Zink, Harnack Otto Conrad.

See Zinck, Hardenack Otto Conrad.

Zinman, David (Joel)

(b New York, 10 July 1936). American conductor. After early violin studies at the Oberlin Conservatory he studied theory and composition at the University of Minnesota and took up conducting at Tanglewood. He then worked in Maine with Monteux (1958–62), serving as his assistant from 1961 to 1964. Zinman was principal conductor of the Netherlands Chamber Orchestra from 1965 to 1977, music director of the Rochester PO from 1974 to 1985 and chief conductor of the Rotterdam PO from 1979 to 1982. After two years as principal guest conductor, Zinman was appointed music director of the Baltimore SO in 1985, a position he held until 1998. With that orchestra he made important recordings (including a series of Schumann symphonies and much American music) and transformed a regional ensemble into a leading American institution, his musical strengths complemented by an engaging manner, a deep commitment to music education and community relations, deft use of the media and self-deprecating humour (‘I am the Mel Brooks of the violin’, he once declared). He has also appeared with leading orchestras and festivals in the USA, Canada and Europe. Zinman has given numerous premières at Baltimore and elsewhere, including works by Adams, Bolcom, Danielpour, Daugherty, Kernis, Kirchner, Rouse and Torke. His recording of Gorecki’s Symphony no.3 with the London Sinfonietta was an international bestseller. Zinman became music director of the Zürich Tonhalle Orchestra in 1995 and the following year was appointed music director of the Aspen Festival and received the Peabody Award from Johns Hopkins University.

CHARLES BARBER

Zinsstag, Gérard

(b Geneva, 9 May 1941). Swiss composer and flautist. He studied the flute at the Geneva Conservatory, the Paris Conservatoire and the Accademia Chigiana, Siena. After playing in various European orchestras (1964–7), he became a member of the Zürich Tonhalle-Orchester (1967–75). It was during this period that he began to study composition, working with Hans Ulrich Lehmann at the Zürich Conservatory (1973–5) and privately in Stuttgart and Hanover with Helmut Lachenmann (1975–7). From 1976 to 1978 he was an active participant in the Darmstadt summer school. He later lived in the USA (1979–80, 1983), Berlin (1981–2) and Paris (1982), where he worked at IRCAM. In 1986 he co-founded the Tage für Neue Musik Zürich with Thomas Kessler, serving as co-director until 1994. His honours include the title of guest of honour at the Leningrad Spring Festival (1990) and a sabbatical grant from the city of Zürich (1991).

Zinsstag is interested in the antithesis of harmony and discord, ‘finished sounds’ and open-ended noises, illusion and reality. He tries to eliminate such distinctions by relating the musical to the extra-musical, manipulating beautiful sounds until they are unrecognizable and showing the beautiful side of ugliness. His works have been influenced by philosophers and writers such as Samuel Beckett, Christopher Caudwell, Jean-Paul Sartre and Leon Trotsky (Foris, 1979), Ernst Bloch and Karl Marx (Trauma, 1980–81) and Edmund Husserl (Tempor, 1991–2). Frequently including musical quotations, his music oscillates between the poles of matter and memory. His imagination for sound and his increasing interest in dance, singing and folk music (such as in Espressivo, 1990) have led to vibrant, colourful compositions.

WORKS

Vocal: wenn zum beispiel … (F. Mon), 4 spkr, trbn, db, pf, 2 perc, 1975; Hülsen … oder die irrfahrt des Kerns), 4vv, speaking chorus, str sextet, 2-track tape, 1977; Trauma, chorus, 1980–81; eden jeden (C. Bremer), Mez/A/Bar, 14 insts, tape, 1987; Hommage à Charles Racine, Mez, 8 insts, 1997

Orch: Innanzi, db, orch, 1978; Foris, 1979; Altération, chbr orch, 1980; Tempi inquieti, pf, 2 perc, orch, 1984–6; Anaphores, pf, orch, 1989; Alteration, chbr orch, 1991, frag.; Tahir, va, str orch, perc, 1995

Chbr and solo inst: Déliements, fl, org, 1975; Tatastenfelder, 3 typewriters, pf, tape recorder, 1975; Suono reale, pf, 1976; Perforation, 2 vc, elec gui, 2 pf, 3 perc, 1980; Incalzando, 2 pf, 1981; Artifices I, 18 insts, 1982–3; 7 Frags., str qt, 1982–3 [nos. 1, 2, 3, 6, 7 arr. as 5 Frags.]; Cut Sounds, org, 1984, rev. 1991; Stimuli, va, vc, db, 1984; Artifices II, 2 tapes, 10 insts, elecs, 1988; Espressivo, cymbals, 13 insts, 1990; Tempor, fl, cl, str trio, pf, 1991–2; Diffractions, 3 perc, 1993; Artifices III, fl, cl, elec gui, synth, perc, elecs, 1994; Str Qt no.2, 1994–5; … u vremenu rata …, perc, 1994; Ergo, pf, small wind ens, perc, 1996

Principal publishers: Salabert, Edition Modern

BIBLIOGRAPHY

T. Meyer: ‘Aus dem Prozess des Komponierens heraus’, Tages-Anzeiger [Zürich] (13 Oct 1979) [interview]

P. Szendy: ‘Gérard Zinsstag: Matière et mémoire’, Dissonanz, no.31 (1992), 14–18

M. Zenck: ‘Im Zustand der Erschöpfung: Kategorien im Musikdenken von Gérard Zinsstag’, MusikTexte, no.52 (1994), 5–13

J.-N. von der Weid: ‘Gérard Zinsstag’, Contemporary Swiss Composers (Zürich, 1996)

ANTON HAEFELI

⇐ Предыдущая29303132333435363738Следующая ⇒

Поделиться: