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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zanelli (Morales), Renato
(b Valparaiso, 1 April 1892; d Santiago, 25 March 1935). Chilean baritone, later tenor. He studied in Santiago as a baritone and made his début there in 1916 as Valentin (Faust). He was engaged by the Metropolitan in 1919, making his début as Amonasro. In 1923 he went to Italy and was advised to change his voice to tenor; after a year’s intensive study he made his tenor début at Naples as Raoul (Les Huguenots). He became a noted exponent of dramatic roles; in 1926 he sang Otello for the first time in Turin, following it with Lohengrin. In 1928 he made his Covent Garden début as Otello, an interpretation of historic power. In the next few years he became the leading Wagnerian tenor in Italy and sang Tristan, Lohengrin and Siegmund. In 1930 he created the leading tenor role in Pizzetti’s Lo straniero in Rome. Extracts of his Otello on disc confirm his power in the role; other recordings, made early in his career, show his beauty of tone and line as a baritone. BIBLIOGRAPHY R. Saavedra and W.R. Moran: ‘Renato Zanelli’, Record Collector, vii (1952), 197–207 [with discography] J.B. Steane: Singers of the Century (London, 1996), 51–5 HAROLD ROSENTHAL/ALAN BLYTH Zanési, Christian (b Lourdes, 22 May 1952). French composer. After studying for two years in the music department of Pau University, he entered the Paris Conservatoire in the electro-acoustic music class of Pierre Schaeffer and Guy Reibel (1974–6). In 1977 he became a member of the Groupe de Recherches Musicales, where he gained experience as a director and producer of radiophonic transmissions. He has composed music for the theatre, the cinema and dance, as well as acousmatic works for the concert hall. His interest in transforming sound material, concrete sound in particular, is exemplified in Courir (1989), which involves a microphone placed in the mouth of a runner to capture different rhythms of respiration; this raw material is then processed and reworked in the studio. Grand bruit (1990) is based on the sounds of the Paris Métro as recorded on the same daily journey. Arkhéion, les mots de Stockhausen (1995) and Arkhéion, les voix de Pierre Schaeffer (1997) are works written in tribute to the two composers, one being an example of electronic music, the other of musique concrète. WORKS for 2-track tape unless otherwise stated
BRUNO GINER Zanetti. See Zannetti family. Zanetti, Francesco. See Zannetti, Francesco. Zanetti [Zannetti], Gasparo (fl Milan, 1626–45). Italian music editor and violinist. He contributed two-part reductions of a three-voice canzona by G.D. Rivolta and one for four voices by G.F. Cambiago to the local collection Flores praestantissimorum virorum (RISM 16265). He probably played and taught the violin, since his only work is Il scolaro … per imparar a suonare di violino, et altri stromenti (Milan, 1645), a collection of dances in four parts (mostly violin, two violas and cello) for learning the violin. Each dance is accompanied by an intabulation which prescribes the fingering (all in first position) for the four players and also gives bowing indications by means of the letters ‘P’ and ‘T’, which according to Francesco Rognoni Taeggio (Selva di varii passaggi, Milan, 1620/R) stand for ‘pontar in sú’ (upbow) and ‘tirare in giù’ (downbow); the bowings occur at the beginnings of pieces and sometimes later as well. The dances, some of them traditional ones such as the Girometta or the Aria del gran duca, are by various composers, who are not named in the print; some, in accordance with a custom of Lombard origin, bear the names of Milanese aristocratic families or musicians (e.g. Rolla, Lomazzo). BIBLIOGRAPHY SartoriB WolfH D.D. Boyden: The History of Violin Playing from its Origins to 1761 (London, 1965/R), 118, 153ff W. Kirkendale: ‘Franceschina, Girometta, and