Mine. Caradori- Allan.
The first version with violin obligate is
dated April 3, 1834, the second, Leipsic,
Jan. 15, 1843. I. Allegro, Recitative, In-
felice ! Gia dal mio sguanlo. II. Aria, An-
dante, Ah, ritorua, eta felice. Published
posthumously by Breitkopf & Hiirtel (Leip-
sic, between 1860 and 1867). Arranged for
pianoforte solo by H. M. Schletterer. Pub-
lished by Breitkopf & Hilrtel, Mendelssohn
Werke, Serie 15, No. 124, revised by Julius
Rietz.

INFELICE ! E TU CREDEVI. See Er-
nani.

INFERNAL SPIRITS, tenor aria of the
Witch of Eudor, in F minor, with accom-
paniment of 2 oboes, bassoons, violins in
unison, and violas and basses all" ottava, in
Handel's Saul, Act HI., Scene 2.

IN FERNEM LAND. See Lohengrin.

INGEGNERI (Ingigneri, Ingeuierius,
Ingiguerius), MARCO ANTONIO, born at
Pordenone, Veuetia, about 1545, died (?).
Church composer, maestro di cappella of the



308



INCIRANDE



cathedral at Cremona as early as 157G ; af-
terwards entered the service of the Duke of
Mantua iu the same capacity. He was the
master of Monteverde. Works : Masses for
5 and 8 voices, 1st book (Venice, 1573) ; do.,
2d book (ib., 1587) ; Sacrse cautiones, for 5
voices (ib., 1576) ; do., for 7-16 voices (ib.,
1589) ; Respousoria Hebdomadje Sauctte
(ib., 1581) ; 4 books of Madrigals for 4 and
5 voices (ib., 1578-80, 1584). Futis ; Men-
del ; Schilling.

INGRANDE, EDMOND D', born in
Paris, March 19, 1825, still living, 1889.
Organist, pupil of Wilhein, of Taskin, and
of Zimmerman, then for a short time, at the
Conservatoire (1848), pupil in composition
of Adolphe Adam. Became professor of
singing in the public schools of Paris. Was
organist successively of the churches of Saint-
Ambroise, and Notre Dame des Blaucs Mun-
teaux, and maitre de chapelle at Saint-Leu.
Works : Jeanne d'Arc, grand cantata for
soprano and chorus, with pianoforte and
strings (prize by the Societe libre des Beaux-
Arts) ; 2 masses for 3 male voices and organ ;
many choruses, several of which were
awarded prizes. Fetis, Supplement, ii. 12 ;
Viotta.

IN HAPPY MOMENTS. See Marilana.

IN HOLDER ANMUTH, terzetto for so-
prano, tenor, and bass (Gabriel, Uriel, Ra-
phael), in A major, in Haydn's Die Schojj-
fung, No. 18.

IN MEMORLAM, overture for orchestra
and organ, by Arthur S. Sullivan, written iu
1866 on the death of his father, and first
performed at the Norwich Festival, Sept.
20, of that year. The score is still in MS.
Athenaeum (1866), i. 576.

IN NATIVE WORTH. See Mil Wiird'
uud Hoheit.

IN QUEGLI ANNI. See Nozze di Figaro.

IN QUESTA TOMBA OSCURA (In this
dark Tomb), song for alto voice with pi-
anoforte, text by Carpaui, music by Beet-
hoven, written from a sketch between 1796
and 1800, making one of 63 compositions
on the same words by various musicians, in-



cluding Salieri, Cherubini, Czerny, Zinga-
relli, Weigl, Sterkel, Asioli, Tomaschek,
Righini, PaOr, Eberl, Friedrich Dionysius
Weber, and Emauuel Aloys FOrster. Beet-
hoven's, which was the last song in the vol-
ume, entitled In questa tomba oscura, and
published by T. Mollo (Vienna, 1808), is
the only one that survives. The Allgemei-
ne musikalische Zeitung for Oct. 19, 1808,
announces the publication, and prints the
settings of Salieri and Sterkel, and in Jan-
uary, 1810, mentions two more by Reichardt.
Beethoven's song is dedicated to S. A. N.
Sig. Principe Giuseppe di Lobkowitz. The
MS. is owned by Artaria & Co. (Vienna).
Breitkopf & Hiirtel, Beethoven Werke,
Serie 23, No. 39. The words of Shake-
speare's epitaph, "Good Friend, for Jesus'
sake forbear," are sometimes sung to this
air. Thayer, Verzeichniss, 74.

