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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zavateri, Lorenzo Gaetano
(b Bologna, 9 Aug 1690; d Bologna, Dec 1764). Italian violinist and composer. He studied the violin with Giuseppe Torelli and composition with L.A. Predieri. He achieved considerable fame as a violinist in Livorno, Venice and Ferrara (there is no evidence that, as is sometimes stated, he was a cellist). He became a member of the Accademia Filarmonica di Bologna on 20 May 1717 and held various offices in that organization. His name appears in the records of S Petronio, Bologna, from 1713, when he was engaged to play the violin at several patronal feasts. He joined the regular cappella musicale as a viola player in December 1725 and, with brief interruptions, played the violin or viola there until his death. Among his pupils were N. Lenzi, G. Castoneri and G.F. Landini as well as some members of the nobility. He published two sets of instrumental pieces, of which his op.1, Concerti da chiesa e da camera (?Bologna, 1735), received praise from Padre Martini for ‘a well refined intelligence’. In the set of 12 concertos, only five call for an obbligato violin; the others use no solo instruments. No.9 is called ‘Concerto teatrale’, no.10 ‘Concerto a pastorale’ (in which the final movement is a pastorale in 12/8) and no.12 ‘Concerto a tempesta di mare’, with indications on the score depicting the progress of a storm. These works and the Divertimenti musicali per camera a violino e tasso op.2 (Pesaro, n.d.) show considerable virtuosity, imaginative writing and a keen understanding of the instrument. The dance pieces in the 1736 manuscript collection of Petronio Francesco Rampionesi (I-Bc), designed for the amateur, are much less impressive. BIBLIOGRAPHY GaspariC O. Penna: Catalogo degli aggregati dell’Accademia filarmonica di Bologna (MS, I-Bc), facs. (Bologna, 1973); sometimes attrib. G.B. Martini G.B. Martini: ‘Serie cronologica de’ Principi dell’Accademia de’ filarmonici di Bologna’, Diario bolognese (MS, Bc, 1776), facs. (Bologna, 1970) ANNE SCHNOEBELEN Zavrtal [Zavertal, Zavrthal, Zaverthal; orig. Sawerthal]. Czech family of military musicians. (1) Josef Rudolf Zavrtal [Sawerthal] (2) Václav [Wenceslas, Venceslao] Hugo Zavrtal (3) Ladislao (Joseph Philip Paul) Zavertal [Ladislav (Josef Filip Pavel) Zavrtal] WORKS (selective list) printed works published in London unless otherwise stated MSS mainly in GB-Gu Operas
Other works
BIBLIOGRAPHY WurzbachL J. Srb-Debrnov: Slovník hudebních umělců slovanských [Dictionary of Slavonic composers], 1884–1900 (MS, CZ-Pnm) R.A. Marr: Music and Musicians at the Edinburgh International Exhibition 1886 (Edinburgh, 1887), 84, 117 British Bandsman, ii (1888–9), 60; iii (1889–90), 149 R.A. Marr: Music for the People: a Retrospect of the Glasgow International Exhibition 1888, with an Account of the Rise of Choral Societies in Scotland (Edinburgh, 1889), 92 H.G. Farmer: Memoirs of the Royal Artillery Band (London, 1904) ‘Un ambrosiano’ [G. Bampo]: Del maestro di musica milanese Ladislao Zavertal (Milan, 1914) A. Faraone: Il commendatore Ladislao Zavertal (Treviso, 1929) L. Boháček: ‘Rod Zavrtalů’ [The Zavrtal family], Hudební věstník, xxviii/6 (1935), 4–5 H.G. Farmer and H. Smith: New Mozartiana: the Mozart Relics in the Zavertal Collection at the University of Glasgow (Glasgow, 1935/R) Z. Nejedlý: Dějiny Národního divadla, iii: Opera Národníko divadla do roku 1900 [History of the National Theatre, iii: Opera up to 1900] (Prague, 1935, 2/1949) J. Bartoš: Prozatímní divadlo a jeho opera [The Provisional Theatre and its opera] (Prague, 1938) H.G. Farmer: ‘The Royal Artillery Concerts (1810–1911)’, MR, vi (1945), 154–9, 220–29; pubd separately (London, 1945) H.G. Farmer: Cavaliere Zavertal and the Royal Artillery Band (London, 1951) [incl. catalogue of works] JOHN CLAPHAM Zavrtal (1) Josef Rudolf Zavrtal [Sawerthal] (b Polepy, nr Litoměřice, 5 Nov 1819; d Litoměřice, 3 May 1893). Conductor and composer. He studied the trumpet and trombone at the Prague Conservatory from 1831 to 1837, and after two years in the Austrian army he became bandmaster of the 6th Cuirassiers in 1839. From 1845 he was bandmaster of the 53rd Infantry Regiment, and was in active service in Hungary and Italy; he agitated successfully in 1846 for the founding of a pension fund for Austrian bandmasters. The next year his two-act Singspiel Die Alpenhirtin (libretto by P. Protics) was performed at Temesvár, and in 1874 at Trieste as Là pastorella. In 1850 he became director of music to the Austrian navy and marine at Trieste, where he founded the Società Musicale. He entered the Archduke Maximilian's service in 1857 and, after his master became Emperor of Mexico, served from 1864 as court Kapellmeister and director of military music; he returned to Europe in 1867 when the Austro-Mexican corps was disbanded. He settled in England the following year and became bandmaster of the King's Own (Royal Lancaster) Regiment; for 19 years from 1871 he directed the Royal Engineers' wind and string bands at Chatham until he retired to Polepy in 1890. He was decorated by Franz Joseph, Napoleon III and the Shah of Persia, and Maximilian conferred on him a knighthood of the Order of S María of Guadeloupe. In addition to his opera he wrote marches, quadrilles and polkas for band and full orchestra, some chamber music and songs. Zavrtal (2) Václav [Wenceslas, Venceslao] Hugo Zavrtal (b Polepy, 31 Aug 1821; d Litoměřice, 8 Sept 1899). Conductor and composer, brother of (1) Josef Rudolf Zavrtal. After studying the clarinet at the Prague Conservatory from 1834 to 1840, he followed a varied career. He held positions as clarinettist at theatres at Laibach (Ljubljana) (1841) and Prague (1843), and in 1842 sang bass roles in Budapest. In 1845 he was Kapellmeister of the 18th Bohemian Regiment stationed at Milan, and two years later became music director of the Gran Teatro del Liceo and professor of the conservatory at Barcelona. He returned to the Austrian army as Kapellmeister of the 54th Infantry in 1850, first at Milan and then Vienna, and from 1855 to 1859 held a similar position with the 49th Infantry at Trieste; during that time he was music critic of La scena. He was in close touch with Mozart's son Carl between 1848 and 1859, and acquired the Mozart collection which was later bequeathed to Glasgow University by his son Ladislao. His Czech patriotism led him to resign from the Austrian army after Solferino (1859) and join the Italian Grenadiers, who were based at Turin and then Naples. He became director of the Istituto Musicale and music director of the theatre at Treviso (1867–70), and then held similar posts at Modena (1870–74). Later he joined his son in Glasgow, and taught and composed at Helensburgh from 1875 until 1895, when he retired to Litoměřice. He composed an opera, Estrella (libretto by Piave), an Overture in F minor, marches, dances and fantasias, and numerous vocal works. Zavrtal (3) Ladislao (Joseph Philip Paul) Zavertal [Ladislav (Josef Filip Pavel) Zavrtal] (b Milan, 29 Sept 1849; d Cadenabbia, 29 Jan 1942). Conductor and composer, son of (2) Václav Hugo Zavrtal. He received his first musical instruction from his father and mother (the operatic soprano Carlotta Maironi da Ponte), and for a short time studied at the Naples Conservatory, where Tosti taught him the violin. His first opera, Tita (1870, Treviso), which his father orchestrated, ran for a fortnight. After a year as chorus master under his father at Modena, he went to Milan in 1871, where he was soon made music director of the Teatro Milanese. The following year he went to Glasgow as a band instructor, remaining there to teach and to conduct the Glasgow Amateur Orchestra (1873) and the music associations of Hillhead (1874) and Pollokshields (1875). In 1877 he conducted the piano concertos played by Hans von Bülow on his Scottish tour, and in 1880 his four-act opera Una notte a Firenze was produced and warmly received in Prague. He became master of the Royal Artillery Band at Woolwich in 1881 and considerably enhanced its already fine reputation. Later he organized a symphony concert at the Prince's Hall, London (1888), and then annual series at St James's Hall and Queen's Hall (1889–95), and for ten years from 1895 he ran Sunday concerts at the Royal Albert Hall; it was there that Hanslick heard, and was much impressed by, Zavertal's fine orchestra. In 1896 Zavertal became a British subject; he retired to Italy in 1906. King Umberto made him Cavaliere della Corona d'Italia, and he was honoured by Sultan Abdul-Hamid II of Turkey and the kings of Greece, Serbia and England. Zavertal had a gift for italianate melody and some feeling for drama; but he was not particularly original, and contemporary critics recognized his indebtedness to Verdi, Meyerbeer and Gounod. Una notte a Firenze was highly successful in Prague, but Mirra, written for the National Theatre in Prague, disappointed those who were expecting the maturing composer to cultivate a distinctly Czech style, and in consequence this work received only three Prague performances. Zawose, Hukwe Ubi (b Dodoma, Tanzania, 1940). Tanzanian musician. He grew up raising cattle in the Ugogo central region of Tanzania. He drew on the musical heritage of the Wagogo people, performing on traditional Wagogo instruments such as the ilimba lamellophone, the zeze one-string chordophone and filimbi (flutes). His original and adapted compositions retell historical tales and praise political parties; for many years he was associated with the country's national music and dance troupe. He was also a founding director of the Chuo cha Sanaa (College of Arts), a school established to teach and maintain aspects of traditional expressive culture located in Bagamoyo in coastal Tanzania. His recordings demonstrate his ability to perform the diphonic singing that is part of the Wagogo harmonic singing tradition. Zawose's participation in WOMAD festivals around the world helped to promote traditional Wagogo music as well as his recording career. By the end of the 20th century he was considered one of Tanzania's most important and influential traditional musicians. WRITINGS Recordings Tanzania yetu (Our Tanzania), Triple Earth, Terra 101 (1985) Mateso (Suffering): Master Musicians of Tanzania, Triple Earth, TERRACD 104 (1989) The Art of Hukwe Ubi Zawose, JVC VID-25011 (1989) Chibite, Realworld CD 031 32900 (1995) GREGORY F. BARZ Zaytz, Giovanni von. See Zajc, Ivan. Zazhyt'ko, Serhy (b Chernigov, 6 Dec 1962). Ukrainian composer. He studied the piano at the Lysenko special music school, Kiev, and, after making a name for himself early on by winning first prize in a Ukrainian young composers’ competition in 1979, went on to graduate in 1990 from the Kiev Conservatory where he studied composition under Stankovych. He then worked as a music editor for the publishers Muzychna Ukraïna. In 1993 he was accepted for membership of the Ukrainian Union of Composers and since then has worked for this body as a consultant. His post-modern tendencies as a composer lend him an affinity with certain Western contemporary trends; his predilection for theatrically-inspired chamber compositions (which became more evident in the 1990s) bears witness to his interest in Kagel’s works. WORKS
