(This biography was excerpted from Lev Ginsburg's Volume 3 of "The Art of the Violoncello" pp. 317–324, translated by Yuriy Leonovich).

A more significant musician and performer [than Dubinsky] was Ye[vsey] Ya[kovlevich] Belousov, who also entered the Moscow Conservatory in 1890. However, unlike Dubinsky and Bukinik, he enrolled in the conservatory's class of Glehn at a very young age (Yevsey Yakovlevich Belousov was born in Moscow on December 28, 1881).

He first performed publicly at a student recital in his fourth year, playing two movements of Klengel’s concerto. Subsequently, he performed at open evenings with concertos by Lindner and Molique. As his skills grew, he tackled more challenging works such as Davydov's Allegro de concert (1899/1900), Saint-Saëns’s Concerto and Bruch's Kol Nidrei (1900/01), as well as Tchaikovsky’s Variations on a Rococo Theme and Pezzo Capriccioso (1901/02), which he performed both with piano and orchestra. His performances received highly favorable reviews in the press.

Belousov's repertoire deserves attention, especially his program comprised entirely of works by Russian composers, which he performed at a concert of the Circle of Russian Music Lovers on December 1, 1902. The program included Tchaikovsky’s Variations on a Rococo Theme and Pezzo Capriccioso, as well as pieces by Davydov, Rebikov, Rimsky-Korsakov, and Arensky. Additionally, Belousov played the cello accompaniment in a vocal quartet by Arensky.

In 1903, Belousov graduated from the conservatory with a gold medal, and his name was inscribed on the marble honor board. At the annual ceremony on May 27, he performed Davydov's Song and the first movement of Beethoven's Third Sonata (with pianist G.S. Makridi).

In 1905, this cellist joined the New Moscow Quartet (Yu. Konyus, A. Belousov, N. Averyanov, E. Belousov). In addition to classical music, the quartet performed chamber works by contemporary Russian composers like Taneyev and Catoire. The ensemble premiered Taneyev’s Quartet Op. 13 in Moscow on April 7, 1905, and his Quintet (with violist V. Emme) on November 13, 1905. The quartet also gave concerts beyond Moscow.

Ye.Ya. Belousov gained significant popularity as a concert soloist. He frequently performed in solo recitals, at RMO symphony gatherings, "Historical Concerts," and concerts organized by the Kerzin Circle. His repertoire included the best works of classical and especially Russian music. In November 1905, he played Rimsky-Korsakov’s Serenade for Cello and Piano at a Kerzin Circle evening dedicated to the composer’s works. In January 1906, he performed Tchaikovsky’s Variations on a Rococo Theme, and in January 1909, Akimenko's Sonata (with the composer). He frequently performed Akimenko's works, such as the aforementioned Sonata (from the manuscript) in January 1907 and his Elegy.

In the spring of 1906, Belousov toured Russia and arrived in Kharkiv, a city that later became a significant center for his artistic and teaching activities. After a chamber concert dedicated to Arensky, Kharkiv music critic Rostislav Genika praised Belousov’s "beautiful, soft, and very lyrical tone, excellent technique, and overall qualities of a major cellist."

At that time, Belousov was invited to teach at the Kharkiv Music School of the Russian Musical Society. In the fall of 1906, R. Genika wrote from Kharkiv:

"Regarding the cellist Mr. Belousov, it can be said without exaggeration that he immediately won over the audience. For the richness and enchanting softness of his tone, the beauty, and the poetic quality of his interpretation, he is a rare cellist. Considering his youth, one can confidently predict for him a brilliant artistic future."

In his performance of Popper's Spanish Dances, the correspondent highlighted his grace, virtuosity, and refined taste.

After Belousov’s performance of Davidov’s concerto (along with several encore pieces by the same composer) in the spring of 1907, the same critic wrote again:

"A marvelous, soft tone, beautiful, distinctly 'Davidovian' playing techniques, which he mastered in the excellent school of von Glehn, taste, and expressive interpretation—all of this ensures Mr. Belousov’s success with the audience."

