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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 |
Zhukovsky, Herman Leont'yovych
(b Radyvyliv [now Chervonoarmiyske], Volhynia region, 29 Oct/11 Nov 1913; d Kiev, 15 March 1976). Ukrainian composer. He studied the piano and composition with Revuts'ky at the Kiev Conservatory, graduating in 1941, and returned to teach theory there (1951–8). In 1950 he was awarded the Stalin Prize even though his opera of that year Vid shchyroho sercia (‘From the Whole Heart’) was officially banned for ideological deviation; he was made National Artist of Ukraine in 1973. He wrote in many genres, but his chief contribution lay in the nine operas and three ballets he composed between 1939, with the opera Maryna, and 1971, with the ballet Divchyna i Smert' (‘Death and the Maiden’), the latter of which is arguably one of his best. His musical style is a slightly modernistic version of the prevailing socialist realism. In Divchyna i Smert' the cantilena passages are sharply contrasted with episodes in which elastic motoric rhythms are etched in sharply, albeit traditional, harmonic schemes. WORKS (selective list)
BIBLIOGRAPHY K. Dankevich: ‘G.L. Zhukovsky’, SovM (1963), no.11, pp.146–7 L. Arkhimovych: Shlakhy rosvytku ukraïns'koï radyans'koï opery [The paths of development of Ukrainian Soviet opera] (Kiev, 1970) VIRKO BALEY Zhukovsky, Vasily Andreyevich (b Mishenskoye, Belev district, Tula province, 29 Jan/9 Feb 1783; d Baden-Baden, 24 April 1852). Russian poet and translator. He was a highly placed official in the government of Tsar Nicholas I. As one of the prime representatives of the Romantic movement in Russia he cast a long shadow over Russian opera in the 19th century. A friend of Glinka, he steered the latter towards writing the opera that won him immortality, A Life for the Tsar; Zhukovsky contributed the text of the famous (or infamous) patriotic epilogue-apotheosis that became an alternative tsarist anthem. Earlier, his ballad Gromoboy had formed the basis for Aleksey Verstovsky’s magic-romantic opera Vadim (1832), as well as its much later sequel Gromoboy (grand fantastic opera, 1854). Rachmaninoff and Taneyev composed song-settings of Zhukovsky’s poems, and Janáček’s Pohádka for cello and piano is based on the epic poem Skazka o tsare Berendyeye (‘The Tale of Tsar Berendyey’). His translations (which include the standard Russian singing text for Haydn’s The Seasons) formed the basis for librettos to the operas Undina (A.F. L'vov, after La Motte Fouqué, 1848), The Maid of Orléans (Tchaikovsky, after Schiller, Die Jungfrau von Orleans, 1881) and Nal' i Damayanti (Arensky, after the Mahābhārata, 1904). BIBLIOGRAPHY I.M. Semenko: Vasily Zhukovsky (Boston, 1976) A. Pein: Schiller and Zhukovsky: Aesthetic Theory in Poetic Translation (Mainz, 1991) RICHARD TARUSKIN Zhu Qinfu (b nr Wuxi, 1902; d 1981). Chinese Daoist ritual drum master. Zhu Qinfu was a Daoist priest and master of the ritual music of the southern Jiangsu area known as Shifan gu and Shifan luogu. Brought up in a family of Daoists in Wuxi, he also frequented the élite Tianyun she society. Around 1940 he set up a group of outstanding Daoist musicians called Shi wuchai. His close collaboration with the musicologist Yang Yinliu from 1937 resulted in major and influential publications on the local Shifan music. In 1947 he led performances in Shanghai; though published and broadcast, the recordings have not apparently survived the Cultural Revolution. Under the People's Republic of China, in 1952 Zhu was incongruously enlisted to the orchestra of the Central Opera and Ballet Academy in Beijing. He was liberated from this job by the cutbacks of 1962, whereupon the major conservatories, to their credit, seized on the chance to employ him to teach and record his old art. This was interrupted by the Cultural Revolution; he was only able to continue his teaching in 1978. The Shanghai Conservatory made audio and video recordings of his drum playing before his death in 1981. See also China, §IV, 4(i). BIBLIOGRAPHY And other resources Li Minxiong: ‘Yi Sunan chuida minjian yinyuejia Zhu Qinfu’ [In memory of Zhu Qinfu, folk wind-and-percussion musician from southern Jiangsu], Zhongguo yinyue (1982), no.3, pp.55–6 Yuan Jingfang: Minzu qiyue xinshang shouce [Handbook for the appreciation of Chinese instrumental music] (Beijing, 1986), 131–2 Qian Jiandong: ‘Nan guwang Zhu Qinfu’ [Zhu Qinfu, southern drum king], Renmin yinyue (1988), no.7, pp.35–7 China: Folk Instrumental Traditions, AIMP VDE 822-823 (1995) S. Jones: Folk Music of China: Living Instrumental Traditions (Oxford, 1995, 2/1998 with CD), 246–69 Special Collection of Contemporary Chinese Musicians, Wind Records TCD 1018 (1996) STEPHEN JONES Zhu Quan (b 1378; d 1448). Chinese musician and theorist. Born the 17th son of Zhu Yuanzhang, founder of the Ming dynasty, Zhu Quan was a prince of many talents and interests. In Chinese music history he is remembered as the author of two most important documents, the Shenqi mipu (Wondrous and secret notation, preface 1425), and the Taihe zhengyin pu (Song register of great harmony and accurate tones, preface 1398). Two music dramas by Zhu have also been preserved. The Shenqi mipu is the earliest known extant anthology of qin music. In addition to the notated music of 64 qin compositions from the Song, Yuan, Ming and earlier dynasties, the preface describes how Zhu Quan spent 12 years compiling the document, collecting ancient scores, selecting music from a repertory of over 1000 pieces, and writing informative programme notes about individual works. Zhu himself is thought to be the composer of Qiuhong (‘Autumn Geese’), an extensive piece that appears at the end of the anthology. The Taihe zhengyin pu lists 678 titles of Yuan and early Ming dramas and the names of their authors, classifies 335 labelled melodies (qupai) of ‘northern arias’ (beiqu) into 12 modally defined groups, illustrates phrase and linguistic-tone schemes of the