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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Ziehrer, C(arl) M(ichael)
(b Vienna, 2 May 1843; d Vienna, 14 Nov 1922). Austrian bandmaster and composer. His father financed his musical education at the Vienna Conservatory in return for a contract giving Carl Haslinger publishing rights. In 1863 Haslinger launched Ziehrer with an orchestra at the Dianasaal following financial disagreement with Johann Strauss II. Competition from the Strauss's probably led Ziehrer to three years as bandmaster to the 55th Infantry Regiment from 1870. He then formed an orchestra for the 1873 Vienna Weltausstellung and in 1874 founded the musical journal Deutsche Musik-Zeitung. While he was bandmaster of the 76th Infantry Regiment (1875–7) he changed his publisher to Doblinger. Later, he hired many of Eduard Strauss's musicians, naming them the Former Eduard Strauss Orchestra which led to an unpopular lawsuit; self-banishment took him through Eastern Europe and Germany with a reconstituted orchestra. He met his wife, Marianne Edelmann, an operetta singer, in Berlin in 1881. He was appointed bandmaster of the Hoch und Deutschmeister Regiment in 1885, which also performed as a civilian orchestra. With them he raised standards to unprecedented levels and attracted huge crowds. He was subsequently invited to represent Austria at the World's Columbian Exposition in Chicago in 1893, which was followed by an extended American tour, and which led to his dismissal for overstaying his leave. Renaming his band the Chicagoer Konzert-Kapelle he toured Germany widely. Later, he would retire each summer to the mountains to compose operetta: his farce Die Landstreicher (1899) ran for a record 1500 performances. Further successes were staged in Vienna and other European cities, and a few reached Broadway. His last operetta Das dumme Herz, with Alexander Girardi in the leading role, was curtailed by the war. The local character of his operettas limited their international appeal and all but three are no longer in the repertory; however, dance arrangements, marches and some songs and overtures from them remain popular. In 1903, as a guest conductor, he was instrumental in forming the Wiener-Tonkünstler Orchestra, the forerunner of the Vienna SO, to perform popular music to high standards. In 1909 Emperor Franz Joseph finally appointed him as Imperial Court Ball Director in recognition of his popularity and contribution to music. Ziehrer, the only director not from the Strauss family, conducted the last Court Ball in 1914. The war destroyed him and he died penniless. The greatest rival to the Strauss brothers, Ziehrer's long career was similar to Johann Strauss II except for the periods as a military bandmaster. This experience gave a brashness and swagger to his compositions which, influenced by local folk music, created his unmistakable style. Though not an innovator he was a master of original melody. Often performed are the waltzes Wiener Bürger, Weaner Mad'ln and Herrreinpaziert!, and his military legacy remains in the Freiherr von Schönfeld-Marsch. A monument to him stands in the Prater, and the Austrian National Library runs a permanent exhibition in the Theatre Museum and holds most scores, which belong to the Ziehrer Foundation. Some film footage of Ziehrer survives and Willi Forst produced a film of his life in 1949. Max Schönherr promoted his music through Austrian radio, and Ariola Eurodisc produced the first modern orchestral recordings with Robert Stolz in 1972 (Wiener Musik). Increased interest in his work has led to further new recordings. WORKS (selective list) Orchestral dates of first performance: opp.1–209, 1863–73; opp.210–373, 1874–85; opp.374–497, 1886–99; opp.498–566, 1900–22
Vocal