INSANGUINE, GIACOMO, born at Mo-
uopoli, Naples, in 1744, died at Naples in
1795. Dramatic composer, often called by
the name of his birthplace ; pupil of Carlo
Cotumacci at the Conservatorio di San Ouo-
frio, Naples, where he afterwards became a
teacher. He composed about twenty operas,
of which the most successful were : Didone,
1771 ; Adriauo in Siria, Ariauna e Teseo,
Medonte, 1779 ; L' osteria di Marechiaro,
L' astuzia per amore, Tito uelle Gallie, and
Calipso, 1782. His best church work was
the LXXL psalm, for 3 voices and orches-
tra. Besides, he left masses, psalms, and
hymns, 3 cantatas for 3 voices with basso
continue, a Passion for Good Friday, a Te
Deum with orchestra, etc. Fetis.

IN SWEETEST HARMONY, soprano
aria of David, in E major (ending iu G
minor), with accompaniment of strings com-
plete, in Handel's Saul, Act HL, Scene 5.
It is the sixth movement of the Elegy on
the death of Saul and Jonathan.

INTERMEZZI, six pieces for the piano-
forte by Schumann, op. 4, written in 1832,
and dedicated to Kalliwoda. They consist
of a main theme and an alternative. The
composer gave no clue to their meaning ;



309



IN THE MOUNTAINS



but, from the words, " Meine Ruli' 1st
bin," appended to No. II., it is supposed
that the entire number is intended to por-
tray Goetlie's Margarete. I. Allegro quasi
maestoso, in A ; n. Presto a capriccio, in
E minor ; III. Allegro marcato, in A minor ;
IV. Allegretto semplice, in C ; V. Allegro
moderate, in A minor ; VI. Allegro, in B
minor. Published in two parts by Fried-
rich Hofmeister (Leipsic, 1833), and by
Breitkopf & Hartel.

IN THE MOUNTAINS, overture for or-
chestra, by Arthur Foote, op. 14, first per-
formed by the Boston Symphony Orchestra,
Feb. 5, 1887. The score is in MS.

IN THE MOUNTAINS, symphony in F,
by G. Templeton Strong, first performed at
Chickering Hall, New York, Nov. 24, 1887.
I. In the afternoon ; IT. Adagio, In the
Gloaming ; III. Allegro, At Midnight, the
Wild Hunt ; IV. Allegro molto, In the
Morn.

INTRIGUE AUX FENETRES, L' (The
Intrigue at the Window), French opi'ra-
bouftbu, test by Bouilly and Dupaty, music
by XicoK) Isouard, represented at the Opera
Comique, Paris. Feb. 24, 1805. Allgem.
mus. Zeitung (7), 422.

INVENTIONEN, a term used by Johann
Sebastian Bach for short pianoforte pieces,
1") in two parts, and 15 in three parts, each
developing a musical idea. These form the
second stage of a course of instruction for
his son, and were written in 1720. The
title was chosen to express musical inven-
tion as well as development of technical
execution. Published by the Bach-Gesell-
schaft in Bach's Clavier Werke, vol. i., 853
(Leipsic, 1853). In this, as in some other
editions, those for three parts are called
Sinfonien. Spitta, Bach, i. GC5.

INVITATION A LA VALSE. See
Anil',, nl, -riiiifi zum Tanz.

INZENGA, JOSE, Spanish pianist, and
dramatic composer, contemporary. He has
been professor of singing at the Madrid
Couservatorio since 1860, and has brought
out in that city several successful zarzuelas,



some of which were written in collaboration
with other composers. He is author of a
manual on accompaniment with the piano-
forte, in use at the Conservatorio, and has
published a valuable collection of national
and popular Spanish airs and music, in-
cluding the Sevillanas, Jota Aragouese, the
Guaracha de Cuba, etc. Fetis, Supplement,
ii. 13 ; Mendel, Ergiinz., 173 ; Viotta.

