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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 |
Zohrabian, Ashot Patvakani
(b Yerevan, 29 Jan 1945). Armenian composer. He studied composition at the Melikian Music College with Bagdasarian (1963–7) and then at the Yerevan Conservatory with Eghiazarian (1967–72). In 1972 he began to teach harmony at the Babadjanian Music College and in 1981 orchestration and composition at the Yerevan Conservatory. He became a member of the Armenian Composers' Union in 1973, and of the Association of Contemporary Music in 1990. In 1993 he was awarded the Khachaturian Prize for Parable for chamber orchestra. Zohrabian is one of the leading figures in late 20th-century new Armenian music, and his works have been regularly performed in Moscow, St Petersburg, Kiev, Minsk, the Baltic States and Transcaucasus as well as in festivals in Bratislava, Venice, Cologne (all 1987), Glasgow, London, Paris (all 1989), Seoul (1990), Zagreb, Duisburg (1991) and Zürich (1992 and 1993). Zohrabian's stylistic formation took place under the influence of Boulez and Ligeti but also the harmonic and modal practices of Komitas. This diatonic vein and an urge to bring together new methods and choral traditions typical of early Armenian monody (with modal variation) conditioned the originality of his serial method. His interests have focused on chamber music, with and without the voice. Irrespective of the absence of broader stylistic evolution, each work follows its own compositional logic. One of the most striking of the early works – Boomerang Games (1973–4) – is based on variation principle. The instrumental ensemble sets up a complex game of symmetrically reflected or juxtaposed rhythms. Metro-rhythmic variation, syncopation and rests effect general stylistic mobility, disturbing the periodicity of time. The pointilliste and rhythmic mosaic of Boomerang Games (which was performed at the Centre Georges Pompidou by the Ensemble InterContemporain under Méfano) continues in the two cello sonatas composed in 1976 and 1980. From Elegy (1979) onwards, the composer developed a meditative aesthetic in which slow tempi are enhanced by glissandi and the microtonic possibilities of a two-part motif. The combination of external stasis with dynamic ornamental development is reminiscent of instrumental improvisations found in eastern music. The lyricism of the Elegy was further developed throughout the 1980s, especially in An Offering to Metsarents: Metsarents was an Armenian symbolist poet of the turn of the 19th and 20th centuries whose work is often set by Zohrabian. Having left a violin concerto uncompleted at the end of the 1980s due to the earthquake and political upheaval in Armenia, Zohrabian settled down to a productive period in the 1990s with Parable (1992), a work of refined introspection. Largely breaking free from his previous confessional vein, he tended towards communication of analytic reflection and spiritual illumination. WORKS (selective list)
BIBLIOGRAPHY S. Sarkisian: ‘Molodïye kompozitorï Armenii’ [Young composers of Armenia], Muzïkal'naya kul'tura bratskikh respublik SSSR, ed. G. Kon'kova (Kiev, 1982), 160–7 A. Arevshatian: ‘Muzïka dlya kamerno-orkestrovïkh sostavov. 70–80-ïye gg.’ [Music for chamber orchestra of the 1970s–80s], Armyanskoye iskusstvo na sovremennom ėtape, ed. G. Geodakian, (Yerevan, 1987), 153–5 S. Sarkisian: ‘Bekenntnis zur armenischen Tradition bei A. Sograbjan’, Sowjetische Musik im Licht der Perestroika, ed. H. Danuser (Duisburg, 1990), 215–20 SVETLANA SARKISYAN Zoilo, Annibale (b Rome, c1537; d Loreto, 1592). Italian composer and singer. He spent most of his life in Rome. After singing in the Cappella Giulia from 9 August 1558 until February 1561, he was maestro di cappella of S Luigi dei Francesi from 1561 to 1566. From 1567 to June 1570 he held a similar position at S Giovanni in Laterano, and during this period may also have been in the service of Cardinal Guglielmo Sirleto. On 5 July 1570 he joined the choir of the Cappella Sistina as an alto but, according to an entry in the Diario sistino for August 1577, was obliged to resign because of ill-health in July 1577. On 25 October 1577 he and Palestrina were appointed by Pope Gregory XIII to prepare a corrected edition of the Roman Graduale; Zoilo worked on the Proprium sanctorum and the Antiphonale. Because of lack of funds the project was abandoned in autumn 1578. There is no record that Zoilo held a