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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Chamber and solo instrumental. Zajc, Ivan [Zaytz, Giovanni von]. Zajc, Ivan [Zaytz, Giovanni von]
TOMI KURKLISIJSKY Zajal (Arab.: ‘happy noise’, ‘song’; Sp. zéjel). A kind of strophic song with refrain (see Arab music, §II, 3(ii)). This use of the word goes back at least as far as the 12th century, being found in the zajal texts of Ibn Quzmān (d 1160); it probably originated in Muslim Spain. Since about 1912 it has been used by European scholars in discussing the origins of medieval Iberian poetry: the Mūwashshah has usually five but sometimes up to six strophes, the zajal sometimes even more. A characteristic verse form for the zajal was AA bbba ?AA, and for the mūwashshah AA bbb AA as well as others such as AB cccb AB and even extreme elaborations such as ABCABC defdefdef ABCABC. These songs differed from other early refrain songs such as the villancico in that the stanza always contained a three-line monorhyme (bbb, ccc, etc.) or other tripartite rhymes (bcbcbc, defdefdef, etc.). In the case of the zajal, both refrain and stanza were usually in vernacular Arabic, but the refrain (kharja, jarcha, etc; Arabic: ‘end-piece’) could be in corrupt Spanish. There were also, in Spain and elsewhere, Hebrew imitations of zajal verse forms. Ribera’s thesis (see Cantiga) that these types of songs served as early models for Iberian and other European refrain songs is now less favoured than the contrary view (see Le Gentil, Frenk Alatorre) that they were modelled on a form of refrain song pre-existent in Europe. In either case, they provide vital evidence of an early type of traditional or troubadouresque song. Early sources suggest that zajal music did not always correspond in scheme to the verse form. The oldest surviving music in zajal form comes from the 13th-century Cantigas de Santa María of Alfonso el Sabio, though extant texts of other poems date from the 11th century. Most (about 360) of these cantigas are in rhyme schemes of zajal type such as AA bbba AA, AA bcbcbcba AA, AB aaab AB, ABAB cccb ABAB, etc., yet only a few (e.g. nos.8, 27, 86, 88 and 96) could be said to be in musical forms (such as AB AAAB AB and ABCD CDCDADCD ABCD) bearing any resemblance to zajal rhyme schemes; most are set as virelais (AB CCAB AB, etc.). However, of some 70 poems in zajal form in the Cancionero musical de palacio (c1500), about half are set in a corresponding musical form (notably AB CCCB AB), the other half again being set as virelais or villancicos. Like the mūwashshah, the zajal survives today in oral tradition. See also Lebanon, §III, 3. BIBLIOGRAPHY P. Le Gentil: Le virelai et le villancico: le problème des origines arabes (Paris,1954) J. Chailley: L'école musicale de Saint-Martial jusqu'à la fin du XIe siècle (Paris, 1960) R.J. Taylor: Die Melodien der weltlichen Lieder des Mittelalters (Stuttgart, 1964) J.T. Monroe: ‘The Muwashshahāt’, Collected Studies in Honour of Américo Castro's Eightieth Year, ed. M.P. Hornik (Oxford, 1965), 335–71 J. Romeu Figueras: Cancionero musical de palacio, iii/a, MME, xiv/1 (1965), 134–5, 185, 197–8 E. García Gómez, ed.: Todo Ben Quzmān (Madrid, 1972) M. Frenk Alatorre: ‘El zéjel: ¿forma popular castellana?’, Studia iberica: Festschrift für Hans Flasche, ed. K.-H. Körner and K. Rühl (Berne and Munich, 1973), 145–58 J.M. Solá-Solé: Corpus de Poesía mozárabe: las hargas andalusíes (Barcelona,1973) E. García Gómez: Métrica de la moaxaja y métrica española (Madrid, 1975) S.M. Stern: Hispano-Arabic Strophic Poetry (Oxford, 1974) R. de Zayas: ‘Musicology and the Cultural Heritage of the Spanish Moors’, Musical Repercussions of 1492: Washington DC 1988, 129–48 A. Haydar: ‘The Development of Lebanese Zajal, Genre, Metre and Verbal Duel’, Oral Tradition, iv/1–2 (1989), 189–212 J.T. Monroe: ‘Which Came First, the Zajal or the Muwashshah? Some Evidence for the Oral Origins of Hispano-Arabic Strophic Poetry’, Oral Tradition, iv/1–2 (1989), 38–64 D. Cohen and R. Katz: ‘Musico-Poetic Arabic Traditions: a Comparison between the Oral Palestinian and the Medieval Spanish’, RdMc, xvi (1993), 1917–29 O. Zwartjes, ed.: The Andalusian ‘Xarha's’: Poetry at the Crossroads of Two Spanish Systems (Nijmegen, 1995) R. Davis: ‘Arab-Andalusian Music in Tunisia’, EMc, xxiv (1986), 423–38 Popular Music, xv/3 (1996) [Middle East issue, ed. J. Fairley, R.F. Davies and M. Stokes] L.P. HARVEY, JACK SAGE/SUSANA FRIEDMANN Zajc, Ivan [Zaytz, Giovanni von] (b Rijeka, 3 Aug 1832; d Zagreb, 16 Dec 1914). Croatian composer. He was the most important figure in Croatian music from 1870 until his retirement in 1908. Zajc showed an early love of music, and acquired a sound musical education first from his father and then in the music school of his native town. In 1850 he left to enter the Milan Conservatory, where he studied for five years under Stefano Ronchetti-Monteviti, Lauro Rossi and Alberto Mazzucato, having a number of his works successfully performed and winning many prizes. He concluded his studies by conducting his opera La tirolese (4 May 1855). Recalled home as a result of the death of his parents, he worked as a conductor, composer and teacher until the end of 1862 when, having found Rijeka too limiting for his musical ambitions, he left for Vienna. There with the help of Suppé he gradually made a name as a conductor, at the Carltheater, and as a popular composer of operettas. During this period he had about 140 performances of 11 works (signed in the form Giovanni von Zaytz), and laid the foundations of a European career; this he deliberately interrupted in 1870 in order to move to Zagreb. Since Lisinski’s death in 1854 the music of his own country had lacked a leader with talent. Zajc arrived in Zagreb to find a provincial atmosphere and a stagnant musical life; after his 30-year reign as director of the Opera, conductor, teacher, organizer and composer, he left behind him a completely reconstituted opera ensemble, with a full repertory, and a school run on modern lines. Circumstances favoured him more than they had Lisinski, but such an achievement was only possible through his energy and versatility. He died universally honoured as a great man of his country’s music. Zajc was above all a composer with a strong sense of dramatic effect: his 1202 opus numbers (probably nearer 800 actual compositions) include a large number of works for the stage (many operas and operettas), of which the most important is the historical tragedy Nikola Šubić Zrinjski (1876). He also composed many vocal and instrumental works, choral music, songs and orchestral works (including the Symphony in C minor op.394 in four programmatic movements), in all of which he shows himself primarily a master of melody; to this all other musical elements are subordinated. Educated in the tradition of Italian musical culture and greatly admiring Verdi, he influenced Croatian music in this international direction as opposed to the more nationalistic tendencies of Lisinski. Nevertheless he drew occasionally on the characteristics of Croatian folk melody, and his excellent technique enabled him to make creative use of musical developments taking place in the rest of Europe. This not only revealed itself in his conducting repertory (especially operatic) but is reflected in some of his own works, for instance the oratorio Prvi grijeh (‘Original Sin’, 1907, performed in 1912 as an opera). He realized, however, that the milieu in which he worked did not yet countenance radical musical idioms, and he set himself the task of educating his contemporaries. To this end he subordinated his own career as a composer, and the years of his work for Croatian music have with good reason become known in his own country as the ‘Zajc period’. WORKS All dates for unpublished works refer to first performances; no chronology of Zajc’s c800 compositions has been established; manuscripts are in YU-Zu Stage first performed at Zagreb unless otherwise stated op.
