|
Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
|
|
Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zorin, Dementy Alekseyevich
(b c1755; fl 1777). Russian composer. He wrote the earliest Russian opera (i.e. Singspiel) to survive in its entirety. Pererozhdeniye (‘The Rebirth’), concerning an old woman who is magically transformed into a young beauty, was given for the first time in Moscow (Theatre on the Znamenka) on 8/19 January 1777. The St Petersburg première took place in 1779, and it is to this production, for which the music may have been revised, that the extant score pertains (in RU-SPtob; chorus and aria in Ginzburg, other excerpts in Rabinovich). The author of the libretto, translated by Zakhar Krïzhanovsky (from a language unspecified but almost certainly French), is unknown. For the most part the music is written na golosï, that is, to the tunes of existing folksongs and popular songs. BIBLIOGRAPHY IRMO MooserA A.S. Rabinovich: Russkaya opera do Glinki [Russian opera before Glinka] (Moscow, 1948) A.A. Gozenpud: Muzïkal'nïy teatr v Rossii ot istokov do Glinki: ocherk [The musical theatre in Russia from its origins to Glinka: a study] (Leningrad, 1959) Yu.V. Keldïsh: Russkaya muzïka XVIII veka [Russian music of the 18th century] (Moscow, 1965) RICHARD TARUSKIN Zorita [Çorita], Nicasio (b ?Aragon, c1545; d ?Tarragona, after 1592). Spanish composer. It seems (according to StevensonSCM) that he lived in Valencia until 1578, when he was appointed maestro de capilla of Tarragona Cathedral, a post in which he remained until at least 1589. He was offered a higher salary than was normal, having promised to bring to Tarragona – after a brief return to Valencia – a talented choirboy, a male alto and a castrato. His remarkable Liber primus … motectorum (Barcelona, 1584), which has not been preserved complete, contained 30 four-voice motets, two of them in two parts, and 19 five-voice motets, one – for St Thecla, patron saint of Tarragona – in two parts. It was published by Hubert Gotard, who only a year later brought out the famous collection of madrigals by Joan Brudieu. Zorita’s prestige was attested by contemporaries such as the poet and Greek scholar Juan Felipe Mey, whose sonnet in the composer’s honour was included in the motet volume, and in particular Pietro Cerone, who praised him highly in El melopeo y maestro (Naples, 1613/R, p.109); the relevant passage of Cerone’s treatise was misinterpreted by Pedrell and others as an accusation of plagiarism. A copy of the bass part of the Liber primus survives in a South American archive (CO-B), and the motets in E-Bc were copied alongside works by Palestrina, Guerrero and others. In the motet Pueri hebraeorum and in his less well-known works Zorita shows technical mastery and artistic expressiveness which bear comparison with the greatest composers of Renaissance Spain. WORKS (selective list)
BIBLIOGRAPHY StevensonSCM F. Pedrell: ‘Libros de música españoles raros o desconocidos’, Revista critica de historia y literatura españolas, portuguesas e hispanoamericanas, iv/7–10 (1899), 302–8, 420–25 R. Stevenson: ‘The Bogotá Music Archive’, JAMS, xv/3 (1962), 292–315, esp. 310–11 ALVARO ZALDÍVAR Zorn, John (b New York, 2 Sept 1953). American composer and saxophonist. As a child he attended the United Nations School, where he had composition lessons with Leonardo Balada and Charles Turner. Later, as a student at Webster College (St Louis), he came into contact with members of the Black Artist Group (BAG) and the Association for the Advancement of Creative Musicians (AACM) and began to play the saxophone. After a stay on the West Coast, he returned to New York in 1974, making his mark as a virtuoso saxophonist on the lively Lower East Side improvisation scene that grew up around such musicians as Eugene Chadbourne, Tom Cora, Fred Frith, Arto Lindsay, Christian Marclay and Elliott Sharp. In an effort to introduce structure into free improvisation, Zorn developed so-called ‘game pieces’, such as School, Pool, Archery and Cobra, that steer musicians’ interaction without specifying either the material or syntax