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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zemtsovsky, Izaly Iosifovich
(b Leningrad, 22 Feb 1936). Russian ethnomusicologist and folklorist. He studied composition at the Leningrad College of Musical Education with Ustvol'skaya (diploma, 1955), and philology, folklore (with Vladimir Propp) and linguistics at Leningrad University (BA 1958). He obtained graduate degrees in ethnomusicology (1960) and composition (1961) at the Leningrad Conservatory, and in 1960 joined the staff at the Leningrad Institute for the History of the Arts, where he took the kandidat degree in ethnography and folklore in 1964 and later served as head of the folklore department until 1995. During the 1970s and 80s he conducted fieldwork in regions throughout the USSR. He obtained a further doctoral degree at the Kiev Institute of the Arts, Ethnography and Folklore in 1981 and served as department chair at the Pedagogical University, Leningrad, 1989–93. Zemtsovsky was appointed visiting professor at UCLA in 1994. He then became a research fellow at the University of Wisconsin (1995–6), after which he was appointed visiting professor at the University of California, Berkeley. His professional duties have included executive board member of ICTM (1989–93), liaison officer for UNESCO (1993–7) and adviser for the Center of Jewish Culture in Los Angeles (from 1994). A prolific author, his publications include five monographs and over 400 articles. He has concentrated his scholarship on the musics of European Russia, the origin of melodies, Jewish traditional music and the history of ethnomusicology. WRITINGS Russkaya narodnaya pesnya: nauchno-populyarnïy ocherk [The Russian folksong: educational essay] (Leningrad, 1964) Russkaya protyazhnaya pesnya [The Russian drawn-out song] (diss., Institute for the History of the Arts, Leningrad, 1964; Leningrad, 1967) Iskateli pesen: rasskazï o sobiratelyakh narodnïkh pesen v dorevolyutsionnoy Rossii [Song hunters: stories about folksong collectors in Russia] (Leningrad, 1967) ‘Russkaya sovetskaya muzïkal'naya fol'kloristika’ [Russian Soviet musical folkloristics], Voprosï teorii i ėstetiki muzïki, vi–vii (1967), 215–62 Poėziya krest'yanskikh prazdnikov [The poetry of peasant holidays] (Leningrad, 1970) ed.: Slavyanskiy muzïkal'nïy fol'klor (Moscow, 1972) [incl. ‘Fol'kloristika kak nauka’ [Folkloristics as scholarship], 9–79; ‘Zarubezhnaya muzïkal'naya fol'kloristika (kratkiy obzor poslevoyennïkh publikatsiy’ [Foreign musicological study of folklore: a brief survey of post-war publications], 350–72] ‘Semasiologiya muzïkal'nogo fol'klora’ [The semasiology of musical folklore], Problemï muzïkal'nogo mïshleniya, ed. M. Aranovsky (Moscow, 1974), 177–206 ‘Znacheniye teorii intonatsii Borisa Asaf'yeva dlya razvitiya metodologii muzïkalnoy fol'kloristiki’ [The signifigance of Asaf'yev’s theory of intonation for the development of the methodology of musical folkloristics], Sotsialisticheskaya muzïkal'naya kultura: traditsii, problemï, perspektivï, ed. G. Orjonikidze and J. Ėlsner (Moscow, 1974; Ger. trans., 1977), 95–109 Melodika kalendar'nïkh pesen [The melodics of calendar songs] (Leningrad, 1975; diss., Kiev Institute of Arts, Ethnography and Folklore, 1981) ‘Rosyjeskie piesni zapustne’ [Russian carnival songs], Muzyka, xxi/2 (1976), 10–30 [in Pol. with Eng. summary] ‘Narodnaya muzïka i sovremennost'; k probleme opredeleniya fol'klora’ [Folk music and today: the problem of folklore definition], Sovremennost' i fol'klor, ed. A.A. Gorkovenko and V.Ye. Gusev (Moscow, 1977), 28–75 Fol'klor i kompozitor (Moscow 1978) [collected essays; incl. list of writings, 1958–77, pp.158–73] ‘Problema varianta v svete muzïkal'noy tipologii’ [The problem of variant in light of musical typology], Aktual'nïye problemï sovremennoy fol'kloristiki, ed. V.Ye. Gusev (Leningrad, 1980), 36–50 ed.: Narodnaya muzïka SSSR i sovremennost' [Folk music and current lifestyles in the USSR] (Leningrad, 1982) [incl. ‘Sotsialisticheskaya kul'tura i fol'klor’, 7–30] ‘Iz bolgaro-litovskikh ėtnomuzïkal'nïkh paralleley: Balkano-Balto-Slavika kak predmet muzïkoznaniya’ [From the Bulgarian-Lithuanian ethnomusical parallels: Balkano-Balto-Slavica as a subject of ethnomusicology], Balto-slavyanskiye issledovaniya 1982 (Moscow, 1983), 205-23 ‘Stil', zhanr, forma’ [Style, genre and form], Artes populares [Hungary], xiv (1985), 17–58 [in Russ.] ‘Rekonstruktsiya predstavleniya o tselostnosti fenomena fol'klornogo zhanra (metod i primer)’ [The concept of folklore genre integrity: an attempt at a reconstruction (methods and examples)], Balgarskoye muzikoznaniye, x/1 (1986), 16–24 [in Russ. with Eng. summary] ‘Vul'garnïy sotsiologizm v ėtnomuzïkoznanii’ [Vulgar sociology in ethnomusicology], SovM (1986), no.6, pp.97–105 ‘The Ethnography of Performance: Playing – Intoning – Articulating Music’, Folklor i njegova umetnička transpozicija [I] : Belgrade 1987, 7–22 [summaries in Fr., Ger., Russ., Serb.] Po sledam vesnyanki iz fortepiannogo kontserta P. Chaykovskogo: istoricheskaya morfologiya narodnoy pesni [On the trail of the ‘Vesninka’ melody in Tchaikovsky’s piano concerto: the historical morphology of the folksong] (Leningrad, 1987) ‘Muzïka i ėtnogenez: issledovatel'skiye predposïlki, zadachi, puti’, [Music and ethnogenesis: research prerequisites, goals and methods], Sovetskaya ėtnografiya, ii (1988), 15–23 ‘Music and Ethnic History: an Attempt to Substantiate a Eurasian Hypothesis’, YTM, xii (1990), 20–28 ‘Artikulyatsiya fol'klora kak znak ėtnicheskoy kul'turï’ [Folklore articulation as a sign of ethnic culture], Ėtnoznakovïye funktsii kul'turï, ed. Yu.V. Bromley (Moscow, 1991), 152–89; Eng. version in Anthropology & Archeology of Eurasia, xxxv/1 (1996), 7–51 ‘World Music: Phenomenon and Object of Modern Science’, World Music – Musics of the World: Cologne 1991, 89–105 ‘Cajkovskij and the European Melosphere: a Case of Cantilena-Narration’, Čajkovskij-Symposium: Tübingen 1993, 329-35 ‘Text – Kultur – Mensch: Versuch eines synthethetischen Paradigmas’, Festschrift zum 60. Geburtstag von Wolfgang Suppan, ed. B. Habla (Tutzing, 1993), 113–28 ‘Underground Style as a Feature of Totalitarian Culture: the Case of Russian Music’, Verfemte Musik: Dresden 1993, 195–203 ‘Jewish Music: Values from within versus Evaluation from without’, Representations of Jews through the Ages: Omaha, NE, 1995, ed. L.J. Greenspoon and B.F. Le Beau (Omaha, NE, 1996), 131–51 with A. Kunanbayeva: ‘Communism and Folklore’, Folklore and Traditional Music in the Former Soviet Union and Eastern Europe: Los Angeles 1994, 3–23, 42–4 ‘An Attempt at a Synthetic Paradigm’, EthM, xli (1997), 185–205 FOLKSONG EDITIONS Toropetskiye pesni: pesni rodinï M. Musorgskogo [Songs of Toropets: songs from the homeland of Musorgsky] (Leningrad, 1967) Obraztsï narodnogo mnogogolosiya [Examples of Russian folk polyphony] (Moscow, 1972) Uglichskiye