arias, and provides a miscellany of notes on musicians and singing techniques. See also Qin; China, §II, 5 and IV, 1(i) and IV, 4(ii)(a). BIBLIOGRAPHY D.R. Jonker: ‘Chu Ch’üan’, Dictionary of Ming Biography, ed. L. C. Goodrich (New York, 1976), 305–7 G. Goormaghtigh and B. Yung: ‘Preface of Shenqi Mipu: Translation with Commentary’, ACMR Reports, x/1 (1997), 1–13 B. Yung: Celestial Airs of Antiquity: Music of the Seven-String Zither of China (Madison, WI, 1997) JOSEPH S.C. LAM Zhu Rongshi. See Zhu Jian'er. Zhu Zaiyu (b 1536; d 1611). Chinese scholar, mathematician and music theorist. Heir apparent of the sixth prince of Zheng under the Ming dynasty, Zhu Zaiyu probably formulated the first system of equal temperament in world history. Zhu’s achievement was based on the studies of his father, Zhu Houhuan (1518–91), He Tang (1474–1543) who taught his father, and many Song and Ming dynasty scholars. Zhu studied widely, as is evident from the long bibliography in his Yüelu quanshu (Collected works of music theory), which he presented to the court in 1606. The 15 individual treatises in the collection were completed over a period between 1551 and 1606: for example, the Lüxue xinshuo (New theory of musical pitches), which represents Zhu’s theory and calculation of pitches of equal temperament, was completed by 1584; the Lülü jingyi (Essentials of music theory), which preserves Zhu’s important comments on the experiments of many Song and Ming music theorists, was written between 1584 and 1596. The collection includes a substantial amount of notated music, including pieces for the state sacrifice honouring imperial ancestors and antiquarian songs with qin accompaniments to folk tunes of his time, as well as a series of pictograms illustrating the choreography of ritual dances. See also China, §II, 5. BIBLIOGRAPHY F. Kuttner: ‘Prince Chu Tsai-yu's Life and Work: a Re-evaluation of his Contribution to Equal Temperament Theory’, EthM, xix (1975), 163–206 K.G. Robinson and C. Fang: ‘Chu Tsai-yu’, Dictionary of Ming Biography, ed. L.C. Goodrich (New York, 1976), 367–70 K. Robinson: A Critical Study of Chu Tsai-yu’s Contribution to the Theory of Equal Temperament in Chinese Music (Wiesbaden, 1980) Huang Xiangpeng: ‘Luxueshi shangde weida chengjiu jiqi sixiang qishi’ [A great achievement in the history of temperamentology and its intellectual inspiration], Yinyue yanjiu (1984), no.4, pp.2–12 Dai Nianzu: Zhu Zaiyu: Mingdai di kexue yu yishu juxing [Zhu Zaiyu: a star of Ming dynasty science and arts] (Beijing, 1986) JOSEPH S.C. LAM Zhyvny, Wojciech. See Żywny, Wojciech. Ziak, Benedikt. See Schack, Benedikt. Ziani, Marc’Antonio (b Venice, c1653; d Vienna, 22 Jan 1715). Italian composer, partly active in Austria, nephew of Pietro Andrea Ziani. Towards the end of the 17th century he was a leading composer of opera for Venice, and he was a major figure at the imperial court in Vienna early in the 18th century. 1. Life. 2. Works. WORKS BIBLIOGRAPHY THEOPHIL ANTONICEK/JENNIFER WILLIAMS BROWN Ziani, Marc’Antonio Life. The most important influence on Ziani's early life was probably his uncle, with whom he may have studied. Certainly Pietro Andrea's reputation and connections, particularly in Venice and Vienna, must have aided Ziani throughout his life. Marc’Antonio began his career as an opera composer in 1674 by adapting older works for the Venetian stage. In 1677 he acted as an intermediary for his uncle (who was in Naples) during negotiations with S Marco concerning the latter's post as first organist; after Pietro Andrea resigned, Marc’Antonio boldly applied for the position, but was passed over. Pietro Andrea may have arranged for his nephew's first opera, Alessandro Magno in Sidone, first performed in Venice in 1679, to be repeated in Naples later that year. Ziani may have attended his uncle's deathbed in Naples early in 1684. Letters written in 1699 and 1703 suggest that he spent a considerable amount of time in Bologna, and possibly studied there. On 28 September 1686 Ziani became maestro di cappella di chiesa to Ferdinando Carlo Gonzaga, last Duke of Mantua; his uncle's past service to Empress Eleanora Gonzaga in Vienna may have influenced this appointment. Caffi's assertion (Storia della musica, 1854–5) that the duke paid Ziani to give music lessons to Caldara remains unproven. Although Ziani was in Ferdinando Carlo's service until at least 1691, he remained active in Venice, where the duke often visited. He soon became (with Pollarolo) one of the republic's leading opera composers. He was a member of the Venetian congregation of St Cecilia (1687) and the instrumentalists’ guild Arte de Sonadori (c1694, presumably as an organist); he may also have been involved (as Pietro Andrea had been) with the Ospedale degli Incurabili. His Venetian operas were revived numerous times in other cities; Tullo Ostilio was particularly successful. In 1695 he supervised a production of L'amante eroe (as Alessandro amante eroe) in Turin. Already at the height of a brilliant career in Venice, on 1 April 1700 Ziani was appointed vice-Hofkapellmeister to Emperor Leopold I in Vienna. In December 1711 he participated in the coronation of Charles VI at Frankfurt, and on 1 January 1712 Charles officially promoted him to Hofkapellmeister (the previous Hofkapellmeister, Antonio Pancotti, died in 1709). In Vienna, Ziani's duties included composing operas and shorter dramatic pieces for birthdays and namedays of imperial family members, as well as for carnival; he probably wrote several of the anonymous dramatic works performed in Vienna during these years. He also composed sepolcri for the annual Good Friday celebrations, as well as masses and motets for special feasts and saints' days. On his death he was succeeded by his vice-Hofkapellmeister, J.J. Fux. Ziani's excellent reputation continued to be evident after his death, when the emperor granted life pensions not only to his widow but also to his brother Francesco. An elaborate memorial service was held at S