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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 |
Zinzendorf, Nikolaus Ludwig von
(b Dresden, 26 May 1700; d Herrnhut, 7 May 1760). German religious leader. The founder in 1722 of the Renewed Moravian Church, he was from infancy subject to the ardent Pietism of both sides of his family, which was of noble lineage. Spener, the father of Lutheran Pietism, was his godfather. The early death of his father, and his mother's remarriage, left him under the care of his maternal grandmother on a country estate, where the precocious child acquired a deep sense of personal attachment to Christ. At the age of ten he went to Francke's school at Halle; his six years there were a time of difficult adjustment, but deepened his piety and zeal for future Christian service. As a nobleman Zinzendorf could not become a pastor. Reluctantly he studied at Wittenberg for three years in preparation for state service, privately reading more theology than law. A grand tour of cultural centres following university introduced him to men of differing religious views; thereafter doctrine was of lesser importance to him than the ‘heart religion’ which united all Christians. His own preference was the Augsburg Confession. On this tour he saw a painting of the crucified Saviour in Düsseldorf which implanted in him a lifelong fixation on the sufferings of Christ, vividly expressed in his hymns and other writings. In 1721 he half-heartedly accepted an appointment as councillor at the Saxon court. At the same time, a year before his marriage, he bought a manorial estate in Upper Lusatia, on which he hoped to foster Pietism. It became a haven for Moravian refugees seeking to revive the church of their forefathers, the Unitas Fratrum (Unity of Brethren). Named Herrnhut, this settlement became the prototype for others in Europe and America. After 1727 he gave all his time to the emerging Moravian Church of which he later became a bishop. Exiled from Saxony from 1736 to 1747 for his religious innovations, he became the ‘pilgrim count’, travelling on behalf of Pietist societies in Europe and missions overseas. To Zinzendorf, singing had above all to express Christian experience. He himself wrote some 2000 hymns and stimulated others to write. Most Moravian hymns were sung to German chorale tunes. Gifted with a fine voice, he led song services and initiated the famed Singstunde, a service built around stanzas spontaneously but skilfully chosen to form a unified theme. He believed that only memorized hymns could express the Christian's deepest feelings. Zinzendorf was original and imaginative, and directed his congregations to make the widest possible use of organs, orchestras, brass ensembles and choirs. The Moravian Church under his direction absorbed much of the rich musical life of 18th-century Germany. He also encouraged the use of music to add enjoyment and enthusiasm to the performance of daily tasks. He reinstated the love-feast (agapē) of the New Testament Church, which in the Moravian Church has become a musical service during which the congregation eats a simple meal. Zinzendorf published many hymns, sacred texts and other writings; a collected edition has been published, edited by E. Beyreuther and G. Meyer (Hildesheim, 1962–6). See also music of the Moravians. BIBLIOGRAPHY J.T. Hamilton: A History of the Church Known as the Moravian Church (Bethlehem, PA, 1900/R) J.R. Weinlick: Count Zinzendorf (Nashville, 1956/R) E. Beyreuther: Zinzendorf und die Christenheit (Marburg, 1961) A.J. Lewis: Zinzendorf, the Ecumenical Pioneer (London, 1962) D. Meyer, ed.: Bibliographisches Handbuch zur Zinzedorf-Forschung (Düsseldorf, 1987) JOHN R. WEINLICK Zipoli, Domenico (b Prato, 16/17 Oct 1688; d Santa Catalina, nr Córdoba, Argentina, 2 Jan 1726). Italian organist and composer. He was the sixth child born to Sabatino Zipoli and Eugenia Varrochi. The Prato Cathedral organist-choirmasters in his youth were both Florentines: Ottavio Termini (from 1703) and Giovanni Francesco Beccatelli. On 12 September 1707 he petitioned Cosimo III, Grand Duke of Tuscany, for six scudi monthly so that he could study at Florence, where the cathedral organist from 1703 was Giovanni