narodnïye pesni [Russian folksongs of Uglich] (Leningrad, 1974) Russkiye narodnïye pesni napetïye Annoy Stepanovoy [Russian folksongs performed by Anna Stepanova] (Leningrad, 1975) with M. Gol'din: Yevreyskaya narodnaya pesnya: antologiya [Jewish folksongs: an anthology] (St Petersburg, 1994) [in Yiddish, Russ., Eng.] MARIYA IVANOVNA RODITELEVA Zemzaris, Imants (b Riga, 14 April 1951). Latvian composer and critic. He graduated from Skulte’s composition class (1974) at the Latvian State Conservatory. Since 1972 Zemzaris has been teaching composition and music theory at the Emils Dārziņš Music School in Riga, and writes as a music critic in weekly publications. Zemzaris’s characteristic genres are instrumental chamber music and symphonic miniatures. He refers to the worlds of literature, theatre and painting by appending to his works poetic epigraphs or polysemantic titles. He also creates poetic signs and symbols by citing well-known musical styles, collages and models. With the freedom of a postmodernist, Zemzaris uses both historical styles and jazz and rock music idioms to achieve complicated subtexts with simple musical text. He favours extended repetitions of his material in the spirit of minimalist music. His music in in general lyrically fragile, sophisticated and intellectualized. WORKS (selective list)
BIBLIOGRAPHY I. Zemzare, G. Pupa: Jauro mūzika [The Music of the Young] (Riga, 1979), 96–118 L. Mūrniece, ed.: Muzïka sovetskoy Latvii [The music of Soviet Latvia] (Riga, 1988), 102–5 E. Dubinets: ‘Vesti iz Riga’ [News from Riga], MAk (1993), no.3, p.62 only ARNOLDS KLOTIŅŠ Zenaro, Giulio (b Salò, second half of the 16th century; d after 1590). Italian composer. As with many minor Italian madrigalists of the period, there is little record of his activities. He probably spent much of his career working in the environs of Venice, perhaps in the employ of Lorenzo Vettori, Archbishop of Candia, to whom he dedicated his 1588 collection. That he spent some time in Rimini in 1590 can be determined from the dedication of his volume of that year. Zenaro published a total of 64 madrigals. WORKS
PATRICIA ANN MYERS Zenatello, Giovanni (b Verona, 22 Feb 1876; d New York, 11 Feb 1949). Italian tenor. He studied as a baritone at Verona with Zannoni and made his début at Belluno in 1898 as Silvio in Pagliacci; the next year, at the Mercadante, Naples, he sang Canio in the same opera. He continued his studies with Moretti in Milan, and after a period in minor theatres, he appeared at Lisbon (1902) and during the 1902–3 season at La Scala (La damnation de Faust and Un ballo in maschera). He sang at La Scala frequently until 1907, taking the leading tenor roles in many premières there, notably of Giordano’s Siberia (1903) and Madama Butterfly (1904). He was often engaged in South America, notably at Buenos Aires (1903 and 1910), and was first heard at Covent Garden in 1905 as Riccardo, returning until 1909 and again in 1926 (as Otello). He made his New York début in 1907 at the Manhattan Opera House, where he sang regularly until 1910; during the next few years he worked mainly at the Boston Opera (1910–14 and 1915–17). After retiring from the stage in the 1928–9 season he directed a school of singing in New York (among the pupils was Lily Pons), and for several seasons he was manager of the Verona Arena, where he had inaugurated the opera performances as Radames (1913). Among his qualities were a warm and resonant baritonal timbre, and a clear, easily produced top register. A vigorous and passionate interpreter of Don José, Canio and Puccini’s Des Grieux, he was also much admired in Verdi (especially as Radames and Otello), although his style sometimes showed the coarsening influence of verismo. BIBLIOGRAPHY ES (R. Celletti); GV (R. Celletti; R. Vegeto) T. Hutchinson and C.W. Williams: ‘Giovanni Zenatello’, Record Collector, xiv (1961–2), 100–43, 170–71; xv (1963–4), 18–20 [with discography] N. Zenatello Consolaro: Giovanni Zenatello, tenore (Verona, 1976) RODOLFO CELLETTI/VALERIA PREGLIASCO GUALERZI Zenck, Hermann (b Karlsruhe, 19 March 1898; d Freiburg, 2 Dec 1950). German musicologist. He studied music at Karlsruhe Conservatory and in 1919 gained the Scheffel State Prize for composition. He then studied musicology under Sandberger at Munich and under Kroyer at Heidelberg and Leipzig, obtaining the doctorate at Leipzig in 1924 with a dissertation on Sixt Dietrich; he completed the Habilitation there in 1929 with a work on Willaert. In 1932 he went to Göttingen University as an external lecturer, becoming reader there in 1934 and full professor in 1937. In 1942 he was appointed professor at the University of Freiburg, but his activity there was hampered by the war. Although he had served in World War I he was called up again and was a POW from 1944 to 1946. When the series of Denkmäler was reorganized by its publishers he took charge of the Landschaftsdenkmäler for Lower Saxony. In his research he concentrated mainly on medieval and Renaissance music and was responsible for many important scholarly as well as performing editions. WRITINGS Sixtus Dietrich (ca.1492–1548) (diss., U. of Leipzig, 1924; Leipzig, 1928 as Sixtus Dietrich: ein Beitrag zur Musik und Musikanschauung im Zeitalter der Reformation) ‘Musikgeschichte bis zum XV. Jahrhundert’, Archiv für Kulturgeschichte, xviii (1928), 328–44 Studien zu Adrian Willaert (Habilitationsschrift, U. of Leipzig, 1929); extracts in ZMw, xii (1929–30), 540–78 ed., with H. Schultz and W. Gerstenberg: Theodor Kroyer: Festschrift (Regensburg, 1933) [incl. ‘Nicola Vicentinos L'antica musica’, 86–101] ‘Die Musik im Zeitalter Dantes’, Deutsches Dante-Jb, xvii (1935), 1–19 ‘Ludwig Senfl zur vierhundertsten Wiederkehr seines Todesjahres’, Deutsche Musikkultur, viii (1943–4), 61–75 ‘Theodor Kroyer (1873–1945)’, Mf, i (1948), 81–91 ‘Adrian Willaerts “Salmi spezzati” (1550)’, Mf, ii (1949), 97–107 Articles repr. in Numerus und Affectus: Studien zur Musikgeschichte, ed. W. Gerstenberg (Kassel, 1959) [incl. complete list of writings] EDITIONS M. Praetorius: Megalynodia Sionia [1611], Gesamtausgabe der musikalischen Werke, xiv (Wolfenbüttel, 1934) J. Schultz: Musikalischer Lüstgarten [1622], EDM, 2nd ser., Niedersachsen, i (1937) Sixt Dietrich: Ausgewählte Werke, EDM, 1st ser., xxiii (1942, enlarged 2/1953/R as Hymnen (Wittenberg, 1545)) Adrian Willaert: Opera omnia, Publikationen älterer Musik, ix (1937; repr. in CMM, iii/1–2, 1950), CMM, iii/3 (1950) KARL GEIRINGER Zenck, Martin (b St Peter, Schwarzwald, 9 Aug 1945). German musicologist. After taking private lessons in clarinet and music theory, he studied musicology with Dammann at Freiburg University, with philosophy and German literature as secondary subjects. He continued to study musicology (MA 1973, PhD 1975) with Dahlhaus at the Technische Universität, Berlin, where he completed the Habilitation in 1982 and