IOLANTHE, or the Peer and the Peri,
fairy opera in two acts, text by William 8.
Gilbert, music by Arthur S. Sullivan, first
represented at the Savoy Theatre, London,
Nov. 25, 1882. London cast : lolanthe,
Jessie Bond ; Queen of the Fairies, Alice
Barnett ; Phyllis, Leonora Braham ; Lord
Chancellor, George Grossmith ; Strephon,
Richard Temple ; Earl of Mountararat, Rut-
land Barrington ; Earl of Tololler, Dur-
ward Lely ; Private Willis, of the Grenadier
Guards, Charles Manners. Published by
Chappell & Co. (London, 1882). Athe-
n;eum (1882), ii. 743 ; London Times, Nov.
i 27, 1882.

10 SPERAI TROVAR RIPOSO, con-
tralto aria of Ottone, in E major, with ac-
companiment of violins in unison, and cou-
tinuo, in Handel's Ottonf, Act I., Scene 5.
Published separately, with additional ac-
companiments by Robert Franz (Leipsic,
Kistner).

10 T' ABBRACCIO, duet for soprano
and contralto (Kodelinda and Bertarido),
in F-sharp minor, with accompaniment of 2
violins, and continue, in Handel's Rodc-
linda, Act II., Scene 7. Published sepa-
rately, with additional accompaniments by
Robert Franz (Leipsic, Kistuer).

IPERMESTRA (Hypermuestra), Italian
opera in three acts, text by Metastasio,
music by Feo, first represented in Rome
in 1S25. Scene in Argos. Characters rep-
resented : Danao, King of Argos ; Ipennes-
tra, his daughter, loved of Linceo ; Linceo,
son of Egitto, lover of Ipermestra ; El-
piuice, niece of Danao, loved of Plistene ;
Plistene, Prince of Tessaglia and friend to
Liuceo ; and Adrasto, confidant of Dauao.



IPHIGfiNIE



Ipermestra, the youngest of the Dana'ides,
is the heroine. Her father, warned by the
oracle that his throne anil life are in per-
il from a son of Egitto, commands his
daughter to slay Linceo, to whom she is
betrothed, on the night of her marriage.
She does not obey, and through her dis-
cretion and nobility her father and hus-
baud are both rendered happy. The scene
between Ipermestra, Dauao, and Liiiceo in
the second act is the strongest number.
Same text, Italian operas, music by Gluck,
Venice, 1742 ; Johaun Adolph Hasse,
Schoubrunn and Vienna, 174-4, Dresden,
1751 ; Duui, Dresden, 1745 ; Cafaro, Na-
ples, 1751 ; Jommelli, Spoleto, 1752 ; Perez,
Lisbon, 1754 ; Sarti, Rome, 17GG ; Mysli-
weczek, Rome, 17G9 ; Majo, Naples, 1770 ;
Naumanu, Venice, 1774 ; Martin y Solar,
Rome, 1784 ; Rispoli, Milan, 178G ; Merca-
dante, Naples, 1825 ; Saldoui, Madrid, 1838 ;
and Carnicier, Saragossa, 1843. Same title,
text by Salvi, music by Giacomelli, Parma,
1704, Venice, 1724 ; Baldassare Galuppi,
text by his son, Munich, 1751, and Venice,
1761.

IPHIGENIE EN AULIDE (Ipliigenia in
Aulis), tragedie lyrique in three acts, text by
the Bailly du Rollet, after Racine, music by
Gluck, first represented at the Opera, Paris,
April 29, 1774. One of Gluck's master-
pieces, written in 1772, first rehearsed in
Vienna, and performed in Paris through
the influence of Marie Antoinette. It was
conducted by Gluck in person, and was re-
ceived with great enthusiasm. During the
scene between Achilles and the chorus,
" Chantons, colubrons notre reine," the
audience rose and saluted Marie Antoi-
nette. This work gave a final blow to the
. operas of Lulli and Rameau, and marks the
beginning of the modern opera. Its stai-
tling innovations, and new combinations
of tone-color, occasioned many discussions.
The principal numbers are : The overture,
which is frequently performed ; the chorus
of the Hellenes demanding Iphigi'nie's sac-
rifice ; her aria, "Par uii pure cruel a la



morteondamnee;" Agamemnon's air, "Bril-
lant auteur de la lumiere;" the chorus,
" Que d'attraits, que de majeste ! " and
Calchas's air, "Au faite des grandeurs."
Original cast :

Iphigenie Mile Sophie Arnould.