Maria Casini. On 2 February and 9 March 1708 he cooperated with Casini, Caldara, Gasparini and 20 others in composing an oratorio produced at Florence under the supervision of Orlandini by the Compagnia di S Marco, and later that year at the Oratorians’ church in a version with arias by Zipoli replacing those of Omodei Sequi. Supported by a further ducal charity grant, he moved to Naples in 1709 for lessons with Alessandro Scarlatti but left in the same year after disagreements and went to study at Bologna under Lavinio Felice Vannucci; he next went from Bologna to Rome for lessons with the veteran Bernardo Pasquini. Staying in Rome after Pasquini’s death in 1710, he composed two oratorios of which only the librettos survive, S Antonio di Padova (1712) and S Caterina vergine, e martire (1714). In 1715 he was appointed organist of the Jesuit church at Rome and the next year published the keyboard collection on which his fame rests, Sonate d’intavolatura. The Princess of Forano to whom he dedicated the work, Maria Teresa Strozzi, may have been related to the bishop, Leone Strozzi, who had confirmed him at Prato Cathedral on 2 May 1699. Throughout his stay in Rome Zipoli lodged with Filippo Baldocci, prior of S Giovanni dei Fiorentini. Zipoli joined the Society of Jesus on 1 July 1716, and soon after went to Seville to await passage to the Paraguay province. With 53 other prospective Jesuit missionaries he sailed from Cádiz on 5 April 1717. After a violent storm he and the others disembarked in July at Buenos Aires, and after 15 days set out for Córdoba. By 1724 he had completed with distinction the required three years each of philosophy and theology at the Jesuit Colegio Máximo and university in Córdoba. He was ready to receive priest’s orders in 1725, but died (of tuberculosis) without them for lack of a bishop in Córdoba to ordain him that year. Zipoli was one of many excellent musicians recruited by the Jesuits between 1650 and 1750 for work in the so-called Paraguay reductions. His music was much in demand in South America: the viceroy in Lima asked for copies, and as late as 1784 a three-part orchestrally accompanied mass was copied in Potosí and sent to Sucre (Higher Peru, now Bolivia). Jesuit documents of 1728, 1732 and later note his continuing reputation up to at least 1774 in Yapeyú and other Guarany Indian villages from which Europeans were excluded; at one mission, S Pedro y S Pablo, nine ‘motetes’ by Zipoli were listed among the effects left after the expulsion of the Jesuits. In the 1970s some 23 works by Zipoli (including copies of known keyboard pieces) were discovered among a large collection of manuscripts at the San Rafael and Santa Ana missions in eastern Bolivia (they are now deposited at Concepción, Apostolic Vicariate of Ñuflo de Chávez). At San Rafael the Swiss Jesuit Martin Schmid (1694–1772) may have prepared a Spanish drama celebrating the lives of Loyola and Francis Xavier, which ended with a paragraph in the Chiquitano language summarizing the moral of the drama. In 1997 the Argentine scholar Bernado Illari interpolated excerpts into this (including some possibly by Zipoli) to form an ‘opera’, S Ignacio. The charm and winsomeness of Zipoli’s 1716 keyboard works inspired their republication in London by Walsh and in Paris (1741; the harpsichord music only). The first part, for organ, consists of a brilliant prefatory toccata followed by five sets of short versos, each set ending with a canzona (of which much the most elaborate is the last in G minor), two elevations, a post-communion, an offertory and a folklike pastorale. The second part, for harpsichord, contains four short dance suites and two partitas (or variations). Zipoli moved freely between keys, timed his modulations exquisitely, never laboured an imitative point, made a virtue of concision, and wrote melodies instead of mere contrapuntal lines. His South American mass, copied at Potosí in 1784, closing with the ‘Osanna’, exhibits similar virtues. He was the most renowned Italian composer to go to the New World in colonial times and the most famous to have chosen the Jesuit order. WORKS Oratorios Only librettos extant
Other works