BIBLIOGRAPHY T. Gerlich: Erinnerungen aus C.M. Ziehrer (MS, 1951, A-Wst) [notes by Ziehrer's secretary] M. Schönherr: Carl Michael Ziehrer: sein Werk, sein Leben, seine Zeit (Vienna, 1974) M. Schönherr: Lanner, Strauss, Ziehrer (Vienna, 1983) J.E. Diamond: From Gold to Silver (London, 1994) JOHN E. DIAMOND Zielche [Zielcke], Hans Heinrich [Hinrich] (bap. Plön, 22 Feb 1741; d Copenhagen, 13 June 1802). German composer and flautist. He learnt to play the flute from his father. In 1757, after he had spent some time in Lübeck, Duke Friedrich Carl of Plön financed his studies in Hamburg, where he took composition lessons with Telemann and flute lessons with F.H. Graf. After the duke’s death, the Duchy of Plön was annexed by Denmark in 1761 and the Hofkapelle was dissolved. Zielche first went with other Plön court musicians to Hamburg, where he organized performances and sold tickets to concerts. In 1770, together with other musicians from Plön, he joined the royal orchestra in Copenhagen; he was solo flautist under J.G. Naumann from 1785, and was also court organist. Around 1780 he married the singer Anna Elizabeth Maria Franziska Almerigi. For a time Zielche was the most highly paid court musician in Copenhagen. He retired in 1796 and lived in Copenhagen until his death. Zielche’s virtuosity, much admired by Copenhagen audiences, finds expression in his chamber works, which give prominence to the flute. They show the influence of Telemann and also, like his symphonies, that of the Mannheim composers. His Singspiel Belsor i Hytten, hardly any of which has been preserved, was unsuccessful. Zielche’s printed works went into a number of editions and were listed in the Breitkopf catalogue. WORKS (selective list) most MSS in DK-Kk
BIBLIOGRAPHY DBL3 (T. Krogh) C. Thrane: Fra Hofviolonernes Tid: Skildringer af det kongelige Kapels Historie (Copenhagen, 1908) T. Krogh: Zur Geschichte des dänischen Singspiels im 18. Jahrhundert (Berlin, 1923), 49 N. Friis: Det Kongelike Kapel fem Aarhundreder ved Hoffet: paa Teatret og i Koncertsalen (Copenhagen, 1948) N. Heydemann: Das Musikleben am Plöner Hof in der Zeit Herzog Friedrich Carls (Nordelbingen, 1993), 53 J. Kremer: ‘“Telemannischer Geschmack” in Dänemark: zur Geschichte der deutsch-dänischen Musikbeziehungen im 18. Jahrhundert’, DAM, xxii (1994), 9–16 JOACHIM KREMER Zieleński [Zelenscius], Mikołaj (fl 1611). Polish composer and organist. From his publication of 1611, dedicated to Wojciech Baranowski, Archbishop of Gniezno and primate of Poland from 1608, it is known that he was organist and director of music to the archbishop. Dunicz showed that this position applied to the primate’s private chapel and residence at Łowicz; it is not known whether it also applied to Gniezno Cathedral (see Podejko). In dedicating his work Zieleński affirmed that Baranowski had ‘cultivated’ his talent, that his work originated ‘through [his] recommendation and in [his] service’, that it appeared in print thanks to his ‘liberality and generosity’, was ‘accomplished for the first time by a Pole in a new way’ and was the fruit of ‘no new zeal’ on his part in the archbishop’s service. Also in 1611 he took part in a court case at Łowicz. Zieleński’s Offertoria/Communiones totius anni of 1611, his only known music, comprises two separate cycles for the church’s year – liturgically rather free and incomplete – as well as additional motets and sacred symphonies. The two parts have separate title-pages but share a common dedication and list of contents. Among the 56 compositions in the Offertoria there are only 44 offertories, the main unifying feature in the volume being the monumental polychoral character of all the settings: there are 12 works for seven voices and 43 for eight – all for two choirs – and a 12-part Magnificat for three choirs. The choirs are split into high and low voices, and Zieleński emphasized their differences