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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 |
Zolotaryov, Vasily Andreyevich
(b Taganrog, 24 Feb/7 March 1872 (?1873); d Moscow, 25 May 1964). Russian composer and teacher. He was the son of an employee from the Taganrog Tobacco Factory. In Rostov-on-Don in 1883 he was elected by the commission for the Court Cappella Choristers to sing in the boys’ choir. He studied with Balakirev and Lyadov at the court chapel in St Petersburg, where his gifts as a composer became apparent (under the influence of Balakirev, with whom he studied composition from 1883 to 1887, he wrote a symphony, completed 70 years later in 1962; he dedicated it to the memory of Balakirev and Rimsky-Korsakov). He continued his musical education with Rimsky-Korsakov at the St Petersburg Conservatory (1898–1900), where he won the Rubinstein Prize for his cantata Ray i Peri (‘Paradise and Peri’), which was presented as his graduation work. In 1902 he wrote his Simfoniya gneva (‘Symphony of Anger’, dedicated to Tchaikovsky), for which he received the Glinka Prize; in 1915 he also won a prize in the Taneyev Competition (organized by the Moscow Society for Chamber Music) for his Fourth Quartet; in 1916 his Fifth Quartet and his four-movement choral symphonic poem On i Ona (‘He and She’) also won the Taneyev Prize. From 1887 to 1900 he was a violin teacher at the court chapel school. His subsequent career as a theory teacher took him to various institutions in western Russia and the Ukraine, including the Moscow Conservatory (1909–18), as a professor in Krasnodar at the Conservatory of Kuban' (1919–24), the Odessa Music Institute (1924–6) and the N. Lïsenko Institute of Music and Drama in Kiev (1926–30). He also worked in Sverdlovsk (at the music college, 1930–32) and at the National Conservatory in Minsk (1933–41), where he founded a school of composition; he also made collections and adaptations of Belarusian and Turkmenian folksongs. During the war years he lived in Moscow. His pupils include A. Bogatïryov, K. Dan'kevich, M. Kroshner, M. Paverman, L. Polovinkin, M. Weinberg and I. Zak. Among the awards he received were the titles Honoured Artist of the RSFSR (1932) and People’s Artist of the Belarusian SSR (1949). WORKS (selective list)
WRITINGS Fuga: rukovodstvo k prakticheskomu izucheniyu [The fugue: a guide to the practical study of] (Moscow, 1932, 3/1965) ‘Nikolay Andreyevich Rimskiy-Korsakov v pevcheskoy kappelle: iz vospominaniy uchenika’ [Rimsky-Korsakov at the Choral Cappella: from the reminiscences of a pupil], SovM (1948), no.9, pp.52–6 ‘Vospominaniya o Balakireve’ [Reminiscences about Balakirev], SovM (1948), no.2, pp.105–9 Vospominaniya o moikh velikikh uchitelyakh, druz'yakh i tovarishchakh: avtobiograficheskiy ocherk [Reminiscences of my great teachers, friends and comrades: an autobiographical essay] (Moscow, 1957) ‘Zametki o Shestoy simfonii Vaynberga’ [Notes on Weinberg’s Symphony no.6], Muzïka i sovremennost', iii (1965), 170–85 BIBLIOGRAPHY A.V. Lunacharsky: ‘K predstoyashchemu sezonu’ [On the forthcoming season], Izvestiya (19 Sept 1924) [on the opera Dekabristï] K. Dan'kevich and others: SovM (1963), no.3, pp.26–34 [various articles] Obituary, SovM (1964), no.10, p.160 only S. Nisnevich: V.A. Zolotaryov (Moscow, 1964) B. Asaf'yev: ‘Dekabristï V. Zolotaryova’ [V.A. Zolotaryov’s ‘The Decembrists’], Ob opere (Leningrad, 1976), 296–7 S. Miroshnichenko: ‘Osnovopolozhniki teoretiko-muzïkovedcheskoy i kompozitorskoy shkol Odessï’ [The founders of the school of theory and musicology and the Odessa school of composition], Odesskaya konservatoriya: zabïtïye imena, ed. N. Ogrenich (Odessa, 1994), 21–37 LYUDMILA KOVNATSKAYA Zoltai, Dénes (b Gyula, 6 March 1928). Hungarian philosopher and writer on the aesthetics of music. He studied under Georg Lukács at Budapest University, where he took the CSc in philosophy. He was principal research fellow at the Institute of Philosophy of the Hungarian Academy of Sciences until 1972, when