of individual parts. His commercial breakthrough came with the release of the Morricone arrangements on the LP The Big Gundown (1986). Here, and in succeeding works, he employed abrupt, block-like alternations of contrasting styles and sound-types noted on index cards (hence the name ‘file card pieces’) to structure the music. His liking for extremes of tempo and dynamics led to the founding (around 1990) of groups such as Naked City and Painkiller, in which he engaged with Pop-Underground genres such as Trash and Speed Metal. In 1992 Zorn and Marc Ribot formulated the manifesto of what they called a ‘radical Jewish culture’, the intention of which was to bring out and make visible the Jewish components of American culture. Zorn’s Holocaust work Kristallnacht (1992) was the first to document his engagement with his Jewish roots. Later, with ensembles such as Masada and Bar Kokhba, he used melodies inflected by Middle Eastern modality as the basis for jazz-inspired improvisation. Fully notated works such as Redbird (1995), a piece for chamber ensemble influenced by Morton Feldman, attested to a move away from the primacy of stark contrasts and rapid alternations. The most charismatic figure in New York’s Lower East Side music scene, Zorn has been an archetypal example of the composer in the media age; he ignores the boundaries that have evolved between genres and takes inspiration from every kind of music available. His widely varied influences have included the music of Ives, Partch, Cage and Kagel, as well as Carl W. Stalling, a composer of animated cartoon scores, the hard-core band Napalm Death and improvisers such as Derek Bailey, Ornette Coleman and Anthony Braxton. Rejecting the Western concept of the autonomous genius-composer, he has created an aesthetic of productive collaboration and radical eclecticism. As well as composing and playing the saxophone, he has managed the avant-garde record label Tzadik. RECORDINGS (selective list)
BIBLIOGRAPHY H. Mandel: ‘I Have a Lot of Little Tricks’, Ear, xi/2 (1986–7), 16–17 [interview]; repr. as ‘Ich habe viele kleine Tricks’, MusikTexte, xxiii (1988), 28–30 E. Strickland: ‘Spillane, the Works … Looking for Zorn’, Fanfare, xi/5 (1987–8), 344–55 A. Lange: ‘Der Architekt der Spiele’, NZM, Jg.152, no.2 (1991), 33–7 [interview] P.N. Wilson: ‘Früchte des (John) Zorn’, NZM, Jg.152, no.2 (1991), 40–43 G. Huesmann: ‘John Zorn: von der Verfügbarkeit der Töne’, Die Befreiung der Musik, ed. F.X. Ohnesorg (Cologne, 1994), 319–37 A. Jones: Plunderphonics, 'Pataphysics & Pop Mechanics (Wembley, 1995), 143–54 W. Duckworth: Talking Music (New York, 1995), 444–75 PETER NIKLAS WILSON Zoroastrian [Zarathustran] music. See Iran, §I, 5. Zorzi, Juan Carlos (b Buenos Aires, 11 Nov 1935; d Buenos Aires, 25 Aug 1999). Argentine and Italian composer and conductor. He studied in Buenos Aires at the Municipal Conservatory (1947–51), composition with Gilardi at the National Conservatory (1952–7) and conducting with Mariano Drago at the National University of La Plata (1957–65). From 1965–7 he studied in Italy, at the Accademia di S Cecilia, Rome (composition with Petrassi) and at the Accademia Musicale Chigiana, Siena (conducting with Franco Ferrara). His career as a conductor began in Buenos Aires in 1955. He conducted all the leading Argentine orchestras and toured the American continent and occasionally Europe. He was principal conductor of the National SO (1968–9; 1979–83; 1992) and of the Rosario SO (1977–90) and has appeared frequently at the Teatro Colón, Buenos Aires, conducting both operas and concerts. He composed music in many genres, including film music. His opera El timbre uses a technique invented by him, espejos intervalicos (intervallic mirrors). His other two operas, Antigona Velez and Don Juan, use Argentine subject matter and refer to Argentine folk and popular music. Both combine tonal with atonal passages, in accordance with the requirements of the libretto, and they are related to Argentine national opera and zarzuela. All three operas were conducted by the composer and gained quick public acceptance. WORKS (selective list)
