Archive | Y

(fl. 1608), composer. Nothing is known of the personal history of this musician except what can be gathered from the dedication of his set of Canzonets to the four sons of Edward Bacon, who seems to have been his patron. On the title-page he is called a ' Practicioner in the Art of Musicke.' This volume of 1 Canzonets to three voyces ' was published in 1608. I t is reprinted in E n g . M a d r . S c h . , vol. xxviii. Copies are extremely scarce ; one is in the British Museum, one in the Cambridge University Library, and the bass partbook is in the Bodleian Library. I t contains some very attractive pieces, notably ' Pipe, shepherds, pipe,' a setting of Ben Jonson's ' Slow, slow, fresh fount,' and Sidney's ' Only joy, now here you are.' There are six ballets a t the end of the book which are as good as anything of the kind for three voices. E. H. F.

a family of musicians. (1) Ant h o n y was organist of St. Clement Danes in 1707, and a t another period of St. Catherine Cree, near the Tower. According to de Lafontaine's The King's Musick, two boys, named Anthony Young and John Reading, left the Chapel Royal, on the breaking of their voices, a t Michaelmas 1700 ; one of these is evidently the above Anthony Young. I t is even possible th a t he may have been the son of William Y o u n g who was a violinist in the King's private band. Anthony Young composed songs, one being an excellent setting of ' Send home my longstrayed eyes,' which, along with Leveridge's tune, was published as half-sheet music about 1720. He has been foolishly credited with being the composer of 1 God save the King. ' 1 He was probably the father of (2) C h a r l e s , organist of All Hallows, Barking, and (according to Dr. Burney) was father of the Misses Young, three singers in great repute about 1735-40. Hawkins, probably incorrectly, names Charles Young as their father. They were (3) C e c i l i a (b. 1711 ; d. Oct. 6 , 1789), the eldest, who married Dr. Arne in 1736. The second daughter, (4) I s a b e l l a , became the wife of J . F. Lampe, and (5) E s t i i e e married Jones, probably John Jones, organist of the Temple Church in 1749. (b ) M a r y (b. circa 1745 ; d. Sept. 20, 1799) may have been of the family. She married, in 1766, F. H. Barthelemon, and was a soprano vocalist, who appeared in opera a t Drury Lane and Covent Garden. F. K.

a music-publisher and a ' musical instrument seller ' a t the sign of tho ' Dolphin and Crown,' a t the west end of St. Paul's Church Yard. The earliest notice the present writer has found regarding him is an advertisement in the London Gazette of 1698, of 4 T h e C om p le a t T u to r t o t h e Violin, . . . b y J o h n B a n n is te r , p u b l is h e d b y J . Y o u n g , a t th e D o lp h in a n d Crown ' He also published ' A Choice Collection of Ayres,' by Blow, Piggot, Clarke, Barrett and Croft, 1700 (b.M.). * The Flute Master Compleat ; Improved, or the Gentleman's Diversion,' 1706 (Bodl.). Later works are mostly issued with the names of Walsh & Hare, as well as Young on the imprint, as Jer. Clarke's 4 Choice Lessons for the Harpsichord or i See R . C la rk 's A c co u n t o f the N a tio n a l A n th em , 1 822, a n d D r . Cum m in g s 's w o rk o n t h e s am e s u b je c t , 15)02. Spinett,' 1711, Simpson's ' Compendium,' ' The Third Volume of the Dancing Master,' c. 1728, etc. etc. ; also many half-sheet songs. I t is probable th a t he gave up business or died shortly after 1730. He had a son, (2) T a l b o t , who helped, with Greene and others, to establish a musical society, a t first held a t his father's house and afterwards a t the Queen Head Tavern, and then a t the Castle Tavern, both in Paternoster Row. He was a clever performer on the violin, and a witty catch was made upon father and son : i t is printed in Henry Playford's 1 Second Book of the Pleasant Musical Companion,' 1701, as follows. In de Lafontaine's The King's Musick, is a record of a John Young being appointed j musician in ordinary to the King, for the viola da gamba, on May 23, 1673, in place of one, Paul Bridges. I t is quite probable th a t John Young, the musicseller, may be this same person. f . k .

