Y.doc

(b Dêgê county, Kham, eastern Tibet, 1963). Tibetan rock singer. His father was a businessman who died when Yadong was 12 years old. Yadong grew up close to his mother, who was known for her beautiful voice. He worked as a physical education instructor in the army for several years, after which he became unemployed and started teaching himself how to play the guitar. He found work as a truck driver and sang occasionally at weddings and festivals. He was asked to join an official performing arts troupe, but he declined this offer and instead found a job with a construction company in Chengdu, where he saved enough money to produce his first cassette; 'khyam-pa-kyi sems (‘A vagabond's soul’) was released in 1991. He performed in bars at night, and in 1995 he produced a new album with a Chinese title, xiang wang shen ying (‘Desire for the eagle god’), which comprises traditional songs mostly from Kham, such as the King Gesar epic, remixed in rock and rap style. In 1996 Yadong's third album, kham-pa'i bu-gsar (‘The young khampa man’), was released; it features Tibetan music and Chinese lyrics. By the mid-1990s he had gained widespread popularity in Tibet, especially among young people.

LAETITIA LUZI

Yakar, Rachel

(b Lyons, 3 March 1938). French soprano. She studied at the Paris Conservatoire and with Germaine Lubin, making her début in 1963 at Strasbourg. In 1964 she joined the Deutsche Oper am Rhein, Düsseldorf, which remained her base for over 20 years. She sang Freia and Gerhilde at Bayreuth (1976), Donna Elvira at Glyndebourne (1977), First Lady (Zauberflöte) at Salzburg and Monteverdi’s Poppaea in Edinburgh (1978), and made her Covent Garden début as Freia. Her wide repertory included Rameau’s Aricia, Handel’s Cleopatra, Celia (Lucio Silla), Ilia, Fiordiligi, Tatyana, Mimì, Málinka/Etherea/Kunka (Excursions of Mr Brouček), and the Marschallin, which she sang at Glyndebourne in 1980. An extremely musical as well as dramatic singer, capable of subtle tone colouring, Yakar was particularly fine in roles such as Mélisande, which she recorded, and Jenůfa. Her other operatic recordings include several Mozart roles, Climène in Lully’s Phaëton (which she sang in Lyons in 1993), Madame Lidoine in Dialogues des Carmélites and Diane in Honegger’s Les aventures du roi Pausole. Yakar also had a notable career as a recitalist and concert singer, and has recorded works ranging from Bach’s B minor Mass to mélodies by Hahn.

ELIZABETH FORBES

Yakimenko, Fyodor Stepanovich

See Akimenko, Fedir Stepanovych.

Yakovlev, Leonid Georgiyevich

(b Kherson govt., 31 March/12 April 1858; d Petrograd, 21 May/2 June 1919). Russian baritone. Some authorities give his birthplace as St Petersburg. The son of a landowner, he attended the Nikolayevsky Cadet School and became adjutant to the governor-general of Kiev. Because of financial difficulties he resigned his commission, took singing lessons with Ryadnov in Kiev, and decided to make a career on the operatic stage. After further study in Italy he joined an opera company in Tbilisi. There Tchaikovsky heard him sing and recommended him to Kondrat'yev at the Mariinsky Theatre. Yakovlev was invited to St Petersburg as a guest artist, appearing in Gounod’s Faust in April 1887. He was offered a permanent contract, and soon became very popular with St Petersburg audiences, singing with great success Wolfram in Tannhäuser, Nevers in Les Huguenots and Escamillo in Carmen. He was famous as Onegin and in the title role in Rubinstein’s Demon, and created the part of Yeletsky in The Queen of Spades and Gryaznoy in Rimsky-Korsakov's The Tsar's Bride. His voice had a beautiful quality, full and resonant throughout the range. His high notes were unforced, he was excellent in bel canto, and had outstanding dramatic talents and great stage presence. He failed to recover his voice after a severe attack of catarrh in 1905, and in the following year retired from the stage. For a time he supervised provincial opera companies and also taught singing in St Petersburg. In 1918 he became a producer at the Mariinsky Theatre, but he died soon afterwards.

BIBLIOGRAPHY

Biryuch petrogradskikh gosudarstvennïkh teatrov [Herald of the Petrograd State Theatres] (1918), no.5

E. Stark: Peterburgskaya opera i yeyo mastera, 1890–1910 [The St Petersburg Opera and its stars] (Leningrad, 1940)

D.I. Pokhitonov: Iz proshlogo russkoy operï [From the past of Russian opera] (Leningrad,1949), 135–42

JENNIFER SPENCER/EDWARD GARDEN

Yakovlev, Mikhail Luk'yanovich

(b Moscow, 1798; d St Petersburg, 1868). Russian poet, singer and composer of songs. He was a contemporary and close friend of Pushkin and Kuchelbecker, both of whom he first met at the Tsarskoye Selo Lyceum, the school for young noblemen established in 1811 by Aleksandr I. At the Lyceum Yakovlev took part in theatrical productions and was a member of the poetical and literary circle. After leaving to take up a post at the Department of Justice in Moscow, he continued to write poems; an anthology of Russian verse which he prepared was published in 1828.