INESSA RAKUNOVA Zazzerino. See Peri, Jacopo. Zbinden, Julien-François (b Rolle, canton of Vaud, 11 Nov 1917). Swiss composer and pianist. During and after his training as a primary school teacher (diploma 1938), Zbinden studied the piano with Emile Doosterd (1930–35), Gertude S. Keller-Ching and Marie Panthès (1940–45). He began his professional career as an orchestral and jazz pianist (1938–47), and then joined the Lausanne studio of Radio Suisse Romande (RSR) as a pianist and sound engineer. In 1956 he became director of the music department of RSR, and was the chief assistant for music broadcasting there from 1965 to 1982. He was also president of the Swiss Composers' Union (1973–9), and of the Swiss composers' copyright association SUISA (1987–91). As a composer he was initially self-taught, but in 1942 began three years of study with R. Gerber in Neuenburg (counterpoint and orchestration), culminating in the composition of his Suite brève en ut op.1, the harmony of which shows Ravel's influence. In Zbinden's subsequent compositions the influence of Stravinsky's neo-classical works is stronger, and jazz rhythms also leave their mark. Jazz sonatine for piano and Jazzific 59–16 for jazz band and string orchestra are explicitly concerned with the jazz tradition, but its influence is also perceptible in other works. His interest in the harmonic dimension, increasingly obvious from his Second Symphony onwards, has led him to retain a tonal idiom in his work; certain polytonal passages are related to the music of Honegger, whose humanistic ideas he shares and to which he refers in several works (the Second Symphony's slow movement and Hommage à Arthur Honegger op.68). His music only occasionally employs more modern techniques, such as an aleatory formal structure (Pianostinato) and – with satirical intent – 12-note technique (the fourth of the Proverbes en forme d'études). Awards he has won for his work as a composer include the Prix Henryk Wieniawski, Warsaw (1956), the Grand Prix de la Communauté Radiophonique des Programmes de Langue Française, Montreal (1963), and the Médaille d'Or of the city of Lausanne (1993). WORKS (selective list) Dramatic and vocal
Instrumental
BIBLIOGRAPHY R.-A. Mooser: Aspects de la musique contemporaine (Geneva, 1957) R.-A. Mooser: Visages de la musique contemporaine (Paris, 1962) C. Tappolet: Lettres de compositeurs suisses à Ernest Ansermet (Geneva, 1989) C. Tappolet: Julien-François Zbinden: compositeur (Geneva, 1995) PATRICK MÜLLER Zbruyeva, Yevgeniya (Ivanovna) (b Moscow, 24 or 26 Dec 1867/5 or 7 Jan 1868; d Moscow, 20 Oct 1936). Russian contralto. She was the daughter of the singer and composer Pyotr Bulakhov. She graduated from Yelisaveta Lavrovskaya’s class at the Moscow Conservatory in 1893 and joined the Bol'shoy the following year. In 1905 she joined the Mariinsky Theatre in St Petersburg and taught at the conservatory (1915–17). Zbruyeva’s voice was deep, rich and smooth, powerful and beautiful throughout its wide range. Her clear diction, precise intonation and keen, subtle phrasing made her a finished performer. Her great roles were Glinka’s Vanya and Ratmir, and Marfa in Khovanshchina (which she sang at the 1911 Mariinsky première), but she was also extraordinarily successful in such character parts as Solokha (Rimsky-Korsakov’s Christmas Eve) and the Innkeeper (Boris). Her memoirs are published in the collection Muzïkal'noye nasledstvo (‘Musical heritage’, i, Moscow, 1962). I.M. YAMPOL'SKY Zeami [Motokiyo, Kanze Saburō] (b ?1363; d ?8 Aug 1443). Japanese nō actor and writer. As a boy he was known as Fujiwaka. He was the eldest son of Kan'ami Kiyotsugu, the founder of the Kanze school of nō. Their performance in 1374 so impressed the shogun Ashikaga Yoshimitsu that he invited them to his court and became their lifetime patron, and eventually nō became the official performing art of the shogunate. Of about 50 surviving nō plays by Zeami, the most famous are Takasago, Izutsu and Matsukaze. He also wrote many treatises and essays, the most important of which is Fūshi Kaden (1400), better known as Kadensho (‘Book of Flowers’), a treatise on the aesthetics of nō. After the death of Yoshimitsu in 1428, Zeami fell foul of his successor, Ashikaga Yoshinori, and was banished to Sado Island in 1434. Whether he returned to Kyoto is not known. See also Japan, §IV, 1. MASAKATA KANAZAWA Zeani [Zehan], Virginia (b Solovastru, 21 Oct 1925). Italian soprano of Romanian birth. After studying in Bucharest and with Pertile in Milan, she made her début at Bologna in 1948 as Violetta, which she also sang at her London (1953, Stoll Theatre), Vienna (1957), Paris (1957), Metropolitan (1966) and Bol'shoy (1969) débuts and at Covent Garden (1959). She made her Scala début in 1956 as Handel’s Cleopatra opposite Nicola Rossi-Lemeni (whom she married) as Julius Caesar. In 1957 she created Blanche in Dialogues des Carmélites at La Scala. She participated in important revivals of Maria di Rohan (1965, Naples), Rossini’s Otello (1968, Rome) and Verdi’s Alzira (1970, Rome). Originally a specialist in coloratura parts including Lucia, Elvira (I puritani) and Adèle (Le comte Ory), she began in 1970 to undertake more dramatic roles, notably Aida, Manon Lescaut, Tosca, Magda Sorel (The Consul) and Giordano’s Fedora (1977–8, Barcelona). Zeani had a naturally beautiful voice, and performed with great dramatic conviction; among her recordings she is best represented by her intense, involving Violetta. BIBLIOGRAPHY GV (G. Gualerzi; C. Williams) HAROLD ROSENTHAL/ALAN BLYTH Żebrowski, Marcin Józef (fl Częstochowa, 1748–65, 1780). Polish composer and musician. In 1748–65, and probably again in 1780, he was a member of the chapel at the Pauline Monastery in Częstochowa as a highly esteemed violinist and virtuoso bass singer. Over 30 manuscripts of his works, dating from 1752 to 1798, are extant, and are perhaps in part autograph copies; a complete edition of his works is currently in preparation. Żebrowski is a typical representative of the galant style in sacred music, as is most evident in the ornamentation of his melodic lines. However, some of his music also displays features of the late Baroque, such as the use of polyphony (including double counterpoint), concertato techniques and multi-sectional structures. Generally, his works for voices and instruments use cantata-like forms, with frequent use of developed solo vocal passages in arias. There is no difference in structure between his Sonatae and Andante pro processione, which are short da capo pieces played at processions during Mass. WORKS MSS mostly in PL-CZp
BIBLIOGRAPHY R. Pośpiech: ‘Twórczość mszalna Marcina Józefa Żebrowskiego’ [Żebrowski's Mass settings], Muzyka, xxxi/1 (1986), 67–97 ZYGMUNT M. SZWEYKOWSKI Zecchi, Adone (b Bologna, 23 July 1904; d Bologna, 20 Dec 1995). Italian composer, conductor and musicologist. He studied the violin and, later, composition with Alfano and Nordio at the Bologna Conservatory. He then undertook much work as a conductor and organizer, founding and directing the choir Euridice, the Bologna Chamber Orchestra and, in 1950, the female G.B. Martini madrigal group. A teacher of choral music and choral conducting (1942–60), fugue and composition (1960–65) at the Bologna Conservatory, he was director from 1965 to 1974. He was secretary of the Italian Contemporary Music Society (1956–9), president of the Association of Italian Choirs and of the National Association of Music Teachers, a member of the Accademia Filarmonica di Bologna e di Roma and of the RAM, London. He also contributed to newspapers and periodicals, was editor of the journal Educazione musicale, and was responsible for the publication of several collections of popular Italian songs. Zecchi's early works are neo-classical, sometimes exhibiting rigorous contrapuntal structures. In the 1950s he used a flexible version of dodecaphony, which became stricter in the later, more developed Caleidofonia and Trattenimento musicale. He also wrote much music for stage, radio and television. WORKS (selective list)
