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An Iamb or Iambus is a metrical foot consisting of a short and a long syllable-as before ; or as Coleridge 1 gives it, * Iambics march fr6m short to lung.' (See Me t r e .) g .

a word used by Beethoven during his German fit (op. 101, 1st mo vement; 109, last do. ; 121 b), and Schumann (op. 12, ' Des Abends ' ; op. 24, No. 9 ; op. 56, Nos. 2 and 4, Manfred music, No. 2, etc.) to convey an intensely personal, almost devotional, kind of expression. o.

(b. circa 1450 ; d. 1517), whose association with the Imperial court permits him to be regarded as the first of Germany's masters of music, was born probably c. 1450. Nothing is known of his early life, and until recently his nationality also was in doubt. Heinrich Loris (Glareanus), in his Dodekvchordon (1547), w ritten thirty years after Isaac's death, positively names him ' Henricus Isaac Germanus,' adding, ' hie Isaac etiam talis notus fuit.' Othmar Nachti.^all (Luscinius), somewhat earlier (1536), in his Musurgia, seu praxis musicae as definitely declares Isaac's German origin : ' ex Germanis nostris Henricus Isaac ' ; and Dr. Otto Kade (1881) adduces the testimony of ' alle alteren Schriftsteller ' to establish Isaac's German birth. Others assert a Bohemian parentage, a tradition based partly on the fact that families bearing Isaac's name survived in Prague, partly on his familiarity with Bohemian folk-song. On the other hand, Egidius Tschudi( 1515-72), in his Musiker Verzeichniss, records him as * Henricus Ysaac Belga Brabantius,' a statement whose correctness is confirmed by the third and last will of Isaac, executed at Florence on Dec. 4, 1516, in which he is described as ' excellentissimus musicae professor magister Arrighus,1 quondam Ugonis de Flandria, generaliter nuncupatus Arrigus Y sach.' Isaac was a native of Brabant or East Flanders, a region whose subjection to the German Kaiser made his designation ' deutsch ' or * tedesco * not inaccurate. Two interpretations of ' quondam Ugonis de Flandria ' have been offered. The first equates ' Ugonis ' with the Flemish Huygens or Huysgens and supposes it Isaac's original name. If so, why did he change it ? The editors of D.T.O., Bd. v. (1) conjecture that, finding it uneuphonious to Italian ears, he adopted that of Isaac, already perhaps associated with his family. The assumption is ex trav agan t: ' Isaac * was as little agreeable as ' Huygens * to the Italians, who, in fact, called him neither one nor other, but ' Arrigo tedesco,' i.e. Heinrich the German. The preferable interpretation supplies ' filius ' before ' Ugonis.' Heinrich, that is, was the son of Hugo Isaac, a Netherlander whose death occurred between 1502 and 1512, the dates of Isaac's first and second wills, in the second of which only Hugo is described as ' quondam.' The name Isaac is known at Bruges in 1381, but no evidence regarding Heinrich's birthplace is available. Not a fact survives to connect Isaac's activities with the land of his parentage. But his exceptional talents must have been widely notorious if the statement of Nicolo de Pittis in 1514 is credible, that he was ' mandato per insino in Fiandra ' by Lorenzo de' Medici to Florence. Lorenzo succeeded his father Piero on Dec. 3, 1569 ; he was then twenty-one years old. If Isaac was at first employed to teach Lorenzo's children, his arrival in Florence can hardly have taken place earlier than 1480, when Lorenzo's eldest son Pietro was in his 1 Printed in Rivista critica della literatura i tali ana (June 1886); reprinted in E. v an der Straeten, La Musique aux Pay t~ B a t, viiL 538. ninth year (b. 1471). There is reason, however, to suppose that Isaac's association with Florence did not begin until 1484, and that he arrived there, not directly from Flanders, but in answer to a summons which reached him at Innsbruck. In t.ie Raitbuch (fol. 56) for that year in the Tirol Statthalter Archive an entry occurs : 'Heinrich Ysaac componisten am Mittwoch nach Exaltationis Crucis (Sept. 15) durch Bevelch Maister Hannsen Fuehsmagen von Gnaden wegen (geben) Inha lt seiner Quittung vi. gulden.' I t was natural that a young musician in search of employment, or upon his road to Italy, should visit Archduke Sigismund, Duke of Tirol, where Paulus Hofnaimer (1 4 5 9 - 1537) was Koforganist and a considerable musical establishment was maintained. It is probable that Isaac acknowledged the Duke's hospitality by the composition of a piece of music, but the ' Innsbrucklied ' probably belongs to a later occasion. Leaving Innsbruck in the middle of Sept. 1484, and halting at Ferrara, where the prospect of employment also offered itself, Isaac probably reached Florence before autumn had passed into winter. Isaac remained in Lorenzo's service, but with intermissions, for ten years. Lorenzo's eldest son Pietro was 14 in 1484, his brothers, Giovanni (the future Pope Leo X.) and Giuliano, 10 and 6 respectively. In 1489, when perhaps his tutorial duties were no longer exacting, he visited Rome bearing letters of introduction from Lorenzo to Pope Innocent VIII. and others. At about the same time Cornelius, a Florentine Cantor, recommended him to Ercolo d'Este, Duke of Ferrara, as the composer of a Mass on the melody J 'ay p ris amours. The recommendation bore fruit later. Meanwhile at Florence Isaac was Cantor and organist of tho Cappella di San Giovanni, for which he received five gold ducats m onthly, and then or later held similar posts in the churches of Santa Maria del Fiore and the Annunciation, with an additional monthly stipend of three ducats. These posts made claims upon him as a composer, but not exclusively. In 1488 he provided the music to a religious drama, * San Giovanni e San Paolo,' written by Lorenzo and performed in his household. The sta temen t1 that the MS. of the work once existed in the library of Christ Church, Oxford, appears to rest upon no credible evidence. Isaac collaborated with his patron in a work of another character. Lorenzo, a writer of style and finish, displayed his merits and defects alike in Carnival songs sung, actually by the author himself, in tho streets of Florence. Isaac set many of these songs to music, as appears from tho Preface to Tuiti i trionfiy carri, mascherate o canti carnascialeschi andati per Firenze dal tempo di Magnifico i The Musical World, Aug. 29, 1844. Lorenzo de' Medici fino all anno 1559, which mentions * II primo Canto, o Mascherata che si cantasse in questa guisa, fu d' huomini che vendevano Berriquocoli, e confortini; composta a tre voci da un certo Arrigo Tedesco, maestro all' hora della Capella di San Giovanni; e musico in quei tempi riputatissimo.' Upon the death of Lorenzo in 1492 Isaac collaborated with Angelo Poliziano in a four-part * Monodia * : * Quis dabit capiti meo aquam, quis oculis meis fontem lacrymarum dabit, ut nocte fleam ? ut luce fleam ? * etc. The fall of his pupil Pietro de' Medici in Nov. 1494 and the Puritan severity of the revived Republic affected Isaac's position in Florence and inclined or compelled him to seek employment elsewhere, though his marriage with Bartolomea, daughter of Pietro Bello, a Florentine butcher or meat-storekeeper, who brought as dowry the half of a ' podemzza ' and a house,2 indicates the close ties that bound him to tho Tuscan capital. But the constantly published story of his journey across the Brenner to seek service with Maximilian, lately (Aug. 1493) become sole ruler of Germany and head of the Habsburg system, is neither probable nor in accord with Maximilian's recorded movements. Summoned across the Alps by the French invasion of Italy, in Oct. 1496 the Emperor was at Pisa, prepared with a small and ill-equipped army to besiege Livorno, Florence's last maritime outlet. Here, in Nov. 1496, Isaac was presented to a sovereign whose interest in the arts matched that of Lorenzo himself. Maximilian had already (1496) begun to transfer his Kapelle from Augsburg to Vienna. The proffered service of so distinguished a musician as Isaac was opportune, and on Nov. 13, 1496, Isaac and his wife were directed to proceed to Vienna and await instructions. As Maximilian, little satisfied with the course of his campaign, himself hastened homewards, it is probable that Isaac travelled with the court. At Innsbruck, on Apr. 3, 1497, he received appointment as Hofcomponist, with a salary of 150 Rhenish gulden, and the promise of a pension of 50 gulden to hi