Cly temnestre Mile Duplant.

Achille M. Legros.

Agamemnon M. LarrivOe.

Calchas M. Geliu.

Patrocle M. Duraud.

In December, 1824, the opera reached its
428th representation. It was revived in




Sophie Arnould.

Vienna in October, 1SG7, having been first
performed there, Dec. 14, 1808 ; revived
in Berlin in 1888. Published by Deslau-
riers (Paris, 1774). This opera was rescored
by Wagner. Pianoforte arrangement by-
Hans von Biilow, "Nach der Bearbeituug
von Richard Wagner" (1859). Lajarte, i.
275 ; Marx, Gluck und die Oper, ii. 37-
133 ; Reissmauu, Gluck, 13G ; Hanslick,
Moderne Oper, G ; Ritter, Reform der Oper
durch Gluck, 2G2 ; Schmid, Gluck, 172 ; Des-
noiresterres, Gluck et Piccinni, 97 ; Wag-
ner, Gesammelte Schriften, v. 143 ; Clement
et Larousse, 363 ; Naurnann (Ouseley), 834,
840 ; Grove, i. G02 ; ii. 18.



311



IPIIIGENIE



IPHIGfiNIE EN TAURIDE (Ipbigenia
in Tauris), tragedie lyrique in four acts, text
by Guillard after Euripides, music by Gluck,
first represented at tbe Acadernie Eoyale
de Musique, Paris, May 18, 1779. This
work is tbe most complete expression of
Gluck's genius. Tbe recitatives are dra-
matic, tbe arias melodious, and tbe over-
ture, \vliicb is frequently played, of rich
colour. The cbief numbers are : Tboas's
air, " De uoirs pressentiments rnon arne iu-
timidee ; " Pyladr's air, " Unis des la plus
teudre eufance ; " the chorus of Priestesses,




Rosalie Levasseur.

" Chaste fille de Latone ; " Oreste's air,
"Le calnie re litre dans mou cu'iir ; " the
chorus of Scythians, " II nous fallait du
sang ; " tlie duo of Oreste and Pylade ; and
Iphigt'nie's arias, " O malbeureuse Ipbi-
geiiie," and, " Je t'itnplore et je tremble."
Original cast :

Iphigeuie Mile Rosalie Levasseur.

< >n ste M. Larrivee.

Pylade M. Legros.

Thoas M. Moreau.

During tbe Revolution tbis opera was given
on the 18th Veudemiaire (Oct. !), 1792), and



June 6, 1796. Mile Leroux and Adolphe
Nourrit made their debut in the characters
of Ipbigenie and Pylade in 1821. The
opera, up to June 1829, bad been performed
408 times. It was produced in Vienna, Oct.
23, 1781. Published by Deslauriers (Paris,
1779). Lajarte, i. 308 ; Marx, Gluck und
die Oper, ii. 255 ; Ritter, Reform der Oper
durch Gluck, 274; Schmid, Gluck, 335;
Reissmann, Gluck, 171 ; Hanslick, Mod erne
Oper, 18 ; Desnoiresterres, Gluck et Piccin-
ui, 218 ; Clement et Larousse, 364 ; Nau-
maun (Ouseley), 843.

IPfflGEXIE EN TAURIDE, tragedie
lyrique in four acts, text by Dubreuil, mu-
sic by Picciuni, first represented at tbe
Acadumie Royale de Musique, Paris, Jan.
23, 1781. Dubreuil bad offered this li-
bretto to Gluck, who at the time was writing
Armide. Piccinni accepted the text with
i In 1 promise from the manager of tbe Opera
that his work should be represented on Jan.
l.~>, 1779, and precede that of Gluck on the
same subject ; but the promise was broken.
Tbis opera was performed seventeen con-
secutive times, but Gluck's success caused
its death. It received thirty-two represen-
tations, and was performed at Piccinni's
benefit, Nov. 6, 1790. The cbief numbers
are : Pylade's air, " Oreste ! au nom de la
patrie ;" and the chorus, "Sans ruurmurer
servous les dieux." Original cast :

Ipbigeuie Mile Laguerre.

