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Youmans, Vincent (Millie)



(b New York, 27 Sept 1898; d Denver, 5 April 1946). American composer. He worked as a piano salesman and music-roll maker at Aeolian, where he came under the tutelage of Felix Arndt, and later worked as a song plugger for Remick and Harms. He began composing while in the navy during World War I; Sousa admired one of his marches and orchestrated it for the Marine Corps band. In 1920, when his first song was published (The Country Cousin), he was working as a rehearsal pianist for Victor Herbert. He composed his first Broadway score, Two Little Girls in Blue, in collaboration with Paul Lannin in 1921. The success of this and his next work, The Wildflower (1923), established his fame. No, No, Nanette, also of 1923, and including ‘Tea for Two’ and ‘I want to be happy’, was the biggest musical-comedy success of the 1920s in both Europe and the USA. From 1927 Youmans also produced his own shows. He had another major success with Hit the Deck! (1927; including ‘Hallelujah’), but his subsequent productions were failures, though many of their songs remain popular. His last contributions to Broadway were some songs for Take a Chance (1932).

Youmans’s early songs are remarkable for their economy of melodic material: two-, three- or four-note phrases are constantly repeated and varied by subtle harmonic or rhythmic changes. In later years, however, apparently influenced by Kern, he turned to longer musical sentences and more free-flowing melodic lines. Youmans was forced to retire in 1934, owing to tuberculosis, after a professional career of only 13 years. More than any of his contemporaries he made constant re-use of a limited number of melodies; he published fewer than 100 songs, but 18 of these were considered standards by ASCAP.

WORKS

(selective list)

Stage

all are musicals and, unless otherwise stated, dates are those of first New York performance; where different, writers shown as (lyricist; book author)

Two Little Girls in Blue (A. Francis [I. Gershwin]), George M. Cohan, 3 May 1921; collab. P. Lannin [incl. Oh me! Oh my!, Dolly]
The Wildflower (O. Harbach and O. Hammerstein), Casino, 7 Feb 1923; collab. H. Stothart [incl. Bambalina, Wildflower]
Mary Jane McKane (W.C. Duncan and Hammerstein), Imperial, 25 Dec 1923; collab. Stothart
Lollipop (Z. Sears), Knickerbocker, 21 Jan 1924 [incl. Tie a little string around your finger, Take a little one step]
A Night Out (C. Grey and I. Caesar; G. Grossmith and A. Miller), Philadelphia, Garrick, 7 Sept 1925
No, No, Nanette (Caesar and Harbach; Harbach and F. Mandel), Globe, 16 Sept 1925 [incl. Tea for Two, I want to be happy]
Oh, Please! (Harbach and A. Caldwell), Fulton, 17 Dec 1926 [incl. I know that you know]
Hit the Deck! (L. Robin and Grey; H. Fields), Belasco, 25 April 1927 [incl. Hallelujah, Sometimes I’m happy]
Rainbow (L. Stallings and Hammerstein), Gallo, 21 Nov 1928
Great Day (E. Eliscu and W. Rose; Duncan and J. Wells), Cosmopolitan, 17 Oct 1929 [incl. More Than You Know, Without a Song, Great Day]
Smiles (Grey, H. Adamson and R. Lardner; W.A. McGuire), Ziegfeld, 18 Nov 1930 [incl. Time on My Hands]
Through the Years (E. Heyman; B. Hooker), Manhattan, 28 Jan 1932 [incl. Through the Years, Drums in my Heart]
Take a Chance (B.G. DeSylva and L. Schwab), Apollo, 26 Nov 1932; collab. R. Whiting, N.H. Brown [incl. Rise ’n’ Shine]

Other works

Film scores: What a Widow!, 1930; Flying Down to Rio, 1933 [incl. Carioca, Orchids in the Moonlight, Flying Down to Rio]
Songs: Who’s who with you, in From Piccadilly to Broadway, 1918; The Country Cousin (1920); That Forgotten Melody (W.D. Furber) (1924)
Principal publisher: Harms

BIBLIOGRAPHY

S. Green: The World of Musical Comedy: the Story of the American Musical Stage as told through the Careers of its Foremost Composers and Lyricists (New York, 1960, rev. and enlarged 4/1980)

D. Dunn: The Making of No, No, Nanette (Secaucus, NJ, 1972)

G. Bordman: Days to be Happy, Years to be Sad: the Life and Music of Vincent Youmans (New York, 1982)

GERALD BORDMAN

Young.