by the addition of instruments, while uniting them in their dialogues by the use of imitation. A continuo part for organ is provided throughout. The Offertoria is recognized as the most outstanding achievement by a Polish composer of the period. If the contents of the Offertoria are monumental, those of the Communiones are more intimate. Of the 66 titles only 53 are communiones, or antiphons, but the total number of compositions is actually 57, since nine are variants. The volume consists of works for solo voices with accompaniment and also three instrumental fantasias. There are five works for three voices (in the original index nos.28–32, including two of the fantasias), 32 for four (nos.1–18, 20–27, 33–43, including the other fantasia, five works being found in two versions), 14 for five (nos.19, 44–59, three in two versions) and six for six (nos.60–66, one in two versions). The solo pieces are the earliest Polish monodies and the other vocal pieces the earliest Polish concertatos; the vocal parts are enhanced by italianate embellishments. The instrumentation, which is precisely designated though optional, embraces richer groups than those in the Offertoria and includes string, wind and plucked instruments. The three fantasias are the earliest Polish works specifically intended for instrumental ensemble. The Communiones, however, also contains motets in a traditional late Renaissance imitative style, and only their dramatic expressiveness and frequent chromaticisms testify to their comparatively late date. All Zieleński’s work indeed is typical of the age of transition from Renaissance to Baroque styles, and he is certainly the most outstanding Polish composer of his time. WORKS Edition:Mikołaj Zieleński: Opera omnia, ed. W. Malinowski and Z. Jachimecki, MMP, ser.A, i/1–5 (1966–91) [M i–v]
BIBLIOGRAPHY EitnerQ; SMP M. Szczepańska: ‘O dwunastogłosowym “Magnificat” Mikołaja Zieleńskiegoz r. 1611’ [On the 12-part Magnificat (1611) by Mikołaj Zieleński], PRM, i (1935), 28–54 J.J. Dunicz: ‘Do biografii Mikołaja Zieleńskiego’ [Towards a biography of Mikołaj Zieleński], PRM, ii (1936), 95–7 A. Chybiński: Słownik muzyków dawnej Polski do roku 1800 [Dictionary of early Polish musicians to 1800] (Kraków, 1949) P. Podejko: Dawna muzyka polska na terenie dzisiejszego województwa bydgoskiego i Pomorza gdańskiego [Early Polish music in the region of the present province of Bydgoszcz and Gdańsk Pomerania] (Bydgoszcz, 1960), 12–14 W. Malinowski: ‘Partitura pro organo w Offertoriach Mikołaja Zieleńskiego’ [Partitura pro organo in Mikołaj Zieleński’s Offertoria], Prace naukowe Instytutu muzykologii Uniwersytetu warszawskiego, i (1961), 1–54 W. Malinowski: ‘Wokół Magna est gloria eius Mikołaja Zieleńskiego’ [On Mikołaj Zieleński’s Magna est gloria eius], Res facta, v (1971), 182–7 W. Malinowski: ‘Transkrypcja wykonawcza “Communiones” Zieleńskiego: podstawowe problemy’ [Transcriptions of Zieleński’s Communiones: basic problems], Pagine, i (1972), 45–51 W. Malinowski: Polifonia Mikołaja Zieleńskiego (Warsaw, 1974) W. Malinowski: ‘Chiavetty w Offertoriach Zieleńskiego’ [Chiavette in the Offertoria of Zieleński], Muzyka, xxiv/4 (1979), 71–6 M. Perz: ‘W sprawie dokumentacji fantazji Mikołaja Zieleńskiego’, [On the documentation of Zieleński’s fantasias], Muzyka, xxxvi/3 (1991), 83–4 J. Jazdon: ‘Zaginionych “Fantazji” Mikołaja Zieleńskiego dokumentacji ciąg dalszy’ [Zieleński’s fantasias: further documentation], Muzyka, xxxviii/1 (1993), 103–5 MIROSŁAW PERZ Zielińska, Lidia (b Poznań, 9 Oct 1953). Polish composer. While attending Koszewski's composition class at the Poznań Academy she was a violinist with the Duczmal Chamber Orchestra (1972–4) and the Poznań PO (1972–8). In 1983 she was appointed to the staff of the academy. She has worked in electronic studios in Poland and abroad, conducted