WRITINGS Collana di saggi verdiani (Bologna, 1952) Il coro nella storia (Bologna, 1960) with R. Allorto: Educazione musicale (Milan, 1962) Il direttore di coro (Milan, 1965) with R. Allorto: Il mondo della musica (Milan, 1969) Other articles and essays BIBLIOGRAPHY MGG1 (O. Mischiati) ‘Voci aggiunte a un dizionario dei musicisti italiani contemporanei’, RaM, ix (1936), 237–45, esp. 240 R. Vlad: Storia della dodecafonia (Milan, 1958), 219–21 T. Gotti: ‘Adone Zecchi, 5 anni di direzione’, Annuario 1965–70 del Conservatorio di musica ‘G.B. Martini’ di Bologna (1971), 233–7 T. Gotti: ‘Adone Zecchi, 10 anni di direzione’, Profili di un decennio, 1964–74 (Bologna, 1974) R. Zanetti: La musica italiana nel novecento (Busto Arsizio, 1985), 966, 1260–61 ROBERTA COSTA Zech. American family of musicians of German origin. They were active in San Francisco. (1) Jacob Zech (2) Frederick Zech jr (3) William Frank Zech JOHN A. EMERSON/ROBERT COMMANDAY Zech (1) Jacob Zech (b Bad Dürkheim, 25 July 1832; d San Francisco, 13 Sept 1889). Piano maker. After the death of his father Franz Phillip Zech (1789–1849), a piano maker, he went to New York and worked for five years at Nunns & Clark and Steinway. In May 1856 he moved to San Francisco, and by March 1857 had built his first instrument. The following September a square piano of his manufacture was awarded first prize at the Mechanics Institute Fair. By 1867 he had custom-built 494 instruments. Zech’s son, August Friedrich Zech (b San Francisco, 20 May 1857; d San Francisco, 20 April 1891), studied at the Leipzig Conservatory from 1876 to 1880 and in San Francisco. He became music director of the Arion Singing Society and several other German singing societies in San Francisco. Jacob Zech’s brother, Frederick Zech sr (1837–1905), was also a piano maker who went to San Francisco from Philadelphia to work for his brother. Between 1862 and 1864 he ran his own manufactury but was later employed at other piano companies, including his brother’s. BIBLIOGRAPHY Daily Evening Bulletin (San Francisco, 25 March 1857), 3; (7 April 1860), 1; (30 June 1863), 3; (16 July 1870), 4 Alta California (San Francisco, 16 May 1867), 1 N.E. Michel: Historical Pianos, Harpsichords, and Clavichords (Pico Rivera, CA, 1963), 70 Zech (2) Frederick Zech jr (b Philadelphia, 10 May 1858; d San Francisco, 15 Oct 1926). Composer,pianist, conductor and teacher, nephew of (1) Jacob Zech. After arriving in San Francisco in 1860, he studied music there, then in Berlin (1878–82). On 30 November 1882 he presented an orchestral concert of his compositions in Platt’s Hall in San Francisco, an unprecedented event in the history of the city. Hitherto, local musicians had been represented by popular piano pieces and songs. In 1902–3 he financed and directed a series of symphony concerts featuring several of his orchestral tone poems. He later taught at the College of Notre Dame, Belmont, California. His manuscripts are held by the Music Library of the University of California, Berkeley, and his correspondence is at the California Historical Society, San Francisco. WORKS (selective list)
BIBLIOGRAPHY Grove3, Amer. suppl. San Francisco Morning Call (4 Dec 1882), 1 San Francisco Chronicle (30 Oct 1902), 14 Pacific Coast Musical Review (San Francisco,10 June 1911), 3; (16 Dec 1911), 41; (1 Dec 1917), 1 Zech (3) William Frank Zech (b San Francisco, 22 July 1869; d San Francisco, 26 May 1950). Violinist, conductor and teacher, brother of (2) Frederick Zech jr. After study under Joseph Joachim at the Hochschule für Musik, Berlin (1892–7), he returned to San Francisco, founded and led the Zech String Quartet (1901–4), and from 1905 the Zech Orchestra which flourished for over 35 years. He was also musical director of the Arion Singing Society and the San Francisco Musical Club, and a faculty member and orchestra conductor at San Francisco State College; an award for music undergraduates was established in his memory. His son, Norman Frederick Zech (b San Francisco, 31 May 1914; d San Francisco, 28 Aug 1997), a violinist, conductor and teacher, studied at San Francisco State University and the University of Southern California. He served as Dean of Instruction and professor of music at Reedley College, Reedley, California, from 1939 to 1975, and was also the director of the Reedley Baroque Strings and Community Orchestra from 1974. BIBLIOGRAPHY Grove3, Amer. suppl. N.F. Zech: ‘A Pioneer California Music Family’, Lifeliner: Genealogical Society of Riverside, iii/2 (1967), 37 Zechlin, Ruth (b Grosshartmannsdorf, Saxony, 22 June 1926). German composer, harpsichordist and organist. She studied at the Leipzig Musikhochschule (1943–9), where her teachers included Johann Nepomuk David and Wilhelm Weismann (composition), Karl Straube and Günther Ramin (organ) and Anton Rohden and Rudolf Fischer (piano). From 1950 she taught at the Hanns Eisler Musikhochschule, Berlin, where she became professor for composition in 1984, the first woman in Germany to be so appointed. In 1970 she was elected to the DDR Akademie der Künste, where she gave a composition masterclass, and in 1990 she was made vice-president of the Berlin Akademie der Künste. As a performer of harpsichord and organ she has specialized in early English keyboard music, the music of J.S. Bach and contemporary music. Her many honours include the Hanns Eisler Prize (1968), the National Prize of the DDR (1975, 1982), the Heidelberg Women Artists' prize (1996) and the Cross of Merit (first class) of the Federal Republic of Germany (1997). The strictly linear nature of Zechlin’s early works shows her attempt to overcome traditional tonal and formal compositional styles; she first adopted a freely tonal language and later drew upon a range of contemporary resources. Her compositions develop from her musico-dramatic sense, which determines the nature and length of a work through patterns of tension and relaxation. Influenced by the music of Henze and Lutosławski, and particularly by Schoenberg’s Pierrot lunaire, she has found her central inspiration in the work of J.S. Bach, whose style is at the heart of her polyphonic thinking. She has extended a polyphonic approach to tonal areas, rhythmic structures, dynamics, instrumentation and form. In her orchestral work Musik zu Bach (1983) small, splintered melodic cells coalesce into a vertically and horizontally transparent whole. In Metamorphosen (1982) sound surfaces developing out of a single pitch eventually merge to form a 12-part canon. One of her few works to make a direct political statement is Wider den Schlaf der Vernuft for organ (1989), a protest against the East German system. Many of her compositions borrow ideas from the visual arts, architecture and literature. Although she has written many operatic and vocal works her main emphasis has been on instrumental composition. WORKS (selective list) for fuller list see GroveW Stage
Instrumental
Keyboard for org unless otherwise stated
Vocal
BIBLIOGRAPHY GroveW (R. Sperber) [incl. further bibliography] U. Stürzbecher: ‘Ruth Zechlin’, Komponisten in der DDR: 17 Gespräche (Hildesheim, 1979), 150–71 H. and J. Mainka, eds.: Ruth Zechlin: Situationen, Reflexionen: Gespräche, Erfahrungen, Gedanken (Berlin, 1986) M. Hansen: Komponieren zur Zeit: Gespräche mit Komponisten der DDR (Leipzig, 1988), 296–311 U. Stürzbecher: ‘Laudatio für Ruth Zechlin’, Gegenwelten, ed. R. Sperber (Heidelberg, 1997), 257–61 BETTINA BRAND (with ROSWITHA SPERBER) Zechner, Johann Georg (b Gleisdorf, 9 April 1716; d Stein an der Donau, 7 June 1778). Austrian composer and organist. He held posts as organist at the Benedictine abbey of Göttweig, Lower Austria (1736–43), and choral director of St Veit, Krems an der Donau (1746–53); between 1743 and 1746 he apparently studied philosophy and theology, and at some time between 1750 and 1752 he was ordained priest. In 1753 he was appointed to the charge of the Chapel of All Saints at Stein an der Donau, a sinecure which allowed him to devote the rest of his life exclusively to composition. Zechner was a leading figure in a group of composers who wrote for the monasteries and the nobility in Lower Austria. His compositions were distributed in all the Habsburgian countries and in southern Germany. His extensive output of liturgical music covers almost all contemporary genres and he was one of the first to feature extensive solo writing for the organ in some of his Missae solemnes. The early works still show the influence of Fux and Caldara, but more popular rhythmic and melodic elements become prevalent in the motets and arias and his later works are in a fully developed early Classical style. An interesting feature is his combination of galant melody with scholarly counterpoint. Zechner also composed seven applausus works for the abbey at Göttweig. Notable among his instrumental output, which has much in common with that of G.C. Wagenseil and M.G. Monn, are some late instances of music for lute and some early examples of keyboard concertos. WORKS
