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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 |
Zaderatsky, Vsevolod Vsevolodovich
(b Yaroslav', 9 June 1935). Russian musicologist, son of Vsevolod Petrovich Zaderatsky. He graduated from L'viv Conservatory in musicology (1958) and as a pianist (1959) and later undertook postgraduate studies at Moscow Conservatory, studying with V.V. Protopopov among others, gaining the Kandidat degree (1968) and the DSc with a book on Stravinsky (1980). He taught at the conservatories of L'viv (1959–61), Novosibirsk (1961–3, 1965–7) and at Kiev (1967–80), where he was professor and pro-rector. In 1980 he became professor in the composition department at Moscow Conservatory and was dean of the faculty of theory and composition (1980–88). He has been actively involved in the musicology section of the Union of Composers of the USSR as chairman (1980–87), and secretary of the Union of Composers of Russia (1990–95). He has participated in the organization of international conferences and music festivals; he was artistic director and consulting expert for the joint Soviet-German festivals (1982–91). In 1991 he became director of the Muzïkal'naya Akademiya's programme Novoye peredvizhnichestvo (New Wanderers), a national culture and education programme restoring the traditions of musical enlightenment in Russia, which holds masterclasses, interpretative seminars, musicological conferences and festivals of classical and contemporary music. Zaderatsky's research has focussed on polyphony and musical form, particularly in the work of contemporary composers (Shostakovich, Hindemith, Messiaen and Stravinsky). In his book Polifoniya v instrumental'nïkh proizvedeniyakh D. Shostakovicha (‘Polyphony in the Instrumental Works of Shostakovich’, 1969) he defines the basic characteristics and traditional and innovative features of the composer's polyphonic thinking. In the monograph Polifonicheskoye mïshleniye I. Stravinskogo (‘The Polyphonic Thinking of Stravinsky’, 1980), the textbook Muzïkal'naya forma (1995–8) and in his articles on Messiaen, contemporary symphonic thematicism and polyphony, he discovered new properties in 20th-century musical material and musical form for which the terminology has yet to be established. In the 1990s he began addressing culturological problems. He has also published works on the music of Ukrainian composers. WRITINGS ‘Ob interpretatsii prelyudiy i fug D. Shostakovicha’ [Interpretation of the Preludes and Fugues of Shostakovich], Voprosï fortepiannoy pedagogiki, ii (Moscow, 1966), 198–213 ‘Polifoniya kak printsip razvitiya v sonatnoy forme Shostakovicha i Khindemita’ [Polyphony as a developmental principle in the sonata form of Shostakovich and Hindemith], Voprosï muzïkal'noy formï, i (Moscow, 1966), 231–77 Polifoniya v instrumental'nïkh proizvedeniyakh D. Shostakovicha [Polyphony in the instrumental works of Shostakovich] (Moscow, 1969) ‘Obreteniye zrelosti: o tvorchestve ukrainskogo kompozitora Miroslava Skorika’ [Attaining maturity: on the works of the Ukrainian composer Skorik], SovM (1972), no.10, pp.32–40 ‘Pro simfonizm D. Shostakovicha’, Suchasna muzyka (Kiev, 1973), 60–111 ‘O novom v ukrainskom muzïkal'nom tvorchestve’ [New developments in Ukrainian music], Tvorchestvo, ii (Moscow, 1976), 127–47 ed. with Yu. Yevdokineova and Yu. Kcholopov: Teoreticheskiye nablyudeniya nad istoriey muzïki: sbornik statey k semidesyatiletiyu Vladimira Vasil'yevicha Protopopova [Theoretical observations on the history of music: a collection of essays for Protopopov's 70th birthday] (Moscow, 1978) Polifonicheskoye mïshleniye I. Stravinskogo [The polyphonic thinking of Stravinsky] (Moscow, 1980) ‘Krupneysheye sobïtiye’ [A very important event], SovM (1981), no.3, pp.4–12 ‘Sovremennïy simfonicheskiy tematizm: voprosï melodicheskikh struktur i polifonicheskikh predposïlok’ [Contemporary symphonic thematicism: questions of melodic structures and polyphonic prerequisites], Problemï traditsiy i novatorstva v sovremennoy muzïke, ed. A.M. Gol'dman and M.Ye. Tarakanov (Moscow, 1982), 108–57 ‘Tradition and Change in Music’, International Music Education, ix (1982), 32–40 ‘Stravinsky und die Musik des 20. Jahrhunderts’, Kunst und Literatur, iv (1983), 565–72 ed. with others: D. Schostakovitsch: Dokumente, Interpretationen, Wissenschaftliche Beiträge (Duisburg, 1984) [incl. ‘Schostakovitschs Klavierwerk’, 151–6] ‘O novoy funktsii melosa i komplementarno-sonornoy polifonii’ [The new function of melos and complementary and sonorous polyphony], Muzïkal'nïy sovremennik, ed. S. Ziv and V. Zak (Moscow, 1984), 18–57 ‘I. Stravinsky: prelomleniye russkoy khudozhestvennoy traditsii i vklad v muzïku 20 veka’ [Stravinsky: his interpretation of Russian artistic tradition and contribution to 20th-century music], I.F. Stravinsky: stat'i i vospominaniya, ed. G.S. Alfeevskaya and I.Ya. Vershinina (Moscow, 1985), 21–40 ‘Schostakowitsch und die europäische künstlerische Tradition’, Dmitri Schostakowitsch: Cologne 1985, 233–61 ‘Sonoristicheskoye pretvoreniye printsipa ostinatnosti v tvorchestve Oliv'ye Messiana’ [A sonorous interpretation of the ostinato principle in the work of Olivier Messiaen], Problemï muzïkal'noy nauki, vi (1985), 283–317 ‘Über Melodie- und Thema-Strukturen im Werk Schostakowitschs’, Zeitschrift für Musikpädagogik, xxix (1985), 17–27 ‘Asaf'yev i muzïka XX veka’ [Asaf'yev and 20th-century music], Asaf'yev i sovetskaya muzïkal'naya kul'tura (Moscow, 1986), 43–52 ‘Komponieren zwischen Zivilisation und Kultur: zur Nachkriegsentwicklung in der BRD und in der UdSSR’, MusikTexte, nos.40–41 (1994), 4–8 Muzïkal'naya forma: uchebnik dlya kompozitorskikh fakul'tetov konservatoriy [Musical form: a textbook for faculties of composition at conservatories] (Moscow, 1995–8) ‘Rabotat' dlya takoy auditorii bol'shaya chest'’ [To work for such an audience is a great honour], Muzïkal'naya akademiya (1997), no.1, pp.61–7 BIBLIOGRAPHY E. Długokęcka-Galińska: ‘W. Zaderackij: polifoniya v instrumentalnych proiswiedenijach D. Szostakowicza’ [Zaderatsky: polyphony in the instrumental works of Shostakovich], Musyka, i (1971), 118–20; also in SH, vi–vii (1971), 285–6 P. Stoyanov: ‘Prinos v sovremennoto muzikoznaniye’ [A contribution to contemporary musicology], Balgarsko muzikoznaniye, iv (1981), 132–5 A. Chugayev: ‘Napravelennost' k neizvedannomu’ [In the direction of the unknown], SovM (1982), no.4, pp.103–5 T. Kurïsheva: ‘Masshtab lichnosti’ [A personality of great scope], Kniga i iskusstvo v SSSR, iii/54 (1987), 68–9 KIRA YUZHAK Zador, Eugene [Zádor, Jenő] (b Bátaszék, 5 Nov 1894; d Hollywood, CA, 4 April 1977). American composer of Hungarian birth. He studied with Heuberger at the Vienna Music Academy (1911), with Reger in Leipzig (1912–14) and with Volbach at Münster University (1920–21). From 1921 he taught at the Vienna City Conservatory, and in 1934 became an honorary teacher at the Liszt Academy of Music, Budapest. He left Hungary in 1939 and finally settled in Hollywood, where he orchestrated more than 120 film scores. Apart from these, the bulk of his output consists of stage works and orchestral pieces, among them the popular Hungarian Caprice. Stylistically Zador did not move beyond the innovations of Strauss and Reger; his own view was that he occupied a position midway between Verdi's La traviata and Berg's Lulu. Nonetheless his operas exhibit strong characterization and skilful orchestration. He also experimented with novel colours in the Studies for orchestra and composed concertos for such instruments as cimbalom and accordion. WORKS (selective list) dates are those of first performance
BIBLIOGRAPHY EwenD GroveO (J. Demény) R.H. Kornick: Recent American Opera: a Production Guide (New York, 1991), 338–40 JÁNOS DEMÉNY/MICHAEL MECKNA Zadora, Michael [Michał] [Amadis, Pietro] (b New York, 14 June 1882; d New York, 30 June 1946). Polish-American pianist and composer. He first studied with his father and then in 1899 at the Paris Conservatoire. After a period of lessons with Leschetizky, he became a close member of Busoni's circle; with Egon Petri he worked on the piano version of Busoni's Doktor Faustus. He taught at the Lemberg Conservatory in 1910 and later in New York at the Institute of Musical Art. Zadora was a