acted as lecturer, 1982–6; he was also a producer for WDR (1984–6) and a lecturer at the Darmstadter Ferienkurse (1984–6). He was acting professor at Essen University (1986) and Saarbrücken University (1988) and was appointed full professor at Bamburg university in 1989; that same year he was also made lecturer on 20th-century music at the Würzburg Musikhochschule. He has been invited to lecture on 20th-century music at congresses and research institutes world-wide and has received many fellowships, including a five-month research grant from the Paul Sacher-Stiftung (2000). Zenck's scholarship has focussed on the reception history of Bach in the 18th and 19th century, 19th-century German and Austrian composers (particularly Schubert) and Adorno's theories of aesthetics. WRITINGS ‘Aspekte der Mahler-Rezeption: Bemerkungen zu einer Theorie der musikalischen Rezeption’, GFMKB: Berlin 1974, 526–30 ‘Ausdruck und Konstruktion im Adagio der 10. Sinfonie Gustav Mahlers’, Beiträge zur musikalischen Hermeneutik, ed. C. Dahlhaus, (Regensburg, 1975), 205–22 ‘Die Aktualität Gustav Mahlers als Problem der Rezeptionsästhetik: Mahlers Naturerfahrung und Formen der Rezeption’, Melos/NZM, iii (1977), 225–32 Kunst als begriffslose Erkenntnis: zum Kunstbegriff der ästhetischen Theorie Theodor W. Adornos (Munich, 1977) ‘Auswirkungen einer “musique informelle” auf die Neue Musik: zu Theodor W. Adornos Formvorstellung,’ IRASM (1979), 137–65 ‘Phantasmagorie - Ausdruck - Extrem: die Auseinandersetzung zwischen Adornos Musikdenken und Benjamins Kunsttheorie in den dreissiger Jahren’, Adorno und die Musik: Graz 1979, 202–26 ‘Entwurf einer Soziologie der musikalischen Rezeption’, Mf, xxxiii (1980), 253–79 ‘Rezeption von Geschichte in Beethovens “Diabelli - Variationen”: zur Vermittlung analytischer, ästhetischer und historischer Kategorien’, AMw, xxxvii (1980), 61–75 ‘Mahlers Streichung des “Waldmärchens” aus dem “Klagenden Lied”: zum Verhältnis von philosophischer Erkenntnis und Interpretation’, AMw, xxxviii (1981), 179–93 ‘Krenek als Problem der “Avantgarde”: Überlegungen zum Fortschrittsbegriff der Neuen Musik’, Ernst Krenek, ed. O. Kolleritsch, (Vienna, 1982), 216–37 ‘Stadien der Bach-Deutung in der Musikkritik, Musikästhetik und Musikgeschichtsschreibung zwischen 1750 und 1800’, BJb 1982, 7–32 ‘Zum Begriff des Klassischen in der Musik’, AMw, xxxix (1982), 271–92 ‘Das Irreduktible als Kriterium der Avantgrade: Überlegungen zu den vier Streichquartetten Giacinto Scelsis’, Giacinto Scelsi, Musik-Konzepte, no.31 (1983), 67–81 ‘Weberns Wiener Espressivo: seine Voraussetzungen im späten Mittelalter und bei Beethoven’, Anton Webern, Musik-Konzepte (1983), 179–206 [special issue] ‘“Die ich rief, die Geister/Werd ich nun nicht los”: zum Problem von György Ligetis Avantgarde-Konzeption’, György Ligeti: Graz 1984, 153–78 ‘Pousseurs theoretische und kompositorische Auseinandersetzung mit Anton Webern: zur Differenzierung des Sachverhalts “serielle Webern-Rezeption”’, Anton Webern, ii, Musik-Konzepte (1984), 218–37 [special issue] ‘Die Ungleichzeitigkeit des Neuen: zu den acht Streichquartetten Ernst Kreneks’, Ernst Krenek, Musik-Konzepte, nos.39–40 (1984), 92–113 ‘Wenn Bach Bienen gezüchtet hätte: zur Bedeutung Bachs in der Interpretations- und Kompositionsgeschichte des 20. Jahrhunderts’, Bach im 20. Jahrhundert: Neue Musik in der Kirche, ed. W. Rehm and K.M. Ziegler (Kassel, 1984), 102–26 ‘Bach, der Progressive: die “Goldberg-Variationen” in der Perspektive von Beethovens “Diabelli-Variationen”’, Johann Sebastian Bach: Goldberg-Variationen, Musik-Konzepte, no.42 (1985), 29–92 ‘Bach in der Musikgeschichtsschreibung und in der Musik des 18. Jahrhunderts’, JSIM 1985–6, 239–56 ‘1740–1750 und das ästhetische Bewusstsein einer Epochenschwelle? Zum Text und Kontext von Bachs Spätwerk’, Johann Sebastian Bachs Spätwerk und dessen Umfeld: Duisberg 1986, 109–16 Die Bach-Rezeption des späten Beethoven: zum Verhältnis von Musik-historiographie und Rezeptionsgeschichtsschreibung der ‘Klassik’ (Stuttgart, 1986) ‘Die Hölderlin-Vertonungen Max Regers: zur Interpretation der Skizzen und Kompositionen opus 75, nr. 6 und opus 124’, Reger-Studien, iii, (1986), 157–82 ‘Oratorien nach Auschwitz: zu Bernd Alois Zimmermanns “ecclesiastischer Aktion” “Ich wandte mich um und sah an alles Unrecht, das geschah unter der Sonne,”’: Beiträge zur Geschichte des Oratoriums seit Händel: Festschrift Günther Massenkeil, ed. R. Cadenbach and H. Loos (Bonn, 1986), 557–86 ‘“Gesture as an Universal Language”: die Bedeutung der Joyceschen Poetik in Bernd Alois Zimmermanns “Requiem für einen jungen Dichter”’, Zwischen den Generationen: Cologne 1987, 47–75 ‘Die romantische Erfahrung der Fremde in Schuberts “Winterreise”’, AMw, xliv (1987), 141–60 ‘Tradition as Authority and Provocation: Anton Webern's Confrontation with Johann Sebastian Bach’, Bach Studies, ed. D.O. Franklin, i (Cambridge, 1989), 297–322 ‘Karel Goeyvaerts und Guillaume de Machaut.: zum mittelalterlichen Konstruktivismus in der seriellen Musik der fünfziger Jahre’, Mf, xliii (1990), 336–51 ‘“…es sind/noch Lieder zu singen jenseits/der Menschen”: vier Kompositionen des Gedichts “Fadensonnen” aus Paul Celans “Atemwende”’, Paul Celan, ‘Atemwende’: Materialien, ed. G. Buhr and R. Reuss (Würzburg, 1991), 267–97 ‘Nono - Mozart: das Verstehbare und Nicht-Vestehbare ihrer Kunst’, Kunst-Verstehen/Musik-Verstehen, ed. S. Mauser (Munich, 1992), 403–23 ‘Das revolutionäre Exilwerk des Komponisten Stefan Wolpe – mit kritischen Anmerkungen zur Musikgeschichtsschreibung der dreißiger und vierziger Jahre’, Exilforschung: ein internationales Jb, (1992), 129–51 ‘Der Garten der Pfade, die sich verzweigen: Komponieren von Streichquartetten im 20. Jahrhundert’, Die Befreiung der Musik eine Einführung in die Musik des 20. Jahrhunderts, ed. F.X. Ohnesorg (Cologne, 1993) 188–207 ‘Die “Lust am Text” versus “Werktreue”: zur musikalischen Interpretation des 1. Satzes von Schuberts Klaviersonate B Dur (D 960)’, Das Wissen von Menschen, ed. W. Faber, (Bamberg, 1993), 142–7 ‘Nono - Mozart: das Verstehbare und Nicht-Verstehbare ihrer Kunst’, Kunst-Verstehen/Musik-Verstehen ed. S. Mauser (Laaber, 1993) 215–36 ‘Im Zustand der Erschöpfung: : Kategorien im Musikdenken von Gérard Zinsstag’, MusikTexte, no.52 (1994), 5–13 ‘“Musik” über Musik in Michel Butors Kunstbuch: “Beethovens dialogue avec le valse de Diabelli”’, Musik und Literatur ed. A. Gier and G.W. Gruber (Frankfurt, 1995), 283–92 ‘“Musik” über Musik in Adornos “Ästhetischer Theorie”’, Studien zur Musikgeschicht eine Festschrift für Ludwig Finscher, ed. A. Laubenthal and K. Kusan-Windweh (New York, 1995) ‘Emmanuel Nunes' “Quodlibet”: Gehört mit den Ohren Nonos’, Nähe und Distanz: nachgedachte Musik der Gegenwart, ed. W. Gratzer (Hofheim, 1996), 1–17 ‘Bach in the 19th and 20th Century’, The Cambridge Companion to Bach, ed. J. Butt (Cambridge, 1997), 1–88 ‘Mandelstam - du Bouchet: Celans Übersetzungen in der Musik von Klaus Huber und André Boucourechliev’, Celan-Jb, vii (1997–8), 143–64 ed.: Music, the Arts and Ritual, World of Music, i (1998) Der ‘andere’ Schubert: sein Werk in der Perspektive des 19. und 20. Jahrhunderts (Wiesbaden, forthcoming), [incl. ‘Franz Schubert im 19. Jahrhundert: zur Kritik eines beschädigten Bildes’; ‘Anmerkungen zur musikalischen Interpretation von Schuberts Klaviersonate B-Dur D. 960,’; ‘Zur Entgrenzung von vokaler Gattung und Szene in Schuberts Oper “Fierrabras”’]