Oreste M. Larrivee.

Pylade M. Legros.

Same title, text by Ducbe and Dancbet,
music by Desniarest and Campra, repre-
sented at the Academic Royale de Musique,
Paris, May 6, 1704. Ifigenia in Tauride,
Italian operas, music by Scarlatti, Rome,
1713 ; Orlandini, Italy, 1719 ; Leonardo
Vinci, Venice, 1725 ; Jommelli, Rome, 1751 ;
Mazzoni, Treviso, 1756 ; Agricola, Berlin,
text by Landi, March 24, 1772 ; Galuppi, St.
Petersburg, 1768 ; Tarchi, Venice, 1785 ;
Monza, Milan, 1784 ; Carafa, Naples, 1817.
Schmid, Gluck, 371 ; Lajarte, i. 322 ;



313



I PRAISE



Desnoiresterres, Gluck et Piccinni, 291 ;
Clement et Larousse, 364 ; Grove, ii. 748.

I PEAISE THEE, O LORD. See Ich
danke clir, Herr.

IEA D' ACHILLE, L'. See Achille nell'
assedio di Troja.

IEATO, L', ou 1'emporte, opi-ra-comique
in one act, text by Marsollier, music by
Muhul, first represented at the Opera Co-
mique, Paris, Feb. 17, 1801. Translated
into German as Die Temperamente, Vienna,
July 9, 1803, and as Der Tollkopf, Leipsic,
April, 1804 Clement et Larousse, 365 ;
Allgem. mus. Zeitung (3), 514 ; (5), 733 ;
(6), 466.

IRDISCHES UND GOTTLICHES IM
MENSCHENLEBEN (The Earthly and the
Divine iu Man's Life), called also Doppel-
Sinfonie (Double Symphony), symphony for
two orchestras, by Louis Spohr, op. 121,
first performed at Cassel, 1841. In three
parts : I. Kinderwelt (The World of Child-
hood) ; II. Zeit der Leidenschaften (The
Age of the Passions) ; in. Endlicher Sieg
des Gottlichen (The Final Victory of the
Divine Principle). It was well received in
Cassel, and after its publication by Schu-
bcrtli (Hamburg), made its way into many
of the large towns of Germany and Eng-
land. It was given in New York, by the
Philharmonic Society, in the season of
1848-49. Spohr's Autobiography (English
ed.), ii. 236 ; Schumann, Gesammelte Schrif-
ten, ii. 327.

IRENE, German Festoper (Pastorale),
text by Postel, music by Reiuhold Reiser,
first represented at Hamburg in 1697, in
celebration of the Peace of Ryswick. The
whole title is: "Die durch Wilhelm den
Grossen in Britannien wieder eingefiihrte
Irene." Irene is the personification of peace

(Greek eipryi'r;).

I REVEL FN HOPE. See Oheron.

IRGANG, WILHELM, born at Hirsch-
berg, Silesia, Feb. 23, 1836, still living,
1889. Instrumental and vocal composer,
pupil of A. W. Bach and Grell at the Royal
Academy, Berlin. He founded a music



school in Gurlitz in 1863, became organist
at Trinity church there in 1878, and organ-
ist and instructor of music at the Piidagog-
ium at Ziillichau in 1881. Published in-
structive music for pianoforte, and songs,
an Allgemeine Musiklehre for the use of
schools (1865), and a treatise on Harmony.
Mendel ; Riemann.

IRISH SYMPHONY in F minor, by
Charles Villiers Stanford, op. 28, first per-
formed under Hans Richter, in London,
June 27, 1887 ; first time in America by the
Symphony Society, New York, Jan. 28,
1888. The score bears the motto : Ipse
fave clemens patrife patriamque caneuti,
Phoebe, coronata qui canis ipse lyra. I.
Allegro moderate ; II. Allegro molto vi-
vace ; HI. Andante con moto ; IV. Allegro
moderate. The last number is based upon
the songs, Remember the glories of Brian
the brave, Let Erin remember the clays of
old. Upton, Standard Symphonies, 261 ;
Krehbiel (1888), 40.

