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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Electronic, mixed-media, and sound environments
For conventional forces
Action and text works
Film scores
Young, La Monte BIBLIOGRAPHY L.M. Young, ed.: An Anthology (New York, 1963) J. Johnston: ‘Music: La Monte Young’, Village Voice (19 Nov 1964) H.W. Hitchcock: ‘Current Chronicle’, MQ, li (1965), 530–40, esp. 538–9 B. Rose: ‘ABC Art’, Art in America, iii/Oct–Nov (1965), 57–69 C. Cardew: ‘One Sound: La Monte Young’, MT, cvii (1966), 959–60 R. Kostelanetz: The Theatre of Mixed Means (New York, 1968) L.M. Young and M. Zazeela: Selected Writings (Munich, 1969) R. Rosenbaum: ‘Eternal Music in a Dreamhouse Barn’, Village Voice (12 Feb 1970) S. Kubota: ‘Art as a New Style Life: Interview with La Monte Young’, Bijutsu Techō, no.2 (1971) D. Caux: ‘La Monte Young: créer des états psychologiques précis’, Chroniques de l'art vivant, no.30 (1972) J. Rockwell: ‘Boulez and Young: Enormous Gulf or Unwitting Allies?’, Los Angeles Times (13 Feb 1972) N. Gligo: ‘Ich sprach mit La Monte Young und Marian Zazeela’, Melos, xl (1973), 338–44 M. Nyman: Experimental Music: Cage and Beyond (London, 1974, 2/1999) J. Rockwell: ‘La Monte Young Plays at Kitchen’, New York Times (2 May 1974) S.S. Singh: ‘Interview with La Monte Young and Marian Zazeela’, East-West Music (Rome, 1974) [festival catalogue] R. Palmer: ‘La Monte Young: Lost in the Drone Zone’, Rolling Stone (13 Feb 1975) D. Smith: ‘Following a Straight Line: La Monte Young’, Contact, no.18 (1977–8), 4 M. Nyman: ‘Against Intellectual Complexity in Music’, October, no.13 (1980), 82 R. Pelinski: ‘Upon Hearing a Performance of The Well-Tuned Piano’, Parachute, no.19 (1980), 4–12; repr. in Interval, iv/3 (1984), 13–20; iv/4 (1985), 16–29 K. Terry: ‘La Monte Young: Avant-Garde Visionary, Composer and Pianist’, Contemporary Keyboard, vi/8 (1980), 12–18 P. Gena: ‘Freedom in Experimental Music: the New York Revolution’, Tri-Quarterly, lii (1981), 223–43 P. Griffiths: Modern Music: the Avant-Garde since 1945 (New York, 1981) R. Palmer: ‘A Father Figure for the Avant-Garde’, The Atlantic, ccxlvii/5 (1981), 48–56 J. Reinhard: ‘A Conversation with La Monte Young and Marian Zazeela’, Ear Magazine East, vii/5 (1981–3), 4 D.J. Wolf: ‘Living and Listening in Real Time’, Interval, iv (1982–3), no.1, pp.14–15; no.2, pp.27–32 W. Mertens: American Minimal Music (London, 1983) R. Palmer: ‘Get Ready for the Music of Harmonics’, New York Times (17 July 1983) J.M. Reusser: ‘La Monte Young: un musicien bien accordé’, L'autre monde, no.68 (1983), 60 C. McCardell: ‘Sound Instincts: La Monte Young & his Breakthrough Music’, Washington Post (15 Oct 1985) M. Swed: ‘La Monte Young Tunes a Piano his Way’, Los Angeles Herald Examiner (1 Nov 1985) M. Feldman and L.M. Young: ‘A Conversation on Composition and Improvisation’, Res, no.13 (1987), 153 K. Gann: ‘Maximal Spirit’, Village Voice (9 June 1987) A. Rich: ‘La Monte Young's Minimalist Marathon’, Newsweek (27 July 1987) J. Schaefer: New Sounds (New York, 1987) L. Vidic: ‘Meet the Composer’, Ear, xii/3 (1987–8), 24 J. Kim: ‘Interview: La Monte Young’, Umak Tonga (1988) no.2, p.87 T. Johnson: The Voice of New Music (New York, 1989) D.B. Doty: ‘The La Monte Young Interview’, 1/1 Just Intonation: the Journal of the Just Intonation Network (1989–90), v/4, 1, 9–15; vi/1, 8–12 D. Caux: ‘John Cage, La Monte Young et la dissidence musicale d’aujourd’hui’, Art Press, no.150 (1990), 48–52 J. Donguy: ‘Musique pour le rêve’, Art Press, no.150 (1990), 55–8 A. Licht: ‘The History of La Monte Young's Theatre of Eternal Music’, Forced Exposure, no.16 (1990), 60 E. Strickland: American Composers (Bloomington, IN, 1991) D. Suzuki: Minimal Music (diss., U. of Southern California, 1991) C. Gagne: Soundpieces 2 (Metuchen, NJ, 1993) K. Gann: ‘La Monte Young's The Well-Tuned Piano’, PNM, xxxi/1 (1993) 134–63 M. Johnson: ‘Randy Weston and La Monte Young, Kinds of Blues’, Pulse! (1993), Nov E. Rothstein: ‘La Monte Young Band Explores Sonic Space’, New York Times (12 Jan 1993) E. Strickland: Minimalism: Origins (Bloomington, IN, 1993) K.L. Williams: ‘La Monte Young’, Down Beat, lx/8 (1993), 13 only P. Carfi: ‘La Monte Young: il ritorno del maestro’, World Music, iv/16 (1994), 22 G. and N.W. Smith: American Originals: Interview with 25 Contemporary Composers (London, 1994/R 1995 as New Voices: American Composers Talk about their Music) W. Duckworth: Talking Music (New York, 1995) T. Miesgang: ‘La Monte Young: ein Interview’, Falter, ix (1995), 26 W. Duckworth and R. Fleming, eds.: Sounds and Light: La Monte Young and Marian Zazeela, Bucknell Review, xl/1 (1996) K.R. Schwarz: Minimalists (London, 1996) K. Gann: American Music in the Twentieth Century (New York, 1997) K. Potter: Four Musical Minimalists (Cambridge, 2000) Young, Lester (Willis) [Pres, Prez] (b Woodville, MS, 27 Aug 1909; d New York, 15 March 1959). American jazz tenor saxophonist. Life. Young grew up in the vicinity of New Orleans and later Minneapolis. His father, Willis Handy Young, taught all his children instruments and eventually formed a family band that toured with carnivals and other shows. Young learnt the violin, trumpet and drums, and settled on the alto saxophone by about the age of 13. After one of many disputes with his father, he left the family band at the end of 1927 and spent the following years performing with various groups, including Art Bronson’s Bostonians, with whom he took up the tenor saxophone, and Walter Page’s Blue Devils. Early in 1932 Young joined the Thirteen Original Blue Devils, and while on tour in Oklahoma City met Charlie Christian. He then made Kansas City his base, and played with the Bennie Moten–George E. Lee Band, Clarence Love, King Oliver and, on one night in December 1933, Fletcher Henderson, then on tour with his star saxophonist, Coleman Hawkins. In 1934 Young joined Count Basie, beginning an association that eventually led to national recognition. He left Basie at the end of March as a provisional replacement for Hawkins in Henderson’s band. Henderson’s musicians rejected Young’s very different approach to the saxophone, however, and he left after a few months. For the next year he performed mostly around Kansas City and Minnesota on a freelance basis. By 1936 Young had resumed his association with Basie. In November of that year, with a unit from Basie’s band, he made his first recordings. His solos on Lady be Good and Shoe Shine Boy (Voc.) were immediately regarded by musicians, many of whom learnt them note for note. During the next few years, as Basie’s band became more famous, Young was prominently featured on its recordings (for example, Jumpin’ at the Woodside, 1938, Decca, and Clap hands, here comes Charlie, 1939, Voc.) and broadcasts. Although he received mixed reviews from the critical establishment, the younger generation of musicians, including Dexter Gordon, Illinois Jacquet and others, were enthusiastic about his music. His small-group performances, particularly Lester leaps in (1939, Voc.) and his many recordings with Billie Holiday (notably All of me, 1941, OK), were especially influential. Young left Basie in December 1940 to form his own small band, which performed in New York. In May 1942 he led a band with his brother Lee (drums), which performed in Los Angeles and New York. When he rejoined Basie in December 1943 Young came to the notice of the general public and also a new generation of jazz musicians, among them John Coltrane, Sonny Rollins and Stan Getz. In 1944 he won first place in the Down Beat poll for tenor saxophonists, the first of many such honours. On 30 September 1944 Young was drafted into the army but was court-martialled the following February for drug abuse. After serving several months in detention barracks in Georgia, he was released at the end of 1945 and resumed recording and performing in Los Angeles. At his first recording session he produced a masterpiece, These Foolish Things (Phil/Ala.). Beginning in 1946 Young spent part of almost every year playing with Jazz at the Philharmonic, touring the rest of the time with his own small groups. From 1947 he developed and modified his approach successfully – his use of double time and the choice of repertory showing the influence of bop. However his health was becoming increasingly affected by an addiction to alcohol, and from about 1953 until his death his recordings were noticeably less consistent. Still, he was able to produce some of his best work on concert recordings such as Prez in Europe (1956, Onyx). He made guest appearances with Basie’s band in 1952–4 and again at the Newport Jazz Festival in 1957 and in early 1959 he began an engagement at the Blue Note club in Paris. He made his last recordings there in March, shortly before his death. Music. Young was one of the most influential musicians in jazz. His style was viewed as revolutionary when he was first recorded during the late 1930s, and it was a primary force in the development of modern jazz in general and the music of Charlie Parker in particular. The only influences to which Young ever admitted were two white saxophonists of the 1920s, Jimmy Dorsey and Frankie Trumbauer, especially the latter. Both possessed exceptional technique and a light, dry sound. Dorsey was fond of timbral effects achieved through low honks and alternative fingerings, and Young carried these further. From Trumbauer, Young adopted a strong sense of musical form, which was apparent even in his earliest recordings, such as Lady be Good (ex.1) with its short motivic and rhythmic constructions, each building upon its predecessor. Young’s beautiful and delicate sound must be heard in order to appreciate fully the impact of this solo.
Young’s work of the 1940s and 50s was different in style from that of his early years, but not necessarily inferior, as many critics have claimed. His tone was much heavier and his vibrato wider. He was more overtly emotional and filled his solos with wails, honks and blue notes. He drew more heavily on a small repertory of formulas, especially simple ones such as the arpeggiation of the tonic triad in first inversion at phrase endings. His solos also contained astonishing leaps and bold contrasts (ex.2), relying more on the alternation of repetition and surprise than on motivic development. Significantly, musicians have praised his recordings of the 1940s alongside his early ones, indicating a clear appreciation of their musical value.
Young’s impact on the course of jazz was profound. His superb melodic gift and logical phrasing were the envy of musicians on all instruments, and his long, flowing lines set the standard for all modern jazz. His personal formulas are now the common property of all jazz musicians, and recur in countless jazz compositions and improvisations. Sadly, the public, while familiar with Young’s name, has little awareness of his music and its role in jazz history. The feature film Round Midnight (1986), which was dedicated to Young and Bud Powell, was largely based on Young’s life story. BIBLIOGRAPHY P. Harris: ‘Pres Talks about Himself, Copycats’, Down Beat, xvi/8 (1949), 15 L. Feather: ‘Here’s Pres!’, Melody Maker (15 July 1950) L. Feather: ‘Pres Digs Every Kind of Music’, Down Beat, xviii/22 (1951), 12 only N. Hentoff: ‘Pres’, Down Beat, xxiii/5 (1956), 9–11 Jazz Monthly, ii/10 (1956) [special issue] N. Hentoff: ‘Lester Young’, in N. Shapiro and N. Hentoff, eds.: The Jazz Makers (New York, 1957/R), 243–75 D. Morgenstern: ‘Lester Leaps In’, JJ, xi/8 (1958), 1–3 W. Burckhardt and J. Gerth: Lester Young: ein Porträt (Wetzlar, 1959) L. Gottlieb: ‘Why so Sad, Pres?’, Jazz: a Quarterly of American Music, no.3 (1959), 185–96 F. Postif: ‘Lester: Paris, 1959’, JR, ii/8 (1959), 6–10; repr. in Jazz Panorama, ed. M. Williams (New York, 1962/R), 139–44; new transcr., Jazz hot, no.362 (1979), 18–22; no.363 (1979), 34–7 V. Franchini: Lester Young (Milan, 1961) D. Heckman: ‘Pres and Hawk: Saxophone Fountainheads’, Down Beat, xxx/1 (1963), 20–22 J. Hammond and H. Woodfin: ‘Two Views of Lester Young: Recollections and Analysis’, Jazz & Blues, iii/5 (1973), 10 only G. Colombé: ‘Time and the Tenor: Lester Young in the Fifties’, Into Jazz, i/3 (1974), 32 L. Gushee: ‘Lester Young’s “Shoeshine Boy”’, IMSCR XII: Berkeley 1977, pp.151–69 S. Dance: The World of Count Basie (New York, 1980), 28–36 R.A. Luckey: A Study of Lester Young and his Influence on his Contemporaries (diss., U. of Pittsburgh, 1981) L. Porter: ‘Lester Leaps In: the Early Style of Lester Young’, BPM, ix (1981), 3–24 B. Cash: An Analysis of the Improvisation Technique of Lester Willis Young, 1936–1942 (thesis, U. of Hull, 1982) W. Balliett: ‘Pres’, Jelly Roll, Jabbo and Fats (New York, 1983), 119–28 D.H. Daniels: ‘History, Racism, and Jazz: the Case of Lester Young’, Jazzforschung/Jazz Research, xvi (1984), 87–103 D. Gelly: Lester Young (Tunbridge Wells, 1984) D.H. Daniels: ‘Lester Young: Master of Jive’, American Music, iii (1985), 313–28 L. Porter: Lester Young (Boston, 1985) D.H. Daniels: ‘Big Top Blues: Jazz-Minstrel Bands and the Young Family Tradition’, Jazzforschung/Jazz Research, xviii (1986), 133–53 G. Schuller: ‘Lester Young’, The Swing Era: the Development of Jazz, 1930–1945 (New York, 1989), 547–62 F. Büchmann-Møller: Just Fight for your Life: the Story of Lester Young (New York, 1990) F. Büchmann-Møller: You Got to be Original Man! The Music of Lester Young (New York, 1990) L. Porter, ed.: A Lester Young Reader (Washington DC, 1991) L. Delannoy: Pres: the Story of Lester Young (Fayetteville, AR, 1993) Oral history material in US-NEij LEWIS PORTER Young, Neil (b Toronto, 12 Nov 1945). Canadian singer-songwriter and guitarist. He emerged in the late 1960s as a member of the critically acclaimed, Los Angeles-based rock band Buffalo Springfield. He subsequently gained mass exposure in the ‘supergroup’ Crosby, Stills, Nash and Young. This widespread fame co-existed in the late 1960s and early 70s with his growing reputation as a singer-songwriter and collaborator with bands such as Crazy Horse and the Stray Gators. His early solo work with Crazy Horse – including the albums Everybody knows this is Nowhere (1969) and After the Gold Rush (1970) – has proved particularly enduring. On these albums his fragile, expressive tenor, and jagged, lyrical lead guitar grace an eclectic mixture of styles, including acoustic ballads, driving rock and lighter country-rock. He coupled these gifts with a melodic songwriting style and with pessimistic and occasionally enigmatic lyrics in such early songs as