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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Yusupov, Prince Nikolay Borisovich⇐ ПредыдущаяСтр 22 из 22
(b St Petersburg, 1827; d Baden-Baden, 19/31 July 1891). Russian violinist, composer and writer on music. He was a pupil of Vieuxtemps. In his palace at St Petersburg he maintained an orchestra and a folk ensemble, though he spent many years away in western Europe, collecting books on music and involving himself in musical activities. In 1856 he published in Frankfurt Luthmonographie, historique et raisonnée: essai sur l'histoire du violon et sur les ouvrages des anciens luthiers célèbres du temps de la Renaissance, par un amateur (written in French), which, while containing some valuable full-sized drawings, is full of inaccuracies. He began to write a comprehensive history of music in Russia, but only the first volume, Musique sacrée suivie d'une choix de morceaux de chants d'église, appeared in print (St Petersburg, 1862). He also published Sistematicheskiy katalog knig na russkom yazïke Imperatorskoy publichnoy biblioteki (‘A systematic catalogue of Russian books in the Imperial Public Library’, St Petersburg, 1863). Yusupov performed much of his own music with his private orchestra. His compositions include a programme symphony with violin obbligato, Gonzalo de Córdova, and a Concerto symphonique for violin and orchestra. His Ballet d'Espagnol achieved some popularity. The title-page of later editions of Luthmonographie describes him as ‘Maître-compositeur de la Société Philharmonique de Bologne, et Membre Honoraire de l'Académie Philharmonique de St Cécile à Rome’. BIBLIOGRAPHY I.M. Yampol'sky: Russkoye skripichnoye iskusstvo: ocherki i materialï [Russian violin playing: essays and materials], i (Moscow, 1951) JENNIFER SPENCER Yuzhak, Kiralina Iosifovna (b Leningrad [now St Petersburg], 3 Dec 1934). Russian musicologist. She studied musicology with A.N. Dolzhansky at the Leningrad Conservatory (graduating in 1960), and subsequently undertook postgraduate studies at the Russian Institute for the History of the Arts with M.K. Mikhaylov (1966–70). She was appointed to teach at the Petrozavodsk Conservatory in 1972, and was later made professor at the Leningrad Conservatory in 1992. She became a member of the Leipzig International Bach Society in 1987. Her chief area of interest is the theory and history of polyphony. In her doctoral dissertation (1990) she considers the historical types of polyphony as a reflection of the stages of development in European musical culture. This has led to a study of mode and the evolution of modal structures, and in particular she has examined the music of J.S. Bach, especially the structure of his fugues. She has also written on composers of the 19th and 20th centuries (Glazunov, Dargomïzhsky, Nielsen, Rautavaara, Sibelius, Shostakovich and Ustvol'skaya) and has discussed the work of various musicologists, such as Dolzhansky. She is editor of a number of collections of essays and has organized many conferences, including, from 1991, a series of Bach seminars at the Petrozavodsk Conservatory. WRITINGS Nekotorïye osobennosti stroyeniya fugi I.S. Bakha: stretta v fugakh ‘Khorosho temperirovannogo klavira’ [Some particulars of structure of the fugue of J.S. Bach: the stretto in the fugues of Das wohltemperirte Clavier] (Moscow, 1965) ed.: Polifoniya (Moscow, 1975) [incl. ‘O prirode i spetsifike polifonicheskogo mïshleniya’ [The nature and specifics of polyphonic thinking], 6–62] ‘Iz nablyudenii nad stilyem G. Ustvol'skoy’ [From an observation of the style of Ustvol'skaya], Stilevïye tendentsii v sovetskoy muzïke 1960–1970-kh godov, ed. A.N. Kryukov (Leningrad, 1979), 85–102 ‘Ob ėvolyutsii khudozhestvennogo smïsla’ [On the evolution of an artistic sense], SovM (1986), no.1, pp.112–15 ‘Kontrapunkt i polifoniya’ [Counterpoint and polyphony], SovM (1989), no.8, pp.101–5 ‘Lad: tip poryadka, dinamicheskaya i ėvolyusioniruyushchaya sistema’ [Mode: a model of order and a dynamic evolving system], Traditsii muzïkal'noy nauki, ed. L. Kovnatskaya (Leningrad, 1989), 45–69 ‘O ladovom i melodicheskom stroyenii runicheskikh napevov’ [The modal and melodic structure of runic melodies], Russkaya i finskaya muzïkal'nïye kul'turï, ed. V.I. Nilova (Petrozavodsk, 1989), 30–48 Teoreticheskiye osnovï polifonii v svete ėvolyutsii muzïkal'noy sistemï [The theoretical foundations of polyphony in the light of the evolution of a