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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zakharov, Rostislav Vladimirovich
(b Astrakhan, 7/20 Sept 1907; d Moscow, 15 Jan 1984). Russian choreographer. See Ballet, §3(iii). Zakharov, Vladimir Grigor'yevich (b Bogodukhov, 9/18 Oct 1901; d Moscow, 13 July 1956). Russian composer. He studied at the Rostov Conservatory and for 25 years he was connected with the Pyatnitsky Russian State National Choir, for which he wrote the many songs that brought him great popularity. These are intimately linked with the nature and performance technique of Russian folksong, and Zakharov was able to build an original style on the traditions of folk polyphony. His themes are varied, but the peasant way of life occupies a central place. Many of his songs have become so popular that they have attained the status of authentic folksongs. WORKS (selective list)
BIBLIOGRAPHY I. Nest'yev: ‘Pesni V. Zakharova’ [The songs of Zakharov], SovM (1940), no.3, pp.20–29 Obituaries: Sovetskaya kul'tura (17 July 1956); SovM (1959), no.9, pp.3–8 M. Koval': ‘V.G. Zakharov i russkaya narodnaya pesnya’ [Zakharov and Russian folksong], SovM (1961), no.3, pp.113–19 T. Livanova: V.G. Zakharov (Moscow, 1962) GALINA GRIGOR'YEVA Zalazar, Antonio de. See Salazar, Antonio de. Zallamella [Zalamella], Pandolfo (b Ravenna, 13 Sept 1551; d after 1590). Italian composer. A member of an aristocratic family, he began his musical studies at Ravenna in 1568 with Costanzo Porta, presumably while also preparing for the priesthood at the local seminary: he was ordained on 4 September 1575. Porta held him in high esteem, for when he left Ravenna for Loreto in 1574 he recommended him as his successor. This appointment was terminated in 1580, when Porta returned to resume his old position. Zallamella thereafter turned to theological studies and became a canon of the cathedral but also continued his musical activities: all his publications appeared between 1582 and 1590. In 1584 the publication of his Vesperi led to a long lawsuit against his printer, Francesco Tebaldino, with unknown results: the book had been printed, as there is a record of his going to the printer’s to undertake corrections, but no copies survive. His compositions show that Porta had taught him well in the contrapuntal tradition, including such artifices as puzzle canons. His motets were sufficiently well regarded to be represented in Friedrich Lindner’s anthology Sacrae cantiones (1585) as well as to be used as models for lute intabulations. WORKS
BIBLIOGRAPHY R. Casadio: ‘La cappella musicale della cattedrale di Ravenna’, NA, xvi (1939), 136–85, 226–37, 258–73, esp. 151 A. Garbelotto: Il Padre Costanzo Porta da Cremona (Rome, 1955) LILIAN P. PRUETT Zallman, Arlene (b Philadelphia, 9 Sept 1934). American composer. She studied the piano with Claire Shapiro and composition with Persichetti at the Philadelphia Conservatory (1953–5), continued her composition studies with Persichetti at the Juilliard School of Music (1955–8) and completed postgraduate work in composition at the University of Pennsylvania (1965–7). She has taught at the Oberlin College Conservatory (1968–71), Yale University (1972–3) and Wellesley College (from 1976). Her honours include awards from ISCM, Meet the Composer and the Mellon Foundation, and seven residencies at the MacDowell Colony. Zallman’s works are primarily for small ensembles of voices and instruments. Her compositional aesthetic reflects her belief that compositional materials, ideas and methods cannot be exhausted. The Variations on a Villanella ‘Alma, che fai?’ by Luca Marenzio exemplifies this philosophy. With its theme not appearing until the end of the piece, the work is meant to articulate an historical connection between compositional techniques of the 15th, 16th and 20th centuries with particular regard to the use of an existing piece as the basis for another composition, the use of improvisational paraphrase and the elaborative rather than structural function of harmony. WORKS
MELISSA BLAKESLY Zalyotnew, Aleh Barïsavich (b Sukho-Bezvodnoye, Nizhegorod province, 8 July 1947). Belarusian composer. Although he graduated from the National Conservatory in Minsk in 1974 (in the class of P.P. Podkovïrov), he had started teaching in music schools, colleges and cultural establishments in 1968. Since 1979 he has headed the literary and musical section of the Belarusian State theatre of musical comedy; he has subsequently also worked for Belarusian radio and is a teacher in the stage production department at the Belarusian Academy of Arts. His varied style and creative interests manifest themselves in not only public works – such as the cantata Pepel Khatïni (‘The Ashes of Khatïn'’) and the oratorio Listki kalendarya (‘Pages of a Calendar’) – but also in sacred pieces like the Liturgiya sv. Ioanna Zlatousta (‘Liturgy of St John Chrysostom’) which is based on his own interpretation of melodies from the obikhod and carries on the traditions of Rachmaninoff, Chesnokov and Grechaninov. His instrumental music is characterized by stylistic polarities: classical genres are used alongside aleatory ‘moment’ form in which he frequently experiments with sonoristic techniques, as in the percussion concerto Peysazh-1986 (‘Landscape-1986’). These contrasting styles are freely combined in his music for the cinema, television films and radio productions. His music is influenced by the work of poets including A. Dudaryev, V. Korotkevich, V. Mazïnsky and M. Tank. WORKS
BIBLIOGRAPHY V. Sizko: ‘Muzïkal'nïy soyuz popolnayetsya’ [The musical union has expanded], Litaratura i mastatstva (14 June 1978) S. Berensten': ‘Krïl'ya fantazii (o muzïke O. Zalyotneva)’ [The wings of fantasy] (about Zalotnyew’s music), Litaratura i mastatstva (9 Jan 1981) I. Morikh: ‘Tvaram da avangardu’, Litaratura i mastatstva (10 May 1991) TAISIYA SHCHERBAKOVA Zalzal [Mansūr Zalzal al-Dārib] (d after 842). Arab musician. He was a famous instrumentalist (hence the name ‘al-Dārib’: ‘the player’) during the early Abbasid period. Ishāq al-Mawsilī testified that he had no equal as a lutenist, and in the ‘Iqd al-farīd (‘The unique necklace’) (10th century) it was stated that he was ‘the most pleasant of the string instrumentalists’. He is also known as the inventor of a ‘perfect lute’, the ‘ūd al-shabbūt, which superseded the Persian lute previously used. Its shape was probably like that of the Portuguese machete. Above all, his name is associated with the neutral 3rd fret (wustā Zalzal) placed midway between the major and minor 3rd frets, which recognizes for the first time the existence of the neutral intervals still characteristic of Arab and Persian music today. See also Arab music, §I, 2(iv). BIBLIOGRAPHY EI1 H. von Helmholtz: Die Lehre von den Tonempfindung (Brunswick, 1863, 4/1877; Eng. trans., 1875, as On the Sensations of Tone, 2/1885/R, 6/1948) H.G. FARMER/R Zamacois (Soler), Joaquín (b Santiago, Chile, 14 Dec 1894; d Barcelona, 8 Sept 1976). Spanish composer and teacher of Basque-Catalan parentage. He studied at the Barcelona Liceo Musicale, where his composition teacher was Sánchez Gavagnach, and at the Escuela Municipal de Música. In 1914 he was appointed a professor at the Liceo, transferring in 1940 to the Municipal Music School, where in 1945 he was made director. He transformed the institution into a state-recognized conservatory, retiring in 1965. Zamacois was a member of the National Council for Education and wrote a number of influential didactic texts. He was a versatile and prolific composer who, though influenced by Franck (for example in the Sonata for violin and clarinet), Wagner, Richard Strauss and Stravinsky, still possessed a very individual style imbued with poetry and passion. WORKS (selective list)
WRITINGS Método de solfeo (Barcelona, 1941) Tratado de armonía (Barcelona, 1945–8/R) Teoría de la música dividida en cursos (Barcelona, 1949–54, many later editions) vol. i (1949, 15/1979); vol. ii (1954, 6/1978) Ejercicios de armonía (Barcelona, 1950) Curso de formas musicales (Barcelona, 1960) Realización de los ejercicios de armonía (Barcelona, 1960) Temas de pedagogía musical (Madrid, 1973) Guión de historia de la música (Madrid, 1975) Temas de estética y de historia de la música (Barcelona, 1975, 3/1986) Ejercicios de contrapunto, i (Barcelona, 1977) BIBLIOGRAPHY MGG1 (G. Bourligueux) Diccionario enciclopédico de la música, ed. A. Albert Torrellas (Barcelona, 1947–52) K.B. Sandred and others: El mundo de la música (Madrid, 1962) [Sp. trans. of The World of Music, London, 1954] GUY BOURLIGUEUX Zamácola, Juan Antonio (Iza) [Don Preciso] (b Dima, Durango, 27 Dec 1756; d Madrid, 24 March 1826). Basque folklorist and historian. He had his secondary education in Morúa, Alava province, where he studied music, literature and history, and perfected the Castilian language. Early in 1775 he began copying historic documents in the archives of Vitoria and in July of that year went to Madrid to train as a public notary. He worked as such at Madrid from 1783 to 1799 and again from 1800 to 1813. In 1792 he entered the literary controversy caused by Crotalogía o Ciencia de las castañuelas (Madrid, 1789), Juan Fernández de Rojas’s mock-heroic treatise on playing the castanets. In the midst of numerous contributions to the Diario de Madrid signed with fanciful pseudonyms he published there in 1795 an essay, under the name Don Preciso, on contradanzas and other popular diversions of Francophile Spaniards, the 86-word title of which begins Libro de moda. This was followed by Elementos de la ciencia contradanzaria, also in 1795. Zamácola gained lasting fame with a collection of folksong texts published under the pseudonym of Don Preciso: Colección de las mejores coplas de seguidillas, tiranas y polos que se han compuesto para cantar á la guitarra: con un discurso sobre la belleza y gracia del baile de las seguidillas y abatimiento de nuestra música nacional (Madrid, 1799), followed by a second volume in 1802, with numerous later editions of both volumes. He was the first to collect ‘the best verses’ for the three popular dance types of Spain (seguidillas, tiranas and polos) to be sung with the guitar, and also the first to exalt Spanish national music. In the preface he established that the bolero (‘flyer’) originated in 1780 in La Mancha, where Sebastián Zerezo gave it its name, and mentioned the origin of other national dances such as the fandango. In the same preface he decried Italian opera on Spanish soil as a plague, but his musical xenophobia was later recognized as a necessary corrective. From 1813 Zamácola and his family were forced into exile in southern France. He lived chiefly at Auch, where in 1818 he published a history of the Basque nation (to which he belonged) under his own name. BIBLIOGRAPHY D. Hergueta Martín: ‘Don Preciso, su vida y sus obras’, Revista de archivos, bibliotecas y museos, xxxiii (1929), 19, 23, 159, 328; xxxiv (1930), 56, 61, 63 J.M. Cossío: ‘Una biografía de Don Preciso’, Revista de bibliografía nacional, v (1994), 396 M.C. García-Makos Alonso: ‘Un folklorista del siglo XVIII “Don Preciso”’, RdMc, iv (1981), 295–307 J. Garmendia: ‘Una fuente inadvertida en las obras de Iztueta’, Boletin de la Real Sociedad Bascongada de los Amigos del País, xl/3–4 (1984), 783–97 J. Sierra: ‘Subre la base del canto nacional deberia construir coda pueblo su sistema’, RdMc, x (1987), 649 N. Nieto Fernández: La obra de Juan Antonio de Iza Zamácola, ‘Don Preciso’ (Bilbao, 1989) ROBERT STEVENSON/ISRAEL J. KATZ Zamara, Antonio (b Milan, 13 June 1829; d Hietzing, nr Vienna, 11 Nov 1901). Austrian harpist and composer of Italian birth. He studied the harp with Simon Sechter at the Vienna Conservatory and became solo harpist at the Vienna Hofoper in 1842, a position he retained for 50 years. He was also professor of harp at the Vienna Conservatory, and wrote a Harfenschule, salon pieces, and transcriptions for the harp as well as works for harp in combination with other instruments. Among Zamara's pupils were Eduard Strauss, Edmund and Heinrich Schuëcker, Alfred Kastner and Vicki Baum. He also taught his daughter, Theresa, and his son Alfred (b Vienna, 1863), who like his father became professor of harp at the Vienna Conservatory and solo harpist at the Vienna Hofoper. Alfred Zamara wrote many salon pieces, made transcriptions for the harp, and edited Naderman's Sieben Etuden; among his pupils was Joseph E. Schuëcker. BIBLIOGRAPHY B. Bagatti: Arpa e arpisti (Piacenza, 1932), 73 M.G. Scimeca: L'arpa nella storia (Bari, 1938), 175 A.N. Schirinzi: L'arpa: storia di un antico strumento (Milan, 1961), 148 H.J. Zingel: Neue Harfenlehre, ii (Leipzig, 1967), 179 ALICE LAWSON ABER-COUNT Zambello, Francesca (b New York, 24 Aug 1956). American director. After graduating from Colgate University she studied with Ponnelle, with whom she collaborated on Rossini’s L’occasione fa il ladro (1987, Pesaro, repeated at La Scala in 1989). From 1985 to 1990 she was co-artistic director of the Skylight Opera Theater in Milwaukee, where she directed the American première of Stephen Oliver’s Mario and the Magician (1989). She has worked extensively in Europe and the USA on productions including The Devil and Kate and Der Templer und die Jüdin (1988 and 1989, Wexford), Cimarosa’s Gli Orazi ed i Curiazi (1988, Rome) and Beatrice di Tenda (1987, La Fenice) and the American premières of operas by Cesti and Rossini. In 1990 she won international acclaim for her Seattle production of War and Peace, which exemplified the fluid grace and style of her work at its best; the next year she directed Les Troyens to open the season at Los Angeles and, with Turandot, became the first American to direct at the Bol'shoy Opera, Moscow. Her work, including a spectacular Benvenuto Cellini at Geneva in 1992, has been marked by visual brilliance and fine acting. Zambello’s more recent productions, including Les contes d’Hoffmann at Essen and Prince Igor at San Francisco (both 1996), have often provoked controversy, with their use of alienation techniques and their re-ordering of the action. PATRICK J. SMITH Zambia, Republic of. Country in south-central Africa. It has an area of 752,610 km2 and a population of 9·87 million (2000 estimate). It was a British colony from 1895 to 1953, and after 1911 it was known as Northern Rhodesia. Part of the Federation of Rhodesia and Nyasaland from 1953 to 1963, it became an independent republic in 1964. 1. Languages, ethnic groups and music history. 2. Musical traditions of main ethnic groups. 3. Modern developments. 4. Research. BIBLIOGRAPHY MOYA ALIYA MALAMUSI, MOSES YOTAMU Zambia |
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-cl, hn, va, gui, 1979; Sonnet ‘The Virginal’ (Shakespeare), Bar, pf, 1981; 2 Sonnets ‘Injury’ (Shakespeare), Bar, hn, pf; Nightsongs II, S, fl/A, cl/B, 1988; Sonnet/Sonata (Shakespeare), S, vn, 1990; Milton’s Comus (Songs and Dances from the Masque at Bridgewater), Mez, va, hpd, 1994; Vox feminae ‘Huc usque me miseram’, S, pf, 1994; Letters, S, a inst, 1996; Vox feminae ‘Virgo queam’, S, 1996; Luoghi, T, cl, bn, hn, vn, va, vc, 1997