Yakubov, Manashir Abramovich

(b Groznïy, 4 May 1936). Russian musicologist and music critic. In 1960 he graduated from the Moscow Conservatory having studied theory with Mazel' and became a theory teacher at the music college in Makhachkala, Daghestan. He was chief editor of the theory department at the journal Sovetskaya muzïka (1963–6). He was a senior academic officer at the Daghestan Institute for the History of Language and Literature (1973–98), a branch of the Soviet Academy of Sciences, and in 1976 was appointed curator of Shostakovich's family archives. He gained the Kandidat degree in 1986, and was awarded the title Honoured Representative of the Arts of Daghestan. He became chief editor of the publishing house DSCH in 1993.

Yakubov has published more than 1000 writings, many of which have been translated. His main interests are Russian contemporary music, musical ethnography, the problems of musical performance and the works of Prokofiev, Shostakovich, Schnittke, Boris Chaykovsky and composers from Daghestan. As a result of his research in the Shostakovich archives, he has restored a number of the composer's ballet scores and prepared a scholarly edition of the cantata Antiformalisticheskiy rayok (‘The Antiformalist Rayok’, Moscow, 1995) and piano scores of the ballets Zolotoy vek (‘The Golden Age’, 1995), Bolt (‘The Bolt’, 1996) and Svetlïy ruchey (‘The Limpid Stream’, 1997).

WRITINGS

‘Pis'ma iz Dagestana’ [Letters from Daghestan], Muzïkal'naya zhizn' (1958), no.10, p.3 only

‘Kompozitorï Dagestana (kriticheskiye zametki)’ [The composers of Daghestan (critical notes)], SovM (1963), no.12, pp.17–21

‘Opernïy debyut Ėyno Tamberga’ [Eyno Tamberg’s operatic début], SovM (1966), no.1, pp.20–25

Sergey Agababov: 1926–1959: ocherk zhizni i tvorchestva [Agababov: 1926–1959: an outline of his life and work] (Moscow, 1966)

‘Velichayshiy melodist XX veka (k izucheniyu naslediya S.S. Prokof'yeva)’ [The greatest melodist of the 20th century (studying Prokofiev’s legacy)], SovM (1966), no.4, pp.39–50

‘Polifonicheskiye chertï melodiki Prokof'yeva’ [Polyphonic features in Prokofiev’s melodics], Ot Lyulli do nashikh dney, ed. I. Slepnyov (Moscow, 1967), 193–229

‘Severokavkazskiye ėskizï (ocherki nashego vremeni)’ [North Caucasian sketches (essays of our times)], SovM (1968), no.5, pp.23–35

‘Bolgariya – Dagestan’, Bolgariya – SSSR: dialog o muzïke: Moscow 1969, ed. I.A. Slepneva and V.I. Zaka (Moscow, 1972), 83–132

‘Kvartet imeni Borodina’ [The Borodin Quartet], Moskovskaya gosudarstvennaya filarmoniya, ed. L. Grigor'ev and I.M. Platek (Moscow, 1973), 212–18

‘Boris Chaykovskiy (tvorcheskiy portret)’ [Chaykovsky (A creative portrait)], Muzïkal'naya zhizn' (1974), no.21, pp.15–17

‘Simfoniya Al'freda Shnitke’, SovM (1974), no.10, pp.19–22

‘Ansamblï iz Iraka i Shri-Lanki’ [Ensembles from Iraq and Sri Lanka], SovM (1975), no.10, pp.70–74

‘Ot pesni k opere i simfonii (Shirvani Chalayev)’ [From the song to the opera and symphony (Chalayev)], Kompozitorï soyuznïkh respublik, i, ed. M.I. Nest'yeva (Moscow, 1976), 158–213

Otets dagestanskoy muzïki: ocherk zhizni i tvorchestva G.A. Gasanova [The father of Daghestan music: an outline of the life and work of Gasanov] (Makhachkala, 1980)

‘Sekventsii Prokof'yeva (k izucheniyu naslediya S.S. Prokof'yeva)’ [Prokofiev’s sequences (studying Prokofiev’s legacy)], SovM (1988), no.5, pp.81–93

‘O “Soldatakh” B.A. Tsimmermana’, Izvestiya (2 Oct 1989)

‘Sluzhitel' muzïki: shtrikhi k portretu G.I. Litinskogo’ [A servant of music: brushstrokes for a portrait of Litinsky], SovM (1990), no.5, pp.58–65