Salvatore, Venice, in which Senesino participated. Ziani's works continued to be performed regularly in Vienna until the 1740s, and he was mentioned in Bartolomeo Dotti's Satire (Amsterdam, 1709) and Lotti's plagiarism dispute with Bononcini. He continued to be highly regarded until the late 18th century: Arteaga, for example, included him among those composers who wrote ‘in the very best taste’. A Pietro Ziani (b c1663, possibly Marc’Antonio's brother) was named one of the best violinists in Venice in 1706; he was active both at S Marco and the Mantuan court. Ziani, Marc’Antonio Works. Ziani's first known works, modestly presented as ‘retouchings’ of operas by more famous masters, are instead virtual recompositions that show a secure grasp of Venetian styles. His arias of the early 1680s typically feature a repeating bass pattern, often imitated by the voice; the most successful numbers (like those of his uncle) are poignant, slow arias in 3/2 or a measured 4/4. His recitative is graceful and melodious, its harmonic motion and melodic inflections carefully tailored to reflect the ebb and flow of the drama. A hallmark of Ziani's style throughout his career was an attempt to achieve variety in both form and texture. His works show a reluctance to capitulate entirely to the da capo aria trend, often favouring altered A sections with codas, as well as more complex forms and occasional arioso fragments. By the 1690s he was finding imaginative ways to vary the instrumental texture using just the 4-part strings and continuo (with occasional trumpet) typical in Venice; for example, he sometimes included elaborate obbligato lines for continuo instruments. In Vienna, Ziani had tremendous resources at his disposal. He was part of a brilliant team that included the Bononcinis, Fux and Ariosti, the court poets Cupeda, Bernardoni and Stampiglia, the designers Burnacini and the Galli-Bibienas, plus an impressive stable of singers and a large and interesting assortment of virtuoso instrumentalists (including theorbist and composer F.B. Conti). Ziani took particular advantage of the latter group: many arias feature difficult obbligato parts for violin, cello, viola da gamba, bassoon, trombone (in sacred works), and lute (L'Ercole vincitor dell'Invidia, 1706); he was one of the first to use the chalumeau (Caio Popilio, 1704). In 1702 the oboe joined the Viennese orchestra; thereafter Ziani's works regularly require oboes, often playing independent parts, and sometimes forming a concertino contrasting with the strings. Schoenbaum saw parallels with Bach in Ziani's treatment of solo instruments, in the contours of his themes and in the nature of his thematic development. Like his uncle, Ziani exemplified the superb technique favoured at the imperial court. His command of counterpoint is often apparent, as in the double fugues of the introductions to his sepolcri, and the cantus firmus movement ‘La scala’ in the opera Il sacrifizio d'Isacco (1707), in which the strings portray the character's increasing anxiety by weaving elaborate counterpoint around a series of rising hexachords. Wellesz felt that such pieces ‘have scarcely ever been surpassed’. Ziani's operas and oratorios have extensively developed sinfonias and ritornellos; those in sepolcri contain striking chromatic passages that may have influenced Vivaldi. Affective chromaticism is also prominent in his later vocal writing. A vast number of liturgical pieces by Ziani survive, most apparently dating to his years in Vienna; some were still in the repertory of Austrian monasteries as late as 1785. These works use both stile antico (‘con l'organo e senza’) and more modern concerted styles, with a rich range of instruments. Ziani, Marc’Antonio WORKS music lost unless source given Operas drammi per musica in three acts, first performed in Venice unless otherwise stated
Other vocal
Instrumental
attributed to ‘ziani’
Doubtful works
Ziani, Marc’Antonio BIBLIOGRAPHY BertolottiM MGG (Antonicek) NGO (Saunders) S. Arteaga: Le rivoluzioni del teatro musicale italiano dalla sua origine fino al presente (Bologna, 1783–8/R, 2/1785) E. Wellesz: ‘Die Opern und Oratorien in Wien von 1660–1708’, SMw, vi (1919), 5–138 H.C. Wolff: Die venezianische Oper in der zweiten Hälfte des 17. Jahrhunderts (Berlin, 1937/R) F. Hadamowsky: ‘Barocktheater am Wiener Kaiserhof, mit einem Spielplan (1625–1740)’, Jb der Gesellschaft für Wiener Theaterforschung 1951–2, 7–117; pubd separately (Vienna, 1955) C. Schoenbaum: Beiträge zur solistischen katholischen Kirchenmusik des Hochbarocks, mit besonderer Berücksichtigung J.A. Plánickýs (1691?–1732) (diss., U. of Vienna, 1951), 82ff T. Antonicek: ‘Die Damira-Opern der beiden Ziani’, AnMc, no.14 (1974), 176–207 E. Selfridge-Field: Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford, 1975, 3/1994) H.C. Wolff: ‘Italian Opera 1700–1750’, NOHM, v (1975), 73–168 E. Selfridge-Field: Pallade Veneta: Writings on Music in Venetian Society 1650–1750 (Venice, 1985) H. Seifert: Die Oper am Wiener Kaiserhof im 17. Jahrhundert (Tutzing, 1985) N. Dubowy: ‘I trionfi della costanza: sulle fonte dell'opera veneziana’, Rassegna veneta di studi musicali, iv (1988), 113–122 S. Carter: ‘Trombone obbligatos in Viennese oratorios of the Baroque’, HBSJ, ii (1990), 52–77 N. Dubowy: Arie und Konzert: Zur Entwicklung der Ritornellanlage im 17. und frühen 18. Jahrhundert (Munich, 1991) P. Everett: ‘Opening ‘Il Sepolcro’: Ziani, Vivaldi, and a question of stylistic authenticity’, Vivaldi vero e falso, ed. A. Fanna and M. Talbot (Florence, 1992), 69–89 J.W. Brown: ‘Con nuove arie aggiunte’: Aria Borrowing in the Venetian Opera Repertory 1672–1685 (diss., Cornell U., 1992) N. Dubowy: ‘Pollarolo e Ziani a Verona: annotazioni in margine a tre partiture ritrovate’, Seicento inesplorato: l'evento musicale tra prassi e stile: un modello di interdipendenza, ed. A. Colzani et al (Como, 1993), 509–35 Ziani, Pietro Andrea (b Venice, probably before 21 Dec 1616; d Naples, 12 Feb 1684). Italian composer and