During his time in Kharkiv, Ye. Ya. Belousov formed an excellent sonata duo with pianist A.I. Horvitz, whose work proved highly beneficial for musical education in the city. In December 1906, these musicians performed sonatas by Beethoven (A major), Rubinstein (D major), and Grieg. A reviewer praised the flawless ensemble, subtle refinement, and stylistic execution of the performance. The same high praise was given to the duo the following year, particularly for their performance of Rachmaninov's Sonata.

At this concert, dedicated entirely to Russian composers, Belousov (playing "with rare mastery," as noted in the review) also performed Tchaikovsky's Variations on a Rococo Theme, Andante elegiaque by V. Sokalsky (dedicated to him), and Davidov's At the Fountain.

Another review of this concert mentioned the duo’s excellent ensemble, nuanced interpretation, and inspired performance of Rachmaninov’s Sonata. The review particularly emphasized "the singing quality of his velvety, baritone-like tone, his lyricism, phrasing reminiscent of the old Italian bel canto, and the cellist’s ability to masterfully 'sing' on his instrument while overcoming all technical challenges."

At that time, Belousov also played in a quartet with K.K. Gorsky, S.I. Alexandrovich, and F.V. Kuchera.

At the music school, Belousov had many talented students, among whom was Lyudmila Timoshenko, who later continued her studies with A.A. Brandukov in Moscow.

In 1908, Belousov departed for Berlin to give concerts, leaving his teaching position at the Kharkiv Music School to another skilled cellist—A. Kassan, a student of von Glehn and Verzhbilovich.

In later years, Ye.Ya. Belousov continued performing in an ensemble with A.I. Horvitz. As early as 1912, Rostislav Henika wrote from Kharkiv:

"Messrs. A. Horvitz and E. Belousov have, in recent years, formed an inseparable artistic partnership, organizing piano-cello sonata evenings. Their programs, rich in style and substance, drawn sometimes from contemporary works and sometimes from the classical repertoire; the outstanding virtuosity of both artists; their significant, vivid, and engaging individualities; their consistently rigorous and thoughtful collaboration; and the exemplary ensemble they unfailingly presented to the audience—all of this solidified the reputation of their chamber evenings and cultivated public interest in them."

Belousov's unwavering promotion of classical and contemporary music, especially during the challenging years between the two Russian revolutions, was a significant achievement. He performed works by Beethoven, Tchaikovsky, Saint-Saëns, Glazunov, Schumann, and Rachmaninov.

In November 1907, he performed Saint-Saëns’s Concerto at the RMO symphony gathering in Moscow. Critics praised his "solid technique and excellent musical taste." After performing Schumann's concerto in 1910 under the baton of S.N. Vasilenko, a reviewer noted: “His performance was very accomplished, though it suffered in comparison to Casals’ recent performance of the same concerto at the Philharmonic.”

The artistry of the gifted cellist gained wide recognition at the 1911 cellist competition in Moscow, where he performed Bach's G-major Suite, Davydov's First Concerto, and Tchaikovsky's Variations on a Rococo Theme with great excellence.

The day after his performance, a correspondent from a Moscow newspaper reported:
"The brilliant Mr. Belousov, of whom musical Moscow is justly proud... played with such significant depth in a broad yet gentle tone, with such clear, precise, and effortless technique, that the audience, despite the strict prohibition, could not refrain from applauding after the final piece of his program (Variations by Tchaikovsky)."

Numerous reviews from the Russian press unanimously ranked Belousov among the best participants of this highly challenging competition, which featured many excellent cellists. "The best impression was left by the fully developed artists Mr. Belousov and Mr. Kozolupov," wrote one critic. Another reviewer, Gr. Prokofiev, noted Belousov's "charming musicality," calling him "a thoughtful and highly skilled cellist."

Following deliberations, the competition’s sponsor, D.F. Belyayev, added a second prize of 1,000 rubles to the primary prize of 1,500 rubles (awarded to S.M. Kozolupov). This additional prize was divided between two graduates of the Moscow Conservatory: Ye.Ya. Belousov and M.I. Press.

In subsequent years, Belousov continued his solo and ensemble career, touring Russia and Europe. Notable appearances included performances of Tchaikovsky's Variations on a Rococo Theme with Vasily Safonov in Moscow, Kyiv, Odesa, and other cities. In 1913, Belousov toured Scandinavia and England with Safonov, culminating in a performance of Beethoven’s sonatas in London on April 1, 1914. At that time, Belousov also performed Tchaikovsky's Variations.

Ye.Ya. Belousov had a keen interest in the works of contemporary Russian composers. We have already noted his performances of works by composers such as S.V. Rachmaninov, A.S. Arensky, F.S. Akimenko, and others. On January 23, 1914, at one of the "Evenings of Contemporary Music," he participated in the premiere performance of Myaskovsky's D-major Sonata (with P.A. Lamm) and Prokofiev's Ballade (from the manuscript, with the composer). The excellent execution of these works was praised by K. Eiges and other contemporaries, who particularly highlighted Belousov's artistry and poetic interpretation.

Three days later, in the Small Hall of the Conservatory, he performed Akimenko's sonata with E.A. Bekman-Shcherbina. In April 1915, the artist's performance at the VIII Symphony Assembly of the Russian Musical Society in Moscow was a great success, where he performed Tchaikovsky's Rococo Variations with an orchestra conducted by M.M. Ippolitov-Ivanov. Belousov was presented with a laurel wreath in recognition of his achievement.

For some time, Belousov served in the army in the Caucasus after being mobilized. Following 1917, he resided in Kharkiv and then toured the country with pianist Alexander Borovsky. In 1921, they gave 23 concerts in Tbilisi over three and a half months, during which time Belousov also appeared as a conductor. The following year, they embarked on an international concert tour.

Starting in 1922–23, Belousov continued his career in Europe and later in America, propagating Russian music. He served as the editor and first performer of Grechaninov's Cello Sonata, written in 1930. In January 1926, he made his debut in New York at the Musicians' Club, performing a new Sonata-Improvisation by R[ubin] Goldmark for cello and piano, with the composer at the piano. The success of this performance paved the way for the triumph of his first solo recital, held on January 27, 1926.

Here are some press reviews of that recital:

• "Belousov plays in an excellent artistic style" (New York Times).
• "Belousov, one of the most renowned cellists, enjoys an international reputation as both a soloist and an ensemble musician. His solo recital was distinguished by artistic perfection" (N.Y. Evening Sun).
• "Belousov plays with great freedom and mastery. A remarkable, gifted cellist. An artist in every sense of the word" (N.Y. Evening Telegram).
• "Belousov played everything with a warm, noble, singing tone. His soulful cantilena and pure, brilliant technique are astonishing" (N.Y. Staats-Zeitung).
• "A serious musician. Deeply heartfelt expression" (N.Y. Evening Post).

In 1930, Belousov ended his concert career and began teaching at the Juilliard School of Music. Additionally, he volunteered for several years as the director of the cello class at the Association of Young Musicians.

Just as the concert careers of outstanding violinists trained at Russian conservatories (such as J. Heifetz, E. Zimbalist, M. Elman, and many others) made the world admire the Russian violin school, Belousov’s continued performances abroad (along with those of I. Preobrazhensky, G. Piatigorsky, and others) undoubtedly contributed to the international acclaim of the Russian cello school.

Unfortunately, it is regrettable that these and other prominent graduates of Russian musical schools were separated from their homeland and native musical traditions due to various circumstances.

After a prolonged illness, Ye.Ya. Belousov passed away in New York on December 2, 1945.

The peak of this gifted cellist’s performing art was during the early decades of the 20th century, which he spent primarily in Russia. There, his artistic phrasing, warmth and expressiveness of tone, and high technical mastery were especially cherished.