‘Galina Vishnevskaya i Mstislav Rostropovich: istoriya lisheniya sovetskogo grazhdanstva: slovo obvinyayemïkh’ [Vishnevskaya and Rostropovich: the story of how they were deprived of Soviet citizenship: the word of the accused], Muzïkal'noye obozreniye (1994), nos.7–8, pp.22–5

‘Opït rekonstruktsii avtorskoy redaktsii baleta “Zolotoy vek”’ [An attempt at reconstructing the original version of the ballet The Golden Age], ‘“Rayok” Musorgskogo i “Antiformalisticheskiy rayok” Shostakovicha: traditsii russkoy muzïkal'noy satirï ot Aleksandra II do Stalina i Brezhneva’ [Musorgsky’s The Gallery and Shostakovich’s The Antiformalist Rayok: the traditions of Russian musical satire from the time of Alexander II to Stalin and Brezhnev], MAk (1997), no.4, pp.47–51, pp.149–54

with I. Shostakovich: ‘Zhivaya klassika’ [A living classic], ibid., pp.4–15 [interview with the editorial board]

IOSIF GENRIKHOVICH RAYSKIN

Yale School of Music.

One of two administrative units for the study of music within Yale University in New Haven, Connecticut (the other being the Department of Music). A musical society was established at the university by 1812. In 1890 music was added to the formal curriculum, and Gustave J. Stoeckel was appointed professor of music. By 1894 a music school was created and degrees in music were awarded. Horatio Parker served as the first dean of the school from 1904 to 1919. The School of Music awarded its first MM in 1932. In 1958 it became exclusively a graduate professional school, and in 1968 it began a DMA programme, in which performers and composers must prove themselves as professionals before receiving the degree. The Institute of Sacred Music was established in 1973 in affiliation with both the School of Music and the School of Divinity. In the late 1990s the School of Music enrolled 185 students and had 60 faculty members. Performing ensembles include the Yale Philharmonia Orchestra, one of the best student orchestras in the USA. Concerts are given in Woolsey Hall (cap. 2695), Morse Recital Hall (720) and Sudler Hall (200). Chamber music is stressed in the regular programmes and at the Yale Summer School for Music and Art in Norfolk, Connecticut, first sponsored by Yale in 1941.

BIBLIOGRAPHY

H.E. Samuel: ‘ Yale's DMA: a Progress Report’, College Music Symposium, xviii (1978), 97–104

L. Noss: A History of the Yale School of Music, 1848–1970 (New Haven, CT, 1984)

L. Noss: ‘Music Comes to Yale’, American Music, iii (1985), 337–46

PEGGY DAUB (with VICTOR T. CARDELL)/ R

Yamada, Kazuo

(b Tokyo, 19 Oct 1912; d Kanagawa, 13 Aug 1991). Japanese conductor and composer. He studied the piano at the Tokyo School of Music (now the Tōkyō Geijutsu Daigaku), and in 1937 won first prize in an NHK competition with his Prelude on Japanese Popular Songs for orchestra; he later won several more prizes for his compositions. After studying conducting under Joseph Rosenstock he made his conducting début in 1940, becoming assistant conductor of the New SO (now the NHK SO) in 1941 and principal conductor in 1942. Yamada was subsequently music director of several Japanese orchestras, and toured in Europe, the USA and South Africa. His conducting was renowned for its flair and passionate energy, and his enterprising programmes included the first Japanese performances of such works as Mahler’s Symphony no.8, The Rite of Spring and Webern’s orchestral music. From 1965 to 1972 he taught at the Tōkyō Geijutsu Daigaku, where Hiroshi Wakasugi and Ken'ichiro Kobayashi were among his students.

MASAKATA KANAZAWA

Yamada Kengyō

(b ?Edo [Now Tokyo], 28 April 1757; d Edo, 10 April 1817). Japanese blind musician. By the time he was promoted to the rank of kengyō, the highest title in the guild of professional blind musicians, he had created his own particular style of koto music. Eventually known as the Yamada ryū sōkyoku, it became popular among various social classes in Edo. His own popularity was described in several contemporary novels and essays. A collection of his song texts was published in 1800 and another in 1809 as well as eight compositions notated in koto tablature in 1809. All his works still performed today seem to have been written by 1809. Yamada's compositions are characterized by: the adoption of shamisen (syamisen) music, such as ittyū-busi and katō-busi, into his koto music; the appearance of the koto part playing melodic patterns in these shamisen styles, with the vocal part performing the corresponding narrative styles; the predominance of the koto over the shamisen in the ensemble; the incorporation of musical elements of heikyoku (narrative style accompanied by biwa) and nō theatre; and the use of literary elements of Japanese classics and nō. In order to increase the volume of sound of the koto, he supposedly transformed the koto tsume (plectrum) from the rectangular Ikuta ryū type into the round Yamada ryū type. The artistic name ‘Yamada Kengyō’ was not adopted by Yamada's disciples, but his music has been steadily transmitted over the years. His compositions include: Hatune no kyoku (a koto kumiuta); 35 sakuuta mono (vocal works of the school founder), including Kogō no kyoku, Yuya, Tyōgonka no kyoku and Aoi no ue; Enosima no kyoku; Sumiyosi; and Sakuragari.