English family of musicians. Six singers known as ‘Miss Young’ ((3)–(8) below) sang professionally under their maiden names until their marriages and sometimes afterwards.

(1) Anthony Young

(2) Charles Young

(3) Cecilia Young [Mrs Arne]

(4) Isabella Young (i) [Mrs Lampe]

(5) Esther [Hester] Young [Mrs Jones]

(6) Isabella Young (ii) [Mrs Scott]

(7) Elizabeth Young [Mrs Dorman]

(8) Polly [Mary, Maria] Young [Mrs Barthélemon]

BIBLIOGRAPHY

BDA

BurneyH

DNB(W.B. Squire)

FiskeETM

LS

C. Dibdin: A Complete History of the English Stage, v (London, 1800/R)

F.H. Barthélemon: Jefte in Masfa [incl. a memoir by C.M. Barthélemon] (London,1827)

Lady Llanover, ed.: The Autobiography and Correspondence of Mary Granville, Mrs Delany (London,1861–2/R)

C. Higham: Francis Barthélemon (London, 1896)

W.H. Cummings: Dr Arne and ‘Rule Britannia’ (London, 1912)

H. Langley: Dr Arne (Cambridge, 1938)

M. Sands: ‘Francis Barthélemon’, MMR, lxxi (1941), 195–8

H.C.R. Landon, ed.: The Collected Correspondence and London Notebooks of Joseph Haydn (London,1959)

T.J. Walsh: Opera in Dublin 1705–1797 (Dublin, 1973)

H.C.R. Landon: Haydn in England 1791–1795 (London, 1976)

D. Dawe: Organists of the City of London, 1666–1850 (Padstow, 1983)

B. Boydell: A Dublin Musical Calendar 1700–1760 (Dublin, 1988)

J. Milhous and R.D. Hume: ‘J.F. Lampe and English Opera at the Little Haymarket in 1732–3’, ML, lxxviii (1997), 502–31

OLIVE BALDWIN/THELMA WILSON

Young

(1) Anthony Young

(b c1685; d London, bur. 8 May 1747). Organist and composer. He was organist at St Clement Danes, London, from 1707 and was probably the Anthony Young who was a chorister at the Chapel Royal until March 1700, but he was never organist at St Katherine Cree, as Burney believed. Seven of his songs appeared in The Monthly Mask of Vocal Music between 1705 and 1709, he published A New Collection of Songs (1707), and in 1719 Walsh and Hare brought out his Suits of Lessons for the Harpsichord or Spinnet. In 1739 he was a founder member of the Society of Musicians.

Young

(2) Charles Young

(b London, bap. 11 Feb 1683; d London, 12 Dec 1758). Organist, brother of (1) Anthony Young. He may have been a chorister at St Paul’s Cathedral in the late 1690s and was organist of All Hallows, Barking-by-the-Tower, from 1713 until his death. He composed a few songs. He was the father of (3) Cecilia, (4) Isabella (i), (5) Esther and of Charles, a clerk at the Treasury, whose daughters were (6) Isabella (ii), (7) Elizabeth and (8) Mary (Polly).

Young

(3) Cecilia Young [Mrs Arne]