BIBLIOGRAPHY MGG1 (L.F. Tagliavini) StevensonRB G. Fúrlong Cardiff: ‘Domenico Zipoli músico eximio en Europa y América, 1688–1726’, Archivum historicum Societatis Iesu, xxiv (1955), 418–28 [with reproductions of original documents] L. Ayestarán: Domenico Zipoli: vida y obra (Buenos Aires, 1962) S. Claro: ‘La música en las misiones jesuitas de Moxos’, RMC, no.108 (1969), 7–31, esp. 22–6, 30 F.C. Lange: ‘Der Fall Domenico Zipoli: Verlauf und Stand einer Berichtigung’, Musicae scientiae collectanea: Festschrift Karl Gustav Fellerer, ed. H. Hüschen (Cologne, 1973), 327–55 F.C. Lange: ‘O caso Domenico Zipoli: uma retificação histórica – a sua Opera Omnia’, Barroco (Belo Horizonte, 1973), no.5, pp.7–44 J.P. Franze: ‘La obra completa para órgano de Domenico Zipoli’, Buenos Aires musical, no.466 (1974) S. Erickson-Bloch: The Keyboard Music of Domenico Zipoli (diss., Cornell U., 1975) R. Stevenson: ‘Ginastera's Arrangement of an Organ Toccata by Domenico Zipoli’, LAMR, vi (1985), 94–6 R. Stevenson: ‘Zipoli's Transit Through Dictionaries, a Tercentenary Remembrance’, Inter-American Music Review, ix/2 (1987–8), 21–89 T.F. Kennedy: ‘Colonial Music from the Episcopal Archive at Concepción, Bolivia’, LAMR, ix (1988), 1–17 W.A. Roldán: ‘Catálogo de manuscritos de música colonial de los archivos de San Ignacio y Concepción (Moxos y Chiquitos), de Bolivia’, Revista del Instituto de investigación musicológica Carlos Vega, xi/11 (1990), 225–478 P. Nawrot: Vespers Music in the Paraguay Reductions (diss., Catholic U. of America, 1993) P. Nawrot: Introduction to Musica vesperarum in Chiquitorum reductionibus Boliviœ (1691–1767): opera Dominici Zipoli ac anonymorum magistrorum jesuitarum et indigenarum (Concepción, Bolivia, 1994) ROBERT STEVENSON Ziporyn, Evan (b Chicago, 1959). American composer and clarinettist. He took the BA at Yale (1981) and the MA and doctorate at the University of California, Berkeley. His composition teachers included Bresnick, Imbrie, Grisey, Lewin, Schwantner, Felciano and Anthony Davis. He also studied the clarinet (with Keith Wilson), Balinese drumming and jazz performance. After graduating from Yale, Ziporyn spent a year in Bali studying under I Made Lebah. From 1990 he taught at the MIT, in 1993 he became director of the ensemble Gamelan Galak Tika (a group that has provided him with opportunity to explore combinations of Indonesian and Western instruments) and in 1977 he joined the staff at Yale. For several years he has been a prominent performer at the New York Bangon a Can festival. Ziporyn's career embodies jazz clarinet playing, composition in a postmodernist vein and ethnomusicology. Not surprisingly, his music embraces the differences between music cultures. For instance, in Luv Time (1984) three saxophones perform riffs in the style of John Coltrane against a background of rubato piano chords and Balinese percussion, while Tree Fire (1994) blends electric guitars and synthesizers (and the musical rhetoric of such instruments) with a Balinese gamelan using traditional techniques. Much of his music features virtuoso clarinet writing (he is also an accomplished bass clarinettist) and repetitive harmonic progressions, affecting accessibility and the suggestion of jazz. WORKS
WRITINGS ‘It's Monk's Time’, PNM, xx (1981–2), 10–11 with J. Bauberger: ‘Getting it Wrong’, Worlds of Music, xxxiv/3 (1992–3), 22–56 [a study of Balinese ornamentation and pedagogical techniques] ‘Who Listens if you Care’, New Observations (1991), wint.; repr. in StrunkSR2, vii KYLE GANN Zipp, Friedrich (b Frankfurt, 20 June 1914; d Freiburg, 7 Oct 1997). German composer, teacher and organist. In 1933 he attended the Hoch Conservatory in Frankfurt, where he studied the organ with Walcha and composition with Sekles, and also studied at the university of Frankfurt. From 1934 to 1938 he continued his studies at the Staatliche Hochschule für Musikerziehung und Kirchenmusik in Berlin-Charlottenburg, where his teacher of composition was Armin Knab. Under Knab’s influence Zipp developed a keen and lasting interest in German and international folk music and particularly the treasury of old chorale tunes. He learnt to compose with the most archaic musical elements, convinced that they would best convey his personal musical expression. From 1938 