BIBLIOGRAPHY

E. Kikkawa: disc notes, Sōkyoku to jiuta no rekishi [History of sōkyoku and jiuta], Victor SLR510–SLR513 (1961; Eng. trans., enlarged, 1997, as A History of Japanese Koto Music)

M. and S. Kishibe and Y. Kondō: ‘Yamada Kengyō no shōgai to jiseki’ [Life and works of Yamada kengyō], Tōy ō ongaku kenkyō , xxvi-xxvii (1969), 1–64

S. Kishibe and K. Hirano, eds.: Yamada-ryū sōkyoku si (Tokyo, 1973, enlarged, 3/1978)

K. Hirano and K. Tanigaito: ‘Ziuta sōkyokuka no kengyō tōkannen’ [Genealogy of blind musicians in the Edo period], Tōyō ongaku kenkyū, xlv (1980), 23–71 [with Eng. summary]

G. Tsuge: Anthology of Sōkyoku and Jiuta Song Texts (Tokyo, 1983)

P. Ackermann: Studien zur Koto-Musik von Edo (Kassel, Basle and London, 1986)

K. Hirano: ‘Yamada kengyō’, Nihon ongaku daijiten [Encyclopedia of Japanese music], ed. K. Hirano, Y. Kamisangō and S. Gamō (Tokyo, 1989), 760

YOSIHIKO TOKUMARU

Yamada, Kōsaku [Kósçak]

(b Tokyo, 9 June 1886; d Tokyo, 29 Dec 1965). Japanese composer, conductor and educationist. He studied at the Tokyo Music School (1904–8) with Tamaki Shibata (or Miura) for vocal music and Heinrich Werkmeister for the cello and theory. In 1910 he went to the Berlin Hochschule für Musik, where he studied composition with Leopold Carl Wolff. While still a student he distinguished himself as a composer of symphonic and chamber music, and in 1912 completed his first opera, Ochitaru tennyo (‘The Depraved Heavenly Maiden’). In order to prepare for the performance of this work he returned to Tokyo in January 1914; the outbreak of World War I prevented him from going back to Germany, however, and the opera’s première was delayed for more than 15 years. In Japan he formed the Tokyo Philharmonic Society Orchestra (not identical to the later organization) under the patronage of Baron Koyata Iwasaki, and conducted its first concert, the first ever by a Japanese professional orchestra, in May 1915. By this time he was composing prolifically. The Gotaiten hōshuku zensōkyoku (‘Prelude on the Japanese National Anthem’) for chorus and orchestra (1915) was written for the coronation of Emperor Taishō, and in 1916 Yamada collaborated with the dancer Bac Ishii in three ‘choreographic tone poems’. In December 1917 he went to the USA for the first time, and on 16 October 1918 he conducted an American orchestra at Carnegie Hall in a programme of his compositions; American publishers, including Fischer and G. Schirmer, began to publish his songs and piano pieces. He remained active as a guest conductor in the USA until May 1919 and, despite current anti-German sentiments, did not hesitate to include music by Wagner in his programmes.

Immediately on his return to Japan Yamada began to promote performances of dramatic music; he organized the Nihon Gakugeki Kyōkai (Japanese Association for Music Drama) in September 1920 and three months later gave the third act of Tannhäuser and Debussy’s L’enfant prodigue in Tokyo and Osaka. He was now well recognized for his orchestral works such as the symphonic poem Meiji shōka (‘Ode to the Meiji’, 1921), which demonstrates his mastery of orchestral technique in a style drawing on Wagner and Strauss. At the same time he began to compose numerous vocal pieces with piano, trying to combine the traditions of the lied from Schubert to Wolf with subtle Japanese melodic features. Indeed, throughout his career he was concerned to find a musical style which would relate closely to the melodic and rhythmic elements in Japanese speech intonation. In September 1922 he and his poet friend Hakushū Kitahara started a journal, Shi to ongaku (‘Verse and music’), with the aim of finding an ideal union between the two arts. Of his more than 100 songs (the exact number is uncertain), the greater part date from the 1920s, when he was also writing many choral pieces and children’s songs.