(b London, bap. 7 Feb 1712; d London, 6 Oct 1789). Soprano, daughter of (2) Charles Young. A pupil of Geminiani, she sang in concerts from March 1730 and first appeared on stage in English operas by Lampe and Smith in 1732–3. According to Burney, she had ‘a good natural voice and a fine shake [and] had been so well taught, that her style of singing was infinitely superior to that of any other English woman of her time’. Handel chose her for the premières of his Ariodante and Alcina (both 1735), Alexander’s Feast (1736) and Saul (1739), and for the first London performance of Athalia. After marrying Thomas Arne in 1737 she appeared in his stage works (notably Comus, Rosamond and Alfred) in London and for two seasons in Dublin (1742–4) and performed his songs at Vauxhall Gardens. The marriage proved unhappy and she was often ill, making only occasional appearances after 1746; her last new Arne role was in Eliza (1754). In 1748 she went to Dublin with her sister and brother-in-law, the Lampes, to sing in the winter concert season and returned there with Arne in 1755 to perform in his works at Smock Alley Theatre. Here their marriage broke down and Arne went back to London, leaving her in Ireland with her young niece Polly, and in 1758 Mrs Delany found her employed as a singing teacher by a charitable Irish family. She returned to London with Polly in 1762 and seems to have made only one more public appearance, at a benefit concert for Polly and her husband, F.H. Barthélemon, in 1774. She was reconciled with Arne shortly before his death in 1778, after which she lived with the Barthélemons. There were suggestions that she could be unreliable and that she drank too much, but Burney, a pupil of Arne’s, remembered her with affection, and Charles Dibdin wrote: ‘Mrs Arne was deliciously captivating. She knew nothing in singing or in nature but sweetness and simplicity’.

Young

(4) Isabella Young (i) [Mrs Lampe]

(b London, ?bap. 3 Jan 1716; d London, 5 Jan 1795). Soprano, sister of (3) Cecilia Young. She had small singing roles at Drury Lane in 1733–4 but otherwise appeared only in concerts until she sang the heroine Margery in John Frederick Lampe’s burlesque opera The Dragon of Wantley in 1737. In the middle of its long run she married the composer and subsequently created roles in all his stage works, including Thisbe in Pyramus and Thisbe (1745). The Lampes went to Dublin in 1748 and she appeared for two seasons at the Smock Alley Theatre, and sang in concerts and at the Marlborough Green pleasure gardens. In November 1750 they went to Edinburgh and, according to Burney, were soon ‘settled very much to the satisfaction of the patrons of Music in that city’. However, Lampe died there of a fever in July 1751 and she returned to Covent Garden to sing her old roles and some new ones in musical afterpieces. She remained in the company until the 1775–6 season, often singing with her sister Esther, although in the later years they were only members of the chorus. Her son Charles John Frederick Lampe took over as organist at All Hallows, Barking-by-the-Tower, after the death of his grandfather (1) Charles Young, and her daughter-in-law sang for a time as Mrs Lampe at the pleasure gardens and Sadler’s Wells Theatre.

Young

(5) Esther [Hester] Young [Mrs Jones]

(b London, 14 Feb 1717; d London, bur. 6 June 1795). Contralto, sister of (3) Cecilia Young. She appeared in concerts from 1736 and created the role of Mauxalinda in Lampe’s The Dragon of Wantley. She had other Lampe roles, played Lucy in John Gay's The Beggar’s Opera for many years and in 1744 sang Juno and Ino in the première of Handel’s Semele. It is sometimes stated that she went to Ireland with the Arnes in 1755, but in fact she sang at Covent Garden throughout the 1755–6 season and in every year after that until her retirement in 1776. She married the music seller and publisher Charles Jones on 8 April 1762; by December 1785, a few years after his death, impoverished and seriously ill, she was being cared for with ‘unremitting Tenderness’ by her sister Mrs Lampe.

Young

(6) Isabella Young (ii) [Mrs Scott]

(d London, 17 Aug 1791). Mezzo-soprano, niece of (3) Cecilia Young. She studied with the bass Gustavus Waltz, first appearing in a concert with him on 18 March 1751, and sang in Arne’s Alfred, Rosamond and Eliza in 1754. She became a distinguished concert and oratorio singer in London and the provincial festivals. She sang for Handel in the last few years of the composer’s life and was Counsel (Truth) in the first performance of The Triumph of Time and Truth in March 1757. She was a soloist in the Messiah performances at the Foundling Hospital on a number of occasions. After appearing at Drury Lane as Titania in J.C. Smith’s opera The Fairies (February 1755), she performed there regularly until 1777, singing between the acts, in musical interludes and afterpieces. She created roles in George Rush’s English operas The Royal Shepherd and The Capricious Lovers. After her marriage to the Hon. John Scott (December 1757) she usually sang in concerts and oratorios as Mrs Scott, but on stage she continued to describe herself as Miss Young until 1769.