IRLANDE, nine melodies for one and
two voices with pianoforte, on the Songs of
Thomas Moore, translated into French by
F. Gouuet, music by Hector Berlioz, op. 2,
composed in 1829, and dedicated to Thomas
Moore. First published as Neuf Melodies
irlandaises (Richault, Paris, 1830). Re-
edited as Irlaude, about 1850. La belle
voyageuse, arranged for male quartet, was
sung iu Paris, Nov. 6, 1834, and was also
arranged for mezzo-soprano with orchestra
by Berlioz. The Chant sacre, dedicated to
the Abbe Deguerry, was arranged for chorus
and orchestra. Heleue was sung at the
Salle Herz, Paris, Feb. 3, 1844. Jullien
(1888), 42.

ISAAK, HEINRICH (Isaac, Isac, Isak,
Ysac, known in Italy as Arrhigo Tedesco),
time and place of birth unknown, died be-
fore 1531. Ambros considers the legend
that he was born in Prague not wholly un-
trustworthy, as the rhythm of some of his
melodies is unquestionably Bohemian, and
this very unusual surname is still borne by
a few families in that city. He was in



313



1SABELLE



Florence, high in favour with Lorenzo the
Magnificent, aud intimate with Josquiu,
Hobrecht, Agricola, aud other noted com-
posers, probably between the years 1475
and 1480. He held the post of maestro
di cappella at S. Giovanni, and was teacher
of Lorenzo's children. It appears also that
he was charge- d'affaires from the Emperor
Maximilian I. to the court of Florence ; so
he was probably in Maximilian's service in
Vienna before going to Florence ; he cer-
tainly re-entered it after leaving there. If
Isaak, according to the accepted tradition,
was really a German, he was the first really
great German composer ; his intimate re-
lations with the Italian and Netherlandish
masters whom he met in Florence had a
strong influence upon him, and his contra-
puntal works have a certain cosmopolitan
flavour quite unique in his day. His song
"Inspruk, ich muss dich lassen," is now fa-
miliar as the choral melody, "Nun ruhen
alle \\aldcr." As a song-writer he stands
above his German contemporaries, Hoil-
haimer, Stol/.er, and Heiurieh Fiuck, aud
he far excelled them all in the larger field
of counterpoint. Works: I. 23 Masses:
Of these, five (' Charge de deul," ' Miseriror-
dias Domini,' 'Quant jay a cor,' 'LaSpagna,'
Coninie femme') published under the
title ' Misse Heinrici Izac ' (Petrucci, Ven-
ice, l.")i)(i. A copy is in the library of
the Liceo, Bologna); two (' Carmiuum,'
' Uue Musque de Biscay ') in llhau's ' Op.
dec. miss. 4 voc.' (Wittenberg, 1541) ; one
(' O Pneclara ') in Lib. XX. miss. (Petreius,
Nuremberg, 15311) ; MS. score in the Sonn-
leithuer collection in the Berlin Library ;
two ('Salve nos,' 'Fruhlieh Weseu ') in
Ott's Mi**;e XII. (Nuremberg, 1539. 'Pleni
sunt ' from the latter iu score in Sonn-
leithner MSS.) ; eight ('Solemni,' 'Magne
Deus,' ' Paschalis,' ' De Confessoribus,'
' Dominican's,' ' De B. Virgine,' two 'De
Martyribus,' all 4 voc. ; in MS. in Boyal
Library, Vienna) ; five (' Virgo pruden-
tissiuia," 'Solemui,' 'De Apostolis,' 'Sine
nomine,' all G voc. and 'De Apostolis,' 4



voc.) iu Munich Library (MS. vol. No. G428
in Burgundy Library, Brussels, contains
' Virgo prudeutissiina ' under title ' Missa
de Assumptione B. V. M., herie ysac'). II.
Motets and Psalins : Five in Glareau's
Dodecachordon (3 reprinted in Burney, ii.
521-524 ; Hawkins, ch. 70 ; and Forkel) ;
five (' Optiine Pastor,' ' Virgo prudeutis-
sima,' G voc., aud ' Ave sauctissima Maria,'
' Prophetarum maxime,' ' Maria Mater
Christi,' 4 voc.), in Lib. select, cant. Wyr-
sung ; Augsburg, 1520 (MS. copy in Fetis's
Library, Brussels, No. 1G79). For others
see Eitner's Biographic der mus. Sammel-
werke, Berlin, 1S77. HI. Lieder, etc. : Ten
in Ott's collection, ('XV. guter newer Lied-
lein (Nuremberg, 1544 ; reprinted, Berlin,