he became professor of aesthetics at Budapest University. As secretary to the National Committee of Hungarian Aesthetes he coordinated Hungarian research in aesthetics. The first part of his important book on the history of music aesthetics concentrates on the concept of music in antiquity, during the Enlightenment, and in the work of Hegel; the second deals with the Romantic period. His work, characterized by the interpretative application of Marxist aesthetics and Marxist social philosophy (particularly Lukács’s theory of art), also concerns modern theories of music (e.g. those of Adorno, Eisler and Asaf'yev); his essays on contemporary attitudes to music are focussed on the work of Bartók. WRITINGS trans.: G.W. Hegel: Esztétikai előadások [Lectures on aesthetics] (Budapest, 1952) A zeneesztétika története, i: Ethosz és affektus [A history of the aesthetics of music, i: Ethos and affect] (Budapest, 1966, 2/1969; Ger. trans., 1970) ‘A kritika i művészetelmélet esélyei: Adorno negativ zenefilozófiájáról’ [Prospects on a critical theory of art: about Adorno’s negative philosophy of music], Világosság, x (1969), 749–55 A modern zene emberképe [The image of man in contemporary music] (Budapest, 1969; Ger. trans., 1978) ‘Bartók in Sicht der Frankfurter Schule’, Conference in Commemoration of Béla Bartók: Budapest 1971, 13–17 ‘Die Problematik der burgerlichen Gesellschaft in den Hegelschen Ästhetik und bei den Romantikern’, Hegel-Jb, v (1971), 148–52 Az esztétika rövid története [A short history of aesthetics] (Budapest, 1972) ‘Zur Typologie des Verstehenproblems in der Aesthetik des 19. Jahrhunderts’, Musik und Verstehen, ed. P. Faltin and H.-P. Reinecke (Cologne, 1973), 320–32 with J. Marothy and J. Ujfalussy: ‘Szocialista kultura és marxista zeneszociológia’ [Socialist culture and Marxist music sociology], Magyar zene, xiv (1973), 189–99 Bartók nem alkuszik: avagy az úgynevezett esztétikai kompromisszumról cikkek tanulmányók [Bartók does not bargain, or studies of the so-called aesthetic compromise articles] (Budapest, 1976) Kodály Zoltán 1882–1967 (Budapest, 1982) PÉTER BALASSA Zoltán, Aladár (b Mărtiniş, 31 May 1929; d Tîrgu-Mureş, 9 July 1978). Romanian composer of Hungarian descent. He studied with Gábor (composition) and Ciolan (conducting) at the Cluj Academy (1946–53), where he also served as assistant lecturer in harmony (1950–56). In Tîrgu-Mureş, he edited the journal Művelődés (1955–8), conducted the Song and Dance Ensemble (1958–9), worked as head of department at the radio studio (1959–65) and in 1965 became director of the Tîrgu-Mureş PO. He received the 1967 Enescu Prize. An expert in Hungarian folk music, Zoltán incorporated arrangements of folksongs and dances into pieces written for the ensembles with which he worked. Sonorities of an archaic nature inform his music for voices. The Symphony no.1 (1963) is among his most representative works. WORKS (selective list)
BIBLIOGRAPHY D. Buciu: ‘Simfonia de Zoltán Aladár’, Muzica, xvii/6 (1967) V. Cosma: Muzicieni români (Bucharest, 1970) ISTVÁN LAKATOS/OCTAVIAN COSMA Zonca [Zonka, Zonga], Giovanni Battista (b Brescia, 1728; d Gámbara, nr Brescia, 1809). Italian bass. He was a successful singer in Italian opera houses from 1757, and in London, 1761–2. In 1763 he was hired by the Mannheim court of Elector Carl Theodor, where he particularly excelled in serious roles and also sang successfully in opera buffa. In 1769 he played at court a glass harmonica constructed by the court astronomer Father Christian Mayr. He was a guest performer at the Teatro S Benedetto in Venice in 1771. In 1778 he moved with the court to Munich, his last role there being Jupiter in Vogler's Castore e Polluce (1787). He retired to his estate in Gámbara in 1788. His final documented role was as Polpetta in Farinelli's La bandiera d'ogni vento (in Padua, 1800). Mozart commented favourably on Zonca's expressive singing in a letter of 27 December 1780, stating that he wished he had been able to create the part of Idomeneus for him. There