Young

(7) Elizabeth Young [Mrs Dorman]

(d London, 12 April 1773). Contralto, sister of (6) Isabella Young (ii). She went to Dublin with the Arnes in 1755, singing Grideline in his Rosamond at the Smock Alley Theatre. She returned to England with Arne in 1756, and was a shepherdess in his Eliza that December. After playing Lucy in The Beggar’s Opera in June 1758 (billed as making her first appearance on any stage) she sang regularly at Drury Lane until 1772 and in some seasons at Finch’s Grotto Gardens. Her lower voice meant she was given male or older women’s parts. She created the roles of Agenor in Rush’s The Royal Shepherd (1764) and the duenna Ursula in Dibdin’s The Padlock (1768). She married the violinist Ridley Dorman in 1762.

Young

(8) Polly [Mary, Maria] Young [Mrs Barthélemon]

(b London, 7 July 1749; d London, 20 Sept 1799). Soprano, composer and keyboard player, sister of (6) Isabella Young (ii). She went with the Arnes to Ireland and impressed audiences in Dublin by singing ‘perfectly in Time and Tune’ in Arne’s Eliza at the age of six. She remained in Ireland with Mrs Arne and in 1758, after hearing her play the harpsichord, Mrs Delany wrote: ‘the race of Youngs are born songsters and musicians’. She appeared on stage in Dublin, where O’Keeffe admired her ‘charming face and small figure’ as Ariel in The Tempest. She returned to London to make her Covent Garden début in September 1762, singing and playing between the acts; the Theatrical Review commented on the agreeable innocence of her appearance: ‘Her performance on the harpsichord, is equal to her excellence in singing’. After two seasons she moved to sing minor roles with the Italian opera company at the King’s Theatre, where the violinist and composer François Hippolyte Barthélemon was leader of the orchestra. She married him in December 1766 and afterwards appeared mainly with him, in occasional seasons at the Italian opera, in oratorios and at the pleasure gardens. There were visits to Ireland, and a highly successful tour of the Continent in 1776–7. She sang in her husband’s oratorio Jefte in Florence and gave concerts before the Queen of Naples and Marie Antoinette, at which their young daughter Cecilia Maria also sang. However, their careers did not flourish after this; in an injudicious letter (Morning Post, 2 November 1784) she complained of being refused engagements, styling herself ‘an English Woman, of an unblemished reputation’. Haydn visited the Barthélemons when he was in England and at a concert in May 1792 he accompanied her in airs by Handel and Sacchini.

Maria Barthélemon published six sonatas for harpsichord or piano and violin (1776) and a set of six English and Italian songs op.2 (1786). The Barthélemons lived in Vauxhall and attended the Chapel at the Asylum for Female Orphans, where they came under the influence of the Swedenborgian preacher, Duché. She composed three hymns and three anthems op.3 (1795) for use at the Asylum and Magdalen Chapels, The Weaver’s Prayer for a concert in aid of unemployed weavers and an ode on the preservation of the king op.5 (1795), with words by another Swedenborgian, Baroness Nolcken.

Young [Youngs], (Basil) Alexander

(b London, 18 Oct 1920; d Macclesfield, 2 March 2000). English tenor. He studied at the RCM with Steffan Pollmann and made his début as Scaramuccio (Ariadne auf Naxos) at the 1950 Edinburgh Festival. In 1953 he sang Tom Rakewell in the English première of The Rake’s Progress, a BBC studio production; he recorded his classic reading of this role in 1964 under Stravinsky’s direction. He created Charles Darnay in Benjamin’s A Tale of Two Cities (1953, BBC) and Philippe in Berkeley’s A Dinner Engagement (1954, Aldeburgh), and sang in the British premières of Searle’s The Diary of a Madman (1960, Sadler’s Wells) as Poprichin and Henze’s The Bassarids (1968, BBC) as Dionysus. He appeared at Covent Garden (1955–70), notably as Matteo (Arabella) and Britten’s Lysander; at Sadler’s Wells, where his roles included a highly amusing Count Ory, Almaviva, Gluck’s and Monteverdi’s Orpheus, Belmonte and Handel’s Jupiter and Xerxes; and with the WNO and Scottish Opera, creating Cicero in Hamilton’s The Catiline Conspiracy (1974, Stirling). He also sang extensively in concert and oratorio, and from 1973 to 1986 was director of singing at the RNCM. Young was a stylish singer with a silvery tenor which he used with innate musicianship, as can be heard in his many recordings of operas and oratorios by Handel.

