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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 |
Yanovs'ky (Siegel), Borys Karlovych
(b Moscow, 19/31 Dec 1875; d Kharkiv, 19 Jan 1933). Ukrainian composer, conductor and critic. A graduate of Kiev University (1903) he studied music privately with E. Ryb and worked as a conductor and critic in Kiev until 1910. He then continued these activities in St Petersburg and then Moscow where he conducted at the Zimin Private Opera (1916–17). In 1918 he settled in Kharkiv where he added teaching (at the Musical Dramatic Institute) to his activities. His opera Vybukh (‘Explosion’) was the first Ukrainian opera on a revolutionary theme, while his last opera, Duma chornomors'ka (‘Duma of the Black Sea’), is a grand opera based on Ukrainian folk music and is dedicated to Verdi. Polish and Turkish materials are also used to characterize the various national elements of the plot. WORKS (selective list)
BIBLIOGRAPHY L. Arkhimovych: ‘Nova lyudyna v umovakh novoho zhyttya’ [A new man in conditions of a new life], Ukraïns'ke muzykoznavstvo (1968), no.3, pp.3–17 L. Arkhimovych: ‘Shlakhy rosvytku ukraïns'koï radyans'koï opery’ [The paths of development of Ukrainian Soviet opera] (Kiev, 1970) VIRKO BALEY Yanov-Yanovsky, Dmitry Feliksovich (b Tashkent, 24 April 1963). Russian composer. He studied with his father Feliks at the Tashkent Conservatory, graduating in 1986. During this period he also travelled to European Russia where he benefited from the advice and support of, among others, Schnittke and Denisov. It was through the latter's intervention that Dmitry Yanov-Yanovsky's music began to be heard abroad: in 1991 his Lacrymosa for soprano and string quartet was given special mention at the 4th International Competition for the Composition of Sacred Music in Fribourg, Switzerland, where it was performed by the Arditti Quartet and Phyllis Bryn-Julson. In 1993 he took part in the Summer Academy at IRCAM and since then his music has been heard in many countries. Of particular importance has been his association with the Kronos Quartet who, in addition to performing Lacrymosa with Dawn Upshaw, have given the first performances of four other works including Conjunctions (1995), a concerto for string quartet, orchestra and tape. A more unusual facet of his musical personality is heard in his cycle of five pieces utilizing the Central Asian cimbalom called a chang. The composer taught himself to play this instrument; the last piece in the cycle – Chang-Music V – was first performed by him and the Kronos Quartet. Other works reflect aspects of his early years in Tashkent: Awakening (1993) makes evocative use of the Muslim call to prayer, while Takyr (1995) plays with the sound of traditional Uzbek percussion instruments. Come and Go (1995) and Hommage à Gustav Mahler (1996) reflect more Western interests not only in their texts – the former is an ‘étude for the stage’ after Beckett – but in their respective stylistic allusions to post-Webernian modernism and late German Romanticism. Broadly speaking, Dmitry Yanov-Yanovsky is a composer of acute sensitivity who favours a refined beauty of sound and emotional intensity. WORKS (selective list)
GERARD McBURNEY Yanov-Yanovsky, Feliks (b Tashkent, 28 May 1934). Russian composer. Born to Russian-speaking parents of partly Polish-Jewish extraction, he studied the violin and composition at the Tashkent Conservatory, graduating in 1957 and 1959 respectively. He pursued a career as a violinist for a while: firstly in the Uzbek State SO (from 1954) and later as a member of the Uzbek Radio String Quartet. In 1961 he was appointed to teach at the Tashkent Conservatory and subsequently became professor of composition there. His works immediately suggest that he is a composer of Western sympathies – he has written symphonies, string quartets, set Latin texts from the Catholic tradition and written an opera after Anouilh. But given that he has spent his life in Asia, this alliance is in fact unusual and not typical of his background. Although Western music exerted a strong appeal on Soviet composers during the period during his younger years, Yanov-Yanovsky was doubly isolated by his existence in the then musically provincial Tashkent. His creative reaction to this political and geographical isolation was not protest but a patient construction of very personal musical bridges which reach out towards the European and even Russian traditions to which he felt closest and from which he might otherwise be separated. The result is a language of subtle culture and emotional generosity, in which surface modesty and reticence mask impressive strength and commitment of utterance. His particularly muscular and passionate string writing reflects his experience of playing the symphonic and chamber music of the Austro-Germanic tradition. It would, however, be wrong to suggest that he has ignored the Asiatic traditions which surround him: he has set texts by Asian writers and, more importantly and generally, he has brought an Eastern perspective to his forays into the Western mind. WORKS (selective list)