organist, uncle of Marc’Antonio Ziani. He became a deacon on 19 March 1639 and took holy orders on 22 December 1640. At this time he was a member of the convent of canons regular at S Salvatore, Venice, where he was also organist. In his op.2 (1640) he is mentioned as holding both functions, but in his op.3 (1641) he is described only as organist at the church of S Salvatore and may thus have left the congregation of canons regular. In 1654 he appeared for the first time as an opera composer in Venice with La guerriera spartana. During most of the 1650s he was employed at St Mark’s, but in what capacity is unclear. From 15 May 1657 to 21 June 1659 he was maestro di cappella at S Maria Maggiore, Bergamo. In 1660 he dedicated his op.6 to Archduke Ferdinand Karl of the Tyrol and in the late autumn of 1662 went to Innsbruck; at the end of that year he went to Vienna as vice-Kapellmeister to the dowager Empress Eleonora. While he was in her service he directed performances of theatre and church music at Dresden in December 1666 and January 1667 to celebrate the marriage of the Elector Johann Georg III of Saxony to Princess Anna Sophia of Denmark. On 20 January 1669 he became first organist of St Mark’s, Venice. He succeeded Cavalli, who had been appointed maestro di cappella, and early in 1676, following Cavalli’s death, he applied unsuccessfully to follow him in that post too, which must have been his real ambition. In 1677 (as he had already done in 1673) he attended performances of his works in Naples. Illness forced him to overstay his leave of absence, and after lengthy negotiations he was relieved of his post in Venice. He was given a teaching post at the Conservatorio S Onofrio, Naples, and the title of honorary organist at the court, where in 1680 he was appointed maestro di cappella. His position gave him the opportunity to present several of his old operas from Venice and Vienna on the Neapolitan stage. From his correspondence with Marco Faustini (in I-Vas) it appears that he was of a sickly constitution and was often forced into persistent and seemingly petty quarrels over payment. Ziani wrote his first three operas for the short-lived Teatro S Apollinare. His Fortune di Rodope e Damira, the only opera staged in Venice during Carnival 1657, was the last opera presented there. Marco Faustini was the impresario at this theatre; after 1657 he left to reopen the Teatro S Cassiano, which he in turn left in 1660 to manage the Teatro SS Giovanni e Paolo. Faustini engaged Ziani for all the theatres he managed. 12 letters that Ziani sent to Faustini from Vienna and Innsbruck, 1665–6, document the process involved in arranging a Venetian opera production. These reveal the remarkable speed at which some operas were composed; for example, Ziani claimed to have written Annibale in Capua in five days. The librettos Ziani set for the commercial theatres of Venice combine serious and comic elements; few adopt the heroic stance and historical subject matter that prevailed later in the century. The dramatic texts he set for Vienna were sometimes on a smaller scale than opera. Several of these were for court occasions, such as the birthday of Emperor Leopold I or of the dowager Empress Eleonora. In the course of Ziani’s career, Cavalli, the dominant figure in Venetian opera to the 1660s, was superseded by the younger generation of Antonio Sartorio, Carlo Pallavicino and Giovanni Legrenzi. Along with Cesti, Ziani was important in the transition from Cavalli’s style to that of the younger generation, chiefly by responding to the mid-17th-century audience’s desire for easily accessible lyricism. In one of his letters, he claims that the public has lost interest in long soliloquies (characteristic of Cavalli), preferring canzonettas. The contrast between the 38 arias of Le fortune di Rodope e Damira and the 63 of his last opera, L’innocenza risorta (1683), illustrates the change that took place during his career. Formal variety and smooth transition from one declamatory style to another characterize Ziani’s operas. Up to the early 1670s he used a variety of aria forms, any of which could be strophic: bipartite arias, arias in ABB' form and arias with refrains, including arias in incipient da capo form. By the late 1670s, da capo form predominates. He often used ostinatos and walking basses for situations in which a character confronts implacable forces. Arioso passages, often in triple metre, are smoothly integrated into recitative. Ziani’s instrumental forces respond flexibly to the voice. Most of the arias, like recitative, are accompanied by continuo alone. Detachable ritornellos sometimes follow or, less often, precede continuo arias. In the accompanied arias, upper melodic instruments usually alternate with the voice. The little documentation that survives suggests that the forces for Ziani’s Venetian operas were small – 10 to 15 players, on strings, continuo and sometimes one or two trumpets. Ziani’s oratorios display characteristics similar to those of the operas, but there is a greater emphasis on weighty musical elements, especially contrapuntal writing. Fugal movements are also prominent in Ziani’s sonatas, most of which are in three or four movements. Most begin with such a movement, whose features include a regular beat and part-writing that often gives rise to harmonic asperities. The finales are generally in the manner of a gigue. The sonatas are similar in style to those of Venetian contemporaries of Ziani such as Legrenzi and Massimiliano Neri. WORKS Operas drammi per musica in three acts unless otherwise stated
Oratorios
Sacred vocal
Secular vocal
Instrumental