until his war service (1941–5) he was active in Frankfurt as an organist and teacher. In 1947 he was appointed lecturer in composition at the Staatliche Hochschule für Musik in Frankfurt, later becoming a professor (1962–76). Zipp’s sacred composition was guided by his conviction that genuine church music depends upon the composer’s inner relationship to the liturgy and to the laity. ‘Hence, we should have the courage to compose in a modest style’, he stated, ‘realizing that the simplest solution is often the best’. Rejecting 12-note, serial and electronic techniques, Zipp produced spirited music for use in church services, and a quantity of Gebrauchsmusik for church musicians, amateurs, laity and children. His use of intervals is unpretentious, involving parallel 4ths, 5ths and octaves and unresolved 7ths; there are brief modal excursions, and simple counterpoints, creating rather frugal and at times archaic music, its simple musical structure enabling audiences immediately to understand his work. In his efforts to reach lay choirs, Zipp revived Junktim and Alternatimpraxis; he also cultivated medieval, Renaissance and Baroque figurations, part-writing and forms. Zipp’s investigation of the entire Pythagorean tradition led him to favour a form of tonality which consistently grants structural priorities (also in chords and intervals) to the lower ‘enmelic’ pitches of the overtone series. This remained a feature of his organ chorale preludes, toccatas, arrangements and ‘free pieces’. His subtle melodic gifts aided him in attaining a welcome and expressive folksong-like style of great economy and unaffected simplicity. WORKS (selective list)
WRITINGS Vom Wesen der Musik (Heidelberg, 1974) Vom Urklang zur Weltharmonie (Kassel, 1985) De musica: gesammelte Aufsätze (Kassel, 1989) Volkslied und Choral in Schaffen von Armin Knab (Kassel, 1991) BIBLIOGRAPHY MGG1 (E.F. Flindell) O. Riemer: ‘Friedrich Zipp’, Musica, xiv (1960), 12–15 A. Ullmann: ‘Er fahrbar, Einfach-Friedrich Zipp’ Frankfurter Rundschau (14 Aug, 1990) M. Töpel: ‘Friedrich Zipp, “Sonne der Gerechtigkeit” …’, Musica, xlviii (1994), 250 only E. FRED FLINDELL Zirler, Stephan [Cirlerus, Stephanus; Zyrlerus, Stephanus; Zierler, Steffan] (b Rohr, Bavaria, c1518; d Heidelberg, end of July 1568). German composer. In 1529 or 1530 he was a chorister in the electoral court in Heidelberg, where he met Georg Forster, Caspar Othmayr and Jobst von Brandt and, like them, studied with Lorenz Lemlin. Forster later dedicated to Zirler the fourth part of his Frische teutsche Liedlein (Nuremberg, 1556) as a seal to the friendship formed in Heidelberg. In 1537 Zirler became a student at Heidelberg University, and then was made an official at the Palatine court in Heidelberg, eventually serving as personal secretary to Elector Friedrich III. In his religious belief Zirler inclined towards Calvinism. All except one of Zirler’s 23 songs were published in Forster’s Frische teutsche Liedlein. Most of them retain the principle of the tenor cantus firmus, though the tenor has largely lost the character of a leading voice, the texture being either imitative or chordal. These songs were popular in their day, and there are transcriptions for lute or organ in the collections of Ochsenkun, Jobin, Neusidler, Schmid and Paix. In 1569 Clemens Stephani published a Latin psalm setting for four voices. WORKS
BIBLIOGRAPHY C.P. Reinhardt: Die Heidelberger Liedmeister des 16. Jahrhunderts (Kassel, 1939) G. Pietzsch: Quellen und Forschungen zur Geschichte der Musik am kurpfälzischen Hof zu Heidelberg bis 1622 (Mainz, 1963) FRANZ KRAUTWURST Zirra, Alexandru (b Roman, 2/14 July 1883; d Sibiu, 23 March 1946). Romanian composer and teacher. He studied at the Iaşi Conservatory (1902–5) with G. Musicescu, T. Cerne (harmony) and E. Mezzetti (singing), and then took composition lessons with C. Gatti at the Milan Conservatory (1905–7, 1909–11). Returning to the Iaşi Conservatory to teach harmony (1907–9, 1911–25, 1931–40), he directed the institution from 1922 until 1924, and he was also professor of harmony and singing and director of the Cernăuţi Conservatory (1925–31, now Chernovtsy, Ukraine); in these appointments he established a reputation as a remarkable