Yel'cheva, Irina Mikhaylovna

(b Leningrad [now St Petersburg], 28 Nov 1926). Russian composer and folksong collector. She was greatly influenced by her mother, the pianist, composer and music theorist, Nadezhda Bogolyubova. Yel'cheva studied with Sergey Vol'fenson at the Musorgsky College, Leningrad, during World War II; she then attended the Leningrad Conservatory, where she studied the piano with Aleksandr Kamensky (graduating in 1950) and composition with O.S. Chishko (graduating in 1958). In 1953 and 1956 she participated in folksong expeditions to the Pskov region, to northern Russia and to the lower reaches of the river Pechora. Since 1965 she has collected songs independently in the Ivanovo region; she published her edition of collected folksongs in 1968 and in the late 1970s recorded her own performances of some of these. Most of her original compositions reflect her two main concerns: impressions of war and Russian folk culture. She writes in a traditional style based on folk tunes.

WORKS

Stage: Spartak [Spartacus] (op, V. Chulisov, S. Tsenina, after Giovagnoli), 1961; Skazka o lenivom bobryonke [Tale of the Lazy Beaver] (mini op, Yu. Shestalov), two solo vv, pf, 1980; Riki-Tiki-Tavi (Yel'cheva, after R. Kipling), 1985; Alen'kiy tsvetochek [The Little Scarlet Flower] (Yel'cheva, after I. Bazhov), 1996

Orch: Simfoniya pamyati pogibshikh v blokadu Leningrada [Sym. in Memory of Those who Perished in the Siege of Leningrad], 1965; Pechorskiye starinï [Times of Yore in Pechora], suite, 1963; Pf Conc., 1968; Zavadskaya uvertyura [A Factory Ov.], 1975; Ivanovskaya uvertyura [Ivanovo Ov.], 1977

Choral: Russkaya svad'ba [A Russian Wedding], 1966; Khorovodnïye pesni [Round Songs] (trad.), chorus, timp/db col legno, 1967; K novoy zhizni [Towards a New Life] (orat, Yu. Shestakov), spkr, solo vv, chorus, orch, 1973; Derevenskiye stsenki [Village Scenes], 1974; Vesyolaya maslenitsa [A Merry Shrovetide] (G. Ufimtseva], cant.-performance, children’s choir, insts, 1986; Vremena goda [The Seasons], 1989

Chbr and solo inst: Palekhskaya syuita [Palekh Suite], pf, 1966; 24 prelyudii i fugi [24 Preludes and Fugues], pf, 1969; 5 p'yes [Five Pieces], ww qnt, 1974; pf sonatas, str qts, pieces for organ

Vocal: Ivanovskiye pesni [Ivanovo Songs] (trad.), Mez, pf, 1965; Mï zhivyom na severe [We Live in the North] (Yu. Shestalov), Bar, pf, 1969; Lebed' belaya [White Swan] (trad.), 1979

WRITINGS

Narodnïye pesni Ivanovskoy oblasti [Folk songs of the Ivanovo region] (Yaroslavl', 1968)

‘V poiskakh pesen: zapiski kompozitora’ [In search of songs: recordings made by the composer], Dïkhaniye Volgi [The breath of the river Volga] (Yaroslavl', 1983)