their Companions in a Madrigal “a diversi linguaggi” by Luca Marenzio and Orazio Vecchi’, AcM, xliv (1972), 185–235 W. Kirkendale: L’aria di Fiorenza, id est Il ballo del Gran Duca (Florence, 1972), 17–18, 65, 69 GIUSEPPINA LA FACE Zanetti, Gerolamo (fl 1679–92). Italian writer on music, composer and violinist; he may have been a relation of Gasparo Zanetti. He published a treatise, Consideratione sopra una questione nata, se alcune note poste nella chiave di F.fa ut grave … siano autentiche o placali (Milan, 1680), which includes two two-part ricercares using the same subject. His only other known works are three florid solo motets (two in RISM 16811 and one in 16921). GIUSEPPINA LA FACE Zanettini, Antonio. See Giannettini, Antonio. Zanetto [Joannetto] da Montichiaro (Micheli) [de Michaelis] (b ‘Roma de Monteclaro’, 1489–90; d Brescia, 26 April 1560–12 Aug 1561). Italian viol and violin maker. His instruments are the earliest extant examples of the Brescian school. G.M. Lanfranco (Scintille di musica, Brescia, 1533) praised the work of ‘Zanetto Montechiaro’. He is variously recorded in Brescian city records from 1527 as ‘Joannettus de li violettis’, ‘magister a liriibus’, ‘magister a violonis et violis’ and ‘di liuti’. He was excused from duty in the register of night guards of 1549–50 because he had reached the age of 60. An almost perfectly preserved six-string viol with its original label ‘Zanetto in Bressa’ is in the Musée Royal of the Brussels Conservatory, and shows this maker to have been an excellent designer and craftsman. A smaller viol, from Bisiach, also has its label and is in the Shrine to Music Museum, Vermillion, South Dakota. Several other instruments are attributed to him. Zanetto is a very important figure in the early history of the violin. He is the earliest violin maker about whom sufficient documentation exists to draw a picture of his life and work. His son, Peregrino [Pellegrino] Micheli (b Brescia, c1520; d Brescia, 1606–20 July 1609), was also a fine maker. He is recorded as a maker of ‘viole, lire, cittare, lauti et altri instrumenti’. A tenor viola with the label ‘Peregrino f[ilius]. q[uondam]. m[agistro]. Zanetto’ in Brescia is in the Shrine to Music Museum, and a bass viol with a carved scroll and an unusual body shape in the Musée de la Musique, Paris, is attributed to him. His three sons, Giovanni (b c1562; d after 1619), Battista (b c1568; d before 1615) and Francesco (1579–1615), worked with him. BIBLIOGRAPHY G. Livi: I liutai bresciani (Milan, 1896) F. Dassenno and U. Ravasio: Gasparo da Salò e la liuteria bresciana tra Rinascimento e Barocco (Brescia, 1990) U. Ravasio: ‘Vecchio e nuovo nella ricerca documentaria su Gasparo da Salò e la liuteria bresciana’, Liuteria e musica strumentale a Brescia tra Cinque e Seicento: Salò 1990, i, 25–43 CHARLES BEARE/UGO RAVASIO Zang, Johann Heinrich (b Zella St Blasii, nr Gotha, 15 April 1733; d Würzburg, 18 Aug 1811). German composer and organist. He was probably a pupil of J.S. Bach in Leipzig in 1748–9; he spent some time in Coburg and took lessons from J.K. Heller before working as a clerk in Banz and organist at Schloss Hohenstein, near Coburg. In 1751–2 he was Kantor at Walsdorf near Bamberg, and then Kantor in Mainstockheim. Most of his music is lost; but his own writings make clear that he composed two complete cycles of cantatas for the church year and some keyboard music. The style of the surviving cantatas is typical of the generation after J.S. Bach, with recitatives and de capo arias, little choral polyphony and a preference for madrigalian poetry rather than biblical or chorale texts. Zang edited the collection Singende Muse am Mayn under the pseudonyms ‘Forceps’ in Würzburg and ‘Ighnaz’ in Nuremberg (both 1776). His Der vollkommene Orgelmacher oder Lehre von der Orgel und Windprobe, first published in Nuremberg in 1804 (later editions 1810 and 1829), provides an interesting insight into the preferred organ sound at the turn of the century. Zang favoured fundamental stops, rejecting Quint and Tierce stops alone or in combination; he largely abandoned the Werkprinzip and used the pedal division exclusively for the bass part, though the specifications that he quotes in his examples are more traditional. WORKS