musical system] (diss., Kiev Conservatory, 1990); partially pubd as Teoreticheskiy ocherk polifonii svobodnogo pis'ma [A theoretical study of polyphony in free writing] (Petrozavodsk, 1990) ‘Shostakovich Dolzhanskogo: opus 87, izmenyayushchiisya vo vremeni’ [Dolzhansky's Shostakovich: opus 87, changing with time], D.D. Shostakovich: sbornik statey k 90-letiyu so dnya rozhdeniya, ed. L. Kovnatskaya (St Petersburg, 1996), 194–227 IRINA BARANOVA Yu Zhenfei (b Suzhou, 1902; d 1992). Chinese Kunqu opera performer. Undoubtedly the 20th century’s most distinguished performer of Kunqu, Yu Zhenfei was most noted for his performance of xiaosheng (young scholar-lover) roles. He also performed in Beijing opera, belonging to troupes headed by such notable performers as Mei Lanfang and Cheng Yanqiu, and was an accomplished player of the dizi, the transverse flute which is so essential to the musical accompaniment of Kunqu. He wrote a treatise on Kunqu acting and several other works. Yu Zhenfei was the son of the Kunqu specialist Yu Zonghai (1847–1930). After early training, in 1923 he gained a major opportunity when the great dan performer Cheng Yanqiu visited Shanghai and invited him to share the stage with him in the role of the scholar-lover in the centrepiece scene of the famous ‘Peony Pavilion’ (Mudan ting) by Tang Xianzu (1550–1617). This item, entitled Youyuan jingmeng (‘Wandering in a Garden, Startled from a Dream’) became one for which Yu was particularly well regarded. In 1960 this scene was made into a film, with Yu Zhenfei and Mei Lanfang in the central roles. Other than during the Cultural Revolution, Yu Zhenfei did well under the Chinese Communist Party, which he joined in 1959, serving the regime actively as a Kunqu performer, educationist and administrator. In 1958 he made a major visit to Europe, performing Kunqu there, and in 1980 his 60th anniversary on the stage was commemorated with much fanfare. WRITINGS Zhenfei qupu [Musical scores of Yu Zhenfei] (Shanghai, 1982) BIBLIOGRAPHY And other resources Su Yi and others: Zhongguo jingju shi [The history of Beijing opera in China], ii (Beijing, 1990), 625–31 Recordings Changsheng dian [The Palace of Long Life], Zhongguo changpian chang M-108 (c1960) Kunju: Qiangtou mashang [Kunqu: ‘The Top of a Wall, on Horseback’], Zhongguo changpian chang M-290 to M-295 (c1960) Zhongguo xiqu yishujia changqiang xuan, 52: Kunqu, Yu Zhenfei [Selected vocal melodies of Chinese opera artists, 52: Kunqu, Yu Zhenfei], ed. Zhongguo yishu yanjiuyuan Xiqu yanjiusuo, China Record Co. HD-152 (1984) COLIN MACKERRAS Yvain, Maurice [Paul, Pierre; Sautreuil, Jean] (b Paris, 12 Feb 1891, d Suresnes, 28 July 1965). French composer. He studied at the Paris Conservatoire, and began his career as an accompanist and orchestral player, appearing in many Paris music halls. After World War I he contributed many songs to a series of revues at the Casino de Paris (Cach’ ton piano, 1920, Paris quie jazz, 1920, Avec le sourire, 1921 and En douce, 1922); among them was his worldwide success Mon homme, first sung and danced by Mistinguett and Max Dearly, then sung in America by Fanny Brice and later by Billie Holiday as My Man. The lyrics were by Albert Willemetz, who provided the text for Yvain’s first operetta, Ta bouche (1922), which proved a major success as did its successor, Là-haut, a vehicle for Maurice Chevalier (1923). Yvain’s music was elegant and tuneful and went against the contemporary trend to take elements from American popular dance styles. The small-scale shows he produced in the 1920s having gone out of fashion, in 1935 he had an enormous success with Au soleil du Mexique, a spectacular operetta with bullfights and earthquakes, that starred André Baugé and Fanély Revoil. During the 1930s he also wrote several film scores (La belle équipe, 1935, Le duel, 1938, and Lumières de Paris, 1938). For a while he took the pseudonym Jean Sautreuil, working with Joseph Szulc and others. Yvain’s last major success was Chanson gitane (1946), another large-scale romantic operetta set in the 1820s. WORKS (selective list)
BIBLIOGRAPHY GänzlEMT M. Yvain: Ma belle opérette (Paris, 1962) G. Brunschwig, L.-C. Calvert and J.-C. Klein: 100 ans de chanson française (Paris, 1972) R. Traubner: Operetta (London, 1984) PATRICK O’CONNOR Yvo. See Ivo Barry and Vento, Ivo de. Yzac, Henricus [Heinrich]. See Isaac, Henricus. Yzo, Pierre. See Iso, Pierre. |
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