Zender, Hans (b Wiesbaden, 22 Nov 1936). German composer and conductor. He studied the piano with August Leopolder and Edith Picht-Axenfeld, composition with Kurt Hessenberg and Wolfgang Fortner, and conducting with Carl Ueter at the Musikhochschule in Frankfurt and Freiburg. He began his professional career in 1959 as Kapellmeister for the Städtische Bühnen, Freiburg. From 1964 to 1968 he was the principal conductor of the Bonn opera and in 1969 accepted the post of general music director in Kiel. In 1971 he was appointed principal conductor of the Saarbrücken RSO, which became one of Europe’s leading contemporary music ensembles under his direction. He went on to co-found the Musik im 20. Jahrhundert festival with Christof Bitter, commissioning compositions from both young and well-established composers. In 1984 he moved to Hamburg, where, as the general music director of the Staatsoper, he was first to produce Nono’s opera Intolleranza. He also served as the general music director of the city. From 1987 to 1990 he conducted the Radio Chamber Orchestra, Hilversum, and served as principal guest conductor of La Monnaie, Brussels. In addition to performing internationally as a guest conductor, he has been appointed co-conductor of the SWF Orchestra of Baden-Baden/Freiburg (from 1999). Zender’s conducting career has always been closely paralleled by his composing. His works, however, cannot be associated with one particular style or school of composition. The series Canto I–VIII (from 1965), influenced by his contact with Chinese and Japanese cultures, explores a new conception of musical time. In these works a teleological understanding of time is replaced by a cyclic understanding that allows forces pulling in seemingly opposite directions to combine. In Shir hashirim (1995–6) this temporal philosophy is applied to large-scale form; new harmonic structures develop out of the transcription of temperatures into the equal-tempered system. His re-compositions, arrangements, or as he calls them ‘composed interpretation[s]’, of music by Schubert (Schubert-Chöre, 1986; Winterreise, 1993) and Debussy (5 préludes, 1991) confront the music of the past. Similarly, the String Quartet ‘Hölderin lesen I’ (1979) borrows a ‘stylistic glissando’ from Beethoven’s musical language. Other notable works include two compositions for musical theatre: Stephen Climax (1979–84) and Don Quijote de la Mancha (1989–91). In 1988 he accepted the post of professor of composition at the Frankfurt Musikhochschule. His many honours include two fellowships to the Villa Massimo, Rome (1963–4, 1968–9), where he became friendly with Bernd Alois Zimmermann, the Frankfurt music prize (1997), the Goethe prize (1997) and membership in the Hamburg (1985), Berlin (1989) and Munich (1990) arts academies. WORKS Dramatic
Instrumental
Vocal
Other
BIBLIOGRAPHY KdG (W. Gruhn) [incl. discography, writings list and further bibliography] W. Konold: ‘Kristallines Gebilde im musikalischen Material: der Komponist Hans Zender’, Musica, no.27 (1973), 253–6 V. Wacker: ‘Hans Zenders Oper “Stephen Climax”: Betrachtungen und Aspekte’, Musiktheater im 20. Jahrhundert (Laaber, 1988), 239–58 W. Fink: ‘Versuch über Hans Zender’, Hans Zender (Wiesbaden, 1993) [Breitkopf & Härtel catalogue] H. Lachenmann: ‘Zu Hans Zenders 50. Geburtstag’, Musik als existentielle Erfhrung: Schriften 1966–1995, ed. J. Häusler (Wiesbaden, 1996) W. Gruhn: ‘Das andere Denken der Ohren: der Einfluss fernöstlichen Denkens auf die Zeitvorstellung in Kompositionen Hans Zenders’, Philosophischer Gedanke und musikalischer Klang, ed. Gunter Scholtz (forthcoming, 1998) WILFRIED GRUHN Zeneműkiadó Vállalat. Original name of Editio Musica Budapest. Zenngel, Narcissus. See Zängel, Narcissus. Zeno, Apostolo (b Venice, 11 Dec 1668; d Venice, 11 Nov 1750). Italian poet, librettist, scholar and antiquarian. He was educated by the Somaschi fathers in the Venetian classical tradition, but was also familiar with the empiricism of Galileo and with rationalism. In 1691 he founded the Accademia degli Animosi, where he became prominent at a very young age as a poet in the late-Baroque mould. Like the more famous Accademia degli Animosi it had as its aim the restoration of Arcadian ‘good taste’. Zeno took part in the debate between G.G. Orsi and Bouhours, defending in a letter to Orsi of 29 October 1706 certain verses of Tasso's Gerusalemme liberata against the accusation by the Frenchman that they were artificially refined. With Scipione Maffei, Antonio Vallisnieri and his brother Pier Caterino Zeno he founded the Giornale de' letterati d'Italia (Verona, 1710). He was the chief editor between 1710 and 1718, entrusting the position to his brother when he left for Vienna to become court poet and historian. His prolific correspondence with distinguished men of letters (Orsi, L.A. Muratori, G. Fontanini, G. Gigli, A. Maghabechi, F. Marmi and the brothers A.M. and S. Salvini) reveals details of his projects, such as that on the history of Italian poets, and confirms his belief in the civilizing influence of culture; his interest in collecting books, manuscripts, medals and coins, and in scholarly research is also evident. Zeno kept his work for the theatre and his scholarly activities separate, and while the former allowed him financial security, he considered it to be less prestigious. His first libretto, set by C.F. Pollarolo in 1696, was Gli inganni felici, in which the pastoral plot is complicated by incredible misunderstandings and comic lines. He produced librettos for the commercial theatres of Venice and Milan, often collaborating with Pietro Pariati, who versified the dramas. His choice of the theatre as a means of communication was motivated not only by the financial rewards, but also by the practical possibilities of theatre as an art. However, he strove endlessly to meet the demands set down by the impresarios, greedy for profit, and singers. In spite of his copious libretto production, Zeno always felt constrained by the requirements of opera as a spectacle: content and form were heavily conditioned by the need to entertain – ‘if one does not allow oneself many extravagances, the main purpose of such compositions, which is enjoyment, is lost’ (letter to Muratori of August 1701). This was somewhat at odds with his aspirations towards the austere restraint of tragedy: ‘something has to be