Broken Arrow and Expecting to Fly (both with Buffalo Springfield), and Cowgirl in the Sand (1969) and Only love can break your Heart (1970) from the early solo albums. Songs such as Cowgirl in the Sand and Southern Man (1970) provided ample solo space for his guitar playing, but the ecstatic one-note solo in Cinnamon Girl (1969) best exemplifies his minimalist tendencies. The epic narrative Cortez the Killer (from Zuma, 1975) broke new ground for Young in terms of subject matter and displayed an intense lyricism in the extended guitar solo. Harvest (1972), featuring predominantly folk and country-styled material, was his most successful album in commercial terms, but drew mixed critical notices. Young remained highly productive and commercially successful throughout the 1970s and continued his occasional collaborations with Stephen Stills (Long May You Run, 1976) and Crazy Horse (Rust Never Sleeps, 1979). During the 1980s his eclecticism became even more extreme, ranging through acoustic rock, hard rock, techno-pop, rockabilly, country and rhythm and blues. The title song from the rhythm and blues album This Note's for You (1987) criticized pop artists who made TV commercials; the video of the title song was initially banned by MTV before eventually winning an award for Best Video of the Year. By the end of the decade Young showed signs of abandoning the almost wilful eclecticism of the preceding years. Freedom (1989), followed by Ragged Glory (1990) with Crazy Horse, were both critical successes and his most commercially successful work for a decade. He was recognized as a predecessor to the grunge bands of the 1990s by many of the younger musicians, principally for his guitar style (which since the late 1960s has been characterized by heavy distortion and ringing, open chords) and for his highly individualistic, anti-commercial stance. This recognition resulted in Mirror Ball (1995), a collaboration with Pearl Jam. BIBLIOGRAPHY J. Rockwell: ‘Rock, Populism & Transcendental Primitivism: Neil Young’, All-American Music: Composition in the Late Twentieth Century (New York, 1983), 221–33 D. Downing: A Dreamer of Pictures: Neil Young, the Man and his Music (London, 1994) Neil Young: the Rolling Stone Files (New York, 1994) DAVID BRACKETT Young [Younge], Nicholas. See Yonge, Nicholas. Young, Percy M(arshall) (b Northwich, Cheshire, 17 May 1912). English writer on music and music educationist. He was educated at Christ’s Hospital (1924–30) and read English, music and history as an organ scholar at Selwyn College, Cambridge (1930–34; MusB 1933). He was director of music at Stranmillis Teachers Training College, Belfast, from 1934 until 1937, when he took the MusD at Trinity College, Dublin. From 1937 to 1944 he was music adviser to the city of Stoke on Trent. In 1944 he became director of music at Wolverhampton College of Technology; there he also formed a choir which gave many performances, particularly of lesser-known works by Handel. Since 1970 he has been a visiting scholar and lecturer at numerous colleges in the USA. Young is an exceptionally fluent and prolific writer. His books include short popular biographies and several volumes for younger readers. Many of his more substantial writings are based on a lively, fresh and industrious, if not always highly discriminating, examination of source material; these include original research on Elgar and useful surveys of the British choral tradition and British music generally. As a composer Young has been equally prolific: his works include a Fugal Concerto for two pianos and strings (1954), a Festival Te Deum for massed voices, semichorus and organ (1961) and much unpublished music for brass ensembles. He has edited Handel’s Saul for the Hallische Händel-Ausgabe (Leipzig, 1972), Arne’s cantata The Lover’s Recantation (Leipzig, 1988), and Elgar’s The Spanish Lady, for the Elgar complete edition (London, 1991). WRITINGS ‘The Royal Music’, ML, xviii (1937), 119–27 Samuel Pepys’ Music Book (London, 1942) Handel (London, 1947, 3/1979) The Oratorios of Handel (London, 1949) Messiah: a Study in Interpretation (London, 1951) Vaughan Williams (London, 1953) Elgar O.M. (London, 1955, 2/1973) ed.: Letters of Edward Elgar and Other Writings (London, 1956/R) Tragic Muse: the Life and Works of Robert Schumann (London, 1957, 2/1961) The Choral Tradition (London, 1962, 2/1981) Zoltán Kodály (London, 1964) ed.: Letters to Nimrod: Edward Elgar to August Jaeger, 1897–1908 (London, 1965) A History of British Music (London, 1967) ed.: Elgar: a Future for English Music and Other Lectures (London, 1968) The Bachs 1500–1850 (London, 1970; Ger. trans., 1978; Jap. trans., 1985) Sir Arthur Sullivan (London, 1971) ‘Vocal Music in England in an Age of Change’, Festschrift für Ernst Hermann Meyer, ed. G. Knepler (Leipzig, 1973), 197–203 A Concise History of Music from Primitive Times to the Present Day (New York and London, 1974) Beethoven: a Victorian Tribute based on the Papers of Sir George Smart (London, 1976) Alice Elgar: Enigma of a Victorian Lady (London, 1978) George Grove 1820–1900 (London, 1980) ‘Classics of Music Library Literature’, Modern Music Librarianship: Essays in Honor of Ruth Watanabe, ed. A. Mann (Stuyvesant, NY, 1989), 159–72 ‘Leipzig and Dresden: the Protestant Legacy’, American Choral Review, xxxii/3–4 (1990), 7–76 Lichfield Cathedral Library: a Catalogue of Music (Birmingham, 1993) Elgar, Newman and the Dream of Gerontius: in the Tradition of English Catholicism (Aldershot, 1995) DAVID SCOTT/R Young, Simone (b Sydney, 21 March 1961). Australian conductor. She studied composition and piano at the NSW Conservatorium and made her conducting début at the Sydney Opera House in 1985. In 1987 she was engaged as an assistant conductor at the Cologne Opera, and in 1993 was appointed Kapellmeister at the Berlin Staatsoper. Young has been the first woman to conduct at the Vienna Volksoper (1992) and Staatsoper (1993), the Opéra-Bastille (1993) and the Staatsoper in Munich (1995). Other important débuts have included Covent Garden (1993), the Metropolitan Opera (1995), both in La bohème, and the Munich PO (1996). Her repertory extends from Mozart to contemporary music, with special emphasis on Wagner and Strauss, and her performances have been acclaimed for their exciting theatricality. In 1997 Young embarked on a Ring cycle at the Vienna Staatsoper. CAROL NEULS-BATES Young, Victor (b Chicago, 8 Aug 1900; d Palm Springs, CA, 10 Nov 1956). American composer, conductor and violinist. He began to play the violin at the age of six, and four years later went to live with his grandfather in Warsaw, where he studied at the conservatory. He made his début as a soloist with the Warsaw PO in 1917. In 1920 he returned to the USA, and the following year made his American début at Orchestra Hall in Chicago. Between 1922 and 1929 he was a leader in movie theatres, a musical supervisor of vaudeville productions, a violinist and arranger for Ted Fiorito’s orchestra, and the assistant musical director of the Balaban and Katz theatre chain. He first worked for radio in 1929, and in 1931 became musical director for Brunswick Records, where in 1932 he arranged and conducted several selections from Show Boat with soloists, chorus and orchestra; released on four discs, it was the first American album ever made from the score of a Broadway musical. In 1935 he moved to Hollywood, where he formed his own orchestra and joined the staff of Paramount Pictures. During the next 20 years Young composed and conducted music for many television and radio shows and record albums, and wrote scores (some with collaborators) for over 225 films. He also composed instrumental pieces (some of which originated in film scores), two Broadway shows and a number of popular songs. He had a gift for writing pleasing melodies but his music for the most part is conventional. His film scores are often overwrought and incorporate excessively sentimental string writing, but they are dramatically adequate and occasionally even eloquent. He won an Academy Award (posthumously) for his score to Around the World in 80 Days. WORKS (selective list) Film scores