brilliant virtuoso, whose recordings reveal an excitement created by his tendency to adopt rapid tempos. In recital he favoured demanding programmes, covering a vast repertory and containing many large-scale works. He founded a Busoni Society to further interest in the composer's teachings and compositions, and his recordings of Busoni's music (together with those by Petri, Leo Sirota and Edward Weiss) provide a direct link to his mentor's aesthetic. Zadora composed many works for piano (including Kirgiz Sketches, Preludes) and made transcriptions of organ works by Bach and Buxtehude; several of his works appeared under the pseudonym Pietro Amadis. ALLAN EVANS Zaecher, Johann Michael. See Zacher, Johann Michael. Zafred, Mario (b Trieste, 2 March 1922; d Rome, 22 May 1987). Italian composer and critic. He studied first in Venice with Gian Francesco Malipiero and graduated in composition at the Conservatorio di S Cecilia in Rome in 1944. He then undertook further study with Pizzetti, and lived in Paris between 1947 and 1948. Following a long career as a music critic, on L’unità (1949–56) and La Giustizia (1956–63), he became artistic director of the Teatro Comunale Giuseppe Verdi, Trieste (1966–8), the Rome opera (1968–74) and the Teatro Lirico Sperimentale, Spoleto. From 1973 to 1983 he was president of the Accademia di S Cecilia, Rome; he was also president of the Sindacato Nazionale Musicisti (after 1983) and honorary president of the Arts Academy and of the Rome Istituzione Sinfonica (both after 1985). His numerous prizes for composition include the Premio Marzotto (1956), the Sibelius prize (1959) and the City of Treviso prize (1963). Zafred’s musical language developed from an early avant-garde manner to something increasingly simple and accessible. His vast, generally uniform output is rooted in counterpoint (sometimes 12-note), the free use of classical forms (which d’Amico sees as an ‘aspiration to absolute thematicism’) and the avoidance of an excessively intellectual approach in favour of fluid musical argument. A personal style of solid craftsmanship reveals the influences of Pizzetti, especially in the early works and the operas, and of Bartók in the elaboration of Istrian folk melodies in his mature works. WORKS (selective list)
BIBLIOGRAPHY DEUMM (R. Zanetti) GroveO (R. Pozzi) MGG1 (M. Mila) M. Mila: ‘Corrispondenza da Venezia’, RaM, xiii (1950), 328 G. Viozzi: ‘Mario Zafred’, Il diapason, ii (1951), 14–17 R. Vlad: ‘La Sinfonia no.4 di Zafred’, RaM, xvi (1953), 66–8 N. Costarelli: ‘Mario Zafred’, Santa Cecilia, ix/2 (1960), 10–14 F. D’Amico: ‘Un premio a Zafred’, I casi della musica (Milan, 1962), 122–5 J.S. Weissmann: ‘Zafred e il problema dell’accessibilita’, Musica d’oggi, new ser., vi (1963), 6–17 F. Agostini: ‘Poetica di contrasti nel Sestetto per archi di Zafred’, Chigiana, xxiv (1967), 285–92 O. Gentilucci: Guida all’ascolto della musica contemporanea (Milan, 1969), 481–3 G. Vigolo: ‘Intonazione di Amleto’, Mille e una sera all’opera (Florence, 1971), 503–5 VIRGILIO BERNARDONI Zagiba, Franz (b Rosenau [now Rožňava, Slovakia], 20 Oct 1912; d Vienna, 12 Aug 1977). Austrian musicologist. He took courses in musicology (with Dobroslav Orel) and Hungarian and Slavonic studies at the University of Bratislava (1932–7), receiving his doctorate in 1937 with a dissertation on music manuscripts in eastern Slavokian monasteries. After doing research at the University of Vienna (1941–4) he completed his Habilitation there in 1944 with a history of Slovak music. He was director of the musicology institute at the Bratislava Academy of Sciences before becoming lecturer in musicology (1944), associate professor (1968) and professor (1972) at the University of Vienna, where in 1967 he was also appointed lecturer in early Slavonic cultural studies. In 1952 he founded the International Chopin Society, serving as its vice-president and editing the Chopin-Jahrbuch (Vienna, 1956, 1963, 1970) for which he also wrote articles; in 1963 and 1967 he organized the Salzburg congresses on Slavonic history. His chief interests were pre-medieval and medieval music history, early Slavonic