JUAN MARÍA VENIARD Zorzor, Stefan (b Oradea, 4 April 1932). Romanian composer, active in Germany. He began to learn the piano at the age of seven. The imprisonment of his father by the communist regime in 1950 meant that he was intimidated and deliberately marginalised for many years. After working in a factory Zorzor enrolled at the Bucharest Academy in 1951 but was expelled after a year; he worked to support his family, was drafted into the army (1953–6), then battled to gain re-admission to the Academy. He studied composition there with Andricu, then with Olah after Andricu's removal. Olah followed Andricu's lead in imbuing Zorzor with a keen interest in new musical techniques. On graduation in 1961 he worked as a proofreader for the Composers' Union until 1965 and taught the piano at the Arts Lyceum no.1. Having developed a highly successful career writing music for film and theatre, he emigrated to West Germany in 1983, where he found cataloguing work with Bayerischer Rundfunk, Henle and Ricordi. Zorzor employs a descriptive compositional style ranging in harmonic language from modality to chromaticism and involving such techniques as heterophony; he excels in writing music for small ensembles. WORKS (selective list)
BIBLIOGRAPHY W.G. Berger: Ghid pentru muzica instrumentală de cameră [Guide to instrumental chamber music] (Bucharest, 1965) V. Cosma: Muzicieni români (Bucharest, 1970) OCTAVIAN COSMA Zosimus [Zosimos] of Panopolis (b Panopolis [now Ahmīm], Egypt; fl Alexandria, 3rd or 4th century ce). Greco-Egyptian alchemist and philosopher. He composed allegories, and 28 books, in the form of letters, on alchemy; only fragments survive. A musical treatise has been attributed to him, but should be considered anonymous and of the 8th or 9th century, although it represents a compilation of the ideas of alchemists of the 3rd and 4th centuries, among whom Zosimus was the most prominent figure. Two chapters on music occur in the writings of the Greek alchemists, one in the treatise attributed to Zosimus and the other in an anonymous work, wrongly assumed by Berthelot and Ruelle to be a commentary on it. According to Gombosi, these two chapters together form a single treatise and the attribution to Zosimus is incorrect. It survives complete in I-Vnm 299 and uses a rare technical term, stochos, which in two other manuscripts is replaced by stoichos and in a later one by ēchos. Ruelle emended stochos to stoichos and translated it ‘ligne musicale’ (‘church mode’), which prompted Høeg, Gastoué and Auda to form questionable hypotheses about the modal system of early Christian music. Wachsmann, however, suggested that stochos was a synonym for stoicheion (‘element’), which Lagercrantz confirmed. In the treatise Pseudo-Zosimus draws an analogy between the four elements of the alchemists’ mystical egg and the four elements of music: for each element (stochos, stocheion) there are six further types (kentroi, isoi, plagioi, katharoi, aēchoi and paraēchoi), so that music consists of 24 elements. By combining them, an infinite number of melodies for hymns, blessings and revelations may be constructed, as well as all music played on wind instruments or plucked strings. The various possible combinations of elements must follow in correct sequence without any resulting disorder of pitch or disturbance of function. According to Gombosi, the four elements of music should be equated with the four notes of the ‘perfect tetrachord’, which ‘in six different forms produces a total of 24 note degrees’. These in turn correspond to six tetrachords, three ascending and three descending. In that the three ascending tetrachords are combined disjunctly by diazeuxis, anologies may be drawn with the neo-Byzantine system of the ‘wheel’ as well as the ordering of notes in the Musica enchiriadis. Although a twofold nomenclature for ascending and descending tetrachords is hardly attested elsewhere, the terminological connections between Pseudo-Zosimus's treatise and Byzantine music theory may point to an interpretation of the 24 elements as modes (ēchoi). However, the language is too inconsistent and ambiguous to shed light on the genesis of the Byzantine eight-mode system (oktōēchos). The treatise also lists musical instruments; some are well-known classical instruments, but others, with names probably borrowed from Arabic, are difficult to identify. BIBLIOGRAPHY M. Berthelot and C.