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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 |
Yerkanian, Yervand Vahani
(b Leninakan [now Gyumri], 15 Nov 1951). Armenian composer. From 1966 to 1970 he studied at the Leninakan Music College, and then attended the Yerevan Conservatory where he studied composition with Grigor Eghiazarian and the violin with Hakob Vardanian, took a postgraduate course (1975–7) and later taught composition and counterpoint (1975–94). He was the head of the music department of Armenian Television and Radio (1982–4) and has directed an early music ensemble ‘Tagharan’ (1987–94), and, in the Lebanon, a choir and a chamber orchestra. His works have been performed in festivals in Buenos Aires, Jbail, Moscow, Paris, Tbilisi, Yerevan and Zagreb. His first works displayed his interest in early music as well as his leanings towards post-Webern serialism; the refined language of the early, largely instrumental compositions was later combined with a more expressive tone in programmatic and scenic works such as Orestes and Edip arka (‘Oedipus rex’). The rhythmic vitality of his own writing and his intellectual compositional approach have allowed him to individualize various stylistic influences from the works of Stravinsky, Messiaen and Xenakis. In the second stage of his creative development (1977–87), the rhythmic ornamentation and melodic formulae of medieval Armenian monodies exerted an influence on his style, particularly in the stage and large-scale choral compositions, which are notable for their suppleness of construction. During this period, he honed his instrumental technique by writing a series of string quartets and concertos. The most recent works have a sacred orientation and make use of material from Armenian Orthodox music. WORKS (selective list)
BIBLIOGRAPHY K. Meyer: ‘Hayastani zhamanakanits compozitorneri steghdsagor-tsutyan shurg’ [On the work of contemporary Armenian composers], Sovetakan arvest (1980), no.8, pp.41–2 A. Arevshatian: ‘Muzïka dlya kamerno-orkestrovïkh sostavov 70–80-ye g.’ [Chamber orchestral music in the 1970s and 80s], Armyanskoye sovetskoye iskusstvo na sovremennom etape, ed. G. Geodakian (Yerevan, 1987), 155–6 G. Tigranov: Armyanskiy muzïkal'nïy teatr [The Armenian musical theatre], iv (Yerevan, 1988), 93–104 S. Sarkisian: ‘Yervand Yerkanian’, Azdak [Beirut] (6 March 1996) SVETLANA SARKISYAN Yermolenko-Yuzhina [Ermolenko-Yushina; Plugovskaya], Nataliya (Stepanovna) (b Kiev, 1881; d after 1924). Russian soprano. She studied in Kiev and Paris and made her début under the name of Yermolenko as Lisa in The Queen of Spades at Kiev in 1900. She went to St Petersburg in 1901 and to the Bol'shoy in 1905. There she met the tenor David Yuzhin, whom she married, adding his name to her own professional name. For two seasons both singers joined Sergey Zimin’s Private Opera in Moscow. Yermolenko was also among the most admired members of the distinguished company from Russia that performed in Paris in 1908, introducing Boris Godunov to the West. From 1915 to 1917 she was with the Mariinsky Theatre opera company, and in 1924 emigrated to Paris, where all traces of her appear to have been lost. She was considered the leading Russian lyric-dramatic soprano of her time, with a repertory that included Brünnhilde, Norma, Violetta and Carmen as well as many Russian operas; among these, one of her greatest successes was in Serov’s Judith. Her rare recordings show clearly the impressive volume and quality of her voice and the authority of her style and technique. J.B. STEANE Yes. English rock group. Formed in London by Jon Anderson (b Accrington, 25 Oct 1944; vocals) and Chris Squire (b Wembley, 4 March 1948; bass) in 1968, Yes became one of the most commercially successful of the British progressive rock bands between 1970 and 1977. The group is known for its complicated arrangements, instrumental virtuosity and the ambitious scope of its music. The Yes Album (Atlantic 1971) was its first successful album and saw the addition of Steve Howe (guitar). Keyboard player Rick Wakeman joined the group for Fragile (Atlantic 1971), which featured the U.S. hit single Roundabout. In the years that followed, Yes released an impressive string of studio albums: Close to the Edge (Atl. 1972), Tales from Topographic Oceans (Atl. 1973) and Relayer (Atl. 1974) each contain complex and extended tracks, many lasting up to 20 minutes. Critics often dismissed Yes’ 1970s music as self-indulgent and pretentious, due to the group’s eagerness to adopt classical music styles and practices; but fans, especially in the USA, celebrated these very same tendencies. With the rise of punk and new-wave rock at the end of the 1970s, the group faced waning popularity and disbanded in 1980. It later reformed with South African Trevor Rabin on guitar and