culture and 19th-century music; his publications include books on Chopin, Tchaikovsky, early medieval Slavonic culture and central European music in the Middle Ages, and articles on Slovak and Hungarian folksong and medieval Slavonic liturgical song. WRITINGS Denkmäler der Musik in den Franziskanerklöstern in der Ostslovakei (diss., U. of Bratislava, 1937; Prague, 1940, as Hudobné pamiatky františkánskych kláštorov na východnom Slovensku) ‘K dějinám slovenských spevokolov’ [The history of Slovak singing associations], Prúdy, xxii (1938), 4–14, 82–93, 140–49 ‘Zum Verhältnis der Melodie des Volksliedes zur Satzintonation’, Linguistica slovaca, i–ii (Bratislava, 1939–40), 237–43 Geschichte der slowakischen Musik (Habilitationsschrift, U. of Vienna, 1944; Bratislava, 1943, as Dejiny slovenskej hudby od najstarších čias až do reformácie [The history of Slovak music from the earliest times to the Reformation]; extract in Ger. in Leipzig Vierteljahrsschrift für Südosteuropa, suppl. no.4 (1940), 272–9) Literárny a hudobný život v Rožňave v 18. a 19. storoči [Literary and musical life in Rožňava in the 18th and 19th centuries] (Košice, 1947) [incl. Fr. summary] Tvorba sovietskych komponistov [The music of Soviet composers] (Bratislava, 1947) Chopin und Wien (Vienna, 1951) ‘Die Entstehung des slavischen liturgischen Gesanges im 9. Jahrhundert nach westlichem und östlichem Ritus’, IMSCR V: Utrecht 1952, 456–62 ‘Die deutsche und slawische Choraltradition als Verbindungsglied zwischen West- und Südosteuropa’, KJb, xxxvii (1953), 33–43 Tschaikowskij: Leben und Werk (Zürich, 1953) Die ältesten musikalischen Denkmäler zu Ehren des heiligen Leopold Herzog, und Patron von Österreich: ein Beitrag zur Choralpflege in Österreich am Ausgang des Mittelalters (Zürich, 1954) ‘Ungarische Balladenmelodien aus dem Neutrae Gebiet’, Jb des österreichischen Volksliedwerkes, iii (1954), 63–85 ‘Begriff, Aufbau und Methode einer strukturellen musikwissenschaftlichen Arbeit: ein Beitrag zur Methodologie der Musikwissenschaft’, Mf, viii (1955), 298–313 Johann L. Bella (1843–1936) und das Wiener Musikleben (Vienna, 1955) ‘Das tschechische und slowakische Musikschaffen zwischen den beiden Weltkriegen’, Zeitschrift für Ostforschung, iv (1955), 401–26 ‘Die Conversio Bagoariorum et Carantanorum als musikgeschichtliche Quelle: Beitrag zur Geschichte der Musik in Bayern und Österreich im Frühmittelalter’, Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), 1023–51 ‘Der Cantus Romanus in lateinischer, griechischer und slavischer Kultsprache’, KJb, xliv (1960), 1–27 ‘Der historische Umkreis der Kiever Sakramentarfragmente’, Slovo [Zagreb], xiv (1964), 59–77 ‘Frühgeschichtliche Musikinstrumente in der Ordnung nach Idiophonie’, Archaeologia polski, xvi (1971), 575–85 Das Geistesleben der Slaven im frühen Mittelalter: die Anfänge der slavischen Schrifttums auf dem Gebiete des östlichen Mitteleuropa vom 8. bis 10. Jahrhundert (Vienna, 1971) ‘Die Entwicklungsgeschichte des slawischen Messgesanges bei den Slawen und Nichtslawen (Finnugrier und Rumänen) vom 9. bis zum 15. Jahrhundert nach westlichem und östlichem Ritus’, Methodiana (1976), 122–42 Musikgeschichte Mitteleuropas, i: Von den Anfängen bis um Ende des 10. Jahrhunderts (Vienna, 1976) FRANZ FÖDERMAYR Zagorsky [Zagorschi], Vasily Georgiyevich (b Shevchenkovo, Odessa region, Ukraine, 27 Feb 1926). Moldovan composer. He studied at the Kishinev Conservatory under Gurov, graduating in 1952. He was elected on to the board of the Moldovan Composers' Union in 1956 and was later its chairman (1964–90). He taught at the Kishinev Conservatory from 1956 and was appointed professor of composition and orchestration in 1983. He has also directed and administrated the Moldovan State opera and ballet and has served on UNESCO's music committee. He became an Honoured Representative of the Arts of the Moldavian SSR in 1960 and People's Artist of the Moldavian SSR in 1982. His compositional style took shape in the 1960s and is influenced by Russian and Ukrainian schools of composition as well as by Moldovan folk music. In the dramatically confrontational Rapsodiya for violin, percussion