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Zachau, Friedrich Wilhelm.Стр 1 из 46Следующая ⇒
See Zachow, Friedrich Wilhelm. Zachau [Zachäus], Peter (b ?c1650; d Lübeck, 1702). German composer and instrumentalist. His known activities as a church musician indicate that he must have been trained as a cornettist and trombonist. He became a musician at the Petrikirche, Lübeck, and preferred to remain there rather than accept an appointment as a civic musician in Lübeck which became available in 1672. Johann Theile, whose St Matthew Passion appeared in Lübeck in 1673, lived there temporarily and this gave Zachau an opportunity to study with him and perfect his technique as a composer. His only surviving pieces are 21 devotional songs in Christian von Stökken’s collection Klahre Andeutung und wahre Anleitung zur Nachfolge Christi (Plön, 1678), which are similar in style to comparable pieces by composers such as Johann Schop (i) and Thomas Selle; most of them have simple chorale-like melodies. A collection of suites for viola da gamba (Lübeck and Danzig, 1683) and another for four string instruments (Lübeck and Leipzig, 1683) have not survived. (J. Hennings: Musikgeschichte Lübecks, i, Kassel, 1951) GEORG KARSTÄDT Zacher, Gerd (b Meppen, 6 July 1929). German organist and composer. He studied church music, composition and conducting with Bialas, Heintze, Schneider and Thomas at the Nordwestdeutsche Musikakademie, Detmold (1949–52), and took private composition and piano lessons with Theodor Kaufmann in Hamburg (1952–4). As a result of attending the Darmstadt summer courses of 1952 and 1953 he was strongly influenced by Messiaen. He has held posts as Kantor and organist at the German Evangelical Church, Santiago, Chile (1954–7), and at the Lutherkirche in Hamburg-Wellingsbüttel (1957–70), where he became director of church music. In 1970 he was appointed professor and director at the institute of Protestant church music of the FolkwangHochschule, Essen. Zacher has played a major part in the revival of the organ as a medium for avant-garde composers, a development which began with such works as Ligeti’s Volumina and Kagel’s Improvisation ajoutée. He has investigated and systematized new effects (such as switching the motor on and off, using weak ventilators, minimal opening of valves with light key pressure, halfdrawn stops, the briefest speaking of pipes), and commissioned pieces from Bussotti, Cage, Krenek, de Pablo, Yun and many others. Since his début recital (1952, Hamburg) with Messiaen’s organ cycle Les corps glorieux, he has appeared frequently as a recitalist throughout Europe and the USA, as well as in Australia and Japan, and has also taught at several organ courses. As a composer he began by using serial methods and made use of microtonal structures, following Busoni (third-tones), Alois Hába (quarter-tones), Vïshnegradsky and Carrillo (up to twelfth-tones), but quickly evolved an independent style. He has also researched extensively into Bach interpretation, and has made ten different realizations of Contrapunctus I from the Art of Fugue. WORKS (selective list)
WRITINGS ‘Analyse der Orgel: ein Interpretationskurs’, Ferienkurse ’72, ed. E. Thomas, DBNM, xiii (1972), 58–73 ‘Compositeur, interprète, commanditaire’, Musique en jeu, no.3 (1971), p.58–67 ‘Werkzeug Orgel’, Der Kirchenmusiker (1968), no.5 ‘Über eine vergessene Tradition des Legatospiels’, Musik und Kirche, xliii (1973), 166–71 ‘Frescobaldi und die instrumentale Redekunst’, Musik und Kirche, xlv (1975), 54–64 ‘Canonische Veränderungen: bwv769 und bwv769a’, Johann Sebastian Bach: das spekulative Spätwerk, Musik-Konzepte, nos.17–18 (1980), 3–19 Bach gegen seine Interpreten verteidigt: Aufsätze 1987–1992, Musik-Konzepte, nos.79–80 (1993) RUDOLF LÜCK/GERHARD WIENKE Zacher [Zächer, Zaecher], Johann Michael (b Vienna, bap. 6 Aug 1651; d Vienna, 30 Sept 1712). Austrian composer. He spent his entire life in Vienna. He attended the Jesuit college there from 1666 to 1668. From 1679 until his death he was Kapellmeister of the Stephansdom (where his father was sexton and where his younger brother Andreas, a court string player, sometimes played). One of his first important tasks would have been to direct music performed in June 1680 as part of a festival of thanksgiving for the ending of a plague; for directing the music on one Sunday that month he received a payment of 50 florins in the name of the emperor. He also carried out musical duties at the Salvatorkapelle and at court. By an imperial decree of 6 June 1698 he was given the title of imperial court musician. After the death in 1705 of the Emperor Leopold I he became Kapellmeister to the Dowager Empress Eleonora Magdalena Theresia. In October 1705 he handed over to J.J. Fux his daily musical duties at the Hungarian shrine above the high altar of the Stephansdom, and after his death Fux succeeded him as Kapellmeister too. During Zacher’s early years as Kapellmeister, Vienna survived not only the plague of 1679 but also the Turkish siege of 1683. Again the Stephansdom was the scene of splendid celebrations attended by the rejoicing citizens in the presence of the imperial court: indeed, with its towering spire, the cathedral itself became a symbol of the deliverance of the Christian world. The mood of the city then and in succeeding years found triumphant expression in numerous large-scale sacred works by Zacher, as well as in his more modest works. In his settings of dramatic and allegorical texts he devoted himself particularly to Jesuit dramas, which members of the imperial court patronized and in which they participated. Musically these works were influenced by earlier examples of the genre by J.C. Kerll, J.B. Staudt and F.T. Richter. WORKS Dramatic All in A-Wn
Other
BIBLIOGRAPHY MGG1 (K. Pfannhauser) C. Wolfsgruber: Die k. u. k. Hofburgkapelle und die k. u. k. geistliche Hofkapelle (Vienna, 1905), 156, 186 H. Brunner: Die Kantorei bei St. Stephan in Wien (Vienna, 1948), 19 A. Kellner: Musikgeschichte des Stiftes Kremsmünster (Kassel, 1956), 287, 291 H. Knaus: Die Musiker im Archivbestand des kaiserlichen Obersthofmeisteramtes (1637–1705), iii (Vienna, 1969), 10, 15, 61–2, 82, 84, 88, 140 H. Federhofer: Introduction to Johann Joseph Fux: Sämtliche Werke, 1st ser., ii (Kassel, 1971), p.vii H. Seifert: Die Oper am Wiener Kaiserhof im 17. Jahrhundert (Tutzing, 1985) F. Hadamowsky: Das Theater in den Schulen der Societas Jesu in Wien (1955–1761) (Vienna, 1991) KARL PFANNHAUSER Zachow [Zachau], Friedrich Wilhelm (b Leipzig, probably on 13 Nov, bap. 14 Nov 1663; d Halle, 7 Aug 1712). German composer and organist. He is remembered chiefly as Handel's teacher but is important in his own right as a composer of church cantatas and keyboard music. Zachow's maternal grandfather and his father were both Stadtpfeifer. He probably attended one of the Lateinschulen at Leipzig, of which the more likely is the Thomasschule, at that time a school for the children of the poor. Walther stated that while at school Zachow received a thorough grounding in the organ and in the skills of the Stadtpfeifer; his father probably instructed him in the latter, and he may have been a pupil of the Thomaskirche organist, Gerhard Preisensin, though only for a short time, since the latter died when Zachow was eight. In 1676 the family moved to Eilenburg, where he may have attended the Nikolaischule. Among the musicians then at Eilenburg were the Kantor Johann Schelle, who was replaced in 1677 by Basilius Petritz, and the composer, poet and town organist Johann Hildebrand, who was probably Zachow's teacher. On 11 August 1684 Zachow was appointed to the coveted post of organist at the Marienkirche, Halle, where he remained for the rest of his life. In addition to playing the organ, his duties included directing the musical performances that took place every third Sunday at the Marienkirche and for which he had at his disposal the town choir and instrumentalists. The conducting of the Halle ‘chorus musicus’ was linked with the organist's post at the Marienkirche. Zachow became an eminent teacher and besides Handel his pupils included Gottfried Kirchhoff, J.G. Krieger and J.G. Ziegler. Zachow's surviving works are a chance selection from an originally much larger output; contemporary inventories cite the titles of 70 more cantatas and mention several masses and mass movements. His cantatas range from those with pure Bible texts in the