Stage
Songs
Instrumental for orchestra unless otherwise indicated – most composed 1935–52
BIBLIOGRAPHY V. Young: ‘Confessions of a Film Composer’, Music Journal, xiv/7 (1956), 16, 38 C. McCarty: ‘Victor Young’, Film and TV Music, xvi/5 (1957), 21 T. Thomas: Music for the Movies (South Brunswick, NJ, and New York, 1973), 43–8 CLIFFORD McCARTY Young [Joungh], William (d Innsbruck, 23 April 1662). English composer and viol player. He was among the 17th-century English musicians who served at continental courts and carried to them a knowledge of the then much admired English manner of performance on the viol. Jean Rousseau, in his Traité de la viole (Paris, 1687/R), referred to the European reputations of some of these players and mentioned three in particular, among them ‘Joung auprès du Comte d’Insbruck’. Nothing is known of Young’s early life, though the presence of five-part dances in a manuscript associated with Worcester in the 1640s (GB-Ob Mus.Sch.E.415–18) suggests that he was already an established composer before he left England, and possibly that he came from the West Country. The spelling ‘Joungh’ found in some sources of his music suggests that he may already have been with Ferdinand Karl when the latter was Governor of the Netherlands before becoming archduke of Innsbruck in 1646. He had certainly entered the archduke’s service by 1652. Between February and May of that year Ferdinand Karl and his wife Anna de’ Medici undertook an Italian journey on which Young accompanied them as one of their valets to Mantua, Parma, Modena, Florence and Ferrara. Subsequently he was one of those who accompanied the court from Innsbruck to Milan and in 1654 was probably the English musician referred to in the court records as having received 100 ducats from the Emperor Ferdinand III when Ferdinand Karl’s musicians, among whom was Antonio Cesti, visited Regensburg. In 1655, after her abdication from the Swedish throne, Queen Christina was received into the Catholic Church at Innsbruck. She was entertained there for ten days and recorded the great pleasure Young’s viol playing gave her. At this time he was regarded as one of the finest viol players in Europe, a judgment echoed by other guests on that occasion. A year later the English merchant Robert Bargrave visited Innsbruck and heard Young, whom he described as ‘groom of the bedchamber and chief violist to the archduke’. On 26 August 1660 Young travelled to England but soon returned to Innsbruck, where his death was recorded in the register of St Jakob. The William Young who served in London from 1660 to 1670 as a violinist in the royal music of Charles II has often been confused with the composer, but does not seem to have been related to him; he came from Ripon. Young’s compositions for the viol played lyra-way are important; a few were published, but many others remain in manuscript. He continued to employ the technique in Innsbruck, for Bargrave stated that he had developed there an eight-string viol to be played lyra-way. The fantasias for viols represent Young working in the mid-century style of consort music akin to that of Locke. The sonatas, on the other hand, show strong Italian and German influences. The journey through Italy in 1652 must have brought Young into direct contact with the developing sonata style there, a contact reinforced by the presence of Italian musicians working in Innsbruck. The pattern of his 1653 collection is similar to that of many Italian publications of the time, and such features as the use of the title ‘canzona’ for imitative movements and, on occasion, of the rhythmic metamorphosis of themes reflect the same influence. The disposition of instruments, however, such as the preference for three or four violins in the published sonatas and the combination of violin, bass viol and continuo that occurs in several unpublished sonatas, is more in line with Germanic usage. Young’s 1653 collection is the earliest set of works entitled ‘sonata’ by an English composer, and his use of the term canzona was a precedent followed by Purcell. A copy of the collection was in Thomas Britton’s library, and items from it are in a Restoration manuscript in Oxford. WORKS
BIBLIOGRAPHY AshbeeR BDA DoddI GoovaertsH HawkinsH NewmanSBE SennMT W.G. Whittaker: ‘William Young’, Collected Essays (London, 1940/R), 90–98 P. Evans: ‘Seventeenth-Century Chamber Music Manuscripts at Durham’, ML, xxxvi (1955), 205–23 M. Tilmouth: ‘Music on the Travels of an English Merchant: Robert Bargrave (1628–61)’, ML, liii (1972), 143–59 M. Caudle: ‘The English Repertory for Violin, Bass Viol and Continuo’, Chelys, vi (1975–6), 69–75 G. Dodd: ‘William Young: Airs for Solo Viol’, Chelys, ix (1980), 33–5 J. Irving: ‘Consort Playing in mid-17th-Century Worcester’, EMc, xii (1984), 337–44 MICHAEL TILMOUTH/PETER HOLMAN Young Chang. South Korean firm of instrument makers. Founded in 1956 to assemble upright pianos from imported components, the company began its own manufacture in 1968 and profited from the country’s booming economy. Though pianos imported to the USA in early years were reported as having insufficiently seasoned lumber, improved methods have overcome these difficulties. Manufacturing and shipping systems are sophisticated and automated, and in 1996 the company opened a huge factory in Tianjin, China. The quality of recent instruments is high. The concert grand has attracted favourable notice, and the uprights are sturdy and sonorous. The company has subsidiaries in Canada, the USA and Europe. In 1985 Young Chang purchased the Weber name at the dissolution of the Aeolian Corporation and in 1990 bought Kurzweil Musical Systems, which produces very sophisticated electronic pianos and MIDI controllers. Production in the mid-1990s was about 120,000 annually, with the opening of the Tianjin factory expected to raise the figure substantially. EDWIN M. GOOD Young Poland. A group of 20th-century Polish composers, including Fitelberg, Różycki, Szymanowski and Szeluto. The term ‘Young Poland’ was proposed in 1898 by Artur Górski with reference to literature; his aim was to postulate the idea of rebirth in that medium. In music a similar plea was made by Feliks Jasieński in 1901. The revolutionary events that occurred in Russia in 1905 brought a heightened degree of expectation of political and artistic change in the Polish territories. It was expected that the musical spirit of Young Poland would