and two pianos, typically Moldovan materials are subjected to serial procedure but their development nonetheless achieves a linear character reminiscent of improvisation. In the ballet Perekryostok (‘The Crossroads’) of 1975, García Lorca's depiction of struggle against fascism is reflected in the sense of conflict inherent in the music which variously assumes aggressive, improvisatory and impersonal characteristics as well as imitating the style of the cante hondo. In Diafonii (1979) the composer's view of late 20th-century man's split psychology is manifested in asynchronous development of two independent layers, namely the piano part and the orchestral part. Neo-romanticism becomes dominant in later works such as the Second Symphony (1991) which was written under the influence of a novel by Marcel Brion and in which leitmotifs fulfil an important formal role. WORKS (selective list)
BIBLIOGRAPHY E. Kletinich: Tvorchestvo V. Zagorskogo [The art of Zagorsky] (Moscow, 1976) E. Kletinich: ‘Vasily Zagorsky’, Kompozitorï sovetskoy Moldavii (Kishinev, 1987), 125–71 V. Aksionov: ‘P'yat p'yes dlya simfonicheskogo orkestra V. Zagorskogo: zhanrovïye i kompozitsionnïye osobennosti’ [Five pieces for symphony orchestra by Zagorsky: peculiarities of genre and composition], Muzïka v Moldove: voprosï istorii i teorii, ed. I.B. Milyutina (Chişinău, 1991), 28–45 MARGARITA BELIKH Zagreb (Ger. Agram). Capital of and largest city in Croatia. History. The ancient Roman settlement of Andautonia in nearby Šćitarjevo and the 8th-century Avaro-Slavic necropolis bear witness to pre-Christian life at the site. The Zagreb bishopric was established in 1094, and throughout the Middle Ages and up to 1850 the city consisted of three separate administrative units, the two most important being Kaptol (‘the Chapter’) under episcopal jurisdiction, and Gradec, a free royal town since 1242. During the process of founding the diocese, the first written documents containing music were brought to Zagreb (the Sakramentar MR 126 and Agenda pontificalis MR 165, held in the Metropolitan Library in Zagreb). There was soon a choral school at the cathedral, and the first known cantor, Pugrinus, was registered about 1230. In the 13th and early 14th centuries several monastic orders established themselves in Zagreb: Dominicans in 1228, Paulines about 1250, Franciscans about 1260 and Cistercians in 1315. The regular participation of four ‘choratores’ in the liturgy, later enriched by congregational para-liturgical chant in Croatian, was officially initiated after 1303 by Bishop Augustin Kažotić, a Paris student and the codifier of the Zagreb rite, which was in use until 1788. However, the first record of an organ in the cathedral dates only from 1488, while Gradec had an organ in its main church of St Mark from at least 1359. The first fixed Gradec secular town musicians known by name, the joculatores, are documented from 1355. Further sources for music in medieval Zagreb include 14th-century frescoes in the bishop's chapel, neumatized texts of two 12th-century liturgical dramas, and more than 30 codices originating from the 11th to 15th centuries containing neumatic fragments, some with illuminations. During the 1570s the Zagreb choral school was replaced by the seminary school at the cathedral, while secular musicians in Gradec in the 15th and 16th centuries included singers and players of the cithara, trumpet, tamburo, lute and various string instruments. Written documents of the Renaissance include several Latin codices and the first in the ancient Croatian Glagolitic alphabet, as well as a small treatise, Discursus harmonicus, by the Zagreb humanist Pavao Skalić (Paulus Scalichius, ?1534–1575), included in his Encyclopaedia (Basle, 1559). Much information is available concerning organs and organists of the 17th and 18th centuries in the cathedral and the new Baroque church of St Catherine in Gradec, as well as the choristers and instrumentalists at St Mark's. The period of the first Jesuit presence in Zagreb (1606–1773) was also marked by musical activities: they gave theatrical presentations containing music