BIBLIOGRAPHY MGG1 (F.W. Riedel) F.W. Riedel: ‘Beiträge zur Geschichte der Musikpflege an der Stadtpfarrkirche St Veit zu Krems’, 950 Jahre Pfarre Krems, ed. H. Kühnel (Krems an der Donau, 1964), 300–41 [incl. list of works] R.N. Freeman: The Practice of Music at Melk Monastery based upon the Documents 1681–1826 (Vienna, 1989) G. Chew: ‘The Austrian pastorella and the stylus rusticanus: Comic and Pastoral Elements in Austrian Music, 1750–1800’, Music in Eighteenth-Century Austria, ed. D.W. Jones (Cambridge, 1996), 133–93 F.W. Riedel, ed.: Kirchenmusik mit obligater Orgel: Untersuchungen zum süddeutsch-österreichischen Repertoire im 18. und 19. Jahrhundert (Sinzig, 1999) FRIEDRICH W. RIEDEL/DAVID WYN JONES Zeckwer, Camille (b Philadelphia, 26 June 1875; d Southampton, NY, 7 Aug 1924). American composer. He learnt music with his father, then studied with Dvořák in New York (1893–5) and Philipp Scharwenka in Berlin, where he also studied violin with Florian Zajic. He settled in Philadelphia as a teacher and became director of the Academy of Music on the retirement of his father Richard Zeckwer (b Stendal, Germany, 30 April 1850; d Philadelphia, 31 Dec 1922) in 1917. His music evokes romantic images by the sparing use of Impressionist harmonic and melodic devices within conventional formal structures. He wrote numerous popular piano pieces (such as Ballads of the Sea op.25) and performed his Piano Concerto in E minor op.8 (1897) three times with the Philadelphia Orchestra (1899, 1904, 1914). He composed two symphonic poems: Sohrab and Rustum (after Matthew Arnold) op.30 (1915); and Jade Butterflies op.50, which won the Chicago North Shore Festival Prize and was performed by the Chicago SO under Frederick Stock on 30 March 1922. His cantata The New Day op.24 (SATB, pf 4 hands) won the Cleveland Mendelssohn Prize in 1914. His three-act opera, Jane and Janetta op.20, was never performed. He also wrote chamber music and songs. MSS in US-PHf Principal publishers: Fischer, Presser OTTO E. ALBRECHT/MICHAEL MECKNA Zedda, Alberto (b Milan, 2 Jan 1928). Italian conductor and musicologist. He studied at the Milan Conservatory with Votto and Giulini, and he made his conducting début in 1956. He worked in the USA (1959–61) teaching and coaching the winners in American vocal competitions. He then took charge of the Italian repertory at the Deutsche Oper, Berlin (1961–3), worked with the New York City Opera in a similar capacity from 1963 and began guest conducting more widely. In 1969 he published (in Milan) a critical edition of Il barbiere di Siviglia, which was taken up by several companies and recorded under Abbado (1972); Zedda used it for his Covent Garden début in 1975, and in 1989 with the Cologne Opera in East Asia. This publication heralded much scholarly research for the Fondazione Rossini at Pesaro, of whose complete edition of Rossini (Pesaro, 1979–) Zedda is joint general editor, with Philip Gossett. Zedda conducted numerous performances in Europe and America of familiar and less familiar Rossini works such as Adelaide di Borgogna, Ermione and Maometto II; his edition of La Cenerentola was also recorded by Abbado (1971). Zedda's editorial attention extended to Monteverdi, whose L'incoronazione di Poppea he recorded in his own version; to Bellini, in a recording of Beatrice di Tenda (1986) and the revision of the vocal parts for I Capuleti e i Montecchi; and to Donizetti, for whose L'elisir d'amore he discovered (in Paris) and restored an aria for Adina (1987, Bergamo). He was artistic director of La Scala, Milan from 1992 to 1993. Zedda's other recordings include an admired version of Rossini's Tancredi. PIERO RATTALINO, NOËL GOODWIN Zednik, Heinz (b Vienna, 21 Feb 1940). Austrian tenor. After studying in Vienna, he made his début in 1964 at Graz as Trabuco (Forza). Engaged at the Vienna Staatsoper for more than 30 years, he created Kalb in von Einem’s Kabale und Liebe (1976). He sang David, Mime and Loge at Bayreuth (1970–80) and made his Metropolitan début in 1981 as Mime and Loge. He sang at Frankfurt, Zürich and Salzburg, where he created the Producer in Berio’s Un re in ascolto (1984), repeating it at La Scala (1986). He also took part in the premières of Krenek’s Kehraus um St Stephan at the Ronacher, Vienna (1990), and Schnittke’s Gesualdo at the Vienna Staatsoper (1995). An excellent character actor with a strong voice, he had a repertory of some 140 roles, ranging from Monostatos, Pedrillo and Jaquino to Vašek, Remendado, Valzacchi, Herod and the Captain (Wozzeck). He made many recordings, including Pedrillo, Monostatos, the Captain and such vivid cameos as the Shabby Peasant (Lady Macbeth of the Mtsensk District), a Drunken Cossack (Mazeppa) and the spoken role of Njegus (Die lustige Witwe). ELIZABETH FORBES Zeffirelli, Franco [Corsi, Gian Franco] (b Florence, 12 Feb 1923). Italian director and designer. After working for the spoken theatre and in films, he turned to opera in 1948. His early stagings in Italy were of Rossini and Donizetti operas, including La Cenerentola at La Scala in 1953. He gave new life to Italian Romantic opera with his production of Lucia di Lammermoor (with Joan Sutherland) at Covent Garden in 1959, and later that year he turned to verismo with Cavalleria rusticana and Pagliacci, also at Covent Garden. Both productions were still running 25 years later. In 1963 he collaborated with Karajan on an opulent, Romantic staging of La bohème at La Scala, which established him as one of the leading Italian opera directors of his generation. His production of Falstaff for the Metropolitan in 1964 was criticized as fussy and un-Shakespearean. In 1965 he worked with Maria Callas on her Tosca at Covent Garden and Norma at the Paris Opéra. In 1966 he staged the première of Samuel Barber’s Antony and Cleopatra at the opening of the new Metropolitan Opera building. His Otello at La Scala in 1976 and Carmen at the Vienna Staatsoper in 1978, both conducted by Carlos Kleiber, were widely recognized as exemplary in their lyrico-dramatic power. His Turandot at La Scala in 1983 and La traviata in New York, Florence and Paris (1985–6) were the culmination of a growing trend in his work towards spectacular opulence, thought by many to be over-elaborate and prohibitively expensive for most opera houses. He has, however, always remained very popular with subscribers at the Metropolitan Opera. He has made films of La traviata (1983) and Otello (1986), in both of which a number of controversial cuts were made. ANDREW CLARK Zehan, Virginia. See Zeani, Virginia. Zehavi, Oded (b Jerusalem, 2 Feb 1961). Israeli composer. He studied with André Hajdu and Jan Radzynski, then at the Rubin Academy in Jerusalem (BM 1986), with Crumb at the University of Pennsylvania (MA 1990), and at SUNY, Stony Brook (PhD 1995). After returning to Israel in 1992, he became composer-in-residence of the Haifa SO (1993–7) and the Israel Chamber Orchestra (1998–9). He was awarded the Prime Minister's Prize for Composers in 1995. Coordinator of music studies at Haifa University, he teaches at several other music institutions. His works have been performed by the Kirov Opera Orchestra and the LSO. Striving to be communicative, Zehavi integrates various stylistic approaches, ranging from neo-Romantic to dense, almost atonal writing. In his vocal works, such as Erga (1995), Zehavi reflects the influences of Argov and Wilensky, two important Israeli song writers. His concertos for viola (1994) and violin (1998), show the influence of Radzynski, and demonstrate Zehavi's gift for melody and orchestration. Further information is given in R. Fleisher: Twenty Israeli Composers: Voices of a Culture (Detroit, 1997), 288–99. WORKS (selective list)
RONIT SETER Zehetmair, Thomas (b Salzburg, 23 Nov 1961). Austrian violinist. His parents started teaching him the violin at five, and from 1973 he studied at the Mozarteum with his father, Helmut Zehetmair, also learning composition. Later he worked with Franz Samohyl, Max Rostal and Nathan Milstein. In 1975 he won the ‘Jugend musiziert’ competition and in 1978 the international Mozart competition. That year he made his début in Vienna, and since then he has been regarded as one of the most interesting exponents of the Austro-German violin literature. From 1981 he studied performance practice with Nikolaus Harnoncourt, for whom he acknowledges admiration. His playing of Bach, clearly influenced by the period instrument movement, strikes a good balance between the excesses of that tendency and the equally questionable practices of the old school. Sometimes, as in his 1997 recording of the Beethoven Concerto with Frans Brüggen conducting, he has played a violin set up in period fashion. Zehetmair often appears with chamber orchestras, directing the players himself in the concertos of Bach, Haydn and Mozart; and since 1993 he has shared the direction of the Camerata Bern with Ana Chumachenko. In addition to many of the great concertos, for which he has often written his own cadenzas, he has recorded such neglected works as Schumann's C major Fantasie. In 1987 he gave the first performances of two solo sonatas by Karl Amadeus Hartmann, and he has since given the premières of works by Dieter Schnebel, Valentin Silvestrov, Isang Yun, Wilhelm Killmayer and Heinz Holliger. In chamber music he has appeared and recorded with Alfred Brendel, Malcolm Frager, Gidon Kremer, Tabea Zimmermann, Richard Duven and Cyprien Katsaris, as well as his own string quartet. He plays a 1751 violin by Giovanni Battista Guadagnini. BIBLIOGRAPHY Campbell GV D. Rooney: ‘On the Fantastical Edge’, The Strad, ciii (1992), 231–3 TULLY POTTER Zehm, Friedrich (b Neusalz an der Oder [now Nowa Sól], Silesia, 22 Jan 1923). German composer. He began music studies with Lampe at the Salzburg Mozarteum and studied composition with Genzmer and the piano with Picht-Axenfeld at the Freiburg Musikhochschule (1948–51). After working as a pianist, composer and private teacher, he was music reviewer for the Amerika-Haus, Freiburg (1956–63). In 1963 he took a post as reader for Schott. He also served as docent for composition at the University of Mainz. He has received special awards from the cities of Düsseldorf and Stuttgart, including the Robert Schumann Prize, and an award from the Esslinger Künstlergilde. Through Genzmer, Zehm is linked to the Hindemith tradition of straightforward music that often takes on a lyrical quality. His work is less contrapuntally conceived than Hindemith’s, however, and relies more on contrasting blocks of sound and instrumental doublings. A free use of 7th and 9th chords is typical of Zehm’s tonal harmonic vocabulary; his rhythmic style includes the use of ostinato and, on occasion, jazz elements. WORKS (selective list)