multimedia and educational projects, especially as a founder-member of the group House of World Rhythms, and in 1990 co-founded Brevis, the first independent music publishers in post-communist Poland. From 1989 to 1992 she was artistic director of the Poznań Spring festival of contemporary music. She is the recipient of many national and international prizes. Her compositional interests are wide-ranging: in addition to her concert music, she has created a number of performance-art pieces and worked in theatre and radio (the luminous Cascando after Beckett brings a number of these threads together). Her music is impressionistic, pulsating and unpredictable in its expression: background frequently becomes foreground; dance and folk materials merge into oscillating groups of notes; underlying pentatonism or diatonism in her music is distorted, for example by glissandos and oboe multiphonics in Pleonazm (1987); and minimalist repeated phrases arrive at unexpected junctures, particularly in Mała symfonia atroficzna (‘Little Atrophic Symphony’, 1988). WORKS (selective list)
BIBLIOGRAPHY GroveW (B. Zwolska-Stęszewska) E. Gajkowskiej: ‘Piękno i moc’ [Beauty and strength], RM, xxxviii/9 (1994), 1, 3 only ADRIAN THOMAS Zieliński, Jarosław (b Lubocza Królewska, 31 March 1847; d Santa Barbara, CA, 25 July 1922). Polish pianist and composer. He graduated from secondary school in Lemberg, having studied music under F. Guniewicz and Mikuli while still at school. He continued his studies in Berlin and Vienna with Schulhoff and Frey, and in Milan with Ceruti. In Vienna he also graduated from the Theresianum Imperial Military Institute. After the failure of the January uprising he left in 1864 for the USA, where he settled permanently and fought in the Civil War; he left the army in 1865 and started giving concerts. In 1869 he went to live in Michigan, first at Grand Rapids, later in Detroit, and in 1878 became director of the music department at Fairmount College, Tennessee. From 1888 to 1910 he lived in Buffalo, giving frequent concert performances in different states of the USA. He organized a music department at the University of Bailey Springs, Alabama, in 1893, and in 1894 became head of the conservatory in Olean. In 1910 he moved from Buffalo to Los Angeles, where he founded a piano school. Zieliński composed a number of piano miniatures; he also made transcriptions and wrote songs. BIBLIOGRAPHY SMP W.M. Kozłowski: ‘Jarosław Zieliński’, Echo muzyczne, teatralne i artystyczne, xv (1898), 6–7 JERZY MORAWSKI Zieritz, Grete von (b Vienna, 10 March 1899). Austrian composer and pianist. She studied at the Graz music school (1912–17) with Hugo Kroemer (piano) and Mojsisovics (composition). In 1917 she moved to Berlin and continued her studies with Martin Krause (piano) and Rudolf Maria Breithaupt. From 1919 she taught at the Stern Conservatory. She began to attract notice as a composer in 1921 with the first performance of her Japanese songs for soprano and piano. In 1926 she went to the Berlin Hochschule für Musik to continue her composition studies with Schreker, and it was through him that she forged a strongly individual style. In 1928 she was awarded the Mendelssohn Prize for composition as well as the Schubert Grant from the Columbia Phonograph Company. She was the first woman to receive the title of honorary professor from the Austrian president (1958); later honours included the Austrian Ehrenkreuz für Wissenschaft und Kunst (1978) and the Verdienstkreuz am Bande der Bundesrepublik Deutschland (1979). Zieritz toured extensively in Germany and other countries, often performing her own works. In 1988 her Zigeunerkonzert was played to celebrate her 89th birthday in a concert given by the Moscow PO. As a composer she was most at home in chamber works, many of which feature wind instruments, but she also wrote a substantial number of orchestral, choral and solo vocal pieces. She never abandoned tonality. Many of her musical ideas had their genesis in visual images and pictures, and her writing is distinguished by vivid tone painting and clarity of form. WORKS (selective list)
BIBLIOGRAPHY KdG (P. Beate) MGG1 (W. Suppan) RiemannL12 GroveW (R. Marciano) [incl. fuller list of works] J. Lansky: ‘Grete von Zieritz’, Mitteilungen des Steirischen Tonkünstlerhundes, xix–xx (1964), 1–3 U. Werk: Grete von Zieritz (Berlin, 1989) [incl. discography] R. Aigner: Grete von Zieritz: Leben und Werk (Berlin, 1991) P. Beate: Grete von Zieritz und der Schreker-Kreis: die Kunst des unbedingten Ausdrucks (Wilhelmshaven, 1993) ROSARIO MARCIANO/R Zierler, Steffan. See Zirler, Stephan. Ziernicki, Ignacy (b 1752; d 1829). Polish organ builder. Active in Kraków and its environs, he seems to have specialized in large structures, building organs for Wawel Cathedral (1785), St Mary (1800) and the Franciscan and Dominican churches. The Dominican church organ perished in the great fire of 1850. The organ built for St Mary was of high quality and served the congregation for more than a century before falling victim to the Romantic trend in organ building. Ziernicki’s last, equally prestigious assignment was a reconditioning of the main organ of the Marian sanctuary at Jasna Góra (Częstochowa) started in about 1828 and cut short by his death the following year. For further information see J. Gołos: Polskie organy i muzyka organowa (Warsaw, 1972; Eng. trans., 1992, as The Polish Organ, i: The Instrument and its History). JERZY GOŁOS Ziesak, Ruth (b Hofheim am Taunus, 9 Feb 1963). German soprano. She studied with Christoph Prégardien at the Musikhochschule in Frankfurt and with Elsa Cavelti. She made her début as Valencienne in Die lustige Witwe in Heidelberg in 1988, and then worked at the Deutsche Oper am Rhein (1990–91). Her first international engagement was as Pamina with Solti at the 1991 Salzburg Festival. She later sang the role at La Scala, the Staatsoper in Munich, Dresden's Sächsische Staatsoper and the Vienna Staatsoper. She made her début at the Opéra Bastille in Paris as Susanna in 1993, followed by Sophie in 1998, and first appeared at Covent Garden in 1997 as Ighino (Palestrina). Her other roles include Ilia and Sophie. Ziesak is also an accomplished soloist in concert works; she won first prize at the lieder competition at 's-Hertogenbosch, and following her Viennese recital début in 1991 has gained a reputation as a discerning interpreter of lieder. Among her many recordings those of Pamina for Solti, Marzelline for Dohnányi, Aennchen for Janowski, Gretel for Runnicles, the title role of Schumann's Genoveva for Harnoncourt and Wolf's Italienisches Liederbuch reveal her pure tone and fresh, unaffected style. ALAN BLYTH Zieyeva, Malika (b Fergana Basin, 1 Feb 1956). Uzbek dutār player. From 1970 to 1974 she attended the Fergana College of Art. From 1974 to 1979 she studied the dutār with Fakhriddin Sadyqov at the Tashkent State Conservatory, learning many pieces from the traditional classical repertory including well-known makom melodies such as Shafoat, Chohorgoh and Chully Iroq. In 1979 she began working with the Uzbek State Radio naqam ensemble founded by Yunus Rajabi. During the next two decades many of her performances were recorded for the archives of Uzbek State Radio, and in 1987 she received a Golden Gramophone award from the Melodiya recording company. Her use of ornamentation in performance has been acclaimed. She was appointed to teach at the Tashkent State Conservatory in 1991 and founded an ensemble of female dutār players in 1993, maintaining the tradition of the Fergana area where the dutār is especially associated with women. RAZIA SULTANOVA Ziffrin, Marilyn J(ane) (b Moline, IL, 