Sacred choral
Secular choral
Songs
Instrumental
BIBLIOGRAPHY GroveO (K. Kos) [incl. complete list of operas] F.K. Kuhač: ‘Zajčeve popijevke’ [Zajc's songs], Vienac, xv (1883), 31–4 J. Canić: ‘Maestro Zajc’, Hrvatska smotra, ii (1907), 329–34 A. Kassowitz-Cvijić: Sličice o Ivanu pl. Zajcu [Sketches of Zajc] (Zagreb, 1924) K. Zajc: ‘Ivan Pl. Zajc u očima svoga sina’ [Zajc in the eyes of his son], Jutarnji list, xx (1931) A. Goglia: Ivan pl. Zajc (Zagreb, 1932) I. Zelovski: ‘Iz uspomena Branislava Grabrovskog na Ivana Zajca’ [Grabrovski's reminiscences of Zajc], Sveta Cecilija, xxxii/4 (1938), 112–14 H. Pettan: Popis skladbi Ivana Zajca [List of Zajc’s works] (Zagreb,1956) V. Cihlar: ‘Riječkidani Ivana Zajca u ogledalu documenta iz riječkog archiva’ [Zajc’s days in Rijeka as reflected in the documents of the Rijeka archives], Ivan Zajc, ed. N. Kazalište (Rijeka, l964) L. Županović: ‘Iz korespondenijce Ivana Zajca’, MZ, iii (Ljubljana, 1967), 63–7 H. Pettan: Ivan Zajc (Zagreb, 1971) K. Kos: ‘Mjesto solo-pjesme u stvaralaštvu Ivana Zajca’ [The place of solo song in the work of Ivan Zajc], Arti musices, iii (1972), 85–97 J. Andreis: Music in Croatia (Zagreb, 1974) L. Županović: Stoljeća hrvatske glazbe (Zagreb, 1980)207–29; Eng. trans. as Centuries of Croatian Music, ii (Zagreb, 1989), 125–66 Ivan Zajc: Zagreb 1982 H. Pettan: Hrvatska opera: Ivan Zajc (Opere iz doba ravnateljstva, 1870–1889) [Croatian opera: Ivan Zajc (The operas composed during his directorship)] (Zagreb, 1983) LOVRO ŽUPANOVIĆ Zajick, Dolora (b Salem, OR, 24 March 1952). American mezzo-soprano. She studied at the University of Nevada as a pupil of Theodore Pufferand and then at the Manhattan School of Music with Helen Vanni and Lou Gualtiero. With the Nevada Opera she sang first in the chorus, then in secondary roles such as Kate Pinkerton in Madama Butterfly. In 1982 she won third prize at the Tchaikovsky Competition in Moscow, and the following year the Merola Prize in San Francisco. It was there, in 1986, that she made her début in a major role, as Azucena in Il trovatore. From this point her career developed successfully in both Europe and America, where she became one of the leading mezzo-sopranos of her generation. Her special field has been the Verdi repertory. Milan, Naples, London and Paris heard her in the Requiem, she made her Italian début at the Caracalla baths, Rome, as Amneris in Aida in 1988 (a role she subsequently repeated at Covent Garden), and later that year she appeared at the Metropolitan as Azucena, Amneris and Ulrica (Un ballo in maschera). Zajick sang at the Vienna Staatsoper in 1989, and at the Maggio Musicale in Florence in 1990. Other roles have included Adalgisa in Norma, Léonor in La favorite, Tchaikovsky's Joan of Arc (sung first in concert version at Carnegie Hall) and Marfa in Khovanshchina (1990, San Francisco). In 1998 she won special acclaim for her Eboli in Don Carlos at the Paris Opéra. Her recordings, many of them with James Levine, include the Verdi roles for which she is best known. They show a voice of ample range and power, most remarkable in the full-bodied high notes and the incisive quality of her chest tones. Her singing of the Veil Song in Don Carlos shows her to be capable of delicacy, and, in a very different field, her ability to characterize is well brought out by her performance as the witch Ježibaba in a recording of Dvořák's Rusalka under Charles Mackerras. BIBLIOGRAPHY H. Matheopoulos: Diva: the New Generation (London, 