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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zincke, Hans Friedrich August.
See Sommer, Hans. Zinck-Pass (Ger.). See Cinque pas. Zindelin, Philipp (b Konstanz, c1570; d Augsburg, Feb 1622). German composer and instrumentalist. He matriculated at Freiburg University in 1589. For 11 years he was a musician in the service of Cardinal Andreas of Austria at Konstanz. He then moved to Augsburg and worked as a cornettist, organist and composer in the service of the town, the cathedral and the influential Fugger family, Maximilian Fugger being a particular patron of his. In 1614 he applied for the post of Kapellmeister at Augsburg Cathedral, in succession to Bernhard Klingenstein, but Georg Mezler was preferred to him. He was a talented instrumentalist and received a special subsidy for training younger cornett players. He was also highly esteemed at the Munich court, where he frequently performed as a cornettist; he received five payments for compositions, the last being in 1619. He was also connected with the court at Innsbruck, being personally acquainted with Archduke Leopold, a keen patron of music. Zindelin’s output consists entirely of church music, most of it in Latin and showing a preference for serious subject matter and Marian texts. In general he can be described as a typical composer of the turn of the century: his roots were clearly in the 16th century, but he was also influenced to some degree by early Baroque practices. The 1615 collection of Magnificat settings and antiphons is one of the first publications with continuo to appear in Germany after those of Aichinger. There are sections in one, two and three parts, though their style is not noticeably different from that of the four-part tuttis. The use of short motifs, touches of homophony and some independence in the continuo part all betray early 17th-century influence; however, there is little of the polarization between soprano and bass or the emphasis on word-painting found in similar compositions of the period. Chorales also influenced his work, which thus to some extent reflects the religious dichotomy that prevailed in Augsburg at the time. WORKS
BIBLIOGRAPHY SennMT O. Bucher: ‘Adam Meltzer (1603–1610) und Gregor Hänlin (1610–1617) als Musikaliendrucker in Dillingen/Donau’, Gutenberg-Jb 1956, 216–26, esp. 221, 225 A. Layer: Musik und Musiker der Fuggerzeit (Augsburg, 1959), 36, 38, 44, 48, 78 E.F. Schmid: Musik an den schwäbischen Zollernhöfen der Renaissance (Kassel, 1962), 115–16, 142 P. Winter: Der mehrchörige Stil (Frankfurt, 1964) A. Layer: ‘Augsburger Musikkultur der Renaissance’, Musik in der Reichsstadt Augsburg, ed. L. Wegele (Augsburg, 1965), 43–102, esp. 68, 88 M. Schmidmüller: ‘Die Augsburger Domkapellmeister seit dem Tridentinum bis zur Säkularisation’, Jb des Vereins für Augsburger Bistumsgeschichte, xiii (1989), 69–107 A. LINDSEY KIRWAN/STEPHAN HÖRNER Zineroni, Agostino (b Bergamo; fl 1599). Italian composer. He is known by one work, Missa, beatae vergine cantica, sacraeque cantiones vulgo motecta appellatae, tum viva voce … genere octo vocibus (Venice, RISM 15995). At the time of its publication he was maestro di cappella at Bergamo Cathedral.
Zingarelli, Niccolò Antonio (b Naples, 4 April 1752; d Torre del Greco, nr Naples, 5 May 1837). Italian composer and teacher. Left fatherless at the age of seven, Zingarelli was enrolled in the Conservatorio di S Maria di Loreto, where his father had taught singing, and studied with Fenaroli, Speranza, Anfossi and Sacchini. After his graduation in 1772 he became organist and violin teacher at Torre Annunziata. When his first patron the Duchess of Castelpagano gave him her support, however, he began his career as an opera composer, in the theatres of northern Italy, Florence and Rome. His first cantata was performed in 1778 and his first opera, Montezuma, in 1781. Although Haydn did not praise this work as highly as once was supposed, he nevertheless produced it (and later Alsinda) at Eszterháza. Between 1785 and 1803 Zingarelli was principally known as an opera composer. In 1790 he visited Paris, where his opera Antigone was performed, without success, and Les Hespérides and Pharamond were tentatively accepted but not produced. In the same period three other operas, L'olympiade, Les femmes and Zadig were composed in collaboration with his pupil Isabelle de Charrière but never performed, despite various attempts to produce them; the unsettled conditions due to the Revolution compelled his return to Italy. He petitioned the chapter of Milan Cathedral for the post of maestro di cappella in 1793, and obtained it in 1795; the following year he accepted a similar post at the Santa Casa, Loreto, where he remained until 1804 (although retaining the right to succeed Carlo Monza at Milan Cathedral). There he composed the Annuale di Loreto, sacred compositions for the entire church year, as well as his most famous opera, Giulietta e Romeo. After Guglielmi’s death in 1804 Zingarelli became musical director at S Pietro, Rome. In 1811, when Napoleon had his infant son crowned King of Rome, the French occupiers of Rome demanded solemn musical festivities in all the churches, but Zingarelli refused to comply on the grounds that he recognized only the pope, Pius VII (then imprisoned at Fontainebleau), as king of Rome. For this he was arrested and imprisoned, but at Napoleon’s personal intervention he was sent to France, where he endeared himself to the emperor by writing a full-scale solemn mass that lasted only 20 minutes. In 1813 he was appointed head of the newly consolidated conservatory S Pietro a Majella in Naples. After the execution of Murat and the restoration of the Bourbons he retained his position because of his loyalty to the pope and his abstemious and exemplary Catholic life, and his approval by the Austrians for having set Carpani’s translation of the emperor’s hymn to music. After Paisiello’s death in 1816 Zingarelli was also appointed musical director of Naples Cathedral. Opinions differ about his success as a teacher and administrator of the Naples Conservatory, but the conventional portrait of Zingarelli as a vindictive reactionary is an exaggerated one. He encouraged his students to study the works of foreign as well as Italian composers, stressed the importance of a mastery of the fundamentals of harmony and counterpoint, and emphasized the composition of melody and the search for musical simplicity. His most famous pupils were Morlacchi (at Loreto), Mercadante, Michael Costa and Bellini. From 1804 he received many honours from various European monarchs and musical societies, culminating in his knighthood from Ferdinando I in 1822. He continued to compose, though almost exclusively church music and one-movement symphonies, until his death. He was a highly prolific composer in all vocal and in many instrumental genres. Zingarelli was the last major composer of opera seria. Most of his librettos are on mythological subjects with happy endings, and his last opera, Berenice, is based on a libretto originally by Zeno. His best-known opera, Giulietta e Romeo (1796), loosely modelled after Shakespeare’s tragedy and with a happy ending, was internationally performed until about 1830 (often as a pasticcio, with pieces added by other composers) and