7 Aug 1926). American composer and musicologist. She studied at the University of Wisconsin, Madison (BM 1948), Columbia University Teachers College (MA 1949) and the University of Chicago. Her composition instructors included Karl Ahrendt and Alexander Tcherepnin. After teaching in the public schools, she joined the music department at Northeastern Illinois University (1961–6) and later taught at New England College (1967–82). She has also taught composition privately at St. Paul’s School (1972–92). Her many honours include fellowships from the MacDowell Colony and first prize in the Delius Composition Competition (1971) for Haiku. Influenced primarily by the music of Bach, Bartók, Stravinsky, the synagogue and jazz, Ziffrin's style can best be described as postmodern. Expressive and vibrant, her music often includes clear melodic lines juxtaposed against complex rhythmic gestures. Dissonance and quartal harmonies dominate many pieces. Several of her works have been recorded. Her writings include the biography Carl Ruggles: Composer, Painter, Storyteller (Urbana-Champaign, IL, 1994). WORKS (selective list)
BIBLIOGRAPHY J.L. Zaimont and K. Famera, eds.: Contemporary Concert Music by Women (Westport, CT, 1981) M.B. Schantz: ‘Marilyn J. Ziffrin: a Lifetime of Creating Music’, Sonneck Society for American Music Bulletin, xxiv/1 (1998), 1, 5–7 MALINDA BRITTON SCHANTZ Zigeunertanz (Ger.: ‘gypsy dance’). A dance imitating Gypsy music. Several examples survive among colourful popular pieces by German composers, including Hans Neusidler’s ‘Der Zeuner tantz’ (Ein newes Lautenbüchlein, 1540) and Wolff Heckel’s ‘Der Züner tantz’ (Lautten Buch, 2/1562); both of these have an appended triple-time after-dance (‘Hupff auff’ or ‘Proportz’). Neusidler’s dance is characterized by a florid, improvisatory melody to be played in high positions on the top string of the lute, accompanied by a simple bass line played on the unstopped lower three courses, suggesting an imitation of the fiddle and bagpipe combination typical of Hungarian Gypsy dance music (see Hungary, §II, 3).
Ziino, Agostino (b Palermo, 24 Dec 1937). Italian musicologist, son of Ottavio Ziino. After studying with Aurelió Roncaglia and Luigi Ronga at Rome University and graduating in 1962, he taught history of music at Perugia Conservatory (1962–3). Subsequently he studied musicology at Freiburg University with Reinhold Hammerstein, at the Pontificio Istituto di Musica Sacra in Rome with Eugène Cardine and Higini Anglès and at the Scuola di Paleografia e Filologia Musicale in Cremona with Raffaello Monterosso and Federico Mompellio. He taught music history at Cremona, (1967–71), and later at the universities of Messina, Siena (1979–81), Naples (1981–95) and at the Tor Vergata University, Rome, in 1995. He was visiting professor at UCLA during 1986 and has also lectured at Certaldo. His principal research interests are medieval Italian and French music, with particular reference to the lauda and the Ars Nova. He has identified a number of important manuscript sources, including the Turin manuscript T.III.2 at the Bibliotecà Nazionale Universitaria, and has also worked on subjects from later periods, such as Lorenzo il Magnifico, Palestrina and Tasso, Pietro della Valle, Francesco Lambardi, Stradella and the Roman Baroque cantata, the 18th-century festa teatrale in Naples, and 19th-century figures Luigi Romanelli, Giovanni Agostino Perotti and Wagner. Ziino worked for the journal Nuova rivista musicale italiana (1967–9) and in 1972 joined the editorial board of Studi musicali. He was chairman of the Società Italiana di Musicologia, 1988–94. He is an active member of the Accademia Nazionale di S Cecilia in Rome and their representative on the UNESCO cultural committee. In 2000 he received the A. Feltrinelli Award from the Accademia Nazionale