assume an important role in concerts of contemporary music at the Warsaw Philharmonic Hall, and there, on 6 February 1906, a concert was given presenting works by all of the above named composers. The following concert reviews labelled them as ‘Młoda Polska w muzyce’ (‘Young Poland in music’). Although this term was later used in a much wider context, referring also to other contemporary Polish composers, generally the label became synonymous with these four composers. There were also, however, other reasons for regarding these composers as constituting a recognizable group. In the autumn of 1905 Fitelberg, Różycki, Szymanowski and Szeluto founded the Spółka Nakładowa Młodych Kompozytorów Polskich (Young Polish Composers’ Publishing Company) under the financial patronage of Prince Władysław Lubomirski. The publishing house appointed to represent their company was Albert Stahl in Berlin. The group did not formulate mottos or aim to present a collective view regarding creative or artistic ideas. They did, however, share the same broad views on art and the role of the creative artist; they claimed the right to artistic freedom and respect towards their chosen path. The group aimed to achieve support for new Polish music through the publication of works by its members, but it was also open to other composers; concerts were organized abroad as well as in Poland. (There is a clear analogy here with Belyayev’s publishing company in Russia and Koussevitsky and Rakhmaninov’s joint project in Berlin.) Contrary to the views held by some, Karłowicz did not formally belong to this group; he was nevertheless a supportive observer, and gave them his permission to publish his song Pod jaworem (‘Under the Sycamore Tree’). The publishing company lasted until about 1912 when Różycki joined Hansen, a Danish firm, and Szymanowski, the true exponent of Young Poland, signed with Universal Edition, Vienna. From this point the artistic paths of the founding members of the company diverged. BIBLIOGRAPHY A. Chybiński: ‘Jungpolen in der Musik’, Polnische Post (Vienna, 1908), no.36 A. Chybiński: ‘Młoda Polska w muzyce’, Museion, iii (1911), 17–39 M. Gliński: ‘Młoda Polska w muzyce’, Muzyka, iv/6 [Warsaw] (1931), 189–201 S. Łobaczewska: ‘Twórczość kompozytorów Młodej Polski’ [The works of the composers of Young Poland], Z dziejów polskiej kultury muzycznej, ii (Kraków, 1966), 553–642 T. Chylińska: ‘Młoda Polska: mit czy rzeczywistość?’ [Young Poland: myth or reality?], Muzyka polska a modernizm: Kraków, 1981, 41–54 S. Jarociński: ‘Młoda Polska w muzyce na tle twórczości artystycznej rodzimej i obcej’ [Young Poland in music against the background of artistic creativity at home and abroad], ibid., 93–100 TERESA CHYLIŃSKA Youngs, Alexander Basil. See Young, Alexander. Youth and Music. An organization founded in London in 1954 by Robert Mayer, after the model of the continental Jeunesses Musicales (to which it is affiliated), to bridge the gap between his concerts for children and ordinary concert and opera performances particularly by organizing block attendance at performances. It is supported by a number of trusts, the Arts Council and by commercial sponsorship. HENRY RAYNOR/R Yradier (y Salaverri), Sebastián de. See Iradier sebastián de. Yriarte, Tomás de. See Iriarte, Tomás de. Ysaac [Ysac], Henricus [Heinrich]. See Isaac, Henricus. Ysaÿe, Eugène(-Auguste) (b Liège, 16 July 1858; d Brussels, 12 May 1931). Belgian violinist, conductor and composer. His first music teacher was his father, a violinist (a pupil of François Prume) and conductor of amateur music societies. Ysaÿe began studying with Désiré Heynberg at the Liège Conservatory in 1865, but he was an unsettled child and his attendance irregular, so that the lessons with Heynberg were discontinued in 1869. However, he returned to the Conservatory in 1872 and joined Rodolphe Massart's class. He was unanimously adjudged co-winner with Guillaume Remy of the Conservatory's silver medal in 1874, and also won a bursary which enabled him to take lessons with Henryk Wieniawski in Brussels and then study with Henry Vieuxtemps in Paris. Four years spent attending lectures and concerts in the French capital helped him to make useful artistic contacts. In 1879 he became leader of the Bilse orchestra in Berlin and he stayed there until 1882. At this time the patronage of Anton Rubinstein brought him his first important contracts as a soloist (in Scandinavia, Russia and Hungary). He returned to Paris in autumn 1883, and soon had many European engagements. He maintained close links both with the great French masters of the day – Saint-Saëns, Franck and Fauré – and with rising composers such as d'Indy and Chausson. His first appearances at the Concerts Colonne were triumphantly successful, and Belgium reclaimed him; on the departure of Jenő Hubay, Vieuxtemps' successor at the Brussels Conservatory, Gevaert appointed Ysaÿe to teach the prestigious violin class there. His career was flourishing: besides performing as a soloist he composed a quartet which immediately created a stir, making it a point of honour for him to participate in concerts of avant-garde chamber music in Paris and Brussels. He played in the first performances of many outstanding works which are dedicated to him: Franck's Violin Sonata (1886), Chausson's Concert (1889–91) and Poème (1896), d'Indy's First String Quartet (1890), Debussy's String Quartet (1893) and Lekeu's Violin Sonata (1892). Ysaÿe's career was at its height from his first American tour in 1894 to the outbreak of World War I in 1914. He played in the most famous concert halls and his talent was universally acknowledged. He used his fame as a virtuoso to launch new ventures: in 1895 he and Maurice Kufferath founded the Société Symphonique des Concerts Ysaÿe, managing and conducting a large orchestra which gave concerts mainly of modern music, and which became a feature of Belgian musical life. A few months later he and Raoul Pugno formed a duo which continued until Pugno's death in 1914. Although Ysaÿe collaborated with other notable pianists such as Anton Rubinstein, Busoni, Ziloti, Nat and his own brother Théophile Ysaÿe, his partnership with Pugno was of exceptional renown. Their programmes set a new standard in that they most often consisted exclusively of sonatas, which was unusual at the time. Having turned to orchestral conducting of his own volition, Ysaÿe was increasingly obliged to take refuge in it: his playing was being impaired by problems arising from neuritis and diabetes, and by his loss of bow control. (The last was exacerbated by his unorthodox grip, which had not, however, prevented him from developing one of the most immaculate techniques of the time.) His health had been failing since the beginning of the century, and his playing deteriorated rapidly during the war. He accepted the post of conductor of the Cincinnati SO in 1918 and remained there until 1922, giving precedence to modern French music. On returning to Belgium he resumed several of his former activities – including the Concerts Ysaÿe and the giving of private lessons – and up to 1928 he continued to perform in notable concerts in Europe. (They included all Beethovan's sonatas with Clara Haskil and the Violin Concerto conducted by Pablo Casals, for the