and taught music to the seminarists (for example, in 1678 Jesuits were giving lessons in singing and playing the double bass, violin, trumpet and organ). The Poor Clare introduced music into the curriculum of the Zagreb female convent at least as early as 1646. Several choir-books of the period include the first published in Croatian (Passionale croaticum, 1683), and there are 17th-century instruments in the Museum of Arts and Crafts. Ecclesiastical music in the 18th century was evidently concentrated on publishing manuals (e.g. Michael Sillobod's Fundamentum cantus gregoriani, 1760) and song collections (e.g. the third edition of Cithara octochorda in 1757, after two published in Vienna). Secular music in Gradec showed no parallel development until the second half of the 18th century, when public balls began to be organized in aristocratic homes, the first opera performances were given (Paisiello's I filosofi immaginarii in 1799, by the Krapf company from Graz), and the first public music school was opened (in 1788), offering lessons from Johann Pleyel in singing, the organ and the clavichord. From the 19th century four rather different periods can be recognized. The period up to the 1820s was intense with performances of mostly Italian and French contemporary operas (Rossini, Bellini, Boieldieu, Hérold etc.) and of the larger works of Mozart (the Requiem, in 1819) and Haydn (the Sieben letzte Worte in 1816 and Creation in 1821). Music criticism in German started in 1826 in the Agramer Zeitung, and the Musikverein was established in 1827, officially known as the Societas Filharmonica Zagrabiensis; its public music school started two years later. Considerable changes took place during the 1830–50 period: the public theatre was opened in 1834, and the first Croatian opera was produced and staged in 1846 (Ljubav i zloba, ‘Love and Malice’, by Vatroslav Lisinski) as the crowning achievement of the Illyrian movement, the Croatian national Romantic political and cultural renaissance. During the 1850s and 60s political changes negatively influenced artistic activities. It was only later that Germanizing tendencies started to lose ground in music: after 1860 Croatian was the language of the theatre, state financial support was granted in 1861 to the Društvo Prijatelja Glazbe (Amateur Music Association, formerly Musikverein), and in 1862 the important singing society Kolo was founded, preparing the ground for the establishment of the Croatian Choral Union (1875). The last period started in 1870, when a successful Rijeka-born Viennese operetta composer, Ivan Zajc (1832–1914), accepted the directorships of both the newly established Croatian Opera and the school of the Narodni Zemaljski Glazbeni Zavod (National Music Institute), as the Musikverein had now become. Zajc's activities essentially improved the organizational and professional levels of musical performance and teaching in Zagreb: during the 1870–89 period the opera under his guidance staged more than 60 new pieces; in 1871 he started, in his ‘quodlibet concerts’, to play the symphonic literature regularly; and in 1916 his music school was finally granted the status of a conservatory. Throughout the 19th century and until World War I Zagreb was both home to the most prominent Croatian musicians and an obligatory stop for itinerant performers such as Hummel, Liszt, Sarasate, Casals, Richard Strauss and many others. The most important 20th-century historical moments were the 1916 concert of the new generation of Croatian composers, inaugurating the stylistic plurality to come during the next decades, and the 1961 foundation of the Music Biennial Zagreb (Muzički Biennale Zagreb), the second most important festival of avant-garde music in former socialist Europe (after the Warsaw Autumn). Most contemporary Zagreb music institutions were established after one or other of the world wars, and the concentration of musicians in Zagreb has even increased in comparison to the rest of Croatia. Zagreb is also the centre of Croatian pop, rock and jazz. Institutions. The opera and the ballet of the Croatian National Theatre (Hrvatsko Narodno