tradition of the ‘geistliche Konzert’, through various transitional forms, to the madrigalian cantata of the Bach period. The choruses (usually in four parts, but sometimes in five or even six) are mostly concerted movements rich in contrasts, but fugues and combinations of fugal and concerted writing are also frequent. Arias in all the contemporary forms are found: strophic songs occasionally varied and with instrumental ritornellos, which occur in a few early works; through-composed arias and ariosos, highly expressive and text-orientated, which are frequently expanded by repeated lines, and, in some later works, are held together by identical instrumental preludes and postludes; and the da capo type, which in one case is extended into a rondo. The solo ensembles include an interesting rarity – a trio for basses in Triumph, victoria. Zachow made little use of simple chorale settings; most of his chorales have an obbligato accompaniment and some are introduced by ‘Vorimitation’. True recitativo semplice is not found until the late works, and accompanied recitative mostly blossoms into arioso. A few of the cantatas begin with magnificent instrumental movements, sometimes multi-sectional. The individual construction of the dramatic Whitsun cantata Ruhe, Friede, Freud und Wonne (a sort of miniature oratorio on the subject of David's struggle with the Tempter) is difficult to place historically; it may be regarded as belonging to the tradition of the so-called actus musicus, in which form Zachow is known to have written works. The bulk of Zachow's organ works are based on chorales: preludes with the cantus firmus in the highest or lowest voice, fugues, a combination form made up of a free prelude and two fugues, a small fantasia and two partitas. The most important are the chorale fugues which show Zachow as an important precursor of J.S. Bach. WORKS Editions: F.W. Zachow: Gesammtausgabe seiner sämmtlichen Orgelcompositionen, i, ed. G.W. Körner (Erfurt and Leipzig, c1850) [K]F.W. Zachow: Gesammelte Werke, ed. M. Seiffert, DDT, xxi–xxii (1905/R) [S]F.W. Zachow: Choralvorspiele für Orgel, ed. A. Adrio (Berlin, 1952) [A]F.W. Zachow: Gesammelte Werke für Tasteninstrumente, ed. H. Lohmann (Wiesbaden, 1966) [L]F.W. Zachow: Samtliche Orgelwerke, ed. K. Beckmann (Messstetten, 1996) [B] Sacred vocal German
Latin
Keyboard
Other instrumental
BIBLIOGRAPHY FrotscherG MGG1 (G. Thomas) WaltherML W. Serauky: Musikgeschichte der Stadt Halle, ii/1 (Halle and Berlin, 1939/R), 377ff; music suppl. and notes to ii/1 (Halle and Berlin, 1940/R), 49ff B. Baselt: ‘Friedrich Wilhelm Zachow und die protestantische Kirchenkantate’, Festschrift der Händelfestspiele, 1962, 45–54 F. Krummacher: ‘Zur Sammlung Jacobi der ehemaligen Fürstenschule Grimma’, Mf, xvi (1963), 324–47 B. Baselt: ‘Actus musicus und Historie um 1700 in Mitteldeutschland’, GfMKB: Leipzig 1966, 230–37 G. Thomas: Friedrich Wilhelm Zachow (Regensburg, 1966) H. Kümmerling: Katalog den Sammlung Bokemeyer (Kassel, 1970) G. Adams: ‘The Chorale Cantatas of Friedrich Wilhelm Zachow’, Choral Journal, xxi (1980), 10–13 B. Baselt: ‘Handel and his Central German Background’, Handel Tercentenary Collection: London 1985, 43–60 R.F.C. Fenton: ‘Recitative in Early Eighteenth-Century German Opera’, Miscellanea musicologica, xvi (1989), 79–108 M. Behrens: ‘Das Wanzlebener Verzeichnis (verschollener) Kirchenkantaten Friedrich Wilhelm Zachows und sein historisches Umfeld in Wanzleben’, Ars musica 1990, 83–97 M. Seares: ‘Struktur und Synthese der Musik für Tasteinstrumente in Deutschland in der Zeit von Fasch Vater und Sohn’, Fasch und die Musik im Europa des 18. Jahrhunderts: Zerbst, 1993, 135–50 GÜNTER THOMAS Zadar (It. Zara). City in Croatia. During the Middle Ages it developed into an important ecclesiastic centre under the Croatian kings (10th–11th centuries) and was later ruled in turn by the Hungaro-Croat kings, Venice, Austria and Italy. During World War II German, British and American bombardments caused extensive damage and destroyed many architectural and art treasures. Archaeological findings testify to the cultivation of music in the area in prehistoric and Roman times. The earliest medieval document on music dates from the 9th