Beethoven centenary in 1927.) His right foot was amputated in 1929. He gave his last concert in November 1930 and finished writing an opera (on a popular Belgian subject), which was given its première at the Théâtre Royal in Liège a few weeks before his death. Ysaÿe's playing influenced three generations of violinists. He abandoned the old style of Joachim, Wieniawski, Sarasate and Auer for one that combined rigorous technique and forceful sound with creative freedom on the part of the interpreter. To younger players such as Enescu, Flesch, Huberman, Kreisler, Szigeti and Thibaud he was an example of absolute devotion to his art, and the virtuosos of his own generation – César Thomson, Hubay and Remy – always had to suffer comparison with him. At the turn of the century, he was regarded as supreme among violinists and when he gave the first performance in Berlin of Elgar's Violin Concerto (5 January 1912) the greatest contemporary violinists (including Kreisler, Flesch, Elman and Marteau) were in the audience. As many eyewitness accounts show, they were not disappointed: the wonderful sound, his technique (including the variety of his vibrato) and his interpretation were captivating; he was also well liked for his personality, which was marked by generosity, a sense of solidarity with other musicians and an unquenchable appetite for life. Ysaÿe was long regarded as important in the development of the modern style of violin playing. He also represented a synthesis of the qualities of Franco-Belgian violin playing before virtuosity became an end in itself. To Ysaÿe, virtuosity was indispensable (he admired Paganini and Vieuxtemps), but as a means to re-create the music, rather than mere exhibitionism (in this he agreed with Busoni, with whom he shared a liking for transcriptions). This ideal, reinforced by his choice of high quality works for his concerts (eloquently illustrated in the programmes of the Ysaÿe Quartet and the Ysaÿe-Pugno duo), was not wholly realized by the next generation: Thibaud, Kreisler, Enescu and others were influenced to some extent, but between the wars their recitals only rarely equalled those of Ysaÿe in choice of programmes and in their interpretation. Ysaÿe's recordings, most of them made in 1912 in difficult circumstances, reveal an exceptionally refined interpretative art. From adolescence, and seemingly spontaneously, Ysaÿe joined the ranks of virtuosos who were also composers, following the tradition of his compatriots C.-A. de Bériot, Hubert Léonard and Henry Vieuxtemps. Some early salon pieces and concertos made little mark at the time, but after he became acquainted with French composers (Saint-Saëns, Fauré and the school of Franck) he abandoned decorative virtuosity for an improvisatory, passionate character; his scoring sometimes lacks subtlety, but the works are full of harmonic originality. His Poème élégiaque preceded and inspired Chausson's Poème, and expressionist anxieties can be heard in pieces such as Exil for string orchestra. Ysaÿe was modest about his own compositions and rarely played or conducted them. However, his witty Caprice d'après l'Étude en forme de valse de Saint-Saëns, a piece of sustained virtuosity, became famous. His Six Sonatas op.27 for violin solo and solo cello sonata (op.28), written after his return from the USA, bear fascinating witness to Ysaÿe's art; in their harmonic originality and their virtuosity, he was composing for posterity and the younger generation of violinists. Increasing attention is paid to these pieces today, and they have entered the solo violin repertory. Of Ysaÿe's various ideas for the organization of musical life (he had hoped to be appointed director of the Brussels Conservatory in 1912), two came into being after his death, thanks to his friendship with Queen Elisabeth of Belgium, to whom he gave violin lessons over a long period. One was the Concours Eugène Ysaÿe, a competition intended to reward virtuoso players and initiated in 1937 (after World War II it became the Concours Musical Reine Elisabeth. The other was the Queen Elisabeth Chapelle Musicale (1939), set up to give further training to graduates of the Belgian conservatories. WORKS (selective list) for a complete list, see Ysaÿe and Ratcliffe (1947); unless otherwise stated, works published in Brussels
BIBLIOGRAPHY J. Quitin: Eugène Ysaÿe: étude biographique et critique (Brussels, 1938, 2/1958) F. Rasse: ‘Eugène Ysaije’, Académie royale de Belgique: bulletin de la classe des beaux-arts, xxvi (1944), 85–115 E. Christen: Ysaÿe (Geneva, 1947) A. Ysaÿe: Eugène Ysaÿe: sa vie, son oeuvre, son influence (Brussels, 1947; Eng. trans., 1947/R, as Ysaÿe, rev. B. Ratcliffe) J. Quitin, ed.: Centenaire de la naissance de Eugène Ysaÿe (Liège, 1958) L. Ginzburg: Ezhen Izai [Eugène Ysaÿe] (Moscow, 1959; Eng. trans., 1980, ed. H.R. Axelrod) M. Brunfaut: Jules Laforgue, les Ysaÿe et leur temps (Brussels, 1961) A. vander Linden: ‘Eugène Ysaÿe et Octave Maus’, Académie royale de Belgique: bulletin de la classe des beaux-arts, lii (1970), 214–32 J. Maillard, ed.: ‘Lettres inédites d'Eugène Ysaÿe à Guy Ropartz’,RBM, xxv (1971), 98–102 A. Ysaÿe: Eugène Ysaÿe, 1858–1931 (Brussels, 1972) J. Quitin: ‘Eugène Ysaÿe et sa conception de la virtuosité instrumentale’,Bulletin de la Société liégeoise de musicologie, no.39 (1982), 19 M. Stockhem: ‘Lettres d'Ernest Chausson à Eugène Ysaÿe’, RBM, xlii (1988), 241–72 M. Stockhem: Eugène Ysaÿe et la musique de chambre (Liège, 1990) MICHEL STOCKHEM Ysaÿe, Théophile (Antoine) (b Verviers, 2 March 1865; d Nice, 24 March 1918). Belgian composer, pianist and conductor, younger brother of Eugène Ysaÿe. He studied at the Liège Conservatoire from 1876 to 1880, and in 1881 joined his brother in Berlin, where he studied wilh Kullak at the Neue Akademie der Tonkunst, and where he became acquainted with Laforgue. In 1885 the Ysaÿe brothers settled in Paris, and there Théophile studied composition with Franck. His brother’s accompanist, he began a career as a virtuoso in 1886 and was professor of the piano at the Geneva Académie de Musique (1889–1900). Back in Belgium he took an active part in his brother’s Concerts Ysaÿe, principally as the rehearsal conductor. His own music is close to Debussy in detail and to Franck in conception. His symphonic poem Les abeilles was inspired by Maeterlinck’s La vie des abeilles. Its style is Impressionist in the flowing melodic lines, the play of sonorities and the poetic atmosphere that predominates in all three movements. WORKS (selective list; all dates of first performance)