Lu-pniannssohn) ; four in I'V>rtcr's collec-
tion, Ein Auszug guter teutscher Liedleiu'
(Nuremberg, Petreius, 1539). Ambros, iii.
380.

1SABELLE ET GERTRUDE, ou les
sylphes supposes, opera-comique in one act,
text by Favart on Voltaire's " L'education
des filles," music by Gretry, first represent-
ed at the Opera Comique, Geneva, in 17G7.
Same text, music by Blaise, previously
represented at the Theatre Italien, Aug. 14,
1765 ; same text, music by Antonio Paeiui,
Tilt-litre Feydeau, March 1, 180G. Clement
et Larousse, 366.

ISAIAH, cantata, text by Giuseppe Albini,
music by Manciuelli, first performed at the
Norwich (England) Festival, Oct. 13, 1SS7.
Atheufeum (1887), ii. 543.

ISHAM, JOHN, born in England about
1680, died at Westminster in June, 172G.
Organist and church composer. He was
for some years deputy organist for Dr.
Croft, and succeeded him at St. Ann's in
1711. Mus. Bac., Oxford, 1713. He was
successively organist of St. Andrew's, Hol-



314



ISIS



born, 1718, and of St. Margaret's, West-
minster. Hawkins reprinted bis duet,
Bury delights my roving eye, from a col-
lection of songs which he published in
company with Morley. He composed also
anthems, two of which were published in
Dr. Croft's collection (1712). Grove ; Bur-
ney, Hist., iii. G03 ; Hawkins, Hist., v.
102.

ISIS, tragic opera in five acts, with a pro-
logue, ballet, and elaborate mise en scene,
text by Quinault, music by Lulli, first rep-
resented at the Academic Royale do Musique,
Paris, Jan. 5, 1G77. Subject, the nymph lo,
beloved by Jupiter and persecuted by Juno,
and her transformation to the divinity Isis.
The opera was a triumph for Lulli ; but
Quinault was banished from court and from
the theatre for two years, on account of
supposed allusions to Mile de Montespan
in the character of Juno. The score was
published (Paris, 1G77 ; 2d edition, 1719).
Lajarte, i. 31 ; Clement et Larousse, 367.

ISMENE, German pastoral, by Reinhard
Reiser, composed for the court of Bruns-
wick in 1G92, and first represented in that
year at Wolfeubiittel. Same title, French
pastorale heroi'que in one act, text by Mon-
crif, music by Rebel and Francour, per-
formed at Versailles in December, 1747,
and at the Opera, Paris, Aug. 28, 1750.
Ismeue et Ismenias, ou la fete de Jupiter,
French pastoral in three acts, text by
Laujon, music by Laborde, represented at
Versailles in 17G3, and at the Academic
Royale de Musique, Paris, Dec. 11, 1770.
Ismene et Lindor, French pastoral in one
act, by Louis Joseph Fraucceur, Paris, Aug.
30, 1766. Lajarte, i. 215.

ISNARDI, PAOLO, born at Ferrara in
the first half of the IGth century, died at
the age of sixty. Church composer, monk,
and afterwards superior of the monastery of
Monte Cassino, and maestro di cappella of
the Cathedral of Ferrara. His masses, mo-
tets, psalms, magnificats, etc., were pub-
lished in Venice (1561-94). Fetis ; Ger-
ber ; Walther.



IS NOT HIS WORD LIKE A FIRE?
See Ixt nicht des Herrn Wort.

ISOLA DISABITATA, L' (The Desert
Island), Italian opera in one act, text by
Metastasio (1752), music by Haydn, first



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