GERARD McBURNEY Yanowski, Feliks. See Horecki, Feliks. Yap. See Micronesia, §II, 6. Yaraví. Probably a Spanish variant of the Quechua word ‘harawi’ (or harahui) which, in pre-Conquest times, meant any melody or sung narrative, particularly those chanted by haravecs, the official rhapsodists of the Inca court. Over the centuries this Andean genre has taken on a lyrical elegiac character with a principal theme of the anguish of lost or unrequited love. Frequently set in either a simple two-part (AA') or a rounded binary (ABA') form with regular phrase structures, the yaraví characteristically exploits the major and relative minor bimodality inherent in its essentially pentatonic tonal framework; although 3/4 metre occurs regularly, multi-metre schemes reflect the melodic flow of many expressive examples. Several composers, including Ginastera (Impresiones de la Puna, 1934) and Luis H. Salgado (Symphony no.1 ‘Ecuatoriana’, 1945–9), have set the yaraví for chamber ensemble or orchestra. Yaravís were published, in musical score, as early as the 1880s by Marcos Jiménez de la Espada. BIBLIOGRAPHY M.J. de la Espada and D. Marcos: ‘Yaravíes quiteños’, Actas de la cuarta reunión: 4th International Congress of Americanists (Madrid, 1881), 1–82 JOHN M. SCHECHTER Yardbirds, the. English rock band. It was formed in London in 1963 by the art school students Keith Relf (22 Mar 1943–76; vocals and harmonica), Jim McCarty (b 25 July 1943; drums), Paul Samwell-Smith (b 8 May 1943; bass guitar), Chris Dreja (b 11 Nov 1945; rhythm and bass guitars) and Anthony ‘Top’ Topham (lead guitar) who was replaced by Eric Clapton (b 1945). They began playing covers of rhythm and blues standards, and replaced the Rolling Stones as the house band at the Crawdaddy Club in Richmond, where they made a live recording with Sonny Boy Williamson (i). Their early live performances were distinguished by extreme volume, quick tempos, energy and raw power, which was captured on Five Live Yardbirds, recorded at the Marquee in London (1965). Even in the studio their frenetic style came across, especially in the characteristic climatic point of such songs as I’m a man, I ain’t done wrong, Lost Woman and Shape of Things, where repeated quavers, increasing volume and octave leaps in the bass increased the tension. With the exception of Clapton’s prominence on Got to hurry, Relf’s harmonica was usually the main solo instrument. When Jeff Beck (b 1944) replaced Clapton (1965) the guitar became the real focus of the music; Beck’s experimental, extroverted style, along with the group’s new interest in a wider variety of music, changed their sound. The influence of Indian music is heard in the riffs to Heart Full of Soul, Over, Under, Sideways, Down and Happenings Ten Years Time Ago, while Still I’m sad shows traces of Gregorian chant. With these songs the band pioneered the psychedelic sound; the album Yardbirds (Columbia 1966) is an important document of this style. Happenings Ten Years Time Ago, with its heavy use of echo, indecipherable talking and laughing during the wailing guitar solo and lyrics in which the protagonist is ‘sinking deep into the world of time’, is the most fully developed example of their psychedelic style, and was made after Jimmy Page (b 1946) had joined the group in 1966, first on bass guitar, then briefly joining Beck on lead guitar before eventually replacing him the following year. Page continued the experimental direction in pieces such as ‘White Summer’ (Little Games, Columbia, 1967) and ‘I’m confused’ (Yardbirds, Col., 1968); both these songs (the latter as ‘Dazed and Confused’) became staples in the repertory of the New Yardbirds, later renamed Led Zeppelin, which Page formed to succeed the Yardbirds after its demise in 1968. BIBLIOGRAPHY P. Brown: ‘Yardbirds Inside and Out’, Musician (1982), 88–98ff J. Platt, C. Dreja and J. McCarty: Yardbirds (London, 1983) SUSAN FAST Yardumian, Richard (b Philadelphia, 5 April 1917; d Bryn Athyn, PA, 15 Aug 1985). American composer of Armenian descent. Already familiar with Armenian folk music and the classical repertory, he composed his first piece at the age of 14 and in his late teens studied music independently, with the encouragement of Stokowski and Iturbi. In 1936 he became a member of the Swedenborgian Church and later served as music director of the Lord's New Church, Bryn Athyn; his religion was among the most important influences on his works. He began his formal training in 1939, studying harmony with William Happich, counterpoint with H. Alexander Matthews, and the piano with Boyle until 1941. He attended Monteux's conducting school in 1947 and studied with Virgil Thomson briefly in 1953. He was closely connected with the Philadelphia Orchestra from 1951 to 1964, during which time the orchestra gave almost 100 performances and made four recordings of his works. Throughout his career Yardumian strove to create his own personal compositional language, influenced by Appalachian ballads and by the sonorities and techniques of Debussy, as well as by Armenian music. He formulated a system of 12 notes based on superimposed 3rds built from alternate black and white notes of the keyboard (‘quadrads’). The resulting homophonic free chromaticism is apparent in the Violin Concerto, the Chromatic Sonata and other works written between 1943 and 1954. After Cantus animae et cordis (1955) his work took a new direction, with a period of intense study of medieval and Renaissance modality and polyphony and of the music of Bach. Works such as the Mass are characterized by the use of folk melodies and liturgical chants of Armenia. WORKS (selective list)
BIBLIOGRAPHY EwenD L.E. Carroll: ‘Remembering Composer Richard Yardumian’, Choral Journal, xxvi/8 (1986), 23–7 MARY KINDER LOISELLE |
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