is no conclusive evidence that he composed, although he may have written some of the works attributed to his brother (or uncle) Giuseppe Zonca. (EitnerQ; GerberL; GerberNL; LipowskyB; SchmidlD; WalterG) ROBERT MÜNSTER Zonca [Zonka, Zonga], Giuseppe [Joseph] (b Brescia, 1715; d Munich, 4 Jan 1772). Italian bass and composer active in Germany. After philosophical and theological studies he was ordained a priest, but then dedicated himself to music. On 22 April 1752 he was hired as a bass singer in the Munich Hofkapelle. In 1754 his oratorio La morte d’Abel was performed at the court (also performed in Bologna, 1759, and Bonn, 1760, with Beethoven’s father in the role of Adamo); his serenata L’Angelica and opera Il re pastore were presented there in 1758 and 1760 respectively. Lipowsky (1811) praised the unusually deep notes and pleasant upper register of his voice. As a composer he set many texts by Metastasio and followed the methods of Italian opera seria without originality. Some of the works attributed to him may have been composed by his brother (or nephew) Giovanni Battista Zonca. WORKS
BIBLIOGRAPHY EitnerQ; GerberL; GerberNL; LipowskyB; SchmidlDS; WalterG F.M. Rudhart: Geschichte der Oper am Hofe zu München (Freising, 1865) G. Haberkamp and R. Münster: Die ehemaligen Musikhandschriften der Königlichen Hofkapelle und der Kurfürstin Maria Anna in München (Munich, 1982) ROBERT MÜNSTER Zonta. See Giunta family. Zopff, Hermann (b Glogau [now Głogów], Silesia, 1 June 1826; d Leipzig, 12 July 1883). German critic and composer. At his father’s wish he studied agriculture in Breslau and Berlin, and only after the successful performance of an overture in 1850 did he decide to make music his career. He studied with A.B. Marx and Theodor Kullak at the Stern Conservatory in Berlin, where he later joined the staff to teach music theory. In Berlin he also founded an opera academy and an orchestra, but he moved to Leipzig in 1864, when Franz Brendel chose him to be an editor of the Neue Zeitschrift für Musik; four years later he succeeded Brendel as editor-in-chief and continued his advocacy of the New German School. He was also active as a writer, choral director, and teacher of singing and music theory. His compositions include two published but unperformed operas, Mohammed and Maccabäus, numerous choral works and songs, a symphonic poem Wilhelm Tell, Idyllen for small orchestra and several chamber pieces, all written in a conservative, tasteful and rather superficial style. WRITINGS Ratschläge für angehende Dirigenten (n.p., 1861, rev. 2/1902 by C. Kipke) Grundzüge einer Theorie der Oper (Leipzig, 1868) Die Behandlung guter und schlechter Stimmen im gesunden und kranken Zustande (Leipzig, 1878) Essays and articles in NZM and the Neue Berliner Musikzeitung BIBLIOGRAPHY F. Laurencin: ‘Compositionen von Dr Hermann Zopff’, Neue Berliner Musikzeitung, xxix (1875), 326–7, 334–5, 342–3 B. Vogel: ‘Hermann Zopffs op.46 Maccabäus’, NZM, lxxvi (1880), 53–4, 65–6 Obituary, NZM, lxxix (1883), 345–6 CHRISTOPHER FIFIELD Zoppa, alla (It.: ‘halting’, ‘limping’). A term applied to a rhythm in which the second quaver in a bar of 2/4 time is accentuated, typical of some Hungarian dances, and of American ragtime. Zoppis, Francesco (b Venice, c1715; d ?Venice, after 1781). Italian musician. In 1739 his opera Lucio Papirio dittatore was performed in Graz by Pietro Mingotti’s Italian opera company. On 21 November 1745 he was appointed deputy Kapellmeister to the Bonn court of Archbishop Clemens August of Cologne. He held this post until 1752, and then, probably working with Locatelli’s touring opera company, went to Prague, where in 1753 his opera Il Vologeso was performed. In 1757 he arrived in St Petersburg, producing his opera Didone abbandonata in 1758 and La Galatea two years later. He was appointed deputy conductor of the Italian opera under Raupach, and was subsequently promoted to conductor. He is thought to have succeeded to the directorship of the imperial chapel choir after Galuppi