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Iron Maiden.
English heavy metal band. Formed in 1975 by Steve Harris (b Leytonstone, London, 12 March 1956; bass and vocals), their most successful line-up included David Murray (b London, 23 Dec 1955; guitar), Adrian Smith (b Hackney, London, 27 Feb 1957; guitar), Nicko McBrain (b Hackney, 5 June 1952; drums) and Bruce Dickinson (b Worksop, Nottingshire, 7 Aug 1958; vocals, 1981–93). Smith was replaced by Janick Gers (b Hartlepool, 27 Jan 1957) in 1990, and Dickinson, who had taken over from the vocalist Paul Di'Anno (b Chingford, London, 17 May 1959), was replaced in turn in 1994 by Blaze Bayley (Bayley Cook; b Birmingham, 19 May 1963). Dickenson and Smith rejoined the band in 1999, displacing Bayley. One of the most influential groups in heavy metal, it adapted harmonized guitar lines, fast tempos and high-pitched vocals from the style of Judas Priest, adding more complex song forms, more elaborate stage shows, and lyrical situations and themes derived from classical mythology and literary sources such as Poe, Coleridge, Tennyson and Shakespeare. Many of their songs featured riffs based on a repeated quaver-semiquaver-semiquaver rhythm, which became something of a signature device. Dickinson's powerful, almost operatically-styled voice and his on-stage athleticism also made them distinctive. Like most heavy metal bands, they received little radio airplay and built their audiences through constant touring. Their album The Number of the Beast (EMI, 1982) established them as stars within the world of heavy metal fandom. Iron Maiden's lyrics often examine experiences of power, paranoia and conflict. They are noted for their bricolage of mystical symbols and references from many traditions, which are brought together as sources of power and spiritual depth in the present, and for their gruesome corpse-like mascot, Eddie. (M. Wall: Run to the Hills: the Official Biography of Iron Maiden, London, 1998)
ROBERT WALSER
Irshai, Yevgeny Markovich
(b Leningrad [now St Petersburg], 15 January 1951). Russian composer. He came from a family of musicians, and graduated from the Leningrad Conservatory in 1975, having studied composition with A.A. Chernov and V.A. Uspensky, and later the piano with P.A. Serebryakov (1978), then following a dual career as a composer and performer. From 1971 to 1991 he worked in a music school as a teacher of piano and composition, after which he moved to Slovakia. There he worked as an accompanist at the theatre of opera and ballet in Banská Bystrica (1991–2), and since 1992 he has taught composition and piano at the Ján Levoslav Bella Conservatory and at Matej Bel University. Irshai became a member of the Russian Union of Composers in 1979, and since 1993 has been a member of the Association of Slovak Composers and the Slovak Music Union. In 1994 Irshai returned to his career as a concert pianist, giving recitals throughout Europe (Hungary, Poland and Italy). A gifted writer, Irshai is also the author of short stories and essays.
Choral, vocal and chamber works predominate in Irshai’s output: he has also written a significant number of pieces and songs for children (mainly settings of poems by Samuil Marshak). By nature a lyricist, he frequently turns to philosophical and ethical matters; his interest in classical Russian poetry stems from such concerns. Irshai has shown interest in original forms of settings of the mass as exemplified by his Pominoveniye (Prayer for the Dead) set to texts from the Jewish kaddish, the Catholic ‘Lacrimosa’, and the poems of M. Tsikinovsky.
Irshai has characterized his musical style as ‘late post-conservatism’. The array of expressive means which he uses in his works is typical of the Leningrad/St Petersburg school, perpetuating the traditions of Shostakovich. Although he makes economical use of techniques developed by the 20th-century avant garde, Irshai remains within the confines of late Romanticism.
WORKS
(selective list)
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Ballet: Don-Zhuan ili lyubov' k geometrii [Don Juan, or a Love for Geometry] (1), St Petersburg, Malïy, 1973
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Choral: Letniy sad [The Summer Garden] (conc.), 1980; Detki v kletke [Little Children in a Cage] (S. Marshak), 3 choruses, 1982; Nochnoy razgovor [A Night-Time Conversation] (diptych, R. Burns, trans. Marshak), 1984; Zemnïm poklonom [With a Bow to the Earth] (conc.), 1984; Ėpigrafï (cant., A. Tarkovsky), 1985; Laskovïye snï [Dreams that Caress You] (triptych, Russ. poems), 1986–7; Sredi mirov [Amid the Worlds] (cant., Russ. poems), 1987; Pomiluy mya, Gospodi [O Lord, have Mercy upon Me] (prayer), 1990
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Vocal: 4 romansa (A. Blok), 1972; Teorii (F. García Lorca), song cycle, Mez, pf, 1978; Silentium (F. Tyutchev), song cycle, B, pf, 1979; K drugu [To My Friend] (A. Tolstoy), song cycle, Bar, pf, 1980; Vsyo s ėtim gorodom navek [With this City for Ever] (5 romances, M. Dudin), T, orch, 1981; Chudesttvo [Miraculousness] (M. Yasnov), 8 songs, 1986; Govori [Speak] (I. Annensky, Blok, A. Bely), song cycle, Mez, vc, 1988; Nastanet den' [The Day Will Come] (Russ. poems), song cycle, S, pf, 1988; Pominoveniye [Prayer for the Dead] (mass, Kaddish, Lacrimosa, M. Tsikinovsky), S, Bar, nar, vc, db, bells, 1989; Menuėt na ostrove [A Minuet on an Island] (N. Khostyovetska), 1v, kbd, applause, 1994; Die Tage wollen länger werden (J. Bachmann), Mez, pf, small bell, 1996; V veselom korolevstve [In the Merry Kingdom] (Eng. poems, trans. Marshak), song cycle
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Inst: Improvizatsii Kandinskogo [Improvisations of Kandinsky], sonata, bn, db, 1978; Sonata-proshchaniye [Sonata of Farewell], vc, pf, 1985; Dorozhnaya simfoniya [A Travelling Sym.], sonata, hn, pf, 1986; Variations, vc, 1987; O, Tekila, vc ens, pf, 1988; Sonata, vc, perc, 1988; Bn Conc., 1990; Gospodi, vozzvakh [O Lord, I have Called unto Thee], str qt, 1990; Improvisation, str orch, 1993; Iskhod [Exodus], sonata, pf, tam-tams, 1996; Qnt, str qt, pf, small bells, 1996
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Pf: Variations, 1968; Children’s pieces, 1979–86; 7 otrazheniy v do [7 Reflections in C], sonata, 1982; Kto na chem yedet [Who Rides on What] (K. Chukovsky: Tarakanishche [The Cockroach]), suite, 1987
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MSS in SQ-Mms
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Principal publishers: Kompozitor, Akvamarin Verlag
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‘Nostal'gicheskiy etyud’ [A nostalgic study], MAk (1996), nos.3–4, pp.17–19
MARINA MOISEYEVNA MAZUR
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