conceded to the indulgences of the age, to decoration, to music’ (letter to P.C. Zeno of 6 January 1720, on the Venetian production of Lucio Papirio). In 1709–10 Zeno was commissioned by the Habsburg pretenders to the Spanish throne to write Atenaide and Scipione nelle Spagne, dramas delineating the monarch's role as servant of the state, concerned with respect for the law and the virtues of justice, clemency and self-restraint. He thus showed himself adept in the functions of court poet, a post which he held in Vienna from 1718 until 1729, when Pietro Metastasio was summoned, ostensibly to help the older poet but in effect to replace him. Zeno returned to Venice in the same year and sent one more libretto, Enone (1734), to his former patrons. In the latter years of his residence in Vienna he had turned towards scholarly matters, organizing the coin museum of Charles VI, and when he returned to Italy he concerned himself exclusively with study. While recent studies have suggested that it was not Zeno who initiated the ‘reform’ of opera, the word riforma appears frequently in his letters on the subject of the theatre. In a letter to Giuseppe Gravisi of 3 November 1730, immediately after he had left the service of the court, he stressed as intrinsic limitations to the verisimilitude of opera ‘the need to sing the da capo in ariettas, and all those changes of scene’. The first of these caused him special difficulties in sacred dramas, where he found it unseemly to provide dignified personages with trifling passages; and the second prevented exact observance of the rule of unity of place, which he had to relax, though he kept the action within a single town. The specific objective behind Zeno's reform was moral rectitude. In the same letter to Gravisi, he complained about the ‘scant regard’ poets had for the ethical aspect of the theatre, seeing that they aimed to arouse passions, particularly love, rather than to keep a rein on them. The idea of catharsis seemed necessary to Zeno, but not only as a purgation by means of terror and pity: he also created examples of virtue to be admired and imitated in his dramas, thus achieving the happy ending traditionally expected in court dramas (the happy ending of a married couple should perhaps be seen in moral terms as a celebratory metaphor of the eternal renewal present in the stable dynastic lines of Zeno's clients). Zeno's dramatic verse was inspired by G.B. Guarini's pastoral tragicomedies: the characters are of noble condition, as tragedy required, the emotional orientation is towards pathos, not terror, and the sadness of the audience is assuaged with a happy ending. The operas written in Vienna are of this type (Meride e Selinunte, 1721; Euristeo, 1724; Imeneo, 1727). Zeno continued with dramas on mythical subjects, even though he was particularly attracted to historical subjects for their intrinsic and noble realism. He maintained a strong respect for history, punctiliously citing his sources, both classical and medieval, in his plot summaries. His directions for scene changes (few in number) reveal his care for historical and iconographical evidence, whether the subject was Greek, Roman (Flavio Aricio Olibrio, 1707) or Byzantine, medieval or Nordic (Faramondo, 1698; L'amor generoso, 1707; Engelberta, 1708; Sirita, 1719). He paid particular attention to the scenic atmosphere of exotic subjects, which the public found particularly delightful – Chinese (Il Teuzzone, 1706), Persian (Ormisda, 1721), Egyptian (Nitocri, 1722) and Indian (Gianguir, 1724). Zeno dedicated to his imperial patrons his Poesie sacre drammatiche (Venice, 1734), which is important as a poetic testament because it traces his move from the commercial theatres of Venice to the Viennese court theatre, which marked a turning-point in the ethical aspect of his lodevol riforma; freed from the constraints of pecuniary success, conscious that his patrons were concerned with the more enduring profits of praise and prestige, he could put forward on the imperial stage models of human perfection. These, according to his assertion in the dedication, would be directly inspired by the imperial pair themselves and by august persons of classical antiquity. However, the main means of making drama was by catharsis through admiration, which could best be achieved in sacred drama; by its more austere tone and discourse this approached more closely his objective of the restoration of tragedy. Zeno expressed doubt on how effective the reform had been in a letter to Gravisi of 1735: ‘Save for a few of them, I consider them as failures and monstrosities’. Yet many were remarkable successes, produced often in a variety of theatres and set to music by diverse composers. LIBRETTOS BIBLIOGRAPHY ELENA SALA DI FELICE Zeno, Apostolo LIBRETTOS Theatrical works drammi per musica unless otherwise stated; selective list of settings
Oratorios first performed in Vienna: music by Caldara unless otherwise stated
Zeno, Apostolo BIBLIOGRAPHY ES (A. Basso) MGG (A.A. Abert) SmitherHO, i A. Zeno: ‘Catalogo dei drammi composti dal signor Apostolo Zeno con la dichiarazione de' luoghi e de' tempi in cui l’autore stesso li la pubblicati’, Novelle della Repubblica Letteraria per l'anno MDCCXXXV, no.46 (1735), 361–4 A. Zeno: Poesie drammatiche, ed. G. Gozzi (Venice, 1744) J. Morelli, ed.: Lettere di Apostolo Zeno Cittadino veneziano istorico e poeta cesareo (Venice, 1785) F. Negri: La vita di Apostolo Zeno (Venice, 1816) L. Pistorelli: Il melodrammi di Apostolo Zeno (Padua, 1894) L. Pistorelli: ‘Due melodrammi inediti di A. Zeno’, RMI, iii (1896), 261–74 A. Menghi: Lo Zeno e la critica letteraria (Camerno, 1901) A. Wotquenne: Alphabetisches Verzeichnis der Stücke in Versen aus der dramatischen Werken von Zeno, Metastasio und Goldoni (Leipzig, 1905) W. Pietzsch: Apostolo Zeno in seiner Abhängigkeit von der französischen Tragödie (diss., U. of Leipzig, 1907) M. Fehr: Apostolo Zeno und seine Reform des Operntextes (Zürich, 1912) A. Michieli: ‘Le poesie sacre drammatiche di Apostolo Zeno’, Giornale storico della letteratura italiana, xcv (1930), 1–33 R. Giazotto: Poesia melodrammatica e pensiero critico nel Settecento (Milan, 1952) R. Freeman: ‘Apostolo Zeno's Reform of the Libretto’, JAMS, xxi (1968), 321–41 D.J. Grout: ‘La Griselda di Zeno e il libretto dell'opera di Scarlatti’, NRMI, ii (1968), 207–25 C. De Michelis: ‘Le iniziative di informe di Apostolo Zeno’, Lettereti e lettori nell Settecento veneziano (Florence, 1979), 37–65 R.S. Freeman: Opera without Drama: Currents of Change in Italian Opera, 1675–1725 (Ann Arbor, 1981) P. Gallarati: ‘Zeno e Metastasio’, Metastasio e il melodramma, ed. E. Sala Di Felice and L. Sannia Nowè (Padua, 1985), 89–104 E. Sala Di Felice: ‘Alla vigilia di Metastasio: Zeno’, Metastasio: Atti del convegno dell'Accademia nazionale dei Lincei: Rome 1985, 79–110 E. Kanduth: ‘Das Libretto im Zeichen der