was a favourite vehicle for Maria Malibran. Many of his best operas, including Artaserse, Pirro, Giulietta e Romeo, Ines de Castro and Edipo a Colono, were revised by his contemporaries. Although he was not particularly inclined to comedy, he wrote at least two successful comic operas, Il mercato di Montefregoso (1792) and Il ritratto (1799), both performed at La Scala, Milan. One of the principal characteristics of Zingarelli's style is the simplicity (and often the sweetness) of his melodic language; his almost obsessive search for a natural style sometimes leads to a certain banality of melodic material. His arias were written specifically for such singers as Crescentini, Rubini, Pasta and Malibran and are in a very simple style, leaving plenty of room for improvisation. His orchestration sometimes shows interesting attempts to exploit the possibilities of single instruments, whether with the voice or alone, but genuine originality is only rarely achieved, and usually in his early works. His tendency to increase dramatic complexity, especially at key moments in the action, results in a combination of traditional forms, often highly extended, and more modern forms (secco or accompanied recitatives, rondos or cabalettas, ensemble or chorus scenes); however, he frequently resorts to conventional solutions to recurring musico-dramatic problems. Zingarelli's main interest was in the expression of tenderness or pathos, and this is best exhibited in his arias for solo voice and string accompaniment, often for secondary characters. Some of these arias retained their popularity into the 1820s and 30s. After 1811 Zingarelli stopped writing operas and returned to composing or revising oratorios in which he adapted his own style to new tastes through more complex dramatic structures, more elaborate choral writing and by abandoning the castrato voice. His secular cantatas, with string or orchestral accompaniment, occupy an important place in his output. Since Zingarelli wrote them throughout his career they demonstrate, more than the operas and sacred music, all his various attempts at stylistic renewal, and are thus important from a historical perspective. Of the dramatic cantatas, the more interesting date from before 1790, such as Pigmalione (1779); in the years immediately following, as his interest in Haydn and Mozart waned, he showed greater respect for the formal models and styles current in the late 18th-century cantata. His refined literary taste is reflected in his choice of texts by Dante, Petrarch, Ariosto and his favourite, Tasso. In his mature compositions Zingarelli attempted to adapt to the new sentimental genre which swept Naples in the wake of the success of the French romance and led to the creation and popularity of the salon song. He also wrote a large number of concert arias, duets and terzettos. For the collection of settings of the poem In questa tomba oscura (1808), Beethoven wrote one song but Zingarelli ten, an example of his prolific, if not always discriminating, creativity. In contrast to the symphonic style of the Viennese mass or the dramatic masses of Cherubini, Zingarelli’s church music is completely functional, intended to support the liturgical ceremony rather than to serve as independent compositions. His sacred works range from motets for solo voice with organ accompaniment, through choruses ranging from two-part boys’ choirs to eight-part double choruses, all with organ accompaniment (musica di capella), to masses or mass sections with full orchestra (musica a pieno). Masses for one or two choirs with a florid soprano solo and organ accompaniment are generally early works. Many of his works for Lent are given a particularly penitential and sombre colour through his use of a reduced orchestral accompaniment consisting solely of violas, cellos, bassoons, basses and organ. Zingarelli was a pioneer in the setting of sacred devotional works to vernacular texts. Of these, the various settings of devotions on the three hours of Christ's agony stand out: Zingarelli seems to be the only composer from whom a large