BIBLIOGRAPHY EitnerQ GerberNL Artistisch-literarische Blätter von und für Franken, i (Würzburg, 1808), 135–7 H. Löffler: ‘Die Schüler J.S. Bachs und ihr Kreis’, Zeitschrift für evangelische Kirchenmusik, viii (1930), 130 Mitteilungen der Johann-Heinrich-Zang-Gesellschaft (Mainstockheim, 1986–) JOHANNES HEINRICH Zange, Nikolaus. See Zangius, Nikolaus. Zängel [Zanggel, Zenngel, Zänckl], Narcissus (b Augsburg, c1555; d after 1607). German composer. His father may be identified with Narcissus Zänkl from Murnau, Bavaria, who matriculated from Ingolstadt University on 1 June 1539 and who copied the 1543 part of the manuscript D-Mu 326. Zängel was a chorister under Lassus in the Bavarian court chapel at Munich in the early 1570s. In 1573 he visited France, presumably to study; his journey was financed by the Munich establishment. On his return he became organist at the Premonstratensian abbey of Roggenburg in Upper Swabia, and about 1585 he was chamber musician to Jakob Fugger at Augsburg. In 1590 he became Kapellmeister at the court of Count Eitelfriedrich IV von Hohenzollern-Hechingen, then served at Sigmaringen during the period 1596–8, before returning to Hechingen, where he supervised the lavish musical entertainments in connection with the marriage of the count's heir, Johann Georg. Nothing definite is known of his life following his resignation from Hohenzollern service in 1599, though he may have moved to Vienna, since he dedicated from there his only known collection of music, Cantiones sacrae, quas vulgo Missas appellant (Vienna, 1602). It comprises six parody masses which are typical products of their time, including both counterpoint in 16th-century style and more progressive features: a bold use of homophony, some tentative word-painting and antiphonal groups of contrasting voices. The links between the various mass sections, which arise from the parody technique, are apparent in both melody and bass lines. Zängel's only other extant works are a five-part motet (in RISM 16047) and a mass for five voices and continuo (in 16282); a number of other works have doubtless been lost. BIBLIOGRAPHY MGG1 (E. Stiefel) A. Sandberger: Beiträge zur Geschichte der bayerischen Hofkapelle unter Orlando di Lasso, iii (Leipzig, 1894), 52, 71, 243 G. Bossert: ‘Die Hofkantorei unter Herzog Ludwig von Württemberg’, MMg, xxxiii (1901), 27–9 G. von Pölnitz, ed.: Die Matrikel der Ludwig-Maximilian-Universität Ingolstadt-Landshut-München, i (Munich, 1937), 555 L. Finscher: ‘Eine wenig beachtete Quelle zu Johann Walters Passions-Turbae’, Mf, xi (1958), 189–95 E.F. Schmid: Musik an den schwäbischen Zollernhöfen der Renaissance (Kassel, 1962), esp. 42ff, 242ff M. Ruhnke: Beiträge zu einer Geschichte der deutschen Hofmusikkollegien im 16. Jahrhundert (Berlin, 1963) A. LINDSEY KIRWAN/CLYTUS GOTTWALD Zanger, Johann (b Innsbruck, ? after 31 Oct 1517; d Brunswick, 5 April 1587). Austrian theologian and music theorist. From 1523 or 1524 he was a chorister in King Lajos II of Hungary’s court chapel in Buda under the direction of Thomas Stoltzer. In 1526 he fled to Vienna with the widowed Queen Mary’s retinue and was accepted in Ferdinand I’s Hofkapelle in 1527. According to his own writings he received his musical training there from Heinrich Finck, Arnold von Bruck, Stephan Mahu and Johann Langkusch, and he also met Erasmus Lapicida. In August 1536 he entered the arts faculty of Vienna University; he continued his studies in Prague in 1540 and in the law faculty of Cologne University. After travelling through Germany and Brabant he returned to Innsbruck in 1542 as a tutor