BIBLIOGRAPHY CaffiS EitnerQ FürstenauG MGG1 (T. Antonicek) SennMT M. Fürstenau: Zur Geschichte der Musik und des Theaters am Hofe zu Dresden (Dresden, 1861–2/R) A. von Weilen: Zur Wiener Theatergeschichte: die vom Jahre 1629 bis zum Jahre 1740 am Wiener Hofe zur Aufführung gelangten Werke theatralischen Charakters und Oratorien (Vienna, 1901) A. Heuss: ‘Die venetianischen Opern-Sinfonien’, SIMG, iv (1902–3), 404–77 E. Wellesz: ‘Die Opern und Oratorien in Wien von 1660–1708’, SMw, vi (1919), 5–138 H.C. Wolff: Die venezianische Oper in der zweiten Hälfte des 17. Jahrhunderts (Berlin, 1937/R) F. Hadamowsky: ‘Barocktheater am Wiener Kaiserhof, mit einem Spielplan (1625–1740)’, Jb der Gesellschaft für Wiener Theaterforschung 1951–2, 7–117; pubd separately (Vienna, 1955) W. Senn: Musik und Theater am Hof zu Innsbruck (Innsbruck, 1954) H. Knaus: ‘Wiener Hofquartierbücher als biographische Quelle für Musiker des 17. Jahrhunderts’, AÖAW, cii (1965), 178–206 R. Giazotto: ‘La guerra dei palchi’, NRMI, i (1967), 245–86, 465–508; iii (1969), 906–33; v (1971), 1034–52 I. Bartels: Die Instrumentalstücke in Oper und Oratorium der frühvenezianischen Zeit: dargestellt an Werken von Cavalli, Bertalli, P.A. Ziani und Cesti anhand der Bestände der Österreichischen Nationalbibliothek in Wien (diss., U. of Vienna, 1970) H.J. Marx: ‘Monodische Lamentationen des Seicento’, AMw, xxviii (1971), 1–23 T. Antonicek: ‘Die Damira-Opern der beiden Ziani’, AnMc, no.14 (1974), 176–207 L. Bianconi: ‘Funktionen des Operntheaters in Neapel bis 1700 und die Rolle Alessandro Scarlattis’, Alessandro Scarlatti: Würzburg 1975, 13–116 E. Selfridge-Field: Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford, 1975) H.C. Wolff: ‘Italian Opera from the Later Monteverdi to Scarlatti’, NOHM, v (1975), 1–72, esp. 39–42 C.B. Schmidt: ‘An Episode in the History of Venetian Opera: the Tito commission (1665–6)’, JAMS, xxxi (1978), 442–66 T. Antonicek: ‘Beobachtungen zu den Wiener Opern von Pietro Andrea Ziani’, L’opera italiana a Vienna prima di Metastasio: Venice 1984 L. Bianconi and T. Walker: ‘Production, Consumption and Political Function of Seventeenth-Century Opera’, Early Music History, iv (1984), 211–99 S. Wiesmann: ‘Das Wiener Sepolcro’, Oper als Text: Romantische Beiträge zur Libretto-Forschung, ed. A. Gier (Heidelberg, 1986), 25–31 P. Fabbri and R. Verti: Due secoli di teatro per musica a Reggio Emilia: Repertorio cronologico delle opere e dei balli 1645–1857 (Reggio Emilia, 1987) E. Rosand: Opera in Seventeenth-Century Venice: the Creation of a Genre (Berkeley and Los Angeles, 1991) W.B. Heller: Chastity, Heroism and Allure: Women in Opera of Seventeenth-Century Venice (diss., Brandeis U., 1995) THEOPHIL ANTONICEK, H.S. SAUNDERS Zich, Otakar (b Králové Městec, 25 March 1879; d Ouběnice, nr Benešov, 9 July 1934). Czech composer and aesthetician. While studying mathematics at Prague University (where he took the doctorate in 1901) he was a pupil of the Czech musicologist and aesthetician Otakar Hostinský from 1897 to 1901; later he attended a course in composition under Stecker. From 1901 he taught physics and mathematics at a secondary school in Domažlice, a town in the Chod region of south-west Bohemia which at that time retained a strong folk tradition. He used the time spent in this region to collect folksongs and dances, which in turn influenced his own compositions. In 1906 he returned to Prague and completed his Habilitation as an aesthetician at the university in 1911 with a work on the apperception of music. When the university in Brno was established, he became professor of philosophy (1919) but returned to Prague in 1924 to become professor of aesthetics. Zich was essentially a self-taught composer, finding his models in the 19th-century Czech national music, particularly that of Smetana and Fibich; he also admired European Romanticism and had a particular affinity for Mahler. Because of his close relation to folk art, he stood apart from the mainstream of early 20th-century Czech music (which tended to follow western European trends). He seldom took his inspiration from modern sources, the most significant exception being his opera Vina (‘Guilt’), where following the Expressionist plot he showed a fine sense for dramatic musical effect. His compositions are mostly vocal (arrangements of folksongs, choruses, cantatas, a melodrama, operas); neither during his lifetime nor later did his music gain public response and many of his compositions exist only in manuscript. Zich's scholarly heritage is much more important. Together with Hostinský he is considered the founder of Czech musicology, particularly its aesthetics, and a founder of specific semantic theory in music. As early as his Habilitationsschrift he showed exceptional depth of knowledge; this and a scholar’s detachment combined fruitfully with his feeling and understanding (gained as a composer) of all the subtle components of creative and apperceptive processes in music. His basic orientation came through his teacher Hostinský, an adherent of German formalism and psychology of positivism, and through his studies with him of the traditions of Herbart, Vischer, Hanslick and Riemann he was confronted with the central problem of musical thinking – in Riemann's words, the ‘logic’ of music. To Hostinský's dualistic theory (absolute as against programme music) he added the study of musical apperception, attempting to state the difference between the imaginative meanings and affective-reactive meanings of music. Next to psychological aesthetics, which enabled him to elaborate a relatively precise notion of the creative and apperceptive processes, he also attempted the objective analysis of a work as form, or ‘musical morphology’. Through these two methods he examined the quality of the work of art; at the same time he was aware of the limitations of his approach and employed the experience and intuition of an artist to arrive at the final analysis. His studies of Smetana, Dvořák and Berlioz occupy a special place among his works. His son Jaroslav Zich (b Prague, 17 Jan 1912) studied philosophy and musicology at Prague University and composition with Foerster. He has drawn on his experience as a pianist and composer for his theoretical writings, in which he has made a particular study of the aesthetic problems in musical performance. WORKS selective list op.