number of works for this occasion has survived; despite his rather schematic approach to the treatment of the individual texts, they are powerfully expressive. He also wrote vernacular settings of the Stabat mater sequence and of various psalms. Since his sacred music was intended to support rather than to dominate the liturgy, it is difficult to single out individual works on the basis of their musical merit alone, but his mass for Napoleon, the Missa classica di requia, the F major Dixit in which an orchestral ostinato is superimposed on the psalm tone, a Christus e miserere for three solo voices, organ and solo cello, and his settings of Psalms xli and cxii may be considered his best works written specifically for the church. His most famous sacred work is the Christus e miserere alla Palestrina for unaccompanied chorus, written for the students of the Naples Conservatory in 1826. His large non-liturgical choral works include operas on sacred topics and oratorios which range from the classic Neapolitan type (his setting of Metastasio’s Passion) to two massive choral works written in his late years, his setting of Isaiah xii for the Birmingham Festival, 1829, and his oratorio Saulle; Sir Michael Costa made his London début with the revised second version. The best of his non-liturgical choral works are his intimate Nativity cantatas. Zingarelli’s sonatas and symphonies are generally short one-movement works rather than the multi-movement instrumental cycles of his contemporaries. One of the few composers of the time to write for the organ, he was most interested in the pastorale and its lilting 6/8 rhythm. His numerous fugues, perhaps originally contrapuntal exercises, can also be played on the organ. Most of his chamber music seems to have been written for teaching purposes and consists primarily of duos for two similar string instruments (even two double basses); his best chamber work, a quartet for two cellos, bassoon and contrabass, was probably a prelude to a Lenten devotion. His symphonies represent the peak of his instrumental music, and after 1815 reflect his interest in the music of Haydn and Mozart in their rich orchestral writing, and particular emphasis on the woodwind. Apart from 12 three-movement symphonies which date from his Milan days, they are one-movement works, generally with a slow introduction, highly contrapuntal treatment of the first group of themes, and frequent motivic relationships between groups of themes. They may have been used as ‘overtures’ to solemn masses, especially the four funeral symphonies. Zingarelli’s relative isolation from contemporary musical currents and his deeply ingrained conservatism caused him to compose, at his best, in a dignified neo-Classical idiom distinguished by skilful counterpoint and noble melodies, but his music at its worst is superficial, stereotyped, dull and even trivial. He was both industrious and prolific and wrote rapidly, often choosing the easiest rather than the best solution to a compositional problem; in the few instances when he revised a work, his second inspirations were superior to his first ones. He believed that Rossini’s music had swept his aside. His posthumous reputation was marred by the bitter attacks of Fétis and the unflattering comments by Méhul, Spohr and Fellerer. The sheer bulk of his musical output and the dispersal of his manuscripts has inhibited detailed studies of his work. WORKS BIBLIOGRAPHY R.M. LONGYEAR/RODOBALDO TIBALDI Zingarelli, Niccolò Antonio WORKS Not published unless indicated; MSS primarily in I-Nc, Mc, Ac, LT; others in A-Wgm, Wn; D-Mbs; I-Bc, Fc, MOe, Nf; and Ricordi archives in Milan; US-Wc; opera libs in B-Bc Operas opere serie unless otherwise stated for individual manuscript locations see GroveO
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Secular vocal
Instrumental