OL'GA MANUL'KINA

Yellin [née Bentwich], Thelma

(b London, 15 March 1895; d Jerusalem, 21 March 1959). Israeli cellist of English birth. She studied at the RCM from 1911 and privately with Casals. After further studies with Hekking in Paris in 1915, she made her début later that year in London, and in 1916 formed a trio with Myra Hess and Jelly d'Arányi. Visiting Palestine in 1920 to recuperate from illness, she decided to settle in Jerusalem and married Eliezer Yellin in 1921. That year she established the Jerusalem Musical Society, and in 1922 formed the Jerusalem String Quartet with her sister Margery, a violinist; it was reorganized in 1933 with Emil Hauser as leader. In 1933 she formed the Jerusalem Trio with her sister and Franz Osborn; she helped Huberman to form the Palestine Orchestra (later the Israel PO), taking part in its inaugural concert under Toscanini in 1936. She appeared as a soloist with the orchestra, played in trios with Schnabel and Huberman, and taught at the Palestine Conservatory. In 1947–8 she gave many concerts in the USA to benefit the Palestine cause, and returned to the new state of Israel in 1948 to devote her efforts to the development of its musical life. She established a new Israel String Quartet in 1951 and helped to establish the Jewish Music Seminar at Zichron Jacob for Israeli composers, first directed by Aaron Copland. One of her last achievements was to persuade the city of Tel-Aviv to provide a secondary school for musically talented children: it was opened in 1962 and named the Thelma Yellin High School of the Arts. She was considered one of the foremost cellists of her generation, with musical ideals akin to those of Casals by which her commanding technique was at the service of artistic purpose. She communicated her vibrant personality and unflagging enthusiasm to students and listeners alike, and her four decades of pioneering efforts in Israel contributed decisively to the growth of musical life there. (M. Bentwich: Thelma Yellin: Pioneer Musician, Jerusalem, 1964)

BORIS SCHWARZ/R

Yellin, Victor (Fell)

(b Boston, 14 Dec 1924). American musicologist. He was educated at Harvard, studying with Piston, Milhaud, Davison, Gombosi, A.T. Merritt and J.M. Ward; he received the AB in 1949, the AM in 1952 and the PhD in 1957. From 1958 to 1960 he taught and directed the glee club at Williams College. In 1961, after a year on the faculty of Ohio State University, he joined the music department of New York University.

A specialist in American music, Yellin has done research on musical activities in the colonial period, analysed the works of contemporary American composers and written surveys of the musical development of the USA; he has also prepared the edition of Rayner Taylor's opera The Aethiop (New York, 1994). His other areas of scholarly activity include Romantic opera, and since his student days he has maintained an interest in composition.

WRITINGS

The Life and Operatic Works of George Whitefield Chadwick (diss., Harvard U., 1957)

‘The Operas of Virgil Thomson’, in V. Thomson: American Music since 1910 (New York, 1971), 91–109

‘Chadwick, American Musical Realist’, MQ, lxi (1975), 77–97

‘Rayner Taylor’, American Music, i/3 (1983), 48–71

‘Rayner Taylor's Music for “The Aethiop”’, American Music, iv/3 (1986), 249–67; vi (1987), 20–47

Chadwick, Yankee Composer (Washington DC, 1990)

‘Prosodic Syncopation’, A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. R.A. Crawford, R.A. Lott and C.J. Ota (Ann Arbor, 1990), 449–59

‘Sullivan and Thomson, Gilbert and Stein’, JM, xi (1993), 478–98

‘Bristow's Divorce’, American Music, xii/3 (1994), 229–54

‘Mrs. Belmont, Matthew Perry, and the “Japanese Minstrels”’, American Music, xiv/3 (1996), 257–75

The Omnibus Idea (Warren, MI, 1997)

PAULA MORGAN

Yemen, Republic of (Arab. Jumhūriyyat al-Yaman).

Country in the Middle East. Located in southern Arabia, it has an area of 555,000 km². Yemen was previously divided into two states but was unified in 1990. Its music is rooted in an ancient culture (see Arab music, §I, 2(i)) and has features in common with neighbouring traditions (see Saudi arabia, Oman and Arabian Gulf). Sedentary farmers, Bedouin nomads (see Bedouin music), fishermen and townspeople make up a complex society, with a huge variety of musical styles and contexts for performance. The population of 18·2 million (2000 estimate) is predominantly Muslim (both Sunni and Shi‘a). For details of Yemeni Jewish music in Israel, see Jewish music, §V, 3(i)(a).

I. Popular and village music

II. Urban music

JEAN LAMBERT

Yemen

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