century. Medieval Zadar was strongly influenced by the south Italian Benedictines. The scriptorium at the monastery of St Chrysogonus was very active and in the 11th and 12th centuries produced a number of liturgical manuscripts written in Beneventan notation. These contain important details not found in the Italian Beneventan repertory and are now indispensable sources for the study of the development of Gregorian chant in Dalmatia. Many have been lost, some are preserved in Zadar archives and several important ones are now in European libraries (e.g. GB-Ob Canonici, Bib. lat.61; Canonici, Lit.277; D-Bsb Theol.Lat.quart.278). The earliest reference to an organ at the cathedral is in the 13th century. In the second half of the 13th century the increased influence of the Franciscans and Dominicans limited the activity of the Benedictine institutions. Zadar archives contain iconography and theoretical writings from the 13th to 15th centuries, while the Franciscan monastery houses the largest collection of Gregorian chant in Croatia. There were occasional periods of increased musical activity during the Venetian administration in the 17th and 18th centuries, both at the cathedral and in secular circles. Musical life became more varied in the 19th century, when Zadar was the administrative centre of the Austrian province of Dalmatia. Two music societies were formed: the Italian Società Filarmonica (1858) and the Croat Glazbeno i Pjevačko Društvo ‘Zoranić’ (Zoranić Musical and Choral Society). The first theatre was opened in 1783, succeeded by another, larger building in 1865. Outstanding 19th-century musicians who worked in Zadar included the composers Jerolim Alesani (1778–1823), Francesco Sabalich (c1804–55), Mate Kurtović (1804–75), Giovanni Salghetti-Drioli (1817–68) and Nikola Strmić (1839–96). The conductor Felix Weingartner (1863–1942) was born in Zadar. In 1953 the Yugoslav (later Croatian) Academy of Arts and Sciences opened a historical institute which sponsors research in the city’s music history; there is also a secondary music school. A festival of medieval and Renaissance music, Zadarske večeri u Donatu (Zadar Evenings in Donat), was inaugurated in 1961. BIBLIOGRAPHY MGG1 (M. Grgić) J. Bezić: ‘Nosioci zadarskog muzičkog života u odnosu na Narodni preporod u Dalmaciji’ [The protagonists of musical life in Zadar in relation to the national movement in Dalmatia], Radovi Instituta jugoslavenske akademije znanosti i umjetnosti u Zadru, viii (1961), 295–308 M. Grgić: ‘Zadarske laude (aklamacije) iz godine 1677’ [Zadar laude (acclamations) from 1677], Radovi Instituta jugoslavenske akademije znanosti i umjetnosti u Zadru, ix (1962), 281–312 V. Novak and B. Telebaković-Pecarski: ‘Većenegin evandjelistar’ [Vekenega's evangeliary], Starine 51 Jugoslavenske akademije znanosti i umjetnosti (Zagreb, 1962) J. Bezić: ‘O hrvatskom kazalištu u Zadru’ [Croatian theatres in Zadar], Zbornik Zadar (Zadar, 1964) M. Grgić: ‘Najstarije zadarske note’ [The oldest music from Zadar], Radovi Instituta jugoslavenske akademije znanosti i umjetnosti u Zadru, xi–xii (1965), 269–352 B. Bujić: ‘Zadarski neumatski fragmenti v Oxfordu’ [Neumatic fragments from Zadar in Oxford], MZ, iv (1968), 28–33 J. Andreis: Music in Croatia (Zagreb, 1974) M. Grgić: ‘Pregled glazbenog života u srednjovjekovnom Zadru’ [Musical life in medieval Zadar], Muzičke večeri u Donatu: zbornik radova (Zagreb and Zadar, 1983) P. Vežić: ‘Muzički zapisi i glazbala na umjetninama u Zadru’ [Music and instruments on art objects in Zadar], Muzičke večeri Donatu: zbornik radova (Zagreb and Zadar, 1983) E. Stipčević: ‘Izvještaj o sredjivanju i katalogiziranju muzikalija Historijskog arhiva u Zadru’ [Report on arranging and cataloguing music in the Zadar Historical archives], Arti musices: muzikološki zbornik, xvii (1986), 101–35 BOJAN BUJIĆ/STANISLAV TUKSAR Zadeja, Çesk [Françesk] (b Shkodra, 8 June 1927; d Rome, 15 Aug 1997). Albanian composer. Introduced to music by Gjoka and Jakova at the elementary school in Shkodra, he studied at the Accademia di S Cecilia, Rome (1942–3). After the liberation in 1944 he worked as director of music at the radio station in Shkodra, at which time he made his decisive encounter with the folk