Zingarelli, Niccolò Antonio BIBLIOGRAPHY DEUMM (R. Bossa) ES (U. Prota Giurleo) FlorimoN GroveO (M. Caraci Vela) MGG1 (F. Degrada) G. Carpani: Le Haydine (Milan, 1812, 2/1823/R; Eng. trans., 1820) G. Carpani: Le rossiniane ossia Lettere musico-teatrali (Padua, 1824) R. Guarini: Notizie della vita del Cav. D. Niccolò Zingarelli (Naples, 1837) B. Vita: Catalogo della musica lasciata dal maestro Zingarelli (Naples, 1837) [incl. partial list of works] R. Liberatore: Obituary, Gli annali civici del regno delle Due Sicilie, xxviii (1837), 3–56 A. de la Fage: ‘Nicolas Zingarelli’, Miscellanées musicales (Paris, 1844) A. Schmid: Joseph Haydn und Niccolò Zingarelli (Vienna, 1847) Stendhal: ‘Notes d'un dilettante’, Mélanges d'art et de littérature (Paris, 1867), 285–91 S. Di Giacomo: ‘Il fiero Zingarelli’, Musica d'oggi, v (1923), 1777–9 A. Mondolfi: ‘Nicola Zingarelli attraverso la catalogazione dei suoi autografi nella Biblioteca di S. Pietro a Majella’, Il rievocatore, vi (1955) F. Mompellio: ‘La cappella del Duomo dal 1573 ai primi decenni del '900’, Storia di Milano, xvi (1962), 507–88 R.M. Longyear: ‘The Symphonies of Niccolò Zingarelli’, AnMc, no.19 (1979), 288–319 W. Witzenmann: ‘Grundzüge der Instrumentation in italienischen Opern von 1770 bis 1939’, AnMc, xxi (1982), 276–331 L.M. Kantner: ‘Das Messenschaffen Joseph Haydns und seiner italienischen Zeitgenossen: ein Vergleich’, Joseph Haydn: Tradition und Rezeption, ed. G. Feder, H. Hüschen and U. Tank (Regensburg, 1985), 145–59 M. Caraci: ‘Niccolò Zingarelli fra mito e critica’, NRMI, xxii (1988), 375–422 S. Balthazar: ‘Mayr, Rossini, and the Development of the Early concertato Finale’, JRMA, cvi (1991), 236–66 M. Caraci Vela: ‘Il “tragico colorito” della Musa zingarelliana dalla cantata da camera alla romanza da salotto’, Gli affetti convenienti all'idee: studi sulla musica vocale italiana, ed. M. Caraci Vela, R. Cafiero and A. Romagnoli (Naples, 1993), 423–52 A. De Bei: ‘Giuliettae Romeo di Nicola Zingarelli: fortuna ed eredità di un soggetto shakespeariano’, Aspetti dell'opera italiana fra Sette e Ottocento: Mayr e Zingarelli, ed. G. Salvetti (Lucca, 1993), 71–125 P. Peretti: ‘“All'armi franche”: una cantata rivoluzionaria di Niccolò Zingarelli (Jesi 1798)’, Gli affetti convenienti all'idee: studi sulla musica vocale italiana, ed. M. Caraci Vela, R. Cafiero and A. Romagnoli (Naples,1993), 453–81 C. Toscani: ‘Soggetti romantici nell'opera italiana del periodo napoleonico (1796–1815)’, Aspetti dell'opera italiana fra Sette e Ottocento: Mayr e Zingarelli, ed. G. Salvetti (Lucca, 1993), 13–70 F. Bruni and F. Refrigeri: ‘Musiche per le tre ore di agonia di N.S.G.C. Nuove fonti per lo studio della funzione del Venerdì santo in Italia’, NRMI, xxviii (1994), 483–506 C. Bongiovanni: ‘Una messa inedita autografa di Zingarelli a Piacenza’, Jommelli e musica religiosa in Italia alla fine del Settecento: tradizione e contaminazione nella produzione sacra del tempo: Aversa 1996 Zingarese, alla (It.: ‘in gypsy style’). A performance direction found particularly in virtuoso violin music of the late 19th century. Brahms marked the finale of his G minor Piano Quartet op.25 ‘Rondo alla zingarese’. See also Gypsy music.
Zingel, Hans J(oachim) (b Frankfurt an der Oder, 21 Nov 1904; d Cologne, 16 Nov 1978). German harpist and musicologist. He was the son of Rudolf Ewald Zingel (1876–1944), an organist, choral conductor and composer in Greifswald. From 1923 to 1927 he studied at the Staatliche Hochschule für Musik in Berlin with harp (under Max Saal) as his main subject. He then studied musicology under Max Schneider, with German literature and aesthetics as secondary subjects, at the universities of Berlin, Breslau (1927–8) and Halle (1928–30). He took the doctorate in Halle in 1930 with a dissertation on harp playing from the 16th century to the 18th. Harpist in the Städtische Orchester of Lübeck from 1932, he joined the Städtische Orchester of Halle in 1934 and the Gürzenich Orchestra in Cologne in 1938, where he remained until his retirement in 1969; he also played in the Bayreuth Festival Orchestra (1933–8, 1951–6). He became lecturer in harp (1948) and professor (1974) at the Staatliche Hochschule für Musik in Cologne. He published numerous studies on the history of harps and harp music as well as harp tutors and modern performing editions of early