GEORGE W. LOOMIS Zeiler, Gallus (b Kempten, 10 May 1705; d Füssen, 7 Jan 1755). German composer. He was educated at the monastery schools at Ochsenhausen and Ottobeuren (though there is no evidence that he sang in the choir of either) and at Innsbruck University. In 1721 he entered the Benedictine house of St Mang at Füssen, where his activities were by no means confined to music. As well as being organist for seven years, he taught Latin and Greek in the school, served a nearby parish and administered the monastery's vineyard. After being elected abbot in 1750, he arranged for the building of a new organ in the abbey church. Despite Zeiler's other occupations, he found time to compose a great deal of church music in the simple style, suitable for parish choirs, which was current at the time. From 1732 to 1740 he seems to have published almost one volume a year, though not all are extant. Unlike most of his contemporaries he does not seem to have written masses or sets of vesper psalms, preferring to set less usual texts: he published a set of 20 Benedictions for the Corpus Christi week, and another of responses to the Holy Week Lamentations. In four-voice pieces and in solo arias his music is typical of the simple, tuneful style of the period; his instrumental writing is unusual, however, in that his viola parts are obligatory (most church music required only two violins and continuo). Zeiler does not seem to have been one of the most popular church composers of his day, presumably because of the comparatively limited liturgical usefulness and non-standard scoring of much of his music; Marianus Königsperger, himself a skilful composer, regarded Zeiler as the best church composer of his generation. WORKS all printed works published in Augsburg
ELIZABETH ROCHE Zeira, Mordecai (b Kiev, 6 July 1905; d Tel-Aviv, 1 Aug 1968). Israeli composer of Ukrainian birth. In 1924 he emigrated to Palestine, where he helped to found the Kibbutz Afiqim. The following year he joined the Ohel Workers' Theatre; there he met Yoel Angle who directed the theatre's chorus and wrote incidental music. After Angle's death in 1927, Shlomo Rozovsky, his successor, agreed to give Zeira music lessons. Zeira began by re-composing songs written by his friends. Songs written during this period include Ashreiha-ish (‘Joyful is the man’) and Paqad adonai (‘God Commanded’). The latter of these, originally performed in Yemeni style, became a hit. From the 1930s onwards, Zeira composed hundreds of songs that accompanied and reflected the changing life of the Israeli people in their new society. Any events in the Hityashvut (establishment of new settlements), whether cultural, political or religious, found their expression in his work. During World War II, Zeira enlisted in the British Army, continuing to write songs for various Jewish military units. Later, during the Independence War (1948), he went from trench to trench organizing singing among the soldiers. His songs were published by the hundreds in song books and recorded on Israeli and international labels. Collections of his works include: Shirim (‘Songs’, 1948); Mivhar yesirotav (‘A selection of his work’, 1960); Laylah laylah (‘Night after night’, 1998); and children's collections Pil pilon (‘Elphi Elephant’, 1978) and La-pecotim (‘For toddlers’, 1960). Principal publisher: Culture Works NATAN SHAHAR Zeisl, Eric [Erich] (b Vienna, 18 May 1905; d Los Angeles, 18 Feb 1959). American composer of Austrian birth. A student of Richard Stöhr, Joseph Marx and Hugo Kauder, Zeisl achieved early recognition, publishing his first songs at the age of 16 and winning the Austrian State Prize in 1934 for the Requiem concertante (1933–4). He was compelled to leave Austria and went first to Paris (1938) and then to the USA (1939). He moved from New York to Hollywood to work for Metro-Goldwyn-Mayer (1941), then settled in Los Angeles and became professor of theory and composition at Los Angeles City College in 1949. His gifts for melody, orchestration and dramatic expression were first developed in the songs of his Austrian years. Evident in his other Austrian compositions are the variation techniques and contrapuntal textures that would become lifelong preoccupations. In the USA, where he produced roughly half of his output, he abandoned song in order to devote more attention to instrumental pieces, sacred music and especially dramatic works, which powerfully express his Jewish heritage. Throughout his career he derived his large forms principally from those of the Baroque and Classical periods, but after his emigration earlier Austro-German Romantic elements were replaced by a combination of soaring, cantillation-like melodies, modal harmonies, metric shifts, flexible rhythmic patterns and dark orchestral colours. WORKS
BIBLIOGRAPHY M.S. Cole: ‘Eric Zeisl's “American” Period’, CMc, no.18 (1974), 71–8 M.S. Cole: ‘Eric Zeisl: the Rediscovery of an Emigré Composer’, MQ, lxiv (1978), 237–44 G.S. Zeisl: Eric Zeisl: his Life and Music [transcript of interview, 1978, by M.S. Cole, copy in Zeisl Archive] M.S. Cole and B. Barclay: Armseelchen: the Life and Music of Eric Zeisl (Westport, CT, 1984) M.S. Cole: ‘Eric Zeisl's “Hiob”: The Story of an Unsung Opera’, OQ, ix (1992), 52–75 MALCOLM S. COLE Zeisler [née Blumenfeld], Fannie (b Bielitz, 16 July 1863; d Chicago, 20 Aug 1927). American pianist of Austrian origin. She was taken to the USA in 1868 by her parents, who settled in Chicago, adopting the name of Bloomfield. She studied there under Bernhard Ziehn and Carl Wolfsohn, and in 1878 went to Vienna, where she studied with Leschetizky for five years. She returned to the USA in 1883 and at once made a name as a pianist. In 1893 and 1894 she made concert tours in Germany. In 1898 she appeared in London and at the Lower Rhine Music Festival at Cologne; she made European tours in subsequent years. She married Siegmund Zeisler, a Chicago lawyer, in 1885. She was a cousin of the pianist Moriz Rosenthal. Her style was one of individuality, fiery intensity and incisiveness. Critics noted particularly the beauty and power of her tone and the clarity and polish of her passage work. She had a special interest in promoting the works of female composers, and published a paper called ‘Women in Music’ in the Music Teachers National Association Official Report … 1890. BIBLIOGRAPHY GroveA (D.W. Krummel) W.S.B. Mathews: ‘A Great Pianist at Home’, Music [Chicago], ix (1895–6) N. Bergenfeld: ‘Piano Mastery: Profiles of Twentieth-Century Artist-Teachers’, Piano Quarterly, lxxv (1971), 12–17 RICHARD ALDRICH Zeitlin, Zvi (b Dubrovnik, 21 Feb 1922). American violinist of Russian origin. After studying at the Hebrew University, Jerusalem, his principal violin training was at the Juilliard School, New York, under Sascha Jacobson, Louis Persinger and Ivan Galamian. He made his début with the Palestine Orchestra in 1940, and first performed in New York in 1951, and in London (Wigmore Hall) in 1961. The same year he made débuts in Vienna, Milan, Stockholm and Amsterdam. As well as playing the standard repertory, he was specially involved with contemporary music and gave first performances of concertos written for him by Paul Ben-Haim (1962), Sverre Jordan (1965) and Carlos Surinach (1982) and other works by Jacob Druckman, Robert Starer, Ben-Zion Orgad, Samuel Adler and Verne Reynolds. He was one of the few violinists of his generation to have Schoenberg’s concerto in his repertory, and brilliantly mastered its musical and technical difficulties; he gave its first performances in South America (1961) and Israel (1970) and recorded it in 1971 with Kubelík conducting, a performance that reflects intensity of expression more than tonal variety or accuracy of intonation. His other recordings include music by American composers and the complete works for violin and piano by Stravinsky. He joined the faculty of the Eastman School of Music, Rochester, in 1967, and in 1974 became the first holder of the Kilbourn Professorship there. Between 1976 and 1982 he was a member of the Eastman Trio, with whom he recorded works by Schubert, Tchaikovsky, Glinka, Arensky and Rachmaninoff. His research areas include Hebrew biblical cantillation, and he has discovered six concertos by Pietro Nardini (1722–93), one of which he has edited for publication. Zeitlin played a Guarneri violin, the ‘Count Doria’ (1734). MICHAEL STEINBERG/R Zeitoper (Ger.: ‘opera of the times’). Term for a type of opera current in Germany especially during the 1920s and 30s, dealing with issues ‘of the times’, usually socio-political ones. It is applied to such works as Krenek’s Jonny spielt auf (first performed in 1927), which deals with the claims of pleasure-seeking as opposed to intellectual pursuits, Hindemith’s Neues vom Tage (1929), a satire on social behaviour, and Weill’s Die Bürgschaft (1932), a wide-ranging commentary on current civilization and its values. BIBLIOGRAPHY L. Knessl: ‘Das dunkle Wasser: Krenek zwischen “Jonny” und Zeitfragen’, NZM, Jg.125 (1964), 553–4 S.C. Cook: Opera for a New Republic: the Zeitopern of Krenek, Weill, and Hindemith (Ann Arbor, 1988) Zekert, Josef. See Seger, Josef. Zelenka, István (b Budapest, 30 July 1936). Swiss composer of Hungarian birth. He studied at the Liszt Academy of Music and, after emigrating to Austria in 1956, at the Vienna Music Academy. In 1962 he settled in Switzerland where he held the posts of sound engineer, manager and producer for Radio Romande; he has also taught at the Geneva Conservatoire. As a composer, Zelenka has combined the serial influences evident in his early works with electro-acoustic techniques and Cagean indetermination. From the 1960s onwards, his compositions, often featuring critical or ironic titles, are characterized by an abandonment of traditional formal structures. Rather than mirroring the linearity of narrative, his works integrate a multitude of gestural signs, inviting comparisons with music drama. In his later works a reflection on context, both musical and extra-musical, plays an increasingly important role; his ‘philophonique’ compositions, performed in an urban area over several days, weave networks of sonorous and visual correspondences between the performers and their environment. Many scores are notated graphically, include chronometric indications, or superimpose autonomous modular compositions. WORKS (selective list)