HAROLD ROSENTHAL/ALAN BLYTH

Young, Douglas

(b London, 18 June 1947). British composer. He won the composition scholarship to the Royal College of Music, London (1966–70) and continued postgraduate studies with Milner and Pousseur. He won the Karl Rankl Prize for orchestral composition in 1970, by which time he was working professionally as a freelance composer. In 1974 he founded the ensemble Dreamtiger.

His early work The Listeners (1967) holds the key to his later development. It interleaves two contrasting poems by Walter de la Mare – one set to magical gamelan sonorities, the other to dynamic music redolent of Stravinsky and Berg. The implicit conflict between East and West was explored further in Canticle (1970), with its sinuous melodies and Messiaen-like rhythmic structure. Throughout the 1970s Young aimed to absorb and transcend the influence of the postwar avant garde. Increasing interest in non-European culture and popular music (from Irish folk music to rap) progressively transformed his work, and the driving rhythms and pure melodic energy of Slieve League (1979) announced a decisive change. His scores for the Royal Ballet led to a commission from the Bayerische Staatsoper in Munich for a full-length ballet. The result, Ludwig (1986), with its kaleidoscopic fusion of musical languages, was hailed by the German press as a perfect exemplar of postmodernism, although it was only later that Young became acquainted with the work of writers such as Queneau, Calvino and Kundera who then influenced his artistic outlook. During the 1990s Young concentrated almost exclusively on chamber music. The string quartet Mr Klee Visits the Botanical Gardens (1990–93) is the first in a series of works inspired by Klee and other 20th-century painters (in whose work Young finds a freedom of invention lacking in music). In his collection of piano pieces Herr Schoenberg Plays Ping-Pong (1992–9) Young widened his scope to encompass jazz, popular dance music, film scores and even advertising jingles – transformed into a personal musical universe that has the same sense of fun and daring as Calvino's Cosmicomics.

MSS in GB-Lbl

WORKS

(selective list)

Stage: Ludwig ‘Fragments from a Mystery’ (ballet, 2), DAT tape, Munich, 1986; The Tailor of Gloucester (op, 4, Young, after B. Potter), London, 1989; The Lost Puzzle of Gondwana (children's adventure story, M. Blackman), London, 1999
Orch: Departure, 1970; Aubade, small orch, 1972–3; Circus Band & Other Pieces (after Ives), 1977–80; Virages, vc, large orch, 1978; Night Journey under the Sea, large orch, 1980–82; Lament, sitar, orch, 1984
Chorus and orch: Railway Fugue (R.L. Stevenson), spoken chorus, perc ens, 1965; The Listeners (dramatic cant., W. de la Mare), S, female chorus, perc ens, chbr ens, 1967; The Hunting of the Shark (dramatic cant., L. Carroll), nar, chorus, pf, small orch, 1982; Actualité (Current Affairs) (cabaret cant., various texts), chorus, str, pf, perc, 1997–9
Choral unacc.: Canticle (W.H. Auden: New Year Letter), SATB/SSATBB, 1970; Lullaby of the Nativity (medieval anon.), SSA, 1978
Other vocal: 4 Nature Songs (R. Herrick, W. Shakespeare, W.B. Yeats), S, pf, 1964–77; Chbr Music (J. Joyce), S, gui, 1976–82; 2 Cabaret Songs (A. Brownjohn), S, ens, 1987; Cada canción (F. García Lorca), v, pf, 1987
Inst: Columba, in memoriam Luigi Dallapiccola, pf, 1977; Trajet/inter/lignes, a fl/fl/pic, perc, 1978; Slieve League, vn, va, 1979; Dreamlandscapes ‘Portrait of Apollinaire’, pf, 1979–85; Symbols of Longevity (on Korean Paintings), cl, 1983–99; Lines Written on a Sleepless Night, str trio, 1985–99; Mr Klee Visits the Botanical Gardens, str qt, 1990–93; Wolferl at Berggasse 19, vc, pf, 1991–9; Sir Edward at Garmisch, vn, 1992–6; Herr Schoenberg Plays Ping-Pong, pf, 1992–9; The Excursions of Monsieur Jannequin, pf, 1997–; ‘… if, on a Winter's night, Schubert … ’, vc, pf, 1997–9; The Eternal Waterfall (Microcosmicomics), vc, pf, 1998
Arrs.
MSS in GB-Lbl