for the sons of noblemen. In the same year he moved to Wittenberg where he taught music at the university and studied Protestant theology there. In 1545 he settled in Brunswick where Philipp Melanchthon had procured for him the post of Kantor at the school of St Martin. In Brunswick he held various posts both in the schools and in the church, and was considered an impressive preacher and a skilful church politician. In Torgau in 1576 he played a decisive role in the preparation of the formula concordiae. His widely disseminated music primer Practicae musicae praecepta (Leipzig, 1554), in its coverage of psalm tones and mensural notation, includes musical examples from composers such as Ockeghem, Brumel, Josquin and Thomas Sporer. Intended for use in the school system in Brunswick, this treatise also relates Zanger's experiences in Ferdinand's Hofkapelle and provides records of conversations between chapel masters. BIBLIOGRAPHY H.-J. Moser: ‘Johannes Zanger’s Praecepta’, MD, v (1951), 195–201 H.-J. Moser: ‘Addendum to … Johannes Zanger’s Praecepta’, MD, vi (1952), 133 only O. Wessely: ‘Beiträge zur Lebensgeschichte von Johann Zanger’, Musikwissenschaftlicher Kongress: Vienna 1956, 708–26 O. Wessely: ‘Beiträge zur Geschichte der Hofkapelle Lajos’ II. Jagello, Königs von Böhmen und Ungarn’, Festschrift Bruno Stäblein zum 70. Geburtstag, ed. M. Ruhnke (Kassel, 1967), 293–300 K. Niemöller: Untersuchugen zu Musikpflege und Musikunterricht an den deutschen Lateinschulen vom ausgehenden Mittelalter bis um 1600 (Regensburg, 1969) OTHMAR WESSELY/WALTER KREYSZIG Zangius [Zange], Nikolaus (b Mark Brandenburg, possibly at Woltersdorf, nr Königswusterhausen, c1570; d Berlin, c1618). German composer and court official. He is first heard of in 1597, when he was Kapellmeister to Prince-Bishop Philipp Sigismund of Brunswick-Wolfenbüttel at Iburg, near Osnabrück. In 1599 he went to Danzig, first as deputy to the Kapellmeister of the Marienkirche, Johannes Wanning, who was then a sick man, and shortly afterwards as his successor. In order to escape from plague-ravaged Danzig he obtained a long leave of absence in 1602, and until the end of 1605 he was an official at the imperial court in Prague. Only in 1607 did he return to Danzig, and even then only for a short time, for he was soon staying briefly at Stettin before returning to Prague, where he resumed his court duties in 1610. Finally, in 1612 he moved to Berlin as Kapellmeister to the Elector of Brandenburg, in succession to Johannes Eccard. He was joined there by several members of the Prague establishment, and during his few years in office he did much to raise musical standards. He is important as a composer for his sacred, and especially his secular, ensemble songs, which were highly esteemed by his contemporaries. Although he also on occasion cultivated the older polyphonic style, he was one of the first composers, particularly in north Germany, to adapt the Italian villanella style to German usage. His three three-part collections, the first of which was twice reprinted, are evidence of his achievements in this genre. His Gesellschaftslieder are also highly successful. A specially notable piece is the inventive five-part quodlibet Ich will zu land ausreiten from his 1597 collection, which probably served as a model for Melchior Franck’s farrago Kessel, Multer binden (in his Grillenvertreiber of 1622), the most famous example of the genre at that period. WORKS Edition:Nicolaus Zangius: Geistliche und weltliche Gesänge, ed. H. Sachs and A. Pfalz, DTO, lxxxvii (1951)