BIBLIOGRAPHY A. Zimmerlin and I. Zelenka: ‘Vorschläge für einen Dialog mit dem Lebensraum’, Dissonanz, no.49 (1996), 23–6 VINCENT BARRAS Zelenka, Jan (Lukáš Ignatius) Dismas (b Louňovice pod Blaníkem, bap. 16 Oct 1679; d Dresden, 22/23 Dec 1745). Czech composer. 1. Life. 2. Works. WORKS BIBLIOGRAPHY JANICE B. STOCKIGT Zelenka, Jan Dismas Life. Zelenka's first teacher was probably his father, Jiří, cantor and organist of the parish church of Louňovice, a village south-east of Prague. Music for a school drama of 1704 performed at the Jesuit College of St Mikulás in the Lesser Town, Prague, is Zelenka's earliest known composition (zwv245, music lost). Further works composed for the Jesuit Collegium Clementinum in Prague have led to the supposition that he received a Jesuit education in that city. In 1709 he was attached to the Prague household of a member of the von Hartig family, possibly Jan Hubert. Zelenka moved to Dresden about 1710–11 as a violone player in the Hofkapelle. His starting salary of 300 thaler rose to 400 in 1714, and remained at that level for the next 18 years. Zelenka attributed this increase to a performance of his Missa Sanctae Caeciliae (zwv1), given in 1711 in the new Catholic Hofkirche. This church, open to the public, was established following the conversion in 1697 of the Saxon elector, Friedrich August I, who became King of Poland in that same year. From 1710 the chaplains there were administered by the Jesuit province of Bohemia. Young Bohemian musicians provided the usual liturgical music; royal musicians performed on high feast days and state occasions. The years 1716–19 represent a period of study and travel for Zelenka, although details remain unclear. Accounts of a visit to Naples (Rochlitz) and study in Venice with Lotti (FürstenauG) have not been confirmed, but a Saxon court document dated 26 November 1715 ordered 1200 thaler for the journey to Italy of four Dresden musicians, Christian Petzold, Johann Georg Pisendel, ‘Selencka’ and J.C. Richter. Although Zelenka had asked the king for the opportunity to spend a year of study in Italy and France (1712), it was in Vienna that he received instruction from the imperial Kapellmeister J.J. Fux. Various works (zwv149, 166, 183 and 185) and sections of the Collectaneorum musicorum libri quatuor (D-Dlb Mus. 1-B-98) are dated from Vienna between 1717 and February 1719. In later petitions Zelenka wrote that there, by royal command, he had served the electoral prince for 18 months. By Carnival 1719 he had returned to Dresden. Following the closure of the Dresden opera in 1720, musical attention turned to the royal chapel, where the Kapellmeister J.D. Heinichen, G.A. Ristori (director of the Polish Chapel and the Comici Italiani) and Zelenka began to compose, collect and arrange music for its use. The support and patronage of the electoral prince and his Habsburg consort, Maria Josepha, led to a vigorous promotion of Catholic liturgical music in Dresden. Major compositions from the beginning of this era include Zelenka's celebrated set of six sonatas (zwv181) and works for Holy Week (zwv53 and 55–6). In 1721–2 Zelenka visited Prague, and in 1723 the Collegium Clementinum commissioned him to compose and direct his Melodrama de Sancto Wenceslao (zwv175) for the Prague celebrations marking the coronation of Charles VI and Elizabeth Christine as King and Queen of Bohemia. An account in the Literae annuae Collegii Societatis IESU Pragae ad S. Clementem ad annum 1723 confirms the enormous success of the performance, given on 12 September 1723 in the presence of the imperial couple: it even reports that some noble spectators expressed a preference for Zelenka's melodrama over Fux's opera Costanza e Fortezza for these celebrations. Zelenka's instrumental compositions dated ‘Praga, 1723’ were probably intended for events during the coronation festivities. Early in 1726 Zelenka began to compile an inventory of his compositions and collected works, Inventarium rerum musicarum ecclesiae servientium (D-Dlb Bibl. Arch. III Hb 787d). Despite his vast output of sacred vocal music in the second half of the 1720s, he continued to be paid as a middle-ranking instrumentalist, although in a formal document of 1729 he styled himself ‘Compositore di S: M: Re di Polonia’. Following Heinichen's death in July 1729, Zelenka assumed most of the musical responsibilities for the Dresden royal chapel. Not surprisingly, he expected to succeed Heinichen as Kapellmeister, but his hopes were dashed by the increasing desire of the electoral princes for the re-establishment of opera. Throughout the 1720s Italian singers had been employed in Dresden and a new, specially trained group arrived in 1730, followed in 1731 by Hasse. From this time Zelenka's compositional activity significantly decreased. Hints of illness and a long court case are provided in an undated draft of an appeal to Maria Josepha. After the death in February 1733 of Friedrich August I, for whose Dresden exequies he composed the music (zwv46–7), Zelenka presented his successor, Friedrich August II, with a petition (dated 18 November 1733) requesting the position of Kapellmeister. He also sought reimbursement for his earlier Viennese expenses, copying costs, and a salary supplement he believed should have been paid to him following Heinichen's death. Eight Italian arias dated October 1733 (zwv176) were probably intended to support the petition by demonstrating his potential for secular vocal composition. Notwithstanding these efforts, it was Hasse who, in 1733, formally received the coveted title. In the years that followed, frequent visits of the court to Poland and Hubertusburg led to the loss of sustained royal patronage for the music of the Dresden Catholic chapel, and to a lack of co-operation by certain members of the Hofkapelle in the performance of liturgical music. The Saxon Hof- und Staats-Calender listed Zelenka as ‘Contra Basso & Compositeur’ (1732), ‘Compositeur’ (1731–2) and, from 1735 until his death, ‘Kirchen Composit[eur]’. In 1736 his annual salary rose to 800 thaler, the result of a further petition. Zelenka died of edema (‘Wassersucht’) during the night of 22–3 December 1745 and was buried on 24 December in the Catholic cemetery in Dresden. Fürstenau reported that contemporaries regarded Zelenka as ‘a reserved, bigoted Catholic, but also a respectable, quiet, unassuming man, deserving of the greatest respect’. From Zelenka's unkown beneficiaries (he was unmarried), Maria Josepha purchased his compositions and musical estate, thus preserving these treasures for Dresden. Among his composition students were J.J. Quantz, J.G. Harrer and Johann Georg Röllig. Zelenka, Jan Dismas Works. Compared with that of many of his contemporaries, Zelenka's musical output was not large. His greatest works were composed in the early 1720s and during his final years (especially the masses beginning with zwv17 and the litanies zwv151–3). Yet the most prolific years were those of the second half of the 1720s, and this has led to Reich's observation that Zelenka's creative curve did not coincide with the curve of productivity (Horn and Kohlhase, 1989, pp.280–81). His musical idiom is highly original, and his liturgical works show a concern for the rich musical expression of texts. This, combined with contrapuntal mastery, elicited the admiration of Zelenka's contemporaries (Bach, Telemann, Pisendel, Mattheson and Mizler), and later commentators (Gerbert, Rochlitz and Fürstenau). In large- and small-scale psalm compositions the structural features of refrain and ostinato, the use of cantus firmi and recurring musical-rhetorical figures may all be traced back to practices of the Monteverdi era. Many of the psalm settings conclude with remarkable double fugues; others demonstrate Zelenka's concern with large-scale cyclic form. The final masses and litanies, powerful expressions of Zelenka's spirituality, are especially notable as examples of monumental ‘number’ works, comprising great choral movements with powerful ritornellos, arias in the galant style and a cappella choruses in an archaic style. Extraordinary rhythmic invention (elements of which may be derived from Bohemian folk music) is characterized by asymmetrical groupings of bars, frequent use of triplets, concern with rhythmic proportions, patterns, and recurring rhythmic phrases. Harmonic motifs and sequences abound. Repeated shifts between parallel major and minor tonalities, chromaticisms emanating from the use of the passus duriusculus and concentrated harmonic progressions with amassings of suspensions (reminiscent of Lotti) frequently appear. A symbolic and programmatic background to the six sonatas (zwv181) has been sought in analytical studies (Reich, 1987). As well as being influenced by Fux, Zelenka was alert to contemporary developments in French and Italian music, and this is especially evident in the capriccios composed in Vienna about 1717–18 (zwv182–5). A quirky humour is sometimes displayed, especially in certain movements of the capriccios, with their high horn parts. From the late 1720s characteristics of the galant style are increasingly apparent and, beginning in the early 1730s, the influence of Hasse is discernible (Horn, 1996/7, p.151). The autograph scores indicate that most liturgical works require four vocal soloists, four-part choir, strings (the tenor viola disappeared from Zelenka's scores in the mid- to late 1720s), ripieno oboes (occasionally ‘con sordini’) and basso continuo. Flutes are frequently employed, recorders are used for pastoral Christmas music (zwv8, 171 and 172) and the chalumeau often has an obbligato role. Trumpets and timpani are joined by a pair of horns in certain festive masses and trombones appear in requiem music. Zelenka's imaginative orchestration is especially evident in Gesù al Calvario (zwv62), where the concerted obbligato woodwind writing in one aria (no.20) anticipates orchestration practices of the Classical era. Some of Zelenka's liturgical compositions were listed in the Breitkopf catalogues of 1761, 1764 and 1769. Others were held by the Concert of Ancient Music in London (zwv107), G.J.D. Poelchau (zwv8, 11 and 55), R.G. Kiesewetter (zwv55), Otto Jahn (zwv11), St Michael's College, Tenbury (zwv7 and 16) and the Gesellschaft der Musikfreunde, Vienna (zwv16, 19, 21 and 46). The rich collection of Zelenka sources in the Czech Republic bears testimony to a continuous interest in, and performance of, his music in his homeland. Zelenka himself possessed copies of numerous works by older polyphonic masters as well as works by Bohemian, Austrian and Italian contemporaries and near contemporaries. His adaptations of liturgical works by Palestrina and sections from Frescobaldi's Fiori musicali (1635) reflect the organization and performing practices of the distinguished Dresden orchestra, and his reworkings of settings (held in his collection) by other composers often heightens dramatic relationships between text and music; this is especially true of his reworkings of psalm settings. Zelenka, Jan Dismas WORKS autograph, in D-Dlb, unless other source information given numbering is from the Zelenka Werke Verzeichnis (ZWV, after Reich) in Horn and Kohlhase (1989) Masses for S, A, T, B, SATB and instruments unless otherwise stated