BIBLIOGRAPHY BNB (M. Kunel) M. Schoemaker: ‘Souvenirs sur Théo Ysaÿe’, Syrinx II (1938), no.308, pp.8–11 A. Ysaÿe: César Franck et son époque (Brussels, 1942), 50ff M. Brunfaut: Jules Laforgue, les Ysaÿe et leur temps (Brussels, 1961) M. Kunel: ‘Théo Ysaÿe (1865–1918)’, Vie wallonne, xxxviii (1964), 239–53 M. Stockhem: Eugène Ysaÿe et la musique de chambre (Liège, 1990) HENRI VANHULST Ysaÿe Quartet (i). Belgian string ensemble, founded in Brussels in 1886 by the violinist Eugène Ysaÿe with Mathieu Crickboom, Léon van Hout and Joseph Jacob. It gave the premières of works by Franck, Fauré, d’Indy and Debussy and all its members, in addition to their careers as soloists, made important contributions to the teaching of string playing at the Brussels Conservatory. TULLY POTTER Ysaÿe Quartet (ii). French string quartet, founded at the Paris Conservatoire in 1984 by Christophe Giovaninetti, Romano Tommasini, Miguel Da Silva and Carlos Dourthe. In 1985 Luc-Marie Aguera became the second violinist and in 1986 Michel Poulet became the cellist. From 1986 to 1989 the ensemble studied in Cologne with members of the Amadeus Quartet; it also worked with Walter Levin and with Hatto Beyerle – who recorded the Mozart G minor Quintet with it. In 1987 it won the second prize at the Trapani competition in Italy and in 1988 the second prize at Portsmouth and the first prize at Evian. While its beauty of tone and perfection of ensemble were much admired, both its interpretations and its platform deportment were mildly eccentric. A reorganization in 1995 saw Aguera and Da Silva joined by Guillaume Sutre as leader and Marc Coppey as cellist. This formation proved no less inspired but more orthodox in its interpretative outlook. The group has given the premières of works dedicated to it by André Boucou and Franck Krawczyk. Among its recordings are outstanding accounts of the string quartets by Debussy and Ravel and the piano quartets and quintets by Fauré, with Pascal Rogé. TULLY POTTER Yso, Pierre. See Iso, Pierre. Ysoré [Isoré], Guillaume (b early 16th century; d Paris, 11 March 1563). French composer. The records of the Ste Chapelle du Palais in Paris reveal his appointment as a singer there on 13 September 1522. Having served as church warden for several years, he took clerical vows on 19 September 1526. On 1 July 1543 he assumed the post of distributeur and by 29 August 1556 had become permanent chaplain of St Louis, succeeding Noel Cybot. Eight chansons survive ascribed to Ysoré – all but two of them for four voices and all but one appearing in the 1530s. As a group, the four-voice pieces do not conform to Parisian chanson style; rather, they show a variety of stylistic techniques, including the pervasive yet flexible counterpoint of Endurer fault, le temps, the ubiquitous employment of a unifying motif in En revenant de jouer, and the indecisive harmony and phrase structure of Ce qui me tient. The three-voice chansons differ from these in that they are based on borrowed material. Si j’ay eu du mal ou du bien borrows the superius of Sermisy’s setting, using it as its tenor, and Trop dur m’est relies on Jacotin’s setting. WORKS
BIBLIOGRAPHY BrenetM LabordeMP MGG1 (F. Lesure) D. Heartz: ‘Au pres de vous: Claudin’s Chansons and the Commerce of Publishers’ Arrangements’, JAMS, xxiv (1971), 193–225 LAWRENCE F. BERNSTEIN Yssandon [Issandon], Jean (b Lezat-sur-Lèze; fl Avignon, c1555–1582). French musician and author. He wrote a short didactic work on practical music, Traité de la musique pratique … le tout extraict de plusieurs auteurs latins et mis en langue françoise (Paris, 1582/R). He dedicated the treatise to the humanist Georges d’Armagnac, Archbishop of Avignon, his patron for 25 years or more. The layout follows that of similar treatises by Bourgeois, Martin, Guilliaud and Menehou published in the 1550s, although Yssandon admitted only to Latin models and quoted Boethius, Tinctoris, Faber Stapulensis and Listenius. Like his more immediate predecessor, Cornelius Blockland (Instruction, Lyons, 1573, 2/1587/R), he included many musical examples. BIBLIOGRAPHY F. Lesure and G. Thibault: Bibliographie des éditions d’Adrian le Roy et Robert Ballard (1551–1598) (Paris, 1955), 43 [transcr. of ded.], 208 A. Seay: ‘French Renaissance Theory and Jean Yssandon’, JMT, xv (1971), 254–72 FRANK DOBBINS Yu, Julian (Jing-Jun) (b Beijing, 2 Sept 1957). Chinese composer, active in Australia. After studying Chinese and Western composition at the Central Conservatory of Music in Beijing, Yu joined the staff there (1977–80), then studied with Jōji Yuasa at the Tokyo College of Music (1980–82). In 1985 he moved to Australia, studying and then teaching at the Queensland Conservatorium before studying with Henze and Knussen at Tanglewood through an Australia Council Fellowship, where he received the Koussevitzky Tanglewood Prize. His awards include the Irino Prize (1989), two Paul Lowin Orchestral Prizes (1991, 1994) and the Vienna Modern Masters Recording Award for Wu-Yu (1992); his works have been widely performed. Yu’s music is fastidiously crafted, displaying a rigorous control of complex texture and orchestration. Central to his technique is a principle derived from traditional Chinese improvisation involving building up layers of elaboration. He applies this both to traditional Chinese models and to Western works. In Reclaimed Prefu (1989), for example, the arpeggiated chords of the first prelude of Bach’s Das wohltemperirte Clavier are expanded across a brilliant and massively sonorous keyboard range, while Brahms’s music is reworked in the Piano Quartet (1992). WORKS (selective list)
BIBLIOGRAPHY CC1 (L. Whiffin) J. Yu: ‘Tradition, Ethnic Integration and Contemporary Composition’, Sounds Australian, no.30 (1991), 25 B. Broadstock, ed: Sound Ideas: Australian Composers Born Since 1950 (Sydney, 1995), 239–40 PETER McCALLUM Yuasa, Jōji (b Kōriyama, 12 Aug 1929). Japanese composer. He studied medicine at Keio University, Tokyo (1949–51), abandoning this course for composition. From 1951 to 1957 he was active as a member of the Jikken Kōbō (Experimental Workshop), together with Takemitsu and others. In composition he is self-taught, yet his music shows an exceptional sensitivity to sonority and an intellectual approach to the handling of materials. His compositional attitude is, however, quite unconventional, which may be due in part to his medical interest in auditory physiology as well as his experience with nō music; he is particularly skilled in distributing sounds of various tone-colours in a ‘space’ without attempting any logical formal arrangement. The early works Yuasa wrote for the Jikken Kōbō were mainly for small forces, such as Three Score Set (1953) for piano and the 12-note Projection for Seven Performers (1955). He was one of the first Japanese composers to take an interest in musique concrète, which he attempted to combine with visual performance in several examples of ‘musique concrète with auto-slides’, among them Mishiranu sekai no hanashi (‘The Story of an Unknown World’, 1953). In 1964 he began to work frequently at NHK’s Electronic Music Studio, producing such pieces as Comet Ikeya and Ai to shura (‘Love and Asura’), both of which won Italia prizes, and Mandala, which won the Grand Prize at the Japanese government Arts Festival. His Voices Coming (1969), utilizing recorded telephone conversations and speech as its materials, provoked a dispute as to whether it is music or not; Projection (1970), for string quartet, makes effective use of noises as its principal texture. In Utterance (1971), for mixed chorus, Yuasa uses onomatopoeic sounds, with no text. Chronoplastic (1972), for orchestra, with its varied use of clusters, won both the Otaka and the Art Festival prizes. Constantly seeking new means of sonic expression, his experiments include a theatre piece (Yobikawashi, 1973), a dance piece (Ceremony for Delphi, 1979), recitations with action (Observations on Weather Forecasts, 1983) and what he calls a ‘computer-controlled live theatrical performance’ (Futurity, 1989). Further possibilities for the creation of new sonorities appeared with his first work for computer, A Study in White I (1987). In 1968 he received a Japan Society Fellowship, which enabled him to make a lecture tour of the USA and Europe. Since 1970 he has often been invited as a guest composer and lecturer to international festivals. In 1981 he was invited to be professor of composition at the University of California in San Diego, and in the following years became a professor at Nihon University and also a guest professor at the Tokyo College of Music. WORKS (selective list)