a device of thematic development belonging to polyphonic music of all types, whereby a voice or part repeats a figure of melody previously heard in another voice or part. Imitation may be held to include every form of Canon (q.v.) together with such recognised classical formulae as the subject and answer of a fugal exposition and stretto. (See F u g u e and I n v e b t ib l e Co u n t e r po in t .) I t , however, covers more ground than any of these processes or all of them taken together. In modern music it does not necessarily entail any literal copying of the first statement. In the classical period of the sonata imitation was used freely, most frequently by preserving the rhythm and the general outline (rise and fall) of the melodic figure, while altering the intervals. . 1st Vln. 2nd Vln. Qnintet in G minor.-M o z a r t . In this and countless parallel cases the melodic intervals of the figure are altered in conformity with the harmonic plan. But a new phase of imitation is to be noted in certain more recent works, where the imitations, so far from being modified in this direction, are deliberately arranged to avoid compliance with any harmonic scheme. Here are two groups of imitation, (a) and (b), so designed that the tonality of each part conflicts with those about it. The passage is one of ironic humour, but it is typical of a style Clar. Eb. Clar. Bb. O b . I. * Heldenleben.' -S t r a u s s . Flute. followed by many later composers without any humorous intention. Theorists have used such expressions as ' polytonality ' and * atonality * to describe it. (See H armony.) The noteworthy point here is that in such passages as this the imitative nature of the melody affords a principle of coherence which serves to mitigate the most extreme harmonic conflicts. (Cf. F orm.) c .