Other large sacred vocal for S, A, T, B, SATB and instruments unless otherwise stated
Small sacred vocal
Secular vocal
Instrumental
Doubtful works lost unless otherwise indicated for details see Horn and Kohlhase (1989) and Horn (1994)
Zelenka, Jan Dismas BIBLIOGRAPHY FürstenauG Grove6 (C. Schoenbaum) MGG1 (H. Unverricht) F. Rochlitz: Für Freunde der Tonkunst, ii (Leipzig, 1830), iv (Leipzig, 1832) E. Trolda: ‘O skladbách J.D. Zelenkových’ [Zelenka's compositions], Cyril, lv (1929), 17 only, 30–32, 48–9, 64–6, 75 only, 78–80 N. Schulz: Johann Dismas Zelenka (diss., U. of Berlin, 1944) G.H. Hausswald: ‘Johann Dismas Zelenka als Instrumentalkomponist’, AMw, xiii (1956), 243–6, lvi (1930), 5–7, 21–3, 46–7, 64 only, 77–8; lvii (1931), 12–14, 41–3, 59–61, 80–83, 97 only; lviii (1932), 7–10, 39–46, 68–78 C. Schoenbaum: ‘Die Kammermusikwerke des Jan Dismas Zelenkas’, Musikwissenschaftlicher Kongress: Vienna 1956, 552–62 T. Kohlhase: ‘Ad Majorem Dei Gloriam: Anmerkungen zu Zelenkas Kirchenmusik’, SMz, cxx (1980), 284–97 S. Oschmann: Jan Dismas Zelenka: seine geistlichen italienischen Oratorien (Mainz, 1986) W. Horn: Die Dresdner Hofkirchenmusik 1720–1745: Studien zu ihren Voraussetzungen und ihrem Repertoire (Kassel and Stuttgart, 1987) W. Reich: Zwei Zelenka-Studien (Dresden, 1987) W. Horn and T. Kohlhase, eds.: Zelenka-Dokumentation: Quellen und Materialien (Wiesbaden, 1989) Zelenka-Studien I: Marburg 1991 T. Kohlhase: ‘Der Dresdener Hofkirchenkomponist Jan Dismas Zelenka: ein Forschungsbericht’, Musik des Ostens, xii (1992), 115–212 T. Kohlhase: ‘Echtheitsfragen aus quellenkritischer Sicht: Anmerkungen zu zwei Kompositionen Zelenkas, die Bearbeitungen fremder Werke sein könnten’, Festschrift Hubert Unverricht, ed. K. Schlager (Tutzing, 1992), 125–36 J. Stockigt and J. Vojtěšková: ‘Zpráva o návštěvě císaře Karla VI. s chotí v Klementinu v roce 1723’ [Information on the visit of Emperor Charles VI with his consort to the Clementinum in 1723] HV, iv (1992), 351–9 W. Horn: ‘Überlegungen zu einigen “Incerta” im Werk Jan Dismas Zelenkas, vorgetragen mit besonderer Sympathie für das Duett “Qui nihil sortis felicis videt” (ZWV 211)’, Ars musica (1994), 14–28 S. Oschmann: ‘Zur Rezeption von National- und Gattungsstilen in den Corno da caccia-Suiten von Jan Dismas Zelenka’, AMw, li (1994), 315–39 W. Reich: ‘Zelenka ante portas’, Ars musica (1994), 28–42 J.B. Stockigt: The Vespers Psalms of Jan Dismas Zelenka (1679–1745) in the Liturgy and Life of the Dresden Catholic Court Church (diss., Melbourne U., 1994) M. Talbot: The Sacred Vocal Music of Antonio Vivaldi (Florence, 1995) Zelenka-Studien II: Dresden and Prague 1995 W. Horn: ‘Nachahmung und Originalität. Zelenkas Studien bei Fux und die Bedeutung die “Imitatio”’, Johann Joseph Fux und seine Zeit: Hanover 1991, 137–69 W. Reich: ‘The Wind Sonatas of Jan Dismas Zelenka: Structural Devices and Semantic Implications’, A Time of Questioning, ed. D. Lasocki (Utrecht, 1998) J. Stockigt: Jan Dismas Zelenka (1679–1745): a Bohemian Musician at the Court of Dresden (Oxford, forthcoming) Zelenscius, Mikołaj. See Zieleński, Mikołaj. Żeleński, Władysław (b Grodkowice, nr Kraków, 6 July 1837; d Kraków, 23 Jan 1921). Polish composer, conductor, pianist and teacher. He studied in Kraków with Jan Germasz (piano) and Franciszek Mirecki (harmony), then (from 1859) in Prague with Alexander Dreyschock (piano) and Joseph Krejčí (composition). From 1866 to 1870 he studied composition in Paris with Henri Reber and Berthold Demcke. He had earlier studied philosophy at the University of Kraków and in 1862 received the PhD from the University of Prague. In 1871 he returned to Poland. He was appointed professor of harmony and counterpoint at the Warsaw Music Institute (1872–8) and became director of the Warsaw Music Society (1878). In 1881 he moved to Kraków, where he was initially a teacher of theory at the music school. In 1888 he helped to establish the conservatory of the music society in Kraków, and became its director. He also conducted symphony concerts and wrote articles for the Kraków journal Czas. Żeleński is considered the most significant 19th-century Polish opera composer after Moniuszko. There are obvious influences from French grand opera, such as the inclusion of grandiloquent choral sections and ballet numbers in Konrad Wallenrod; from the Polish operatic tradition, especially Moniuszko (folklore elements and lyrical solo parts); and from Wagner, in the harmony, the blurring of divisions between scenes and the use of leitmotifs, and in the dominant role of the orchestra in Stara baśń (‘Old Fable’). His songs also have a lyrical quality. They are mainly on Polish texts (including Mickiewicz and Krasiński) and occupy an important position in the development of 19th-century Polish song after Moniuszko. In general, Żeleński's compositional language is conservative, similar to that of Mendelssohn. His instrumental music is in Classical forms and shows structural symmetry combined with clearly tonal, functional harmony. The majority of Żeleński's published works are piano pieces and solo songs; the few published symphonic and vocal-instrumental works were issued mainly in piano reductions. Most of his works are lost and it is therefore difficult to establish a comprehensive list. It is also difficult to establish the number of pieces within genres, because the sources are unreliable and contradictory, often using different titles to refer to the same piece. WORKS Stage
Vocal
Orchestral
Chamber
Keyboard
WRITINGS with G. Roguski: Nauka harmonii i pierwszych zasad kompozycji [The Theory of Harmony and First Principles of Composition] (Warsaw, 1877) Nauka elementarna zasad muzyki [The Theory and Elementary Principles of Music] (n.p., 1897) BIBLIOGRAPHY A. Rieger: Pieśni solowe z towarzyszeniem fortepianu W. Żeleńskiego [Żeleński's solo songs with piano accompaniment] (diss., U. of Kraków, 1938) Z. Jachimecki: Władysław Żeleński: życie i twórczość [Life and works] (Kraków, 1959) W. Poźniak: ‘Opera po Moniuszce’ [Opera after Moniuszko], Z dziejów polskiej kultury muzycznej, ii, ed. A. Nowak-Romanowicz and others (Kraków, 1966), 281–94 W. Poźniak: ‘Pieśń solowa po Moniuszce’ [Solo song after Moniuszko], ibid., 364–70 A. Nowak: ‘Pieśni Władysława Żeleńskiego’ [Żeleński’s songs], Krakowska szkoła kompozytorska 1888–1988: w 100–lecie Akademii Muzyczney w Krakowie (Kraków, 1992) ZOFIA CHECHLIŃSKA Zeljenka, Ilja (b Bratislava, 21 Dec 1932). Slovak composer. While attending the gymnasium in Bratislava he took private lessons in harmony and counterpoint with Zimmer and studied the piano with Rudolf Macudziński. From 1951 to 1956 he studied composition with Cikker at the Bratislava Academy of Music and Dramatic Art. Appointments followed as dramaturg for the Slovak PO (1957–61) and as producer and lecturer for Czechoslovak radio in Bratislava (1961–8). In the charged political atmosphere in Slovakia during the late 1960s Zeljenka was joint chairman of the Slovak Composers’ Union; in 1972 he was expelled from the Union, and thereafter his works were rarely performed in public. During the early 1990s he was president of the Slovak Music Union and director of the Bratislava international festival of contemporary music, Melos-Ethos. From 1985 to 1996 he taught at the Academy of Music and Dramatic Art, where his pupils included Alexander Mihalič. Zeljenka’s works have been performed at prominent music festivals throughout Europe. Encouraged by his affinity for physics, chemistry and astronomy, Zeljenka has come to regard music as a form of science. (He is also the author of prose and a gifted orator, philosopher and visual artist.) His first pieces, some of which were composed in the style of Prokofiev (e.g. Symphony no.2, 1961) or else Bartók, Honegger and Stravinsky (e.g. Piano Sonata no.1 or the Piano Quintet no.2), stemmed from improvising at the piano. In the 1960s he experimented with sound, form and pitch organization: Štuktúry and Polymetrická hudba (‘Polymetric Music’) employ serial technique (though a 12-note row of Webern’s was used in the earlier Piano Quintet no.2, 1958); Oświęcim, Metamorfózy XV, Zaklínadlá (‘Incantations’) and Hry (‘Games’) are studies in timbre, and make use of echo, spatial effects and various qualities of the voice (e.g. whispering, shouts and hoarseness); while Structures, in addition, uses aleatory devices. He also experimented with time and polyrhythms; for example, Polymetric Music (1969) for 20 string instruments is performed with the aid of purpose-made metronomes with lights, Quartet (1964) is for solo pianist and three tape-playback piano ‘voices’. The effect in many of his works relies on stage presentation and requires a great deal of acting on the part of performers. In the early 1960s Zeljenka became the first Slovak