With an obsolete text, 'Yankee Doodle' can hardly be called a national song, but it is still one of the current national airs of the United States. I ts vitality has not been impaired by criticism of its musical merits, and will not be as long as there is room in patriotic folk-music for humorous, indeed, burlesque utterances. As ' Yankee Doodle ' the air seems first to have been printed in the first volumo of James Aird's 'Selection of Scotch, English, Irish and Foreign Airs,' Glasgow (1782), as Frank Kidson pointed out in his ' Old English Country Dances ' (1890). Aird gives this form Slightly different it appeared as ' Yankee Doodle' in Arnold's opera 'Two to One' (1784), and was sung there by John Edwin in tho character of Dicky D itto to tho words 'Adzooks, old Crusty, why so rusty ? ' Again slightly different is tho version in Charles Dibdins ' Musical T o u r ' (1788), to tho words ' I sing Ulysses and those chiefs,' and entitled ' The return of Ulysses to Ithaca.' This burlesque song Dibdin is said to have first introduced in his ' Reasonable Animals ' (1780). The question of tho earliest American appearance in print of 'Yankee Doodle' is still open. In Moore's ' Songs and Ballads of tho American Revolution' (1855), it is claimed th a t ' The Recess ' appeared with this air as a music-sheet in 1779, but no such musical broadside has been found ; and the history of music-printing in America renders it doubtful if the air found its way into print here before forming an ingredient to Benjamin Carr's medley, 'Federal Overture,' composed 1794 and published 1795. The earliest printed American version extant is th a t published by G. Willig, Philadelphia (1798), together with the President's March (' Hail, Columbia ') in the following form, to the words ' Columbians all the present hour '. After this, ' Yankee Doodle ' became frequent in print, but, curiously enough, for decades nearly all versions differed slightly, and they differ also moro or less from two early American MS. versions, the one dated 1790 (in private hands, the other, possibly written as early as 1775, a t the Boston Public Library. The form now used officially is the one given in Sousa's ' National . . . Airs ' (1890), and the smaller notes in the above example illustrate the differences from the Willig version. O. o. S.

(b. Canterbury, 1809; d. Walworth, Aug. 12, 1872), received his musical education there, and from 1831-36 was first principal alto singer a t the cathedral. In 1836 he became deputy and afterwards lay vicar a t Westminster Abbey, and Mar. 3, 1848, first also a t the Temple. This last post he held until his death, with the exception of a year's interval, when he married the widow of a Canterbury alderman and went into business without success. Young was an excellent sole singer, and was successor in public favour to Knyve tt and Machin, being the last male alto soloist of eminence. As such he was frequently heard a t the Ancient and Sacred Harmonic ; Concerts. With the latter Society he sang for a period of ten years ; he first appeared Nov. 14, 1837, in the Dettingen Te Deum and Mozart's ' Twelfth Mass,' etc. He took the parts of Hamor and Joad on tho respective revivals of ' Jephthah ' and ' Athaliah.' He also sang in the revival of Purcell's Jubilate and in various anthems and services. A. c.

an 18th-century English composer, appeared in London a t a concert given by himself in 1704. In Lent 1765, his masque,* The Choice of Apollo,' was performed. Ho wrote a number of songs for Vauxhall and Marylebone Gardens, a collection of moral songs or hymns, 6 easy sonatas for the harpsichord, op. 3, etc. (Q.-L.).

(d. 1672), a skilled performer on the viol and violin ; flourishing in the middle of the 17th century. He is said to have been in the service as domestic musician of the Count of Innsbruck. While there he composed and published a set of twenty-one sonatas for three violins, viola and bass. The title of the work is ' Sonate (21) a 3, 4, 5 voci con allemande, corrante, etc., a 3. Inspruck, folio, dedicated to the Archduke Ferdinand Karl. A copy of this rare work is stated to be in the library of the University of Upsala, and is cited by Walther. Other detached pieces by William Young occur in Playford's ' Musical Banquet,' 1651, ' Musick's Recreation on the Lyra Viol,' 1652, and elsewhere in the Playford publications. Also there are some pieces in manuscript in the Music School collection a t the Bodleian. On Playford's ' Treasury of Musick,' 1669, is advertised ' Mr. Will Young, his Fantazies for viols, of three parts.' This may be either a reprint of, or the original Innsbruck sonatas. I t is probable th a t Young returned to England about 1660, for in th a t year a William Young entered the King's private band as a fiute-player. 1 In 1661 he was, in addition, appointed to the violin. In this early stage of his royal appointments he appears to have roused some ill feeling, for Nicholas Lanier, the master of His Majesty's Musick, was ordered to allow him and other musicians to use the practice chamber from which he had been excluded. He was among the best players of the band, and on some occasions was selected to attend His Majesty, with certain violinists. In 1664 he was allowed, with others of the band, to attend a t the theatre when Mr. Killigrew desired it. On his death Nicholas Staggins obtained his place. He may have been the father of John Y o u n g , the music-publisher, and of Anthony Y o u n g . p. k .

or, T h e M e r r y m a n a n d h i s M a id , opera in 2 acts ; words by W. S. G ilb e r t; music by Sullivan. Produced Savoy Theatre, Oct. 3, 1888. M.

(d. Vittoria, Nov. 1865), a successful composer of Spanish songs, some of which i t is known were in the hands of Bizet when he composed ' Carmen.' A collection of twenty-five of his most popular songs ('25 Chants avec paroles fran^aises ') was issued in Paris shortly after his death (Baker). M.