BIBLIOGRAPHY MGG1 (F. Bose, K. Gudewill) C. Sachs: Musik und Oper am kurbrandenburgischen Hof (Berlin, 1910/R) H. Rauschning: Geschichte der Musik und Musikpflege in Danzig (Danzig, 1931) H.J. Moser: Corydon, das ist Geschichte des mehrstimmigen Generalbassliedes und des Quodlibets im deutschen Barock (Brunswick, 1933, 2/1960), i J. Sachs: Nikolaus Zanges weltliche Lieder (diss., U. of Vienna, 1934) R. Caspari: Liedtradition im Stilwandel um 1600 (Munich, 1971) T. Straková: ‘Vokálne polyfoní skladby na Moravě v. 16. a na počátku 17. století’ [Polyphonic vocal compositions in Moravia in the 16th century and at the beginning of the 17th], Časopis Moravského Musea, lxvi (1981), 165–78 WALTER BLANKENBURG/DOROTHEA SCHRÖDER Zani, Andrea (b Casalmaggiore, nr Cremona, 11 Nov 1696; d Casalmaggiore, 28 Sept 1757). Italian composer and violinist. He was taught the violin by Giacomo Civeri and later by Carlo Ricci. An invitation from Antonio Caldara, who had met him while passing through Casalmaggiore, took him to Vienna, where he became a well-known virtuoso and teacher without, however, obtaining an official position in the service of the imperial court. In 1738 he returned to Casalmaggiore for good, except for occasional appearances as a soloist in neighbouring cities. Two distinguished pupils of his were Valentino Majer of Mantua and Domenico Ferrari of Cremona. It has been suggested that Zani became acquainted with Vivaldi during the latter’s sojourn at Mantua during 1718–20. Certainly his earlier works (up to op.4) are remarkably Vivaldian in form and idiom, though the frequency of appoggiaturas (especially short appoggiaturas) provides a foretaste of a second, galant phase beginning in the 1730s, in which ‘Venetian’ extravagances yield to a more cantabile manner. The Fonds Blancheton (F-Pc) includes, among other works by Zani, six trios, which, if genuine, represent a third, pre-Classical phase. (After Zani's return to Casalmaggiore his works were published in Paris, then approaching the heyday of its pre-eminence as a publishing centre; it is therefore conceivable that the trios were sent there late in his life for possible publication as a set.) The sonatas and concertos surviving in print show him to be an accomplished and fairly inventive composer. WORKS op.
BIBLIOGRAPHY NewmanSBE M. Corrette: L’art de se perfectionner dans le violon (Paris, 1782) L. de La Laurencie: Inventaire critique du fonds Blancheton de la Bibliothèque du Conservatoire de Paris (Paris, 1930–31) M. Pincherle: Antonio Vivaldi et la musique instrumentale (Paris, 1948/R) R. Monterosso: ‘Medaglioni di musicisti lombardi, Andrea Zani’, Musicisti lombardi ed emiliani (Siena, 1958) MICHAEL TALBOT Zanibon. Italian firm of publishers. It was founded at Padua in 1908 by Guglielmo Zanibon (b Padua, 5 Oct 1878; d Padua, 21 April 1966). After studying music in his native city he moved to New York, where in 1903 he founded the periodical The Mandolin. He played the double bass with various touring companies until Cleofonte Campanini appointed him general secretary and librarian to the orchestra of the Manhattan Opera House. Back in Padua in 1908, he associated himself with Alessandro Parisotti and managed a small music publishing house, of which he then took sole control, calling it ‘Edizioni Zanibon’. He worked with many well-known musicians, among them Marco Enrico Bossi and Dallapiccola. His large output included sacred music, instrumental and polyphonic works and Italian music of the 17th and 18th centuries. At his death the management of the house passed to his adopted son Guglielmo Travaglia Zanibon (b 23 Dec 1920), who paid particular attention to the classical guitar repertory, early Italian music (notably for keyboard, Urtext editions), contemporary composers (Bettinelli, Margola and Luciane Chailly) didactic works and books on music. In 1992 the ‘Edizioni Zanibon’ moved to Milan and was incorporated in the Ricordi Group, keeping on the publication of Boccherini’s works in: Luigi Boccherini: Edizione critica delle opere, ed. A. Paris (Padua, 1977–). The Zanibon catalogue contains about 7000 items. BIBLIOGRAPHY SartoriD E. Parenzan: Guglielmo Zanibon a cent’anni dalla nascita (Padua, 1978) MARIANGELA DONÀ |
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