Kazalište) are still housed in the 1895 building (cap. 850; see fig.1). The Komedija theatre has specialized since 1950 in operettas and musicals, both Croatian and international. The Zagreb PO (founded in 1920) and the Croatian Television SO (established in 1957) perform regularly in the Vatroslav Lisinski Hall (two auditoria with capacities of 1851 and 313), built in 1973 (fig.2). The main Zagreb chamber music hall remains that of the Music Institute (cap. 400), erected in 1876. The internationally recognized chamber orchestra Zagrebački Solisti was founded by Antonio Janigro in 1953 as I Solisti di Zagreb. The Zagreb University Music Academy (founded in 1922) is the only music faculty in Croatia, with 90 teachers and 400 students. There are seven specialized public music schools in Zagreb, attended regularly by about 2000 children. Musicological research is organized in four institutes (for the history of music, church music, folk art and systematic musicology), and music publishing is handled by the music department of the Croatian Academy of Sciences and Arts, the Music Information Centre, the Croatian Composers' Society and the Croatian Musicological Society. In Zagreb four music journals are regularly published, the most prominent being the International Review of the Aesthetics and Sociology of Music. Zagreb hosts some outstanding amateur choirs, and has three international music competitions: for violin (the Vaclav Huml Prize, founded in 1977), conducting (the Lovro Matačić Prize, 1995) and cello (the Antonio Janigro Prize, 1996). The Koncertna Direkcija (1951) is still the main organizer of concerts in all genres and music styles, and Croatia Records (1947) remains the major producer of cassettes and CDs, in both Zagreb and Croatia. BIBLIOGRAPHY ES (O. Harmos) MGG1 (Z. Hudovsky) J. Andreis: 140 godina Hrvatskog glazbenog zavoda [140 years of the Croatian Musical Institute] (Zagreb, 1967) Z. Hudovsky: ‘Razvoj muzičke kulture u Zagrebu od XI do konca XVII stoljeća’ [Development of music in Zagreb from the 11th century to the end of the 17th], Rad JAZU, no.350 (1969), 5–62 K. Kos, ed.: Muzička akademija u Zagrebu 1921–1981: spomenica u povodu 60. godišnjice osnutka [The music academy in Zagreb 1921–81: commemorative publication on the occasion of its 60th anniversary] (Zagreb, 1981) L. Šaban: 150 godina Hrvatskog glazbenog zavoda [150 years of the Croatian Music Institute] (Zagreb, 1982) [with Ger. summary] Ivan Zajc: Zagreb 1982 Zbornik radova 150. obljetnice rođenja Franje Ksavera Kuhača: Zagreb 1984 Z. Blažeković: ‘Bilješke o glazbenicima na zagrebačkom Griču u 18. stoljeću’ [Notes on musicians in the Zagreb Grič in the 18th century], Glazbeni barok u Hrvatskoj: Osor, Croatia, 1986, 114–23 [with Eng. summary] S. Tuksar, ed.: Zagreb 1094–1994: Zagreb 1994 V. Juričić: ‘Vodič kroz glazbene knjižnice i zbirke Zagreba’ [Guide through music libraries and collections in Zagreb], Indices collectorium musicarum tabulariorumque in Croatia, no.4 (Zagreb, 1997) STANISLAV TUKSAR Zagwijn, Henri (b Nieuwer-Amstel, nr Amsterdam, 17 July 1878; d The Hague, 23 Oct 1954). Dutch composer. He was entirely self-taught. In 1916 he was appointed lecturer at the Rotterdam School of Music, and from 1931 he held an appointment at the Rotterdam Conservatory; he was also president of the Association of Dutch Composers. An adherent of Rudolf Steiner’s anthroposophy, he published De muziek in het licht der anthroposophie (Rotterdam, 1925; Ger. trans., 1927). As a composer he concentrated on chamber music, in which he showed a marked affinity with the contemporary French school, though with many individual traits. WORKS (selective list)