Arcadia, Paradigmatisches in den Musikdramen Zenos (Pariatis) und Metastasios’, Oper als Text: romanistische Beiträge zur Libretto-Forschung, ed. A. Gier (Heidelberg, 1986), 33–53 E. Sala Di Felice: ‘Zeno: dal teatro impresariale al teatro di corte’, L'opera italiana a Vienna prima di Metastasio, ed. M.T. Muraro (Florence, 1990), 65–114 M. Viale Ferrero: ‘Le didascalie sceniche nei drammi per musica di Zeno’, ibid., 271–85 L. Bianconi and G. LaFace, eds.: I libretti italiani di Georg Friedrich Händel e le loro fonti, i (Florence, 1992) E. Sala Di Felice: ‘Zeno, Metastasio e il teatro di corte’, Italia–Austria alla ricerca del passato comune, ed. P. Chiarini and H. Zeman (Rome, 1995), 523–68 Zeno, George. See Lewis, George. Zenobi [Zanobi], Luigi [Cavaliere Luigi del Cornetto] (b Ancona, 1547/8; d ?Naples, after 1602). Italian cornett player and writer. He was engaged as a cornett player at the court of Maximilian II in Vienna in November 1569; he left without permission in November 1573 after unsuccessfully seeking a post at the Bavarian court. After a period in Rome he returned to Vienna in 1575; by 1583 he had gained a knighthood, probably from Rudolf II. He was recruited by the court of Ferrara in 1583, where he was ‘the most highly paid single musician in the history of the Este court to that time’ (NewcombMF). During various periods of leave in Rome he sought singers for the court; in 1587 he was directing music at the Oratory of Filippo Neri. He returned to Vienna before Alfonso II d’Este’s death in 1597. His last years seem to have been spent in Naples at the court of the viceroy (Francisco Ruiz y Castro); five letters are dated from there in 1601–2. From his letters (18 of which are extant) we learn that he was a painter and a miniaturist; he also wrote a cycle of one hundred sonnets on the death of Maximilian II (1576), dedicated to the Duke of Savoy (in I-Tn), as well as madrigal verse. He is mentioned as a virtuoso cornett player by the painter Gian Paolo Lomazzo (1584) and remembered with admiration by Costanzo Antegnati (L’arte organica, 1608) and Vincenzo Giustiniani, who heard him play the cornett so softly that it did not drown out the sound of the harpsichord (Discorso sopra la musica de’ suoi tempi, 1628). Zenobi is the author of a long letter (in I-Rv) to an unnamed prince, probably written about 1600, on the qualities of a perfect musician. It reveals him as a keen observer of musical practice and discerning judge of singers. He details the requirements for a good singer, a good director (rimettitore) and a good composer, stressing the importance of knowing how to improvise counterpoint. Taking up the voice parts in turn, he discusses ornaments, ranges, and vices to be avoided. He also treats of the performing practice of string and wind players and harpsichordists, as well as the role of the accompanist. BIBLIOGRAPHY NewcombMF W. Pass: Musik und Musiker am Hof Maximilians II. (Tutzing, 1980), 222–3 A. Morelli: Il tempio armonico: musica nell’oratorio dei Filippini in Roma, 1575–1705, AnM, no.27 (1991), 11–12 R. Lindell: ‘New Findings on Music at the Court of Maximilian II’, Kaiser Maximilian II: Kultur und Politik im 16. Jahrhundert, ed. F. Edelmayer and A. Kohler (Vienna, 1992), 231–45 B.J. Blackburn and E.E. Lowinsky: ‘Luigi Zenobi and his Letter on the Perfect Musician’, Studi musicali, xxii (1993), 61–114 F. Piperno: ‘Diplomacy and Musical Patronage: Virginia, Guidobaldo II, Massimiliano II, “Lo Streggino” and others’, EMH, xviii (1999), 259–85 BONNIE J. BLACKBURN Zenti, Girolamo [Zentis, Hieronymus de] (b Viterbo, ?1609–11; d Paris, 1666/7). Italian maker of harpsichords, spinets and organs. His first recorded commission is from 1635, and in 1641 he was appointed to maintain Pope Urban VIII’s keyboard instrument collection. Zenti was perhaps the best known Italian keyboard maker of his day. His craftsmanship is neat, although not elaborate, but his extensive employment at the royal courts in Stockholm (1652–6), Paris (1660–c1662) and England (1664) bears testimony to the regard of his contemporaries for his instruments. He was in Paris again in 1666 and died there some time before Easter the following year (see Barbieri). It seems that during Zenti’s periods abroad his wife oversaw his workshop in Rome, with various assistants. No organ by Zenti survives. In 1660 he was commissioned by Camillo Pamphili to build the new organ of S Agnese in Navona, Rome, but never executed the work, having taken up the appointment to the French court. The inventory of instruments belonging to Ferdinando de’ Medici in Florence in 1700 (see Gai) lists six harpsichords and spinets by Zenti, dating three of them: 1653 (made in Stockholm), 1656 and 1658 (both made in Rome). A harpsichord now in the Deutsches Museum, Munich, bearing a faked Cristofori inscription, has been attributed to Zenti and is probably identical with the instrument of 1658 in the Medici inventory (see Wraight, 1991). Only five of the surviving signed instruments are thought to be authentic: a bentside spinet of 1637 (see Spinet, fig.3), an undated trapezoidal spinet in ebony, and harpsichords made in 1656, 1666 and 1668. The last of these was apparently finished in Paris by Zenti's workshop after his death (see Wraight, 1997), and is in most respects a French rather than an Italian harpsichord. A harpsichord formerly attributed to Zenti in the Musikinstrumenten-Museum, Universität Leipzig, originally with split sharps, is now known to have been made by Querci. It is probable that Zenti was the first to build bentside spinets, the whereabouts of a possible earlier example by the French maker Montazeau, reportedly dated 1632, being unknown. BIBLIOGRAPHY BoalchM V. Gai: Gli strumenti musicali della corte medicea e il museo del conservatorio ‘Luigi Cherubini’ di Firenze (Florence, 1969) E. Ripin: ‘The Surviving Oeuvre of Girolamo Zenti’, Metropolitan Museum Journal, vii (1973), 71–87 F. Hammond: ‘Some Notes on Giovanni Battista Boni da Cortona, Girolamo Zenti, and Others’,GSJ, xl (1987), 37–47 P. Barbieri: ‘Cembalaro, organaro, chitarraro e fabbrictatore di corde armoniche nella “Polyanthea technica” di Pinaroli’, Recercare, i (1989), 123–209 H. Henkel: ‘Sechzehnfuss-register im italienischen Cembalobau’, Das Musikinstrument, xxxix/7 (1990), 6–10 D. Wraight: ‘A Zenti Harpsichord Rediscovered’, EMc, xix (1991), 99–101 D. Wraight: The Stringing of Italian Keyboard Instruments c1500–c1650 (diss., Queen’s U. of Belfast, 1997), ii, 317–21 EDWIN M. RIPIN/DENZIL WRAIGHT Zerafa, Benigno [Beninju, Beninn] (b Rabat, 25 Aug 1726; d Valletta, 20 March 1804). Maltese composer. As a boy soprano in the Mdina Cathedral cappella, he received his early instruction from its maestro, Pietro Gristi (1696–1738). On 8 July 1738, with financial help from the cathedral chapter, he became a student at the Conservatorio dei Poveri di Gesù Cristo, Naples, under Francesco Feo, Alfonso Caggi and Girolamo Abos. He returned to Malta in 1744 and on 22 August, when not yet 18 years old, was appointed maestro di cappella at the cathedral. His irascible temper was the probable cause of an incident which led to his dismissal in 1751. A suitable replacement not being found, he was reinstated on 15 April 1753 with even better conditions, and he was able to enlarge and refine the cappella. He held the post until he died, although only nominally after 1785 because of failing health. His last composition, Litaniae B. Mariae Virginis, is dated 1782. Zerafa, who had been ordained priest on 19 September 1750, was a gifted composer. 