dei Lincei. WRITINGS ‘Pietro della Valle e la “Musica erudita”: Nuovi documenti’, AnMc, no.4 (1967), 97–111 Strutture strofiche nel Laudario di Cortona (Palermo, 1968) ‘“Contese letterarie” tra Pietro della Valle e Nicolò Farfaro sulla musica antica e moderna’, NRMI, iii (1969), 3–22 ed.: Antologia della critica wagneriana in Italia (Messina, 1970) ‘Frammenti di laudi nell’Archivio di Stato di Lucca’, Cultura neolatina, xxxi (1971), 295–312 with G. Cattin and O. Mischiati: ‘Composizioni polifoniche del primo Quattrocento nei libri corali di Guardiagrele’, RIM, vii (1972), 153–81 with F. Carboni: ‘Laudi musicali del XVI secolo: il manoscritto Ferrajoli 84 della Biblioteca Apostolica Vaticana’, Cultura neolatina, xxxiii (1973), 273–329 with G. Donato: ‘Nuove fonti di polifonia italiana dell’Ars nova’, Studi musicali, ii (1973), 235–55 ‘Polifonia nella cattedrale di Lucca durante il XIII secolo’, AcM, xlvii (1975), 16–30 ‘Polifonia “primitiva” nella Biblioteca Capitolare di Benevento’, AnMc, no.15 (1975), 1–14 ‘Testi laudistici musicati da Palestrina’, Studi palestriniani [I]: Palestrina 1975, 383–408 ‘Isoritmia musicale e tradizione metrica mediolatina nei mottetti di Guillaume de Machaut’, Medioevo romanzo, v (1978), 438–65 ‘Laudi e miniature fiorentine del primo Trecento’, Studi musicali, vii (1978), 39–83 ‘Polifonia “arcaica” e “retrospettiva” in Italia centrale: nuove testimonianze’, AcM, l (1978), 193–207 ‘Testi religiosi medioevali in notazione mensurale’, La musica al tempo del Boccaccio e i suoi rapporti con la letteratura: Siena and Certaldo 1975 [L’Ars Nova italiana del Trecento, iv (Certaldo, 1978)], 447–91 ‘Luigi Romanelli e il mito del classicismo nell’opera italiana del primo Ottocento’, Chigiana, new ser., xvi (1979), 173–215 ‘“Magister Antonius dictus Zacharias de Teramo”: alcune date e molte ipotesi’, RIM, xiv (1979), 311–48 ‘Ancora sulla sequenza “Ave stella matutina”: note sull’Amen polifonico’, Le polifonie primitive in Friuli e in Europa: Cividale del Friuli 1980, 311–22 ‘Ripetizioni di sillabe e parole nella musica profana italiana del Trecento e del primo Quattrocento: proposte di classificazione e prime riflessioni’, Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Wolfenbüttel, 1980, 93–119 ‘Due sequenze del XIII secolo in notazione mensurale’, Letterature comparate, problemi e metodo: studi in onore di Ettore Paratore (Bologna, 1981), 1075–105 with F. Trinchieri Camiz: ‘Caravaggio: aspetti musicali e committenza’, Studi musicali, xii (1983), 67–90 ed.: L’Ars Nova italiana del Trecento, v (Palermo, 1985) [incl. ‘Una sequenza mensurale per san Fortunato ed un Amen a tre voci nella Biblioteca Comunale di Todi (con un’Appendice sul frammento di Cortona)’, 257–70] ed., with N. Pirrotta: Händel e gli Scarlatti a Roma: Rome 1985 ed., with D.A. D’Alessandro: La musica a Napoli durante il Seicento: Naples 1985 ‘Il canto delle laudi durante il Trecento: tre città a confronto: Firenze, Fabriano e Gubbio’, La musica nel tempo di Dante: Ravenna 1986, 113–29 ‘La ballata in musica dalla frottola al madrigale: campioni per una ricerca’, La letteratura, la rappresentazione, la musica al tempo di Giorgione: Castelfranco Veneto and Asolo 1978, ed. M. Muraro (Rome, 1987), 259–72 ed., with B. Cagli: Il Teatro di San Carlo 1737–1987, ii: L’opera e il ballo (Naples, 1987) with F. Carboni and T.M. Gialdroni: ‘Cantate ed arie romane del tardo Seicento nel Fondo Caetani della Biblioteca Corsiniana: repertorio, forme e strutture’, Studi musicali, xviii (1989), 49–192 ‘La laude musicale del Due-Trecento: nuove fonti scritte e tradizione orale’, Miscellanea di studi in onore di Aurelio Roncaglia (Modena, 1989), 1465–502 ed., with J. Nàdas: The Lucca Codex (Lucca, 1990) ‘Caratteri e significato della tradizione musicale trobadorica’, Lyrique romane médiévale: la tradition des