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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 |
Zahortsev, Volodymyr Mykolayovych
(b Kiev, Oct 27 1944). Ukrainian composer. He studied composition with Lyatoshyns'ky and Shtoharenko at the Kiev Conservatory, graduating in 1968. Although Zahortsev is the youngest member of a group of composers known as the Kiev Avant Garde, the music he wrote between the mid–1960s and early 70s resembles, in spirit, the style of his first teacher Lyatoshyns'ky. Such pieces as Rytmy (‘Rhythms’) for piano (1967–69) and the Fantasia for cello, harp and percussion (1971) are intensely compact and committed to the exploration of structural and emotional extremes. Structural extreme can be clearly seen in Zahortsev's desire to at times organize pitch, rhythms, dynamics and timbre according to the principles of total serialism. The emotional extreme is apparent in his fondness for aleatory devices that create an ecstatic and transcendental effect that undermines the formalistic elements in his style. Many of his works have a marvellous richness and corporeality – in part, because the gestures are affirmative, full of dynamism and with an expressionistic (or almost hectic) atmosphere. This inherent contradiction causes even Zahortsev's most static passages to sound disturbingly disquieting. This tension between stasis and kinesis is evident in all of Zahortsev's works. In his more recent works, beginning in 1978 with the Second Symphony based on folk poetry (which pits untutored folk voices singing quasi-diatonic melodies against an expressionistic orchestral background) and the Second Piano Sonata (1981, revised in 1987), he began to explore and synthesize, in a highly lyrico-dramatic manner, the various strands of contemporary music. The surface has become simpler, but the internal relationships richer. WORKS (selective list)
BIBLIOGRAPHY V. Baley: ‘The Kiev Avant Garde: a Retrospective in Midstream’, Numus-West, i/6 (1974), 8–20 V. Baley: ‘Gradations’, Stagebill [Lincoln Center, New York], vii/5 (1980) V. Baley: ‘Volodymyr Zahortsev and the New York Philharmonic’, Sucasnist (1980), no.4 VIRKO BALEY Zaidel-Rudolph, Jeanne (b Pretoria, 9 July 1948). South African composer. Her early piano studies were with Goldie Zaidel then with Philip Levy and Adolph Hallis in South Africa and John Lill in London. She studied composition at the University of Pretoria (MMus 1971), where she was particularly influenced by Arthur Wegelin and Stefans Grové, both pioneers in the use of indigenous African elements. At the RCM in London she continued her composition studies with John Lambert and Tristram Carey. She was selected to participate in a masterclass with Boulanger. Her studies with Ligeti in Hamburg (1974) significantly influenced her style. In 1975 she began to lecture at the University of the Witwatersrand, Johannesburg, and at the University of Pretoria she became the first woman in South Africa to obtain the DMus in composition in 1979. Zaidel-Rudolph is one of the most prolific and commissioned composers in South Africa. Her style reflects both the inspiration of religious mysticism and the richness of a transcultural approach which merges African and Western musical elements. WORKS (selective list)
BIBLIOGRAPHY A.I. Cohen: International Encyclopedia of Women Composers (New York, 1981, 2/1987) J.M. Ferreira: Afrika-elemente in die musiek van Jeanne Zaidel-Rudolph (diss., U. of Pretoria, 1995) J.M. Ferreira: ‘Jeanne Zaidel-Rudolph: Leading the Way in South Africa’, International Alliance of Women in Music Journal, iv/3 (1998), 4–9 RIËTTE FERREIRA ZAIKS [Stowarzyszenie Autorów]. See Copyright, §VI (under Poland). Zaimont, Judith Lang (b Memphis, 8 Nov 1945). American composer and pianist. She studied the piano at the Juilliard School (1958–64), composition with Weisgall, Luening and Beeson at Queens College, CUNY, and Columbia University, and orchestration with Jolivet in Paris. Before establishing herself as a composer, she built a solid reputation as a pianist, often giving duo-piano performances with her sister, Doris Kosloff. Her teaching appointments have included positions at Queens College, the Peabody Conservatory, Adelphi University and the University of Minnesota (from 1992). She has also served as artist-in-residence at numerous colleges and universities. Among her honours are the BMI Young Composer Award (1966, for Four Songs for Mezzo-Soprano and Piano), the Gottschalk Centenary Composition Gold Medal (1969, for Man’s Image and His Cry), a Guggenheim Foundation Fellowship (1983) and the McCollin International Composition Competition First Prize (1995, for Symphony no.1). Her many commissions include works for the Connecticut Opera, the American Guild of Organists, the Baltimore Chamber Orchestra, the Baltimore Dance Theater, David Arnold, Dalton Baldwin and Arleen Augér, among others. Zaimont’s early output (before 1984) is comprised mainly of vocal works and solo piano pieces; after 1984 instrumental music predominates. While all her works share many signature features, such as complex surfaces, clear forms, 5- and 6-note sonorities, strong forward momentum, propulsive rhythms, advanced ‘centrifugal tonality’ and the sonic realization of extra-musical concepts, later compositions display greater motivic concentration. Hidden Heritage, ZONES, Symphony no.1 and Remember Me best represent this later style. Reviewers often note a debt to Stravinsky and echoes of Debussy, Ravel and Messiaen in Zaimont’s works. They also praise her lyricism, sure handling of instrumental colour and idiomatic writing. Some compositions employ jazz or ragtime styles (Judy’s Rag), or include unusual effects such as finger snapping or recorded clock ticking (Hidden Heritage). Kosloff has provided texts for some of her vocal works, and has conducted or recorded other compositions. WORKS Opera
Vocal
Instrumental
BIBLIOGRAPHY GroveW (E. Wood) [inc. further bibliography] J.W. LePage: Women Composers, Conductors, and Musicians of the Twentieth Century, ii (Metuchen, NJ, 1983) D. Jezic: ‘Judith Lang Zaimont’, Women Composers: the Lost Tradition Found (New York, 1994), 211–22 J. Reel: ‘A Conversation with Judith Lang Zaimont’, Fanfare, xix/5 (1995–6), 30–35 J. Dunn: ‘Judith Lang Zaimont’, 21st Century Music, vii/1 (2000), 13–22 [interview] ANNIE JANEIRO RANDALL Zaimov, Velislav (b Sofia, 8 May 1951). Bulgarian composer. At the Sofia State Music Academy (1972–7) he studied composition with Dimitar Tapkov and Aleksandar Tanev. A teacher thereafter of theory at the Plovdiv and Sofia (State) academies, in 1989 he was appointed lecturer in score reading at the latter. His works are frequently performed at national festivals, and he is the recipient of several awards, among them the Pazardzhik prize (1984, for the Violin Concerto); and first prize at the Orthodox music competition held in Sofia (1995). Outstanding works of his include the second Symphonic Fantasia, Symphony no.7 and Largo for 12 cellos. WORKS (selective list) Orchestral
Vocal |
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