released 90125 (Atl. 1983), which returned to a more mainstream rock style, and whose track Owner of a Lonely Heart became the group’s biggest hit single. The group remained active in the 1990s. While Yes’ commercial success in the 1980s exceeds that of the 70s, the innovative and eclectic earlier music was more influential, playing a central role in the development of progressive rock. BIBLIOGRAPHY S. Turner: ‘The Great Yes Technique Debate’, Rolling Stone (30 March 1972) C. Welch: ‘Yes Please!’, Melody Maker (16 Feb 1974) [interview] D. Hedges: Yes: the Authorised Biography (London, 1981) T. Morse: Yesstories: Yes in Their Own Words (New York, 1996) J. Covach: ‘Progressive Rock, “Close to the Edge” and the Boundaries of Style’, Understanding Rock: Essays in Musical Analysis, ed. J. Covach and G. Boone (New York and London, 1997), 3–31 JOHN COVACH Yesipova, Anna [Annette] Nikolayevna (b St Petersburg, 12 Feb 1851; d St Petersburg, 18 Aug 1914). Russian pianist and teacher. Daughter of a high official, she studied at the St Petersburg Conservatory with Leschetizky, to whom she was married from 1880 until 1892. From 1871 to 1892 she lived mainly in western Europe, undertaking several very successful concert tours. She made her London début in 1874; her lightness of touch and singing tone were highly praised, but some critics took exception to her often exaggerated interpretations of Classical pieces. In 1875 she appeared in Paris and in the following year went to the USA. In 1885 she was appointed pianist to the Russian court. She taught the piano at the St Petersburg Conservatory (1893–1908), where her pupils included Prokofiev and Borovsky. BIBLIOGRAPHY A.D. Alekseyev: Russkiye pianistï (Moscow, 1948) T. Berkman: A.N. Yesipova: zhizn', deyatel'nost' i pedagogicheskiye printsipï [Life, work and teaching principles], ed. G.M. Kogan (Moscow, 1948) N. Bertenson: ‘A.N. Yesipova: k 100-letiyu so dnya rozhdeniya’ [On the centenary of her birth], SovM (1951), no.3, pp.82–4 N. Bertenson: Anna Nikolayevna Yesipova: ocherk zhizni i deyatel'nosti (Leningrad, 1960) JENNIFER SPENCER Yeston, Maury (b Jersey City, NJ, 23 Oct 1945). American composer, lyricist and theorist. A composer since the age of six, he attended Yale University (1963–7), where he studied with the musicologist William G. Waite and the theorist Allen Forte, earned the PhD in theory in 1974, became a professor of theory for the next six years, and occasionally returned as a guest professor. As a theorist he produced a monograph on Schenkerian analysis and a provocative new theory on rhythmic stratification. The year before receiving the doctorate he conceived a musical based on Federico Fellini's autobiographical film 8½ and, after launching the project for Lehman Engel's BMI Music Theatre Workshop, continued to develop it over the next nine years. The result, coincidentally named Nine (1982), was an unusual musical with one male character (the great film director, Guido Contini (Fellini), as an adult and as a nine-year-old) and 21 women occupying the director's real and imagined worlds. In the popular and critically acclaimed staging by the director, Tommy Tune, Nine received Tony Awards for Best Score and Best Musical and ran for 739 performances. Its score was notable for its successful adaptation and personalization of traditional and popular Italian, and in one case French, musical idioms. Yeston's only significant earlier professional theatrical credit was the title song and incidental music to a 1981 off-Broadway production of Caryl Churchill's farce about sexual confusion, Cloud 9, directed by Tune. At the end of the 1980s Tune called upon Yeston to contribute seven new songs for the surprisingly successful Grand Hotel (1989), a considerably reconceived revival of Wright and Forrest's At the Grand, which had closed in Los Angeles in 1958. By the time Yeston completed Phantom, begun in 1983 with Nine's librettist Arthur Kopit, Andrew Lloyd Webber had already mounted his phenomenally successful The Phantom of the Opera in London and New York. Despite this obstacle, Yeston's Phantom, a work that explores dramatic areas untapped by the novel or any stage or filmed realization and contains music that imaginatively evokes Verdi and 19th-century French opera, has been produced by numerous distinguished American companies since its première in 1991. In 1997 Titanic, a musical about the famous luxury liner that sank in 1912, became Yeston's second musical to receive the Tony Award for Best Score and Best Musical. For further reference, see M. Gottfried: More Broadway Musicals Since 1980 (New York, 1976). WORKS (selective list)
WRITINGS Readings in Schenker Analysis (New Haven, CT, 1975) The Stratification of Musical Rhythm (New Haven, CT, 1976) GEOFFREY BLOCK |
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