WRITINGS Gendai ongaku: toki no toki [Modern music: time of the time] (Tokyo, 1978) Taidanshū: ongaku no kosumorojīe [Towards a musical cosmology: a collection of talks] (Tokyo, 1982) ‘Gendai ongaku to nō’ [Modern music and nō], Kokubungaku, xxxi/10 (1986), 51–5 BIBLIOGRAPHY KdG (L. Galliano) K. Akiyama: ‘Yuasa Jōji’, Record geijutsu (1972), June, 112ff T. Kakinuma: ‘Yuasa Jōji to gengo toiu sōchi’ [Yuasa and words as devices], Ongaku geijutsu, xlii (1984), no.10, pp.100–03; no.11, pp.105–9; no.12, pp.96–101 K. Hori, ed.: Nihon no sakkyoku nijusseiki [Japanese compositions in the 20th century] (Tokyo, 1999), 267–9 MASAKATA KANAZAWA Yudina, Mariya (Veniaminovna) (b Nevel', 29 Aug/10 Sept 1899; d Moscow, 19/20 Nov 1970). Russian pianist. Her first teacher was Frida Teitelbaum-Levinson, with whom she had lessons for six years. In 1912 she entered the Petrograd Conservatory, where, aside from studying the piano with Yesipova, Drozdov, Blumenfeld and later Nikolayev, she also undertook a wide range of other courses. She joined the faculty of the conservatory in 1921 (and remained there until 1930), whilst the same year making her formal début with the Petrograd PO under Emil Kuper. Her first solo recital in Moscow took place in 1929. Following two years from 1932 spent teaching at the Tbilisi Conservatory, she moved permanently to the Russian capital, serving as a professor at the conservatory from 1936 to 1951, where she also gave classes in singing, and teaching concurrently at the Gnesin Institute from 1944 to 1960. She produced Taneyev's Orestes at the conservatory in 1939, repeating it in 1946, and gave her final recital in May 1969. A renowned Bach player, whose ability to master and to project details of counterpoint won unanimous admiration, Yudina had a serious interest also in promoting 20th-century music, and gave several performances of works by Stravinsky, Hindemith and Shostakovich. Also noted as an effective Beethoven interpreter, among her many recordings are versions of the Fourth Concerto, the Choral Fantasy, the Hammerklavier Sonata and Diabelli Variations. All are played with a fine mastery of pianism. The eccentricities of Yudina's personality were to some extent reflected in her interpretations, most particularly in the freedom she took with regard to tempo markings. BIBLIOGRAPHY M. Yudina: ‘Mïsli o muzïkal'nom ispolnitel'stve’ [Thoughts on musical performance], Muzïka i muzïkantï Leningrada (Leningrad and Moscow, 1972), 202 [transcript of conversation of 30 Oct 1970] JAMES METHUEN-CAMPBELL Yueqin. Short-necked lute of the Han Chinese. Literally ‘moon qin’, the name is often popularly translated as ‘moon lute’. The yueqin is constructed of a short fingerboard inserted into a large circular resonating chamber (about 60 cm in total length). Distinguishing features include four long tuning pegs inserted laterally into the pegbox, soundboards of softwood (commonly wutong) covering the top and bottom of the resonating chamber, and between eight and 12 bamboo frets glued to the neck and upper part of the soundboard. On traditional lutes, four silk strings are grouped in two double courses and tuned a 5th apart. The yueqin is historically related to several Han Chinese lutes, especially the qinqin, shuangqing and ruan. The qinqin (‘Qin [kingdom] qin’) has a long fretted neck, often only two or three strings (pitched about one octave lower than the yueqin) and a scalloped or ‘plum blossom’ shaped resonating chamber (about 90 cm in total length). The shuangqing (literally ‘double clear’) or shuangqin, a lute known since the 18th century, resembles the qinqin in size, though it has four strings and an octagonal resonating chamber. These instruments can all be traced back to the ancient ruan, a lute which was described by different names in the literature of the Han dynasty (206 bce–220 ce). During the Tang dynasty (618–907), the instrument was most commonly known as ruanxian after the name of a famous 3rd century ce performer. The Shōsōin repository in Japan is in possession of two beautifully decorated ruanxian (Jap. genkan) from the Tang period, each about 100 cm in length, with four evenly distributed strings (not in double courses). In the music treatise Yueshu (c1100), the same lute is described as having a round soundbox, long neck, four strings and 13 frets, but it is called yueqin rather than ruanxian. While the artwork of this period shows the ruanxian to have been present in instrumental ensembles, its popularity faded over time and it survived but marginally into the 20th century. The yueqin (essentially a ruanxian with short neck) and qinqin (a ruanxian with small scalloped soundbox) are both still in use. The qinqin is especially common in Chaozhou and Cantonese traditions of south China, and the yueqin is most frequently employed in Beijing opera ensembles. Yueqin variants are also used in accompaniment of dance-songs and other genres of the Yi and other minority peoples of south-west China. When the modern concert-hall ensembles were formed during the mid-20th century, the ruanxian (popularly known as ruan) was revived, and it and the yueqin were ‘improved’ at the state-owned instrument factories, both given many more frets (up to 24) for increased range and chromatic capability, and repositioned to accommodate the Western ideal of equal temperament. The new ruan is now constructed in various sizes, tenor (zhongruan) and bass (daruan) being especially effective support instruments within large ensembles. The new yueqin retains its former size, but its string numbers are usually reduced from four to three, and tuned to separate pitches for an extended range. In spite of this change, the new yueqin has not won wide acceptance into the modern Chinese orchestra. BIBLIOGRAPHY K. Hayashi and others: Shōsōin no gakki [Musical instruments in the Shōsōin] (Tokyo, 1967) [with Eng. summary] Yuan Bingchang and Mao Jizeng, eds.: Zhongguo shaoshu minzu yueqi zhi [Dictionary of musical instruments of the Chinese minorities] (Beijing, 1986), 229–40 Liu Dongsheng and others, eds.: Zhongguo yueqi tuzhi [Pictorial record of Chinese musical instruments] (Beijing, 1987) A. Thrasher: La-Li-Luo Dance-Songs of the Chuxiong Yi, Yunnan Province, China (Danbury, CT, 1990), 43–51 Liu Dongsheng, ed.: Zhongguo yueqi tujian [Pictorial guide to Chinese musical instruments] (Ji'nan, 1992), 210–15 Zheng Ruzhong: ‘Musical Instruments in the Wall Paintings of Dunhuang’, CHIME, no.7 (1993), 4–56 ALAN R. THRASHER |
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Dorian Blues, 1963, The Overday, 1963, Early Tuesday Morning Blues, 1963; Sunday Morning Blues, 1964