chansonniers: Liège 1989, 85–218 ed.: Musica senza aggettivi: studi in onore di Fedele D’Amico (Florence, 1991) ‘On the Poetic and Musical Form of Six Ballades of the Manuscript Turin, Biblioteca Nazionale, J.II.9’, The Cypriot-French Repertory of the Manuscript Torino J.II.9: Paphos 1992, 377–94 ‘Again on the Music of the Poem “La Nencia da Barberino”’, Lorenzo de’ Medici, New York 1992, ed. B. Toscani (New York, 1993), 203–18 ed.: Il Codice T.III.2, Torino, Biblioteca Nazionale Universitaria (Lucca, 1994) with T.M. Gialdroni: ‘La “Festa teatrale” nella tradizione musicale napoletana, 1734–1797’, Il Settecento, ed. G. Pugliese Carratelli (Naples, 1994), 419–68 ‘Minima palestriniana: Giovanni Pierluigi da Palestrina e la ballata’, Note su note, ii (1994), 221–72 with G. Gialdroni: ‘Due nuovi frammenti di musica profana del primo Quattrocento nell’Archivio di Stato di Frosinone’, Studi musicali, xxiv (1995), 185–208 with F. Carboni: ‘Un elenco di composizioni musicali intorno alla metà del Quattrocento’, Musica Franca: Essays in Honor of Frank A. D’Accone, ed. I. Alm, A. McLamore and C. Reardon (Stuyvesant, NY, 1996), 425–87 with F. Zimei: ‘Nuovi frammenti di un dispenso lauderio fiorentino’, Col dolce suon che de te piore: studi su Francesco Laudini e la musica del suo tempo (Florence, 1999), 485–505 TERESA M. GIALDRONI Ziino, Ottavio (b Palermo, 11 Nov 1909; d Rome, 1 Feb 1995). Italian composer, conductor and teacher. He was director of the conservatories of Palermo, Naples and Rome, and a member of the Accademia di S Cecilia. He was also director of two important musical institutions from the time of their foundation: the Teatro Lirico Sperimentale in Spoleto and the Orchestra Sinfonica Siciliana, with which he produced interesting series of concerts, of which the Giornate di Musica Contemporanea deserve special mention. In writing his Ricordi di un musicista (Palermo, 1994) at the end of his busy career, Ziino declared that compared with other aspects of his multiple artistic personality, he considered composition to be his main musical activity. A pupil of Antonio Savasta, an exceptional teacher who instilled in him a love of counterpoint, Ziino completed his studies under Pizzetti (composition) and Bernardino Molinari (conducting). He was an active, highly competent conductor, with a repertory which ranged from orchestral music of every period and style to opera; this repertory allowed him to assimilate contemporary idioms, which he did with discernment, never merely copying famous models. A prolific composer, his melodic style – while based on Sicilian folksong – avoids the explicit quotation of folk material; his pieces show a contrast between lively, rhythmic movements and spare-textured calm adagios. Among his most important works are the Hymni cristiani in diem and the series of solo concertos, which develop single-movement form and allow the thematic material to be circulated internally while avoiding the schematic nature of many cyclical forms. WORKS (selective list)
ROBERTO PAGANO Zikr. See Dhikr. Zilberstein, Lilya (b Moscow, 19 April 1965). Russian pianist. She studied with Ada Traub at the Gnesin Special Music School from 1971 to 1983, and then with Alexander Satz at the Gnesin Institute from 1983 to 1990. Her first prize in the Busoni Competition in 1987 led to a German début in 1988 in Munich and to an exclusive recording contract with Deutsche Grammophon. She has subsequently given concerts throughout Europe as well as in New York and Tokyo, and has performed Rachmaninoff’s second and third concertos with the Berlin PO under Claudio Abbado. Her many recordings, which include works by Brahms, Debussy and Ravel as well as the Russian Romantic repertory, show great technical command and musicality. DAVID FANNING |
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