1998), 332–54 J.B. STEANE Žák, Benedikt. See Schack, Benedikt. Zak, Yakov (Izrailevich) (b Odessa, 7/20 Nov 1913; d Moscow, 28 June 1976). Ukrainian pianist and teacher. He graduated from Starkhova’s piano class at Odessa Conservatory in 1932 and from Heinrich Neuhaus’s class in the master school at Moscow Conservatory in 1935. He made his concert début in 1935, and became widely known when he won the first prize and the special mazurka prize at the Warsaw International Chopin Competition in 1937. He was made People’s Artist of the USSR in 1966. Zak’s playing was characterized by virtuosity, delicate lyricism and depth of artistic imagination. He was the foremost interpreter of much Soviet music, and gave the first performances of the concertos of Golubev and Levitin, Kabalevsky’s Third Sonata, Bely’s Third Sonata, Chulaki’s sonatas and Koval'’s suites. He recorded Aleksandrov’s Second Sonata, as well as Prokofiev’s Second Concerto, Rachmaninoff’s Fourth Concerto and Vasilenko’s F sharp minor Concerto. Zak began to teach at Moscow Conservatory in 1935 and became a professor in 1947, with a chair from 1965. His pupils included Yevgeny Mogilevsky, Nikolay Petrov, Eliso Virsaladze and L. Timofeyeva. He wrote a number of articles, including the essay ‘O nekotorïkh voprosakh vospitaniya molodïkh ispolniteley’ (‘Some questions of the education of young performers’) in the collection Voprosï fortep'yannogo ispolnitel'stva, ii (Moscow, 1968) and ‘Vstrechi i razmïshleniya’ (‘Meetings and reflections’) in Pianistï rasskazïvayut (ed. M.G. Sokolov, Moscow, 1979). BIBLIOGRAPHY O. Stupakova and G. Mirvis: ‘Pedagogicheskiye vzglyadï Ya.I. Zaka’, Voprosï fortepiannogo ispolnitel'stva, ii (Moscow, 1968) I.M. YAMPOL'SKY/JAMES METHUEN-CAMPBELL Zakaryan, Suren (Karoi) (b Yerevan, 11 Dec 1956). Armenian composer and pianist. He trained as a pianist with Vlasenko at the Moscow Conservatory (1976–81, 1982–4 as a postgraduate) and simultaneously studied composition with Mirzoyan at the Yerevan Conservatory (1981–5). His repertory as a pianist embraces music of the 19th and 20th centuries in addition to his own compositions and, since 1987, he has taught the piano at the Yerevan Conservatory. In 1985 he won two prizes at the All-Union Young Composers' Competition (for his First Piano Concerto and Seven Sketches for chorus) and in 1990 he won first prize at the Wieniawski International Composers’ Competition for his First Violin Concerto. Zakaryan's language was formed under the influences of the Second Viennese School and neo-Impressionism; these forces manifested themselves in the first instance in his individual use of rows of 12 or fewer pitches, in polyphonic textures and thematic harmony, and in the second instance in the presence of pointillism alongside sonoristic and spatial techniques. In both cases, microstructures determine formal scale and methods of development, while systems of thematic and colouristic opposition often acquire conceptual significance. WORKS (selective list)
BIBLIOGRAPHY ‘Slovo molodïm: beseda s S. Zakaryanom’ [A word to young people: a conversation with Zakaryan], SovM (1988), no.9, pp.28–32, esp. 29 N. Gomtsyan: ‘Vpechatlyayushchaya pobeda’ [An impressive victory], Golos Armenii (19 Dec 1990) L. Yepremyan: ‘Hay yerazhisht'e ir khoska uni’ [An Armenian composer has his word], Arvest (1991), no.4, p.28 SVETLANA SARKISYAN |
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, male vv, str, org, op.355, 1874; Missa solemnis, A