music and especially the epic songs of northern Albania. He worked in Tirana as assistant conductor of the Ensemble of the People's Army (1947–51) before undertaking further studies at the Moscow Conservatory (1951–6), where his teachers included Bogatïryov and Chulaki. On returning to Tirana, he became the first artistic director (1957–62) of the newly-founded State Ensemble of Folksongs and Dances, then head of composition at the Conservatory (1962–6), director of the Conservatory (1966–72) and artistic director of the Theatre of Opera and Ballet, Tirana (1973–9). As a ‘free professional composer’ (from 1979), salaried by the State, he continued to teach composition at the Conservatory and to act as an artistic adviser to the Opera. A highly significant figure in postwar Albanian music, Zadeja moved stylistically from late romanticism and neo-classicism to expressionism, while retaining in his music certain characteristic attributes, such as flowing textures, economy of means and a taste for strong contrasts. His only symphony (1956), its melodic material based on folk modes, is reputed to be the first by an Albanian. Other instrumental works, such as the Piano Concerto (1968) and the Violin Sonata (1972–4) are direct in their appeal and demonstrate an innovative approach to traditional form. Vocal music forms the core of his output: in the Choral Suite no.7 (1984) the skill of his writing for the voices, which here imitate folk instruments, makes all the more regrettable his avoidance of opera. His dramatic flair nonetheless found an outlet in ballets such as Para stühise, whose strikingly dissonant and chromatic score creates interest sufficient to transcend the politically conventional plot. In his last years his writing became even more advanced while his statements became even more dramatic and introvert. WORKS (selective list) Dramatic
Vocal
Instrumental
BIBLIOGRAPHY S. Kalemi–Sandër Çefa: Historia e muzikës Shqiptare: analiza e veprave [A history of Albanian music: analysis of works] (Tirana, 1979) S. Kalemi: Arritjet e artit tonë muzikor: vepra dhe krijues të musikës Shqiptare [Achievements of our musical art: creations and creators of Albanian music] (Tirana, 1982) K. Goshi: Bibliografi e studimeve dhe shkrimeve të Çesk Zadesë dhe mbi krijimtarine e tij [Bibliography of studies and writings of Çesk Zadeja and of his works] (Tirana, 1997) R.H. Bogdani: Koreografi dhe art i kultivuar [Choreography and cultivated art] (Tirana, 1998) Ç. Zadeja: Vetëparja e procesit [A personal view of the process], ed. V.S. Tole (Tirana, 1998) GEORGE LEOTSAKOS Zadek, Hilde (b Bromberg [now Bydgoszcz], 15 Dec 1917). German soprano. A refugee from Nazi Germany in 1934, she went to Palestine and worked as a nurse in Jerusalem; she studied singing there with Rose Pauly and, from 1945, in Zürich with Ria Ginster. Her début as Aida at the Vienna Staatsoper in 1947 began her international career. She sang in the première of Antigonae (Orff) at the 1949 Salzburg Festival, and the next year made her British début at the Edinburgh Festival with Glyndebourne Opera under Beecham as Ariadne in Strauss’s first version of the opera. Later that year she sang at Covent Garden as Aida, Tosca and Lisa in quick succession, and during the early 1950s she was engaged at the Colón, Buenos Aires, the Metropolitan and San Francisco as well as in major European centres. A dark-toned and deeply musical dramatic soprano, she recorded a notable Donna Anna under Moralt (1955). From 1967 she taught at the Vienna Music Academy. NOËL GOODWIN |
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, 1968; Nga ditari i partizanit [From the Partisan's Diary], suite, 1969; Festë në fshatin socialist [Festivity in the Socialist Village], 3 sym. sketches, 1970; Vallë festive [Festive Dance], pf, orch, 1980; Improvizim epik [Epic Improvisation], fl, str, 1981; Sym. Dance, 1982; Lulet e partisë [Flowers of the Party], suite, pf 4 hands, str, 1982; Rhapsody, 1984; Rhapsody, vn, orch, 1985; Scherzo (Rondo), tpt, orch, 1985; 3 Sym. Sketches, 1986; Vallë [Dance], str, 1986; Poemë-koncert [Poem-Concerto], conc.-rhapsody, vn, orch, 1987; Scherzo, 1987; 3 skica simfonike [3 Sym. Sketches], 1996; suites from ballets