170 of his works are extant (in Mdina Cathedral), all sacred and encompassing virtually all contemporary genres as well as the stile antico. Unusually, he preferred ‘Kyrie–Gloria–Agnus Dei’ settings of the Mass. He composed several such works with multi-movement structures, either for double or for single four-part choir, with instrumental accompaniment. A sensitive and technically accomplished composer of depth and individuality (Heighes), the economy and asceticism of his stile breve create an aura of humble devotion in his music. WORKS (selective list) autograph MSS in Mdina Cathedral archives
BIBLIOGRAPHY R. Mifsud Bonnici: Mużiċisti kompożituri maltin: maestri di cappella tal-Kattidral (Malta, 1950), 9–10 J. Vella Bondin: ‘Five Maltese Composers of the 18th Century’, Sunday Times [Malta] (25 July 1976) G. Azzopardi: ‘Beninju Zerafa (1726–1804)’, Il-mużika barokka ta’ Beninju Zerafa, ed. A. Borg, S. Fiorini and F. Sammut (Malta, 1987), 9–12 S.J. Heighes: ‘The Music of Benigno Zerafa: a Preliminary Study’, ibid., 19–24 JOSEPH VELLA BONDIN Zerbst. Town in eastern Germany. Zerbst was an important provincial centre during the years 1603 to 1793. Music was cultivated in the court, in the Schlosskirche (officially opened in 1719) and in the three principal churches in the town: St Bartholomäikirche, the Nicolaikirche and Trinitatiskirche. There are also reports of musical activities in the town organized by the journeymen from the various guilds in the 16th century and there were at least three annual fairs when the Stadtpfeifer (town wind players) performed with the journeymen. The Schlosskapelle was in existence by 1215 and was reformed in 1541. The flowering of music in the court took place in the first half of the 18th century, lasting from the expansion of the court Kapelle in 1709 by Prince Karl Wilhelm to the dispersal of the court for a short period in 1758 due to the aggressive actions of Frederick the Great, after which the court gradually declined while the prince remained absent in Luxembourg. In its heyday the court enjoyed a lively musical life, with a constant flow of visiting operatic and theatre groups and guest soloists, including J.C. Freislich, C.F. Abel, F. Benda, J.C. Hertel and C.P.E. Bach. From 1708 to 1716, guest players, including possibly J.P. Kunzen, took on the duties of the Kapellmeister. The official Kapellmeister were J.B. Kuch (from c1716 to 1722), J.F. Fasch (to 1758), J.G. Röllig (to 1790) and B.L. Heidicke. In 1794, following the death of Friedrich August, the last reigning prince of Anhalt-Zerbst, the posts of Kapellmeister of the Zerbst Schloss and of organist of St Bartholomäikirche were amalgamated. The Kapelle gradually grew from a small string ensemble in 1721 to a full orchestra of 15 instrumentalists with four singers in 1757 (listed in Marpurg), with additional trumpeters and drummer for ceremonial duties. Carl Höckh (Konzertmeister 1733–70), Fasch and Röllig took on several important pupils, including J.G. Seyffarth (1735), J.W. Hertel (1742–3), G.P. Weimar (1758–63) and F.W. Rust (from 1762). There are several detailed reports on the repertory of the court and a library of surviving music (the Zerbster Musikstube), currently in D-ORB and HAmi. In addition to the court instrumental music, there was a rich provision of concerted sacred music in the Schlosskirche, much of which was composed by Fasch, including a number of mass settings exchanged with the court of Dresden. Notable was the cycle of oratorio Passion performances instituted by Kuch in 1720 which lasted uninterrupted to 1764. Zerbst was the only venue other than Hamburg to adopt a four-year cycle following the Gospel order, and the only centre to adopt multi-part Passion settings in four to seven parts, each performed in separate services from Palm Sunday to Good Friday. Three settings survive: St Luke (Fasch?), St John (Fasch, 1748) and St Mark (Röllig, 1750). With the demise of the court and the passing of the ownership of Zerbst to Anhalt-Dessau in 1793, Zerbst ceased to be a significant musical centre. BIBLIOGRAPHY MGG2 (G. Kraft) F. Preitz: ‘Über die Kapellmeister und Organisten Hochfürstlich Anhalt-Zerbstischen Hofe im 18. Jahrhundert’, Das Litterische Anhalt: arbeiten zeitgenössischer Schriftsteller, ed. J.B. Wuschi and H. Wäschke (Dessau, n.d.), 177–81 F.W. Marpurg: Historisch-kritische Beyträge zur Aufnahme der Musik, iii (Berlin, 1757), 125–9 H. Wäschke: ‘Die Zerbster Hofkapelle unter Fasch’, Zerbster Jb, ii (1906), 47–63 H. Wäschke: ‘Die Schlosskapelle in Zerbst’, ‘Rölligs Kantate für St. Jakobs-Tag’, Zerbster Jb, iv (1908), 1–6, 6–19 B. Baselt: ‘Brandenburg-Prussia and the Central German Courts’, Man & Music: the Late Baroque Era, ed. G.J. Buelow (London, 1993), 230–53, esp. 235 B. Clark: The Zerbster Musikstube [Catalogue of the Zerbst music manuscripts in Schloss Oranienbaum] (Huntingdon, 1995) N.R. Springthorpe: Passion Composition and Composers of Passion Music Associated with the Court of Anhalt-Zerbst (diss., U. of Surrey, 1997) NIGEL SPRINGTHORPE Zerewucius, Zachariáš. See Zarewutius, Zachariáš. Žerotín. Czech musical society founded in 1880 in Olomouc. Zervos, Yorgos [George] (b Cairo, 17 Dec 1947). Greek composer and musicologist of Egyptian birth. He studied theory and piano at the Hellenic Conservatory, Athens (1975–7), and then composition with Ioannidis at the Orpheion (1977–81). He then went to Paris, where he studied musicology and the aesthetics of music at the Sorbonne, as well as composition with Xenakis. He also attended Boulez's seminars at the Collège de France (1982–3) and spent time at IRCAM. He has held a number of teaching posts at Greek conservatories, including the Orpheion (1977–8), the National Conservatory (1978–9) and the Athenaeum (1984–5). In 1998 he was appointed lecturer in the department of musical studies at Athens University. Zervos is anything but a prolific composer. Meticulously conceived and elaborated, his atonal writing, illustrated in such works as Anabase: chanson I (1986–7) and Horochronia I (1988) and II (1989), achieves a clarity of statement and form through economy and abstraction. Despite its emotional restraint, however, his approach does not exclude broad dramatic gestures, as is demonstrated in the ballet Eros and Psyche (1997), which, with its sombre, doom-laden atmosphere, ranks among the most remarkable Greek scores of the 1990s. WORKS (selective list)