full-time appointment for the following three years, although it is known that he was in the service of Cardinal Sirleto for part of the time and from 1577 he was associated with the Oratorio di SS Trinità dei Pellegrini e Convalescenti, receiving payments from this institution in 1579, 1580 and 1582. In December 1581 he was appointed choirmaster of Todi Cathedral. While he was there he continued to compose for the Cappella Sistina and in May 1582 presented it with three masses. From 25 September 1584 until his death he was maestro di cappella of the Santa Casa, Loreto. Zoilo was an important composer of the Roman school of the later 16th century. The style of his music is essentially that of Palestrina. An example of his contrapuntal skill is the Agnus Dei of his Missa ‘Maria et flumina’, in which the four-part texture of the mass is supplemented by a two-part canon subdiapente based on the melody Maria et flumina; the canon is a play on the words ‘Tu che mi segui’ (‘You who follow me’) in the original text, which is quoted at the beginning of the movement. In his madrigal Cosi diss’egli, e'l cielo (1590) Zoilo commented, perhaps satirically, on the more chromatic style of some of his contemporaries by writing a striking chromatic passage at the words ‘nuovi concenti’ (new harmonies). His best-known madrigal was Chi per voi non sospira, which appeared in several printed collections and was used by Vincenzo Galilei in his Fronimo (1584). WORKS Sacred
Secular
BIBLIOGRAPHY A. Adami: Osservazioni per ben regolare il coro della cappella pontificia (Rome, 1711) R. Molitor: Die nachtridentinische Choral-Reform zu Rom (Leipzig, 1901–2/R) R. Casimiri: ‘Lettere di musicisti (1579–1585) al Cardinal Sirleto’, NA, ix (1932), 97–111 R. Casimiri: ‘Annibale Zoilo (1540?–1592) e la sua famiglia: nuovi documenti biografici’, NA, xvii (1940), 1–25 H.B. Lincoln: Annibale Zoilo: the Life and Works of a Sixteenth-Century Italian Composer (diss., Northwestern U., 1951) L. Navarrini: Annibale Zoilo: la sua presenza nella produzione musicale sacra del Cinquecento (diss., U. of Florence, 1985) L. Navarrini: ‘Nuovi cenni biografici su Annibale Zoilo’, AnM, xli (1986), 105–33 HARRY B. LINCOLN Zoilo, Cesare (b Rome, 1584; d ?Rome, after 1622). Italian composer, son of Annibale Zoilo. A letter from his father in 1585 refers to him as being then one year old. As a boy he sang in the choir of S Maria Maggiore, Rome. He was maestro of Santo Spirito in Sassia, Rome, from 1610 to 1621; between 1619 and 1622 he also served as maestro di cappella, particularly for occasional special services, at the church of S Tommaso di Canterbury of the Collegio Inglese, Rome. According to the dedication of his Madrigali, he had also served as a musician in the household of Paolo Giordano Orsini, Duke of Bracciano. He seems to have wished to remain faithful to the tradition of vocal polyphony, for in the preface to his Madrigali he explained that they were intended for unaccompanied voices but that he had added a continuo part to conform to current practice in some places of performing such works with only two singers; he added that it would have been in tablature had not printing problems made this impossible. WORKS
BIBLIOGRAPHY A. Allegra: ‘La cappella musicale di S. Spirito in Saxia di Roma’, NA, xvii (1940), 26–38, esp. 28, 30 R. Casimiri: ‘Annibale Zoilo (1540?–1592) e la sua famiglia: nuovi documenti biografici’, NA, xvii (1940), 1–25 HARRY B. LINCOLN Zöller, Karlheinz (b Höhr, Westerwald, 24 Aug 1928). German flautist. He trained at the Musikhochschule in Frankfurt and at the Northwest German Music Academy in Detmold. While still a student he won first prize in the 1947 competition sponsored by German radio in Frankfurt. After completing his studies in 1950, he became a much sought-after recitalist and chamber musician. From 1960 to 1969 he was solo flautist of the Berlin PO, and during this period also taught at the Hochschule für Musik in Berlin. He became a member of the Berlin Philharmonic Soloists at its inception. In 1968 the critics of Germany honoured him for his outstanding work. In 1969 he left the orchestra and became professor at the Staatliche Hochschule für Musik in Hamburg. He rejoined the Berlin PO in 1977. Zöller has continued to tour as a recitalist and soloist, and has given the first performances of concertos by Ligeti, Isang Yun and Manfred Trojahn. GEORGE GELLES/PETER SCHMELZ |
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