( E n t r a t a ) , a term used for an opening movement, as by Beethoven for tho introductory piece of the ' Battle Symphony ' of his Battle of Vittoria, or for the first movement of the serenade, op. 25. 4 Intrade * is used by Mozart for tho overture of his ' Bastien * (K. 50); and ' Intrada o concerto * by Bach for an independent movement (Cat. No. 117). (See E n t r e e 2.) o.

opera by Rimsky-Korsakov; produced St. Petersburg, Jan. 1873 ; revised 1877 and again 1894, and reproduced Panaevsky Theatre, Apr. 1895 ; Drury Lane, in Russian, July 8, 1913, in English, Manchester (Beecham), Jan. 16, 1918.

From Day's Music Musical Instruments, etc. By permission of Messrs. Novello & Co., Ltd.

The story of Iphigeneia, the daughter of Agamemnon and Clytemnestra-in the two episodes of her deliverance from sacrifice at Aulis, and her rescue of her brother Orestes from the same fate at Tauris, which formed the subject of Euripides's two tragedies -has been a favourite subject with the composers of operas. Not to speak of the two masterpieces of Gluck, noticed below, we may say here that the opera of 1 Ifigenia in Aulide,' by Apostolo Zeno, has been, according to the Catalogue in the Theatre Lyrique of F . Clement, set to music by no fewer than twenty composers between 1713 and 1811-D. Scarlatti, Caldara, Porpora, Abos, Traetta, Majo, Guglielmi, Jommelli, Salari, Sarti, Martin y Solar, Prati, Giordani, Zingarelli, Bertoni, Mosca, L. Rossi, Trento, Mayer, Federici. The opera of ' Ifigenia in Tauride ' (author unknown, but possibly Vinci) has been composed by nine separate composers-D. Scarlatti, Orlandini, Vinci, Jommelli, Mazzoni, Agricola, Monzi, Tarchi and Carafa. An ' Iphigenie en Tauride,' words by Duche and Danchet, music by Desmarost and Campra, was given in Paris at the Aeademie de Musique, May 6, 1704. G.

(b. Barmen, 1766) was the founder of this firm of pianoforte makers. In his childhood he learnt music from the monks of Beyenberg, whose organ he restored in later years, this being tho first piece of work to bring him notoriety. He began life by being a children's shoemaker, and then made pianos with nis own hands, without aid from any one, in the day when pianos were only made to order. He thus founded the pianoforte and organ manufactory in Barmen in 1794. In the year 1811, the worst year of the war, it was his proud boast that he made and sold no fewer than fourteen pianos. The manufactory became a family concern, his wife and daughters even helping in the work. In 1834 his son Carl Rudolf, and in 1839 his son Richard, were taken into the firm, which in consequence became known as Adolf Ibach Sohne. At his death the firm was called Carl Rudolf and Richard Ibach ; then in 1869 Richard took the organ building and Carl Rudolf's son continued the pianoforte business alone, under the title of Rudolf Ibach Sohn, bringing it into high repute, founding a branch at Cologne and being appointed purveyor to the Prussian court. The English business was established in 1880, and the premises in Wigmore Street were opened in 1886. Ibach, Ltd., now (1926) has premises in Welbeck Street, London. Bibl.-Das Hans Ibach, 1794-1894, a centennial Festschrift, 1895. W. R. C.

a term very prevalent among English composers of the 16th century as the heading of instrumental works having no distinctive title. There is no suggestion of style to distinguish the ' In Nomine ' decisively from the F a n c y (q.v.). I t is found in Mulliner Bo ok 1 (c. 1560), which includes ' Taverner's In Nomine,' and is frequent in both consort music and V i r g i n a l M u s i c (