WRITINGS ‘To noïma tou athematismou ston Webern’ [The meaning of athematism in Webern's music], Moussikologhia, i/1 (1985), 68–76 ‘Modernismos–metamodernismos’ [Modernism–Postmodernism], Tetarto, no.31 (1987) ‘O thesmos ton odheion’ [Conservatories as institutions], Tetarto, no.38 (1988) ‘Aspects de la musique hellénique contemporaine’, Revue d'esthetique, no.20 (1991), 91–9 I krisi tou thématos sto érgo ton syntheton tis dhéfteris scholis tis Viennis [The crisis of theme in the work of the composers of the Second Viennese School] (diss., U. of Thessaloniki, 1994) ‘I krissi sti moussiki tou 20ou aeona: théma ke morfi sti synchroni moussiki dhimiourghia’ [Crisis in 20th-century music: theme and form in contemporary music], Moussikologhia, no.9 (1997), 14–27 ‘To kontsérto ya piano ke orchistra op.42 tou Arnold Schoenberg, mia asymvatotita metaxy tou dodhekaphtongikou ke tou rhythmikou-melodhikou ylikou’ [Arnold Schoenberg's Piano Concerto op.42, an incompatibility between twelve-note and rhythmic-melodic material], Moussikologhia, nos.10–11 (1998), 124–38 BIBLIOGRAPHY A. Symeonidou: ‘Zervos, Yorgos’, Lexiko Ellinon Syntheton [Dictionary of Greek composers] (Athens, 1995), 116–18 T. Kaloyeropoulos: ‘Zervos, Yorgos’, To lexico tis ellinikis moussikis [Dictionary of Greek music], ii (Athens, 1998), 303–5 GEORGE LEOTSAKOS Zesen, Philipp von (b Priorau, nr Dessau, 8 Oct 1619; d Hamburg, 13 Nov 1689). German poet and writer. He studied at the Gymnasium in Halle and at the age of 12 compiled a lexicon of rhymes, which shows his early interest in verse. While at the University of Wittenberg he published his first work, the Hochdeutscher Helicon (1640), and worked extensively with August Buchner on poetry; his acquaintance there with Malachias Siebenhaar proved valuable for both, since Siebenhaar became the chief composer of songs to his poems. In Hamburg on 1 May 1642 Zesen founded the Teutschgesinnte Genossenschaft, a philological society whose members included Harsdörffer, Schwieger and the Dutch poet Jakob van der Vondel. At first he and Rist were close, but by 1648 they had split. With Hamburg as a base but without any permanent position, Zesen travelled to various parts of Germany, to France and in 1643 to London, and he often visited Leiden and Amsterdam. He was ennobled in 1653. Zesen was one of the most gifted German Baroque writers. In poetic structure he synthesized Dutch verse forms and rhythms with those of Opitz, Rist and Buchner, and he achieved a depth of expression rare at the time. He wrote original poetry not only in German but in Dutch, Latin and French too, and he translated poetry from these languages into German. Many of his strophic poems – German, Dutch and translations – were set to music, usually under his own supervision; some come from novels, for which he is specially important. The settings, by Siebenhaar and other Hamburg friends such as Weckmann and the elder Johann Schop, are not monodic and subscribe to the Hamburg school's care for the correlation of poetic and musical rhythm; many of the tunes are taken from the Dutch (and ultimately French) repertory. WORKS SET TO MUSIC for other writings see Goedeke
BIBLIOGRAPHY ADB (K. Dissel) MGG1 (U. Härtwig) K. Goedeke: Grundriss zur Geschichte der deutschen Dichtung (Dresden, 2/1887), iii, 95–104 W.V. Meid: Zesens Romankunst (Frankfurt, 1966) J.H. Baron: Foreign Influences on the German Secular Solo-Continuo Lied in the Mid-Seventeenth Century (diss., Brandeis U., 1967) J.H. Baron: ‘Dutch Influences on the German Secular Solo-Continuo Lied in the Mid-Seventeenth Century’, AcM, xliii (1971), 43–55 F. van Ingen, ed.: Philipp von Zesen 1619–1689: Beiträge zu seinem Leben und Werk (Wiesbaden, 1972) G.C. Thomas: Philipp von Zesen and Music (diss., Harvard U., 1973) T.J. Minnes: Zesens Rosen-Mand und kleinere poetologische Schriften: ein Kommentar (diss., SUNY, Stony Brook, 1981) JOHN H. BARON Zesso, Giovanni Battista (fl early 16th century). Italian composer. The theorist Giovanni Del Lago mentioned him as having been his teacher in Padua. Three of Zesso's frottolas were intabulated in Bossinensis's second collection (RISM 1511), which contains a number of works by other lesser composers. Dun bel matin and E quando andaretu use popular tunes: the former was also set by A. Capriolus, and the latter is related to the folktune that became known as Rosina, one of the standard patterns of the 16th century. WORKS all for 4 voices
BIBLIOGRAPHY K. Jeppesen: Die mehrstimmige italienische Laude um 1500 (Leipzig, 1935) W. Rubsamen: Literary Sources of Secular Music in Italy (c.1500) (Berkeley, 1943) K. Jeppesen: La frottola (Copenhagen, 1968–70) STANLEY BOORMAN Zeugheer, Jakob [Herrmann, Jakob Zeugheer] (b Zürich, 20 July 1803; d Liverpool, 15 June 1865). Swiss violinist and composer. He studied the violin first with Wassermann in his native town, and in 1818 went to Munich, where he studied the violin with Ferdinand Fränzl and composition with Gratz. The example of Schuppanzigh and of the four brothers Moralt suggested to Zeugheer the idea of attempting the same with his friends at Munich, as ‘das Quartett Gebrüder Herrmann’. The other members were Joseph Wex, Carl Baader and Joseph Lidel. They started in 1824, touring in Germany, Switzerland, the Netherlands, Belgium, France and England, playing with particular success at Dover, Ramsgate and Brighton, where they settled for five months. Later tours took them throughout the British Isles, where in many places they were the first professional quartet ever to appear. By the spring of 1830 the ‘brothers’ had had enough of a roving life and Zeugheer settled at Liverpool, where he remained till his death. In 1831 Zeugheer became conductor of the Gentlemen’s Concerts at Manchester, a post he retained until 1838. The Liverpool Philharmonic Society, originally a private society, had begun in 1804 to give public orchestral concerts, and Zeugheer conducted them from 1843 until shortly before his death. But the great work of his life at Liverpool was teaching. Zeugheer wrote two symphonies, two overtures, a cantata, two sets of entr’actes, a violin concerto, a pot-pourri for violin and orchestra, a quartet, an Andante and Rondo for violin and piano, and a choral polacca, few of them published. At Liverpool he wrote an opera, Angela of Venice, to his pupil Chorley’s libretto, but it was neither produced nor published. BIBLIOGRAPHY H. Bloesch: Die Bernische Musikgesellschaft 1815–1915 (Berne, 1915), 465 E. Dejung: ‘Zeugheer’, Dictionnaire historique et biographique de la Suisse, ed. M. Godet, H. Turler and V. Attinger (Neuchâtel, 1921–33) RUSSELL MARTINEAU/R |
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