BIBLIOGRAPHY W. Paap: ‘Nederlandsche componisten van onzen tijd, x: Henri Zagwijn’, Mens en melodie, iii (1948), 263–8 ROGIER STARREVELD Zāhir, Ahmad (b Kabul, 1946; d Kabul, 1979). Afghan singer. He was the son of a prominent Afghan politician, Dr Abdul Zāhir, who was prime minister during the period 1971–2. Remarkably for someone from an upper-class Pashtun family, Dr Zāhir encouraged his son's interest in music. As a student at the Lycée Habībī Ahmad Zāhir was a member of a music group, with which he made his first recordings at Radio Afghanistan in 1961. He gained his baccalaureate and enrolled in a teachers' training programme, but then pursued his interest in music in earnest. He recorded music at Radio Afghanistan on a frequent and sometimes daily basis, and in his short career released about 30 cassettes of music, far more than any other singer. He had a charismatic personality which very much appealed to young people and he became exceptionally popular. During the communist era, while still in his early thirties, he was murdered in a politically motivated assassination. His funeral procession is remembered for its unprecedented size. As a musician he had neither teacher nor students but was self-taught, learning from listening to recordings. He encouraged a vogue for Western modernity, and was the first person to introduce an electric instrument into Afghanistan: the electric organ. His social connections gave him many advantages as a musician. He was able to commission the best songwriters and work with the best instrumentalists, such as Sarmast (mandolin), Nabiālai (trumpet), Azami (saxophone) and Nāleh (flute). Though he did not have a great singing voice, he enjoyed a degree of ‘stardom’ that was unique in Afghanistan. ABDUL-WAHAB MADADI (with JOHN BAILY) Zählzeit (Ger.). See Beat (i). Zahn, Johannes (b Eschenbach in der Oberpfalz, 1 Aug 1817; d Neudettelslau, 17 Feb 1895). German music scholar. He attended the Gymnasium in Nuremberg from 1832 to 1837 and then studied theology at the University of Erlangen until 1841. He was stimulated by Carl von Winterfeld to revive the singing of old Lutheran chorales, and received much encouragement from Gottlieb von Tucher in Munich. The general church council, which had commissioned Zahn to prepare a hymnbook for the Lutheran Church in Bavaria, accepted a sample volume containing 12 four-part hymns, but rejected the first edition of his Revidiertes vierstimmiges Kirchenmelodienbuch (1852). Together with Tucher and Immanuel Faisst, he revised this work, giving due consideration to the new Bavarian hymnbook which had appeared in 1854. This joint effort, published the following year, was accepted for ecclesiastical use and was adopted as a model by many regional churches. Zahn also collected unknown religious songs and strived to make them better known. His most important work was the six-volume Melodien der deutschen evangelischen Kirchenlieder, a compendium of almost 9000 melodies, which he worked on from 1854 until 1893; this paved the way for the researches of Konrad Ameln, Markus Jenny and Walter Lipphardt. Zahn was a prefect at the pastors' seminary in Munich, and was the director and inspector of the teachers' seminary in Altdorf (near Nuremberg) from 1854 until his retirement in 1888. EDITIONS Evangelisches Choralbuch für Männerchor (Munich, 1847) Revidiertes vierstimmiges Kirchenmelodienbuch (Erlangen, 1852, rev. 2/1855 with G. von Tucher and I. Faisst) Vierstimmiges Melodienbuch zum Gesangbuch der evangelisch-lutherischen Kirche in Bayern (Erlangen, 1855) Orgelbüchlein für Orgel-, Introitussätze u.ä. für evangelischen Cantoren und Organisten (Nuremberg, 1871) Die geistlichen Lieder der Brüder in Böhmen, Mähren und Polen (Erlangen, 1875) Psalter und Harfe für das deutsche Haus (Gütersloh, 1886) Das vierstimmige Choralgesangbuch des evangelischen Kirchenvereins für Hessen (Darmstadt, 1888) Die Melodien der deutschen evangelischen Kirchenlieder (Gütersloh, 1889–93/R) BIBLIOGRAPHY E.E. Koch: Geschichte des Kirchenlieds und Kirchengesangs, vii (Stuttgart, 3/1872/R by R. Lauxmann), esp. 474–5 S. Kümmerle: Encyklopädie der evangelischen Kirchenmusik (Gütersloh, 1888–95/R), iv, 562ff K. Ameln: ‘Johannes Zahns Bedeutung für die Erneuerung des evangelischen Kirchenliedes’, Musik und Kirche, xxiv (1954), 250–52 W. Lipphardt: ‘Die Bedeutung der handschriften Uberlieferung für die Hymnologie’, Traditionen und Reformen in der Kirchenmusik: Festschrift für Konrad Ameln, ed. G. Schuhmacher (Kassel, 1974), 189–224 FRIEDRICH BASER |
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