teacher. As a composer he was above all attracted to the theatre. Most of his six stage works are based on episodes in Romanian history, and all attest to his supreme handling of the dramatic-lyrical genre of which, with Caudella, Drăgoi, Nottara and Stephănescu, he was an originator. His greatest achievements in this manner were the opera Alexandru Lăpuşneanu and the musical fairytale for children Capra cu trei iezi (‘The Goat with Three Kids’). Zirra’s operas give pride of place to the choruses and vocal lines, and there is extensive use of ideas from folk music: recitatives in folk style, melodies built from doina motifs, modal harmonies and an orchestration influenced by folk instruments. Occasionally Zirra drew on Byzantine chant, as in the friars’ chorus in the third act of Alexandru Lăpuşneanu, producing excellently effective results. He had a gift for treating powerful dramatic conflicts, despite his essentially lyrical temperament, and this predilection may explain the large number of programmatic orchestral works. The symphonic poems, suites and even the symphonies are based on literary ideas, generally concerned with the village life and landscape of Zirra’s native Moldavia. Again the material is rooted in the music of the Gypsies and peasants. Zirra collected folksongs in his youth, and his early works were largely songs in a folklike style. WORKS (selective list)
BIBLIOGRAPHY A. Schmidt: Alexandru Zirra: viaţa în imagini [Zirra: a life in pictures] (Bucharest, 1967) V. Cosma: Muzicieni români: lexicon (Bucharest, 1970), 469–70 A. Zirra: ‘Păreri critice asupra muzicii româneşti’, Studii de muzicologie, xviii (Bucharest, 1984), 59–94 C. Catrina: ‘Alexandru Zirra şi revista “Izvoraşul”’, Muzica, new ser., vi/2 (1995), 139–45 VIOREL COSMA Ziryāb [Abū ’l-Hasan ‘Alī ibn Nāfi‘] (b Iraq; d Córdoba, Spain, Aug 852). Arab musician. A mawlā (‘freedman’) of Caliph al-Mahdī (775–85) at Baghdad, he was a pupil of Ibrāhīm al-Mawsilī and a rival of Ishāq al-Mawsilī at the court of Hārūn al-Rashīd (786–809). He left Baghdad for Syria, served the Aghlabid ruler Ziyādat Allāh (817–38) in Qairawan (Tunisia), and later received a generous welcome from ‘Abd al-Rahmān II (822–52) in Córdoba. His influence there as a court musician and companion (nadīm) must have been exceptional: customs in clothing and eating that he had brought from Baghdad became fashionable, and the tradition of his school of music was maintained by his descendants at least two generations after his death. Like his contemporary al-Kindī he seems to have known the musical theory of late antiquity and to have reconciled it with the teachings of his masters in Baghdad. Details of his vocal training techniques are described by Ibn Hayyān (d 1076) in his Kitāb al-muqtabis (‘Enlightening book’) cited by al-Maqqarī (d 1632) in his Nafh al-tīb, a history of Muslim Spain. Like some of his colleagues in Baghdad he is said to have introduced a fifth string on the lute, to have replaced the wooden plectrum with a plectrum made from an eagle’s wing feather and to have improved the resonance and purity of tone of the lute. The first steps in the development of the later four-movement nawba (nūba) are perceptible in his performing practice as described by Ibn Hayyān. A collection of his song texts was made by Aslam ibn ‘Abd al-‘Azīz, the brother of one of his sons-in-law. BIBLIOGRAPHY EI2 J. Ribera: La música de las cantigas (Madrid, 1922; Eng. trans., 1929/R as Music in Ancient Arabia and Spain), 100–07 H.G. Farmer: Historical Facts for the Arabian Musical Influence (London, 1930/R), 28, 241, 308 H.G. Farmer: ‘The Minstrels of the Golden Age of Islam’, Islamic Culture, xviii (1944), 56 R. d’Erlanger: La musique arabe, v (Paris, 1949), 388ff K. al-Wahhābī: Marāji‘ tarājim al-udabā’ al-‘arab [Source materials for the biographies of Arabian littérateurs], iii (Nejef, 1958), 128–9 E. Neubauer: ‘Der Bau der Laute und ihre Besaitung nach arabischen, persischen und türkischen Quellen’, Zeitschrift für Geschichte der arabisch-islamischen Wissenschaften, viii (Frankfurt, 1994), 279–378 ECKHARD NEUBAUER Zister [Ger.]