left Russia in 1768. In 1781 Zoppis himself left St Petersburg and probably returned to Italy. Among his other works are a setting of Metastasio’s oratorio Isacco, a Te Deum in D, cantatas and arias. (MooserA) GEOFFREY NORRIS Zoraqi, Nikolla (b Korça, 24 Jan 1929; d Tirana, 9 Nov 1991). Albanian composer and violinist. He studied theory and the violin at the Jordan Misja Art Lyceum, Tirana (1946–c1950) and became leader of the Albanian Philharmonia before studying composition with Shaporin at the Moscow Conservatory (1957–61). After his return he worked at Albanian Radio (1961–75) while also teaching at the Tirana Conservatory. In 1975 he acquired the status of a ‘free professional composer’, salaried by the state, but continued to teach harmony, analysis and composition at the Conservatory until his death. One of the most important musical figures of socialist Albania, Zoraqi was capable of highly personal utterances, though his susceptibility to different influences, unproblematic in the Violin Concerto no.2 (1968) with its echoes of Bruch and Wieniawski, lapsed into derivativeness in works such as the First Symphony (1985–7) which is modelled closely on Shostakovich's Fifth. While a number of his instrumental works, notably the ‘Festive’ Overture (1968), have achieved popularity, his finest achievements are his works for the stage. He was one of the first composers in the 1970s to bring to the stage the major Albanian novelists of the day, such as Agolli and Kadare. His masterpiece is perhaps the opera Komisari (‘The Commissar’, 1974), in which harshly dissonant orchestral writing underpins a succession of hallucinatory musical images. Equally successful and particularly popular were his ballets, especially Cuca e maleve (‘The Maiden of the Mountains’, 1970), in which Zoraqi adopts the number structure and colourful orchestration of Soviet models, Prokofiev and Khachaturian especially, while making use of Albanian folk-dance rhythms. WORKS (selective list) Stage dates are of first performance in Tirana unless otherwise stated
Vocal
Orchestral
Chamber
BIBLIOGRAPHY Sh. Vani: Kur dëgjomë operën [When we listen to opera] (Tirana, 1979), 222–31 S. Kalemi: Arritjet e artit tonë muzikor: vepra dhe krijues të muzikës Shqiptare [Achievements of our musical art: creations and creators of Albanian music] (Tirana, 1982), 119–36 R.H. Bogdani: Koreografi & art i kultivuar [Choreography and cultivated art] (Tirana, 1998) G. Leotsakos: Entechni Alvaniki moussiki [Albanian art music] (forthcoming) GEORGE LEOTSAKOS Zoras, Leonidas (b Sparta, 23 Feb 1905; d Athens, 22 Dec 1987). Greek composer and conductor. He studied the violin at the Athens and Hellenic conservatories (1919–24), conducting with Boutnikoff and Mitropoulos and composition with Lavrangas and Riadis. His studies were continued with Kalomiris at the National Conservatory (1926–38) and at the Berlin Hochschule für Musik, where his teachers in conducting were Gmeindl, Schmalstich and F. Stein, and in composition, Blacher, Grabner and Höffer. Zoras was conductor of the Greek National State Opera (1948–58) and at the Deutsche Oper and RIAS radio in Berlin (1958–68). He was appointed director of the Athens National Conservatory in 1968. Although a composer of Kalomiris’s circle, Zoras had little in common with his teacher stylistically. His earlier compositions, such as Thrylos (‘Legend’, 1936), show an almost Ravelian treatment of folk material, with spare harmonies. Later works, including the Symphony (1972), are more dense and atonal, with wide-leaping melodies and simple rhythms. WORKS (selective list)
BIBLIOGRAPHY MGG1 (J.G. Papaioannou) W.L. Landowski: L’année musicale 1937 (Paris, 1938), 115ff, 264ff A.S. Theodoropoulos: ‘Synchronoi ellenes mousikoi: 10. Leonidas Zoras’, Angloelliniki epitheorisi, iii/11 (1948), 358 G. Leotsakos: ‘Zoras, Leonidas’, Pangosmio viografiko Lexiko [Universal biographical dictionary], iv (Athens, 1985), 32 only GEORGE LEOTSAKOS |
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