BIBLIOGRAPHY

G. Larner: ‘Douglas Young’, MT, cxiv (1973), 787–90

K.-M. Hinz: ‘Verschmelzung des Disparaten: der Komponist Douglas Young’, MusikTexte, no.19 (1987), 5–16

PETER HILL

Young, John

(b ?London, c1672; d London, c1732). English music printer, publisher and instrument maker. The researches of Dawe, together with those of Ashbee, have helped clarify the identification of members of this family. Young's father was also John, but since he was still alive in 1693, he was evidently not, as earlier surmised, the John Young who was appointed musician-in-ordinary to the king as a viol player on 23 May 1673 and who had died by 1680 (according to the Lord Chamberlain's records). Young junior was apprenticed to the music seller and publisher John Clarke, and was established on his own by 1695. His publications included A Choice Collection of Ayres for the Harpsichord or Spinett by Blow and others (1700), William Gorton's A Choice Collection of New Ayres, Compos'd and Contriv'd for Two Bass-Viols (1701), The Flute-Master Compleat Improv'd (1706), the fifth and sixth editions of Christopher Simpson's Compendium (1714) and other works. Some were issued in conjunction with other publishers, including Henry Playford, Thomas Cross, John Cullen, John Walsh and John Hare, so that such works as Jeremiah Clarke's Choice Lessons for the Harpsichord or Spinett (1711), and editions of The Dancing Master, Wit and Mirth, or Pills to Purge Melancholy and Purcell's Orpheus britannicus include his imprint. A number of interesting works known to have been published by Young are now lost, including John Banister's The Compleat Tutor to the Violin (1699), Philip Hart's A Choice Set of Lessons for the Harpsichord or Spinet (1702) and Alex Roathwell's The Compleat Instructor to the Flute (1699). Young also had a high reputation as a violin maker. His violin-playing sons, John (b London, 23 Aug 1694) and Talbot (b London, 25 June 1699; d London, bur. 24 Feb 1758), both joined the business. John in turn had a son, yet another John Young (b London, 1 March 1718; d London, 30 April 1767), who was a violinist and organist. Talbot Young became the best-known violinist of the family and was a member of the King's Music from 1717. With his father, Maurice Greene and others, he established a series of weekly music meetings from about 1715. Held initially at the Youngs' premises, they eventually moved to nearby taverns, and from the mid-1720s became known as the Castle Society concerts. Talbot was also organist of All Saints, Bread Street (1729–58), and a Gentleman of the Chapel Royal from 1719. About 1741 the Youngs' business passed into the hands of Peter Thompson, who had probably had an association with the firm since about 1731.

BIBLIOGRAPHY

AshbeeR, i, v

BDA (‘Young, Talbot’)

Day-MurrieESB

EitnerQ

HawkinsH

Humphries-SmithMP

KidsonBMP

J. Pulver: A Biographical Dictionary of Old English Music (London, 1927/R)

M. Tilmouth: A Calendar of References to Music in Newspapers Published in London and the Provinces (1660–1719), RMARC, no.1 (1961, repr. 1968)

P.M. Young: The Concert Tradition from the Middle Ages to the Twentieth Century (London, 1965)

D. Dawe: Organists of the City of London, 1666–1850 (Padstow, 1983)

PETER WARD JONES


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