harp music. WRITINGS Harfe und Harfenspiel vom Beginn des 16. bis ins zweite Drittel des 18. Jahrhunderts (diss., U. of Halle, 1930; Halle, 1932/R) ‘Zur Bibliographie der Schulwerke für Harfe’, AcM, v (1935), 162–7 ‘Zur Geschichte des Harfenkonzerts’, ZMw, xvii (1935), 503–12 ‘Studien zur Geschichte des Harfenspiels in klassischer und romantischer Zeit’, AMf, ii (1937), 455–65 ‘Die Einführung der Harfe in das romantische Orchester’, Mf, ii (1949), 192–204 ‘Die Harfe in der Musik unserer Zeit’, Festschrift Max Schneider zum achtzigsten Geburtstag, ed. W. Vetter (Leipzig, 1955), 285–93 Harfenmusik … Verzeichnis der gedruckten und zur Zeit greifbaren Literatur für Pedalharfe (Hofheim, 1965) Neue Harfenlehre (Leipzig, 1967–9) König Davids Harfe in der abendländischer Kunst/King David's Harp as Represented in European Art (Cologne, 1968) Die Entwicklung des Harfenspiels von den Anfängen bis zur Gegenwart (Leipzig, 1969) Orchesterstudien für Harfe aus Orchesterwerken des 20. Jahrhunderts (Cologne, 1972) Harfenspiel im Barockzeitalter (Regensburg, 1974) Harfenmusik im 19. Jahrhundert (Wilhelmshaven, 1976; Eng. trans., 1992) Lexikon der Harfe: ein biographisches, bibliographisches, geographisches und historisches Nachschlagewerk von A–Z (Laaber, 1977) BIBLIOGRAPHY H.J. Zingel: ‘Zingel, Hans Joachim’, Rheinische Musiker, ii, ed. K.G. Fellerer (Cologne, 1962) [incl. complete list of publications to 1962] HANS HEINRICH EGGEBRECHT Zingoni [Singoni, Zingone], Giovanni Battista (b Florence, 1718/20; d Colliges [now Colligis], nr Laon, 21 April 1811). Italian tenor and composer. He studied in Naples at the Conservatorio di S Maria della Pietà dei Turchini. In 1749 he competed unsuccessfully for the post of maestro di cappella of S Stefano (dei Cavalieri) in Pisa. Between 1751 and 1752 he was active in Savona as a singer and maestro di cappella, and he held the same post at S Ambrogio in Alassio between March 1753 and December 1754. From 1756 onwards his career as a singer and composer took him to a number of European cities. In 1759 he joined the opera company of the De Amicis family; in the autumn of 1760 his opera Zenobia was performed in Amsterdam with Anna Lucia De Amicis in the title role. In 1762 the De Amicis company appeared, with Zingoni, in the Smock Alley Theatre in Dublin, where on 27 February of that year Zingoni's comic opera La creanza was performed. From the end of 1762 until May 1763 he was in London, where he sang secondary roles at the Haymarket Theatre under the direction of J.C. Bach. From February 1764 Zingoni was in Holland as maestro di cappella, composer and singer to the House of Orange. Leopold Mozart, in Holland at the time, refers to him as the ‘princesses' teacher’ at The Hague between the end of 1765 and 1766. The latter year saw the publication of his eight symphonies, op.1, in Amsterdam. These symphonies are conventional and well-crafted pieces, produced in a period when the genre was undergoing considerable development. As well as being praised by J.A. Hiller and appearing in the Breitkopf sales catalogue, the Paris publisher Simon Le Duc obtained the rights to reprint them in 1767. Documents indicate that from 1764 to 1768 and from 1778 to 1781 Zingoni received a salary from the Dutch court, which became an annual pension from 1782 to 1810. From 1786 he was living in Colliges, a small town near Laon, where he died in 1811, at about the age of 91. WORKS Dramatic
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Instrumental
BIBLIOGRAPHY MGG1 (K.H. Köhler) SartoriL M. De Smet: La musique à la cour de Guillaume V, Prince d'Orange (1748–1806) d'après les archives de la Maison Royale des Pays-Bas (Utrecht, 1973) C. Bongiovanni: ‘La carriera europea del tenore e compositore Giovanni Battista Zingoni (Firenze, 1718/1720–Colligis, 1811)’, La musica ad Alassio dal XVI al XIX secolo: storia e cultura, ed. G. Puerari (Savona, 1994), 505–59 CARMELA BONGIOVANNI Zink (i) (Ger.). See Cornett. Zink (ii) (Ger.). See under Organ stop. Zink, Benedict. See Zinck, Bendix Friedrich. |
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