In 1921 Yamada went back to Europe and the USA to acquaint himself with the postwar musical situation. After his return he tried to found an orchestra in Japan, and in 1925 he formed the Japanese Philharmonic Society, invited 35 Russian musicians from Manchuria, and gave a festival of Russian and Japanese orchestral music in Tokyo and other major cities in Japan. He had succeeded in organizing an orchestra, but on the formation of the New SO (later the NHK SO) by Hidemaro Konoe he dissolved his group and devoted himself to composition. In 1929 The Depraved Heavenly Maiden finally reached the stage at the Tokyo Kabuki Theatre, and two years later Yamada was invited to Paris to write a new opera for the Théâtre Pigalle. He promptly fulfilled the commission with Ayamé (‘The Sweet Flag’), but the opera was not performed. He returned through Russia, where he gave several successful concerts, conducting his own works. He went to the USSR again as a composer-conductor in 1933, appearing in various cities, and in 1937 toured Europe under the auspices of the Japanese government, once more giving performances of his compositions. In 1936 he was made a Chevalier of the Légion d’Honneur and an honorary member of the Saint-Saëns and Debussy societies. His most successful opera, Kurofune (‘Black Ships’), was completed in 1939. In 1941 he received the Asahi Cultural Prize and in 1942 was made a member of the Japan Academy of Arts. He became less active during and after World War II, though continuing to write songs. His last opera, Hsìang-Fei, was left in sketch form and was performed in 1981 after being orchestrated by Ikuma Dan. The honours he received in later life included an NHK Broadcasting Cultural Prize (1950), the Medal of Honour with Blue Ribbons (1954) and the Japanese government Cultural Order (1956). Until his death he served as president of the Nihon Gakugeki Kyōkai and the Nihon Shikisha Kyōkai (Association of Japanese Conductors).

Yamada was an extremely prolific composer: it has been estimated that he wrote 1600 works. Many of his manuscripts were destroyed in the Tokyo air raid of 25 May 1945; the rest are in the Yamada Collection of the Nippon Kindai Ongaku-kan (Documentation Centre of Modern Japanese Music), Tokyo. Three attempts have been made to publish his complete works: the 15-volume Yamada Kōsaku zenshū (‘The complete works of Yamada’, Tokyo, 1931) was left incomplete after the publication of nine volumes; a more comprehensive edition was abandoned after the publication of volumes i–vii, x, xiii and xxvii (Tokyo, 1963–6); and the third attempt, edited by Nobuko Gotō, was begun in 1989. Yamada’s works show, in their thematic materials and orchestration, the clear influence of Wagner and, still more strongly, Strauss, with occasional characteristic features of Skryabin and French Impressionism; yet he never lost his identity as a Japanese composer. Although Straussian elements are particularly dominant in the large-scale works, his solo vocal pieces are in a much lighter style, imbued with emotional sentiments and a lyricism that brought them to popularity. He was the foremost Japanese advocate of German Romanticism and as such laid the foundations for modern Japanese music in the European tradition.

WORKS

(selective list)

Operas

Ochitaru tennyo [The Depraved Heavenly Maiden], 1912, Tokyo, 3 Dec 1929

Shichinin no Ōjo (Die sieben Prinzessinnen), 1913

Ayamé [The Sweet Flag], 1931

Kurofune (Yoake) [Black Ships/The Dawn], 1939, Tokyo, 28 Nov 1940

Hsìang-Fei, sketch, 1947; orchd Ikuma Dan, 1981, Tokyo, 2 Dec 1981

Orchestral

Choreographic tone poems: Maria Magdalena, 1916; Mei an [Light and Dark], 1916; Yajin sōzō [The Creation of the Rustics], 1922; Aoi honoo [Blue Flame], 1926 [arr. of pf work]

Other works: Aki no utage [The Autumn Festival], chorus, orch, 1912; Sym. ‘Kachidoki to heiwa’ [Triumph and Peace], 1912; Kurai to [The Dark Gate], sym. poem, 1913; Madara no hana [Flower of Mandala], sym. poem, 1913; Nihon kumikyoku [Jap. Suite], 1915; Gotaiten hōshuku zensōkyoku [Prelude on the Jap. National Anthem], chorus, orch, 1915; Meiji shōka [Ode to the Meiji], 1921; Tsuru kame [Crane and Turtle], 1934; Shōwa sanshō [Homage to Shōwa], 1938; Kamikaze, 1940; film scores

Choral

12345678910Следующая ⇒

Поделиться: