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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 |
Zmeskall, Nikolaus (Paul), Edler von Domanovecz
(b Leštiny, bap. 20 Nov 1759; d Vienna, 23 June 1833). Hungarian composer. He arrived in Vienna in 1784 as secretary of the Hungarian Chancellery, a post he held until 1825. An amateur cellist, he became a close friend of Beethoven, who dedicated to him his String Quartet op.95; the Duet in E BIBLIOGRAPHY R. Klein: ‘Beethoven im “Klepperstall”: ein unbekannter Brief von Zmeskall v. Domanovecz. Postscriptum zur Interpretation von Beethovens Handzettel’, ÖMz, xxvi (1971), 3–9, 380 H. Ullrich: ‘Nikolaus Zmeskall von Domanowetz: Hofsekretär und Musiker und die Wiener Klassik’, Wiener Figaro, xliii/Jan (1976), 19–25 H. Ullrich: ‘Beethoven Freund Nikolaus Zmeskall von Domanovec als Musiker’, ÖMz, xxxii (1977), 27–85
Zminský, Emanuel See Meliš, Emanuel. Znamennïy. A type of chant used in Russian church music. See Russian and Slavonic church music, §2. Zobl, Wilhelm (b Vienna, 9 Jan 1950; d Hanover, 21 March 1991). Austrian composer and percussionist. He studied at the Vienna Hochschule für Musik, where his teachers included Urbanner and Cerha, with Kotonski in Warsaw (1972–3), at Vienna University and at Humboldt University, Berlin (PhD musicology 1978). During this period, he worked at the Institut für Elektroakustik at the Vienna Hochschule für Musik (1969–72) and at the experimental studio of Polish Radio in Warsaw (1972–3). Active as a percussionist, he founded the improvisatory group Spiegelkabinett. In 1985 he served as visiting professor at the University of São Paolo, and from 1987 to 1991 he taught electro-acoustic music at the Vienna Hochschule für Musik. He was appointed president of the Austrian section of the ISCM in 1988. Following an exploration of aleatory and postserial techniques, Zobl devoted himself to electro-acoustic composition. From his attempts to develop a new approach to tonality grew his work with animation and his collaboration with songwriters and amateur ensembles. Later, he became interested in ethnic music as a stimulus for integral rhythmic composition. He saw in this genre the possibility of overcoming an outmoded European conception of music on the one hand, and a chance to open music up to a variety of historical and cultural phenomena on the other. ‘Rhythmic composition,’ he explained, ‘means the conscious transformation and transposition of the cultural experiences that are deposited in rhythms, and is in no way a superficial borrowing from a foreign culture …’. WORKS (selective list)
BIBLIOGRAPHY LZMÖ C. Baier: ‘Wilhelm Zobl: "Sueno fur Kammerensemble" (1986)’, Wien modern … ein internationales Festival mit Musik des 20. Jahrhunderts, ed. A. Seitlinger, Konzerthaus Musikverein Odeon, 19 Oct – 30 Nov 1996 (Vienna, 1996), 140 M. Fischer: ‘Composing after Auschwitz: on Wilhelm Zobl’, World New Music Magazine, i/8 (1991), 32 SIGRID WIESMANN Zoeller, Carli [Karl] [Marteau, Léon] (b Berlin, 26 March 1840; d London, 13 July 1889). German player of the viola d’amore, bandmaster and composer. At the Berlin Conservatory, Hubert Ries, W. Gärich and A.E. Grell taught him the violin, harmony and counterpoint respectively. He travelled in Germany with an Italian opera company, eventually settling in London in 1873. In 1879 he became bandmaster of the 7th (Queen’s Own) Hussars; in 1884 he was elected a member of the Accademia di S Cecilia, Rome, and in 1885 a similar honour was conferred on him by the Istituto Musicale of Florence. Zoeller’s compositions include a comic operetta The Missing Heir, a lyric drama Mary Stuart of Fotheringay, church music, a scena for soprano and orchestra The Rhine King’s Daughter, four overtures and other orchestral pieces, a violin concerto, a string quartet and quintet and several songs. As a player of the viola d’amore he did much to revive interest in that instrument, to which purpose he wrote The Viole d’Amour: its Origin and History, and Art of Playing it (London, 1885). E. HERON-ALLEN/JOHN MORAN Zografski, Tomislav (b Veles, 29 March 1934). Macedonian composer. He studied at the Skopje Music School and graduated from Zivković’s composition class at the Belgrade Academy of Music in 1961. After working as a music journalist for Radio Skopje, he became professor (1967) and then dean of the school of music at the University of Skopje. His works are mostly neo-classical in style and betray influences of Macedonian folk music, particularly in their choice of thematic material. He has also drawn on the tradition of Byzantine-Slavonic Orthodox chant. WORKS (selective list)
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for viola and cello woo 32 was also probably written for him. He wrote 16 string quartets and a few other chamber works (in A-Wgm).