. See Cittern. Zítek, Vilém (b Prague, 9 Sept 1890; d Prague, 11 Aug 1956). Czech bass. He was apprenticed and worked as a mechanic; at 18 he joined a choral society, then entered Pivoda’s school of singing as a pupil of Alois Vávra (1909–11). In 1912 he joined the Prague National Theatre, at first in small parts; he also performed in plays and ballets. In the 1920s and 30s he was the company’s leading member and was given many opportunities by Otakar Ostrčil, then head of opera, with whom Zítek maintained a close friendship and who greatly valued him as an artist. Zítek studied with Giovanni Binetti in Milan in 1925 and then took short engagements in Turin, Copenhagen, Milan, Stockholm, Paris, Berlin, Florence, Yugoslavia and the USSR. He was the first Czech singer to be made National Artist (1946); his career was cut short by a heart attack in 1947. Zítek had a sonorous, perfectly controlled voice of wide compass and with rich possibilities of expression and timbre, an outstanding ability as an actor (acquired by studying the great Czech actor, Eduard Vojan) and a highly developed feeling for the heroic. Among the most remarkable of his dramatic roles were Vodník in Rusalka (Dvořák), Kecal in The Bartered Bride, the Devil in The Devil’s Wall and Chrudoš in Libuše (by Smetana), Boris Godunov, Mozart's Figaro, Don Giovanni, Pizarro, Don Quichotte and Philip II in Don Carlos. His performances were often compared with Chaliapin’s, whom as a singing-actor he much resembled. BIBLIOGRAPHY ČSHS H. Thein: Vilém Zítek (Prague, 1947) [incl. summary of repertory and his autobiography ‘How I Began and Continued’] A. Rektorys, ed.: Korespondence Otakara Ostrčila s Vilémem Zítkem (Prague, 1951) [incl. detailed account of activities at the National Theatre] V. Pospíšil: ‘Jubileum národního umělce Viléma Zítka’ [The anniversary of Vilém Zítek, National Artist], HRo, viii (1955), 704 only F. Pujman: ‘Vilému Zítkovi na rozloučenou’ [Farewell to Zítek], HRo, ix (1956), 643–4 [obituary] E. Kopecký and V. Pospíšil: Slavní pěvci Národního divadla [Famous singers of the National Theatre] (Prague, 1968) V. Procházka, ed.: Národní divadlo a jeho předchůdci [The National Theatre and its predecessors] (Prague, 1988) [incl. list of repertory and discography] ALENA NĚMCOVÁ Zither. A term having two main senses in modern organology. The first denotes (in both English and German) a large category of string instruments also known as ‘simple chordophone’ (defined in §1 below); the second, more limited and perhaps more familiar sense refers to a small group of Alpine folk and popular instruments. From the late 15th century the term ‘zither’ was used exclusively to denote chordophones with necks, of the cittern type. It was only from the early 19th century that the name began to be used for descendants of the north European Scheitholt type of instrument (see §§2 and 3 below), which had no neck and frets placed directly on the box. From the Scheitholt evolved the modern Alpine instrument still known as the zither (Fr. cithare; Ger. Zither; It. cetra da tavola); other types of fretted zither are found elsewhere in Europe. 1. The generic term. 2. The modern Alpine zither. 3. Other fretted zithers. 4. East and South-east Asia. BIBLIOGRAPHY MARK LINDLEY (1), ANDREAS MICHEL (2–3), ALAN R. THRASHER (4) Zither The generic term. According to the classification system of Hornbostel and Sachs (1914; see Chordophone), a zither is a ‘simple chordophone’, consisting solely of a string bearer (and its string or strings) or of a string bearer with a resonator that can be detached without destroying the sound-producing apparatus. Zithers are thus distinguished from ‘composite chordophones’, such as harps and lutes, in which the string bearer and a resonator are organically united and cannot be separated without destroying the instrument. Whereas the strings of a lute or lyre extend past the face of the instrument along a neck or out to a yoke, and those of a harp extend away from the soundboard, the strings of a zither do not go beyond or away from the body of the instrument. The variety of musical instruments that fit this description can be seen in fig.1. Zither |
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, 3 tpt, 2 trbn (1960); ‘Sonne der Gerechtigkeit’, 2 tpt, 2 trbn, org (1966); Tokkata, pastorale e fantasia, cl/va, pf (1992)