WRITINGS ‘Píseň a tanec “do kolečka” na Chodsku’ [Singing and dancing rounds in the region of Chod], Český lid, xv (1906), 305–10, 406–10; xvi (1907), 305–10, 353–7, 406–11; xvii (1908), 19–22, 68–70, 261–3; xviii (1909), 98–100, 221–4, 276–8, 326–8, 442–5; xix (1910), 33–5, 100–01, 13–15 ‘Hudební impressionismus’ [Musical Impressionism], Lumír, new ser., xxxvii (1909), 339–46, 390–7 Estetické vnímání hudby [Aesthetic apperception of music] (Habilitationsschrift, U. of Prague, 1911; Prague, 1910), ed. M. Jůzl (Prague, 1981) Smetanova Hubička [Smetana's The Kiss] (Prague, 1911) Hector Berlioz a jeho Episoda ze života umělcova [Berlioz and his ‘Episode from the life of an artist’] (Prague, 1914) České lidové tance s proměnlivým taktem [Czech folkdances with changing metre] (Prague, 1917) ‘Hodnocení estetické a umělecké’ [Aesthetic and artistic evaluation], Česká mysl, xvi (1917), 129–65 Symfonické básně Smetanovy [Smetana's symphonic poems] (Prague, 1924, 2/1949) ‘O slovenské písni lidové’ [Slovak folksong], Slovenská čítanka, ed. J. Kabelík (Prague, 1925), 599–618 ‘Čtvrttónová hudba’ [Quarter-tone music], HRo, ii (1925–6), 19–23, 69–74, 90–93, 110–13, 121–3 ‘Hudební vývoj J.B. Foerstra’ [The musical development of J.B. Foerster], Památník Foerstrův, ed. A. Rektorys (Prague, 1929), 39–68 Estetika dramatického umění [Aesthetics of dramatic art] (Prague,1931/R, 2/1986) ‘Umělecký odkaz Bedřicha Smetany’ [Smetana's artistic legacy], Karlova universita Bedřichu Smetanovi (Prague, 1934), 25–38 BIBLIOGRAPHY K.B. Jirák: ‘Písňové cykly Otakara Zicha na slova J Nerudy’ [Zich's song cycles to the words of Jan Neruda], Smetana, vi (1915–6), 17–24 J. Mukařovský: ‘Otakar Zich: Estetika dramatického umění’ [Aesthetics of dramatic art], Časopis pro moderní filologii a literaturu, xix (1933), 318 V. Helfert: ‘Vědecký odkaz Otakara Zicha’ [Zich’s scholarly heritage], Index [Brno], vi (1934), 97 J. Fiala: Dílo Otakara Zicha [The works of Otakar Zich] (Prague, 1935) J. Plavec: Otakar Zich (Prague, 1941) O. Sus: ‘Sémantický problém “významové představy” u O. Zicha a J. Volkelta’ [The semantic problem of Zich’s and Volkelt’s ‘concepts of meaning’], SPFFBU, F2 (1958), 99–116 [incl. Russ. and Ger. summaries] J. Zich: ‘Hudební svět Otakara Zicha’ [Zich’s musical world], Živá hudba, i (1959), 227–46 J. Burjanek: Otakar Zich: studie k vývoji českého muzikologického myšlení v první třetině našeho století [A study of the development of Czech musicological thought in the first third of this century] (Prague, 1966) O. Sus: ‘Poetry and Music in the Psychological Semantics of Otakar Zich’, SPFFBU, H4 (1969), 77–96 Vědecký odkaz Otakara Zicha: Prague 1979 K. Neumann: ‘Otakar Zich, ein tschechischer Ästhetiker der zwanziger und dreissiger Jahre’, HJbMw, ix (1986), 105–20 R. Pečman: ‘Josef Suk von Otakar Zich betrachet’, An der Epochen- und Stilwende (Brno, 1993), 54–8 JOSEF BEK Zichy, Count Géza (b Sztára, Hungary [now Slovakia], 23 July 1849; d Budapest, 14 Jan 1924). Hungarian pianist and composer. Although he lost his right arm in a hunting accident when he was 14, he became a celebrated piano virtuoso and made frequent concert tours from 1880. He studied composition with Robert Volkmann and the piano with Liszt, who orchestrated his ballad Der Zaubersee (now lost), transcribed his Valse d’Adèle (originally for left hand) and wrote a preface to his Six études pour la main gauche seule (Paris, 1878); the two became intimate friends and performed together in benefit concerts. Zichy also attained prominence as a jurist and administrator in Budapest; between 1891 and 1894 he was Intendant of the Royal Hungarian Opera, his appointment precipitating Mahler’s resignation as music director. From 1895 to 1918 he was president of the National Conservatory. In 1911 he was elected to the Hungarian Academy of Sciences, giving an inaugural address on Liszt (in Akadémiai Értesítő, Budapest, 1911). His music shows little individuality. His numerous piano pieces and transcriptions, written to enrich his concert repertory, are interesting chiefly for their use of specialized left-hand techniques. In addition to these and several choral and instrumental works, he wrote five operas to his own texts: Alár (produced in Budapest, 1896), Roland mester (Budapest, 1899) and a trilogy on the life of Rákóczi (Budapest, 1905–12); he also wrote a ballet, Gemma (Prague, 1903). He published two volumes of poetry and an autobiography. BIBLIOGRAPHY MGG1 (Z. Gárdonyi) G. Zichy: Aus meinem Leben (Stuttgart, 1911–29; in Hung. as Emlékeim, Budapest, 1912–13) M. Prahács: ‘A Zenemuveszeti Foiskola Liszt-hagyateka’ [The Liszt bequest in the academy of Music], ZT, vii (1959), 47–582 [incl. Fr. Summay p.692 only] T. Gedeon and M. Máthé: Gustav Mahler (Budapest, 1965) W. Schreiber: Gustav Mahler in Selbstzeugnissen und Bilddokumenten (Hamburg, 1971) G. Staud, ed.: A Budapesti Operaház 100 éve [100 years of the Budapest Opera House] (Budapest, 1984) M. Eckhardt: ‘Zichy Géza, gróf’, Brokhaus-Riemann zenei lexikon (Budapest, 1985) [with list of works] JOHN S. WEISSMANN/MÁRIA ECKHARDT Žídek, Ivo (b Kravaře, nr Opava, 4 June 1926). Czech tenor. He studied in Ostrava, where he made his début as Werther (1944), then joined the Prague Opera in 1948, his roles including Tamino, Don Carlos, Siegmund, Hoffmann, Tom Rakewell and Peter Grimes. Many of his greatest successes were in Janáček operas, most notably as Gregor in The Makropulos Affair, Števa and Laca in Jenůfa and Skuratov in From the House of the Dead. In 1966 he sang the Inventor in the première of Kašlík’s Krakatit. He also appeared in Vienna, Wexford, Germany, South America and at the Edinburgh Festival (1964 and 1970 as Dalibor and as Mazal in the British première of Janáček’s The Excursions of Mr Brouček). Though occasionally reported as sounding strained or coarse, he was widely acclaimed for the commanding style of his acting and the clear-cut intensity of his singing. Recordings include ardent performances as Jeník in The Bartered Bride and Števa in Jenůfa. He became Intendant of the Prague National Opera in 1989. J.B. STEANE Židek, Paulus. See Paulirinus, Paulus. Ziegfeld, Florenz, jr (b Chicago, 15 March 1867; d New York, 22 July 1932). American theatrical producer. His father, Florenz Ziegfeld sr, was head of the Chicago Musical College, but the younger Ziegfeld’s reaction to a background of classical music was a lifelong aversion to great musical masterpieces. In 1893 the elder Ziegfeld was appointed music director for the World’s Columbian Exposition and sent his son to Europe to obtain performers; however, the younger Ziegfeld returned with music hall artists and circus acts. It was only after his marriage to Anna Held that Ziegfeld began to produce musicals, initially as vehicles for his wife, although they always included a chorus of beautiful girls in striking costumes. Among Ziegfeld’s early productions were Papa’s Wife (1899), The Little Duchess (1901), The Red Feather (1903), Mam’selle Napoleon (1903), Higgledy Piggledy (1904) and A Parisian Model (1906). In 1907 he introduced the first of his annual Follies, to which he added his name in 1911 and which he later advertised as ‘glorifying the American girl’. The Ziegfeld Follies ran until 1925, with two more versions in 1927 and 1931; four shows bearing Ziegfeld’s name were also produced after his death (1934, 1936, 1943, 1957). His other productions included Sally (Kern, 1920), Kid Boots (Tierney, 1923), Rio Rita (Tierney, 1927), Show Boat (Kern, 1927), Rosalie (G. Gershwin and Romberg, 1928), The Three Musketeers (Friml, 1928), Whoopee (Donaldson, 1928), Bitter Sweet (Coward, 1929) and Simple Simon (Rodgers, 1930). Ziegfeld’s reputation was such that contemporary critics referred to Kern’s and Hammerstein’s work as ‘Ziegfeld’s Show Boat’. Ziegfeld built his own theatre in New York, the Ziegfeld, which he opened in 1927. Although he was often accused of being indifferent to music, he always sought the best composers for his shows as a matter of sound business practice: from the Follies came such songs as Shine on harvest moon (by Bayes and Norworth, 1908), Row, Row, Row (William Jerome and Jimmy Monaco, 1912), Hello, Frisco! (Louis Hirsch, 1915), A pretty girl is like a melody (Berlin, 1919), and Shaking the Blues Away (Berlin, 1927). Ziegfeld’s name remains synonymous with theatrical opulence and glamour more than 60 years after his death. See also Revue. BIBLIOGRAPHY E. Cantor and D. Freedman: Ziegfeld: the Great Glorifier (New York, 1934) P. Ziegfeld: The Ziegfelds’ Girl (Boston, 1964) C. Higham: Ziegfeld (Chicago, 1972) R. Carter: The World of Flo Ziegfeld (New York, 1974) R. and P. Ziegfeld: The Ziegfeld Touch: the Life and Times of Florenz Ziegfeld, Jr. (New York, 1993) GERALD BORDMAN Ziegler. Austrian firm of woodwind instrument makers. Its founder, Johann Joseph Ziegler (b Komorn [now Komárom], Hungary, 1795; d Vienna, 10 March 1858), was granted a privilege to trade in Vienna in 1821. He made all kinds of woodwind instruments for orchestral use, as well as the csakan, an instrument which enjoyed great regional popularity during the early 19th century. Ziegler worked on improvements to instrument design, for instance introducing metal clarinet mouthpieces. In 1837 he sold six clarinets (two in A, two in B and two in C) and two bassoons to the Vienna Hofmusikkapelle. It says much for the efficiency of his firm and the quality of its instruments that it could meet extremely large orders: in 1845 Ziegler apparently supplied instruments to the bands of 30 Austrian regiments, and he had a flourishing export business. After Ziegler's death the firm was continued by his son Johann Baptist (b 19 April 1823; d 10 Jan 1878) who maintained its tradition of high quality. His instruments were awarded a gold medal at the 1867 Paris Exposition. The firm continued until the early 20th century, trading under the name of Johann Ziegler Nachfolger. Ziegler instruments bear the mark of the double eagle and the wording i: ziegler/wien (to 1847 and after 1858) or i: ziegler & sohn/wien (1847–58). In the Austrian territories in particular, the Ziegler flute with its full, soft tone and its extended range (lowest note b, and g when made with an extension) remained the orchestral instrument of choice until the 20th century, when it was superseded by the stronger tone of the Boehm flute. Unlike its rival, the Ziegler flute had an inverted conical bore. Ziegler's key system represented a further development of the Classical and early Romantic design, with several doubled keys. BIBLIOGRAPHY Waterhouse-LangwillI R. Hellyer: ‘Some Documents Relating to Viennese Wind-Instrument Purchases, 1779–1837’, GSJ, xxviii (1975), 50–59 H. Ottner: Der Wiener Instrumentenbau: 1815–1833 (Tutzing, 1977) N. Toff: The Development of the Modern Flute (New York, 1979) R. Hopfner: Wiener Musikinstrumentenmacher: 1766–1900 (Tutzing, 1999) RUDOLF HOPFNER Ziegler, Caspar (b Leipzig, 15 Sept 1621; d Wittenberg, 17 April 1690). German poet. From 1638 to 1654, when he was a law and theology student in Leipzig, Ziegler was active as an amateur poet. From 1654 until his death he was an important professor of law and eventually Rektor at the University of Wittenberg and a prominent civic official there, and had practically no more connection with the arts. A friend of Rosenmüller and Schütz, he exerted some influence on both. His poetry, apparently mostly sacred, served for occasional music, and a few poems became chorale texts. More important, his treatise Von den Madrigalen (?Leipzig, 1653, enlarged 2/1685; ed. D. Glodny-Wiercinski, Frankfurt, 1971), written at Schütz's request, set forth rules for German madrigal poetry that were then observed until well into the 18th century. Hitherto German poets had not provided texts comparable to Italian madrigals, but after analysing the structure of the Italian poems, Ziegler adapted them to the peculiarities of German prosody. The German madrigal should consist of any number of lines, usually from seven to eleven and rarely fewer than five or more than sixteen; the lines should have seven or eleven syllables if the ending is feminine, six or ten syllables if it is masculine; a caesura is optional in lines of ten or eleven syllables; the rhyme scheme varies, but no more than three consecutive lines may pass without some rhyme; and only authentic rhymes are considered. As a relatively free, non-strophic poem the German madrigal is ideal for recitative and was so used, even by Bach. JOHN H. BARON Ziegler [née Romanus], Christiane Mariane von (b Leipzig, bap. 30 June 1695; d Frankfurt an der Oder, 1 May 1760). German poet and cantata librettist. The daughter of a prominent Leipzig family, she began to pursue a professional literary career in her late twenties after she had been widowed twice and lost the children of both marriages. Johann Christoph Gottsched became her mentor and principal sponsor. She published her first collection of verse, Versuch in gebundener Schreib-Art, in 1728; a second volume followed a year later. In 1731 she brought out a collection of letters and became a member of the Deutsche Gesellschaft in Leipzig, whose prize for poetry she won in 1732 and 1734. In 1733, at Gottsched’s recommendation, the Faculty of Philosophy of Wittenberg University elected her imperial poet laureate. Ziegler’s last publication, Vermischte Schriften in gebundener und ungebundener Rede – probably a revised version of a lost collection announced in the Leipzig fair catalogue of 1736 – appeared in Göttingen in 1739. Two years later, she married Wolf Balthasar Adolf von Steinwehr, professor of philosophy at the University of Frankfurt an der Oder, whom she had met in Gottsched’s circle. In the spring of 1725, J.S. Bach wrote a series of nine cantatas (bwv103, 108, 87, 128, 183, 74, 68, 175, 176) to librettos that Mariane von Ziegler subsequently published in the first volume of her Versuch. Bach and Ziegler may have met through a mutual friend, Maria Elisabeth Taubert; whether they actually worked together, however, remains uncertain. The published versions of the librettos differ markedly from those used by Bach, and some of the variants suggest that Bach altered Ziegler’s verses substantially when composing his cantatas. Bach set no further texts by Mariane von Ziegler, even though she published more librettos in her collection of 1729. The reason for this may have been that Bach began to work with Christian Friedrich Henrici, whom Gottsched and his circle (to which Ziegler belonged) opposed. BIBLIOGRAPHY P. Spitta: ‘Mariane von Ziegler und Joh. Sebastian Bach’, Zur Musik (Berlin, 1892/R), 9–118 L.F. Tagliavini: Studi sui testi delle cantate sacre di J.S. Bach (Padua, 1956) W. Herbst: ‘Der Endzweck: ein Vergleich zwischen Joh. Seb. Bach und Chr. Mariane v. Ziegler’, Musik und Kirche, xxx (1960), 248–55 A. Mendel: Johann Sebastian Bach: Kantaten zum 2. und 3. Pfingsttag, Neue Ausgabe sämtlicher Werke, 1st ser., xiv (Kassel, 1962) F. Zander: ‘Die Dichter der Kantatentexte Johann Sebastian Bachs: Untersuchungen zu ihrer Bestimmung’, BJb 1968, 9–64 W. Neumann and H.-J. Schulze, eds.: Fremdschriftliche und gedruckte Dokumente zur Lebensgeschichte Johann Sebastian Bachs 1685–1750, Bach-Dokumente, ii (Kassel, 1969) H.-J. Schulze: ‘Neuerkenntnisse zu einigen Kantatentexten Bachs auf Grund neuer biographischer Daten’, Bach-Interpretationen, ed. M. Geck (Göttingen, 1969), 22–8 A. Dürr: Die Kantaten von Johann Sebastian Bach (Kassel, 1971, 6/1995) H. Streck: Die Verskunst in den poetischen Texten zu den Kantaten J.S. Bachs (Hamburg, 1971) C. Wolff: ‘Ein Gelehrten-Stammbuch aus dem 18. Jahrhundert mit Einträgen von G.Ph. Telemann, S.L. Weiss und anderen Musikern’, Mf, xxvi (1973), 217–24 W. Neumann, ed.: Sämtliche von Johann Sebastian Bach vertonte Texte (Leipzig, 1974) S. Ehrmann: ‘Johann Sebastian Bachs Leipziger Textdichterin Christiane Mariane von Ziegler’, Bach-Studien, ix–x (Leipzig, 1991), 261–8 JOSHUA RIFKIN/KONRAD KÜSTER |
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, g, e, f, A, F), 2 vn, 2 va, vc, org, GB-DRc, Och; arr. a 3 in 6 sonates (Amsterdam, 1702), Ziani's Aires (London, 1703), attrib. ‘Ziani’ in these sources, probably by Albinoni