composer to write electro-acoustic music for film. In the next decade, and as the consequence of public performances of his works being prohibited, Zeljenka turned to writing for folk ensembles; among these pieces were Vajano and Musica slovaca. Away from the public eye, however, and working in seclusion, he devised a new musical language that was cellular, based on earlier experiments and which became the basis for horizontal and vertical organization – a quarter-tone scale incorporating major and minor 2nds. This is found typically in Elégia for solo violin and strings and the Second Piano Sonata; slightly later are Musica per pianoforte ed archi (1975) and Šesť štúdií (‘Six Studies’) for organ (1976). The ensuing reduction of musical material strengthened the meditative quality of Zeljenka’s music, lending a new atmospheric and philosophical dimension. Several works from this period contain social commentary in support of his long-held views on the failings of society. The Fourth Symphony, as the ballet Hrdina (‘Hero’, 1978), for example, presents the story of a prisoner who decides to leave the safety of his prison cell even at the likely cost of losing his life. The cantata Slovo (‘The Word’, 1980), in a similar vein, criticizes the communist regime. During the 1980s and 90s Zeljenka perfected and consolidated features of his musical language. He returned to rhythmic processes and polyrhythms in Hry pre Biancu (‘Games for Bianca’) and Hry pre jedného (‘Games for One’), while the String Quartet no.8 (1995) represents further experimentation with quarter-tones. What is new, however, is the use of traditional genres including the Mass, Passion and opera. WORKS (selective list) Vocal
Instrumental
BIBLIOGRAPHY I. Hrušovský: Slovenská hudba v profiloch a rozboroch [Slovak music in profiles and analyses] (Bratislava, 1964) P. Faltin: ‘Noud Lundba na Slovensky’, [New Music in Slovakia] SH, xi (1967), 340–47 J. Hatrík: ‘Konfrontácie Ilju Zeljenku’ [The confrontations of Zeljenka], Hudobný život, xv/9 (1983), 4, 8 Ľ. Chalupka: ‘Podiel strednej skladateľskej generácie na štýlovej konfrontácii slovenskej hudby v 60. rokoch’ [The contribution of the middle generation of composers to the confrontation of styles in Slovak music of the 1960s], Zrod a vývoj slovenskej národnej moderny (Bratislava, 1984), 65–75 Ľ. Chalupka: ‘Slovenská hudba 20 storočia: vývoj po roku 1945’ [Slovak music of the 20th century: development after 1945], Dejiny slovenskej hudby od najstarších čias po súčasnosť, ed. O. Elschek (Bratislava, 1996), 273–342 J. Lexmann: Slovenská filmová hudba 1986–1996 [Slovak film music 1986–96] (Bratislava, 1996) Y. Kajanová: ‘Rozhovory s Iljom’ [Interviews with Ilja], Slovenský spisovateľ (Bratislava, 1997) YVETTA LÁBSKA-KAJANOVÁ Zell [Zelle], Christian (b ?1683; bur. Hamburg, 13 April 1763). German harpsichord maker. The year of his birth is conjectured from an entry in the register of deaths and burials at the Jacobikirche in Hamburg stating that he was 79½ when he died. According to Krickeberg and Rase he was probably a pupil of Michael Mietke. He is first mentioned in 1722 in the register of citizens of Hamburg. On 1 September that year he married the widow of the instrument maker Carl Conrad(t) Fleischer (1680–1721/2), whose workshop near the old Gänsemarkt opera house he took over. There were three children of the marriage, all with godparents from Hamburg families of musicians. Christian Zell is thought not to have been related to the painter and draughtsman Gottfried Zell, active in Hamburg 1788–90. Three surviving Zell harpsichords are known: one dated 1728, in the Museum für Kunst und Gewerbe, Hamburg (see Harpsichord, fig.13), another, dated 1737, in the Museu de la música, Barcelona, and a third (1741), owned by the Ostfriesische Landschaft, in the Steinhaus Museum of the Norddeutsche Orgelakademie in Bunde, near Leer, Lower Saxony. A wing-shaped harpsichord lid, acquired in 1992 by a private collector in Hamburg and showing scenes from Ovid's Metamorphoses, is as likely, from its pictorial composition and choice of subject, to have come from the Hamburg workshops of Hieronymus Albrecht Hass and his son Johann Adolph as from that of Zell. Zell harpsichords were prized not only for the richness of their decoration, with lacquered chinoiserie in the typical Hamburg style, but above all for their matchless tone. The interest generated by instruments of this quality may be gauged from the increasing frequency of visits by players and especially makers eager to examine the 1728 harpsichord. BIBLIOGRAPHY BoalchM A. Conradt: ‘Hamburger Musikinstrumente des 18. Jahrhunderts mit Lackmalerei’, Jb der Hamburger Kunstsammlungen, ix (1964), 30–35, figs.1–5 M. Skowroneck: ‘Das Cembalo von Christian Zell, Hamburg 1728, und seine Restaurierung’, Organ Yearbook, v (1974), 79–87 H. Vogel: ‘Das Cembalo von Christian Zell aus dem Besitz der Ostfriesischen Landschaft’, Ostfriesland (1978), 27–9 [with illustration] D. Krickeberg and H. Rase: ‘Beiträge zur Kenntnis des mittel- und norddeutschen Cembalobaus um 1700’, Studia organologica: Festschrift für John Henry van der Meer, ed. F. Hellwig (Tutzing, 1987), 285–310 C. Brink and W. Hornbostel, eds.: Pegasus und die Künste, Museum für Kunst und Gewerbe, Hamburg, 8 April – 31 May 1993 (Munich, 1993), 228 [exhibition catalogue] ALEXANDER PILIPCZUK Zellbell, Ferdinand (i) [den äldre] (b Uppsala, 14 or 15 April 1689; d Stockholm, 6 July 1765). Swedish organist and composer. As one of a family that had come to Sweden from Lüneburg, Germany, in the 17th century, he was a member of the Swedish royal chapel from 1715 to 1762. He was also active as an organist, notably at the Storkyrka in Stockholm from 1718–19; after 1753 his duties there were fulfilled by his son, Ferdinand den yngre, although he retained the post until his death. He was active as a music teacher, and played both the harpsichord and string bass in addition to the organ, on which he was regarded by J.H. Roman as an outstanding performer. His musical style is difficult to determine owing to attribution problems, but the authentic chorale preludes 30 praeludia pro exitu show the influence of Buxtehude. The instrumental works show traces of the galant style. His brother Anders (b Uppsala, between c1680 and c1690; d Uppsala, Sept 1727) was a civil servant, who from 1697 to his death functioned on occasion as cathedral organist and director musices in place of C. Zellinger; on 31 March 1726 he received an organist’s post. WORKS some works may be by F. Zellbell (ii)
WRITINGS Temperatura sonorum, frag. of theoretical work [advertised in the Posttidningar (Stockholm, 1740)], in Brita Strobill notebook, ÖS Institutiones bassi continui, cited in J. Mattheson: Grundlage einer Ehren-Pforte (Hamburg, 1740), lost BIBLIOGRAPHY G. Morin: ‘Ferdinand Zellbell den äldre: liv och verk’, STMf, xliii (1961), 265–71 A.L. Holm: ‘Ferdinand Zellbell d.ä.:s inkomster år 1722’, STMf, lxxiii (1991), 85–96 L. Jonsson and A. Ivarsdotter-Johnson: Musiken i Sverige, ii:Frihetstid och gustaviansk tid, 1720–1810 (Stockholm, 1993) INGMAR BENGTSSON/BERTIL H. VAN BOER Zellbell, Ferdinand (ii) [den yngre] (b Stockholm, 3 Sept 1719; d Stockholm, 21 April 1780). Swedish musician and composer, son of ferdinand Zellbell (i). He studied with his father and J.H. Roman; in 1741–2 he travelled to Germany and studied with Telemann and others. On his return to Sweden he received, in 1743, an assistantship to his father's post as organist of the Storkyrka in Stockholm, assuming most of the duties and half the salary from 1753. On 18 July 1750 he succeeded Per Braut as hovkapellmäster, but his salary was not paid until 1762, when he was appointed to succeed his father. Zellbell visited St Petersburg in 1758 and, for the tsarina's birthday, composed his first opera, Il giudizio d'Aminta. From 1759 he contributed to Stockholm's musical life primarily as director of the public concerts and as a member of the Order of Freemasons (which he had entered on 28 June 1758). Zellbell was the only professional musician among the founders of the Swedish Royal Academy of Music (1771), and from 1772 to 1774 acted as the director of education at the academy's newly opened school. In 1773 he was commissioned to write the short opera-ballet Sveas högtid, which was performed the following year in a concert version. He died unmarried and destitute, leaving a large collection of printed books and music. Contemporary opinions on his personality and importance as a musician were sharply divided: he was condemned by some for his indolence and old-fashioned taste, and praised by others for his skill as an organist and improviser. His extant authenticated works are stylistically mixed, though galant elements can be discerned. Zellbell often indicated dynamic contrasts more carefully than his contemporaries, but the tendency towards mechanical repetition found in his father's music is often evident. WORKS (selective list) some works may be by F. Zellbell (i); unless otherwise stated, MSS in S-Skma Vocal
Instrumental
Lost works
BIBLIOGRAPHY P. Vretblad: Konsertlifvet i Stockholm under 1700-talet (Stockholm, 1918) E. Sundström: ‘Ferdinand Zellbell den yngre och hans opera Il giudizio d'Aminta’, STMf, i (1919), 58–69 S. Walin: Beiträge zur Geschichter der Schwedischen Sinfonik (Stockholm, 1941) E. Haeger: ‘Anteckningar om Ferdinand Zellbell den yngre och hans vokalmusik’, STMf, xxxiv (1952), 60–83 I. Bengtsson: ‘Johann Helmich Romans flöjtkonsert’, STMf, lv (1973), 5–22 B. Åberg: ‘En självbiografi av Ferdinand Zellbell den yngre’, STMf, lxii (1980), 51–5 L. Hedwall: Den svenska symfonin (Stockholm, 1983) INGMAR BENGTSSON Zelle, Christian. See Zell, Christian. |
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–a, 1935–6; Scherzo und Fuge, a–D, str, 1936–7 [from Str Qt no.1, 1930–33]; November, 6 sketches, chbr orch, 1937–8; Music for Christmas, G, 1950; Pf Conc., C, 1951–2; Conc. grosso, d–F