Yakovlev’s musical works, of which few survive, display a certain dilettantism and unimaginative harmonic vocabulary in comparison with music by other Russian composers of the period. He possessed a good baritone voice and composed a number of songs to perform himself in the fashionable salons of St Petersburg; he was one of the earliest composers to set the poems of Pushkin and Delvig to music. Perhaps his best work is the setting of Del'vig’s Elegiya (‘Elegy’), which was later arranged for two voices by Glinka. Yakovlev chose his texts chiefly from the works of Lyceum colleagues, though there is one short song, Pesn' lenosti (‘Song of Laziness’), with a text probably written by the composer himself. He set two of Pushkin’s poems to music: Zimniy vecher (‘Winter Evening’) and Sleza (‘The Tear’). The latter was published in a collection of songs called Mnemozina, produced in 1825 by Kuchelbecker and the Decembrist composer Vladimir Odoyevsky.

GEOFFREY NORRIS

Yakubov, Manashir Abramovich

(b Groznïy, 4 May 1936). Russian musicologist and music critic. In 1960 he graduated from the Moscow Conservatory having studied theory with Mazel' and became a theory teacher at the music college in Makhachkala, Daghestan. He was chief editor of the theory department at the journal Sovetskaya muzïka (1963–6). He was a senior academic officer at the Daghestan Institute for the History of Language and Literature (1973–98), a branch of the Soviet Academy of Sciences, and in 1976 was appointed curator of Shostakovich's family archives. He gained the Kandidat degree in 1986, and was awarded the title Honoured Representative of the Arts of Daghestan. He became chief editor of the publishing house DSCH in 1993.

Yakubov has published more than 1000 writings, many of which have been translated. His main interests are Russian contemporary music, musical ethnography, the problems of musical performance and the works of Prokofiev, Shostakovich, Schnittke, Boris Chaykovsky and composers from Daghestan. As a result of his research in the Shostakovich archives, he has restored a number of the composer's ballet scores and prepared a scholarly edition of the cantata Antiformalisticheskiy rayok (‘The Antiformalist Rayok’, Moscow, 1995) and piano scores of the ballets Zolotoy vek (‘The Golden Age’, 1995), Bolt (‘The Bolt’, 1996) and Svetlïy ruchey (‘The Limpid Stream’, 1997).

WRITINGS

‘Pis'ma iz Dagestana’ [Letters from Daghestan], Muzïkal'naya zhizn' (1958), no.10, p.3 only

‘Kompozitorï Dagestana (kriticheskiye zametki)’ [The composers of Daghestan (critical notes)], SovM (1963), no.12, pp.17–21

‘Opernïy debyut Ėyno Tamberga’ [Eyno Tamberg’s operatic début], SovM (1966), no.1, pp.20–25

Sergey Agababov: 1926–1959: ocherk zhizni i tvorchestva [Agababov: 1926–1959: an outline of his life and work] (Moscow, 1966)

‘Velichayshiy melodist XX veka (k izucheniyu naslediya S.S. Prokof'yeva)’ [The greatest melodist of the 20th century (studying Prokofiev’s legacy)], SovM (1966), no.4, pp.39–50

‘Polifonicheskiye chertï melodiki Prokof'yeva’ [Polyphonic features in Prokofiev’s melodics], Ot Lyulli do nashikh dney, ed. I. Slepnyov (Moscow, 1967), 193–229

‘Severokavkazskiye ėskizï (ocherki nashego vremeni)’ [North Caucasian sketches (essays of our times)], SovM (1968), no.5, pp.23–35

‘Bolgariya – Dagestan’, Bolgariya – SSSR: dialog o muzïke: Moscow 1969, ed. I.A. Slepneva and V.I. Zaka (Moscow, 1972), 83–132

‘Kvartet imeni Borodina’ [The Borodin Quartet], Moskovskaya gosudarstvennaya filarmoniya, ed. L. Grigor'ev and I.M. Platek (Moscow, 1973), 212–18

‘Boris Chaykovskiy (tvorcheskiy portret)’ [Chaykovsky (A creative portrait)], Muzïkal'naya zhizn' (1974), no.21, pp.15–17

‘Simfoniya Al'freda Shnitke...

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New Grove Dictionary of music and musicians