-E. Ruelle, eds.: Collection des anciens alchimistes grecs (Paris, 1887–8/R), ii, 219–20, 433–41; iii, 211, 409ff C. Høeg: ‘La théorie de la musique byzantine’, Revue des études grecques, xxxv (1922), 321–34, esp. 331ff O. Lagercrantz: Catalogue des manuscrits alchimistes grecs (Brussels, 1924–32), esp. ii, 341ff; iv, 399ff A. Auda: Les modes et les tons de la musique et spécialement de la musique médiévale (Brussels, 1930/R), 150–61 A. Gastoué: ‘Über die acht “Töne”, die authentischen und die plagalen’, KJb, xxv (1930), 25–30 K. Wachsmann: Untersuchungen zum vorgregorianischen Gesang (Regensburg, 1935), 59–77 O. Gombosi: ‘Studien zur Tonartenlehre des frühen Mittelalters, III’, AcM, xii (1940), 29–52 A. Auda: Les gammes musicales: essai historique sur les modes et sur les tons de la musique depuis l'antiquité jusqu'à l'époque moderne (Woluwé-St Pierre, 1947), 162ff E. Wellesz: A History of Byzantine Music and Hymnography (Oxford, 1949, enlarged 2/1961), 72–7 C. Floros: Universale Neumenkunde (Kassel, 1970), i, 301–2 LUKAS RICHTER Zottmayr, Georg (b Munich, 24 Jan 1869; d Dresden, 11 Dec 1941). German bass. The son of the bass-baritone Ludwig Zottmayr, he studied in Munich and began his career as a concert singer. After stage appearances in Vienna (1906) and in Prague (1908, Neues Deutsches Theater), he was engaged at Dresden from 1910 to 1927. A true basso profondo, he sang several Wagner roles (Gurnemanz, Daland, Pogner, King Mark and Hunding), Mozart’s Commendatore and Sarastro, Weber’s the Hermit (Der Freischütz) and Lortzing’s Stadinger (Der Waffenschmied). ELIZABETH FORBES Zouhar, Zdeněk (b Kotvrdovice, 8 Feb 1927). Czech composer. He studied at Brno University (PhD 1962) and was a composition pupil of Theodor Schaefer at the Brno Academy, where he later taught as a professor of composition (1962–95). He was head of the music section of the Brno University Library (1953–61), then an editor for Czech Radio until 1970. In 1997 he became head of composition at the academy in Banská Bystrica (Slovakia) and university professor at Brno. His early works show the influence of Janáček and Martinů; he corresponded with the latter, conducted the world première of his Otvírání studánek (‘The Opening of the Wells’) and in 1966 organized the International Martinů Festival at Brno. Later Zouhar made greater use of modality in his music, with loose rhythm and an emphasis on horizontal relationships, eventually becoming more markedly up to date in his resources. He is the author of Skladatel Jan Kunc (Prague, 1960) and editor of Martinů miscellany Sborník vzpomínek a studií (Brno, 1957). WORKS (selective list)
BIBLIOGRAPHY J. Stehlík: Ze sborové tvorby Zdeňka Zouhara (Brno, 1970) J. Trojanová: Zdeněk Zouhar: personální bibliografie do roku 1983 (Brno, 1983) JAN TROJAN Zouk. A popular music genre of the Creole-speaking Caribbean, particularly Guadeloupe, Martinique, St Lucia and Dominica, but also Haiti and French Guiana. These regions share a similar French and British colonial past and are populated mainly by the descendants of African slaves. The term ‘zouk’ originated in Martinique where it was the common expression initially for a party, and later for dance parties. In the 1980s it became associated with the music of the group Kassav, whose members, from Guadeloupe and Martinique, now mostly live in Paris. In zouk, musical influences can be so intermingled and disguised in complex arrangements that they are difficult to isolate. A music in perpetual transformation, it is a product of what Guilbault has described as the inter-island cross-fertilization of popular and traditional musics over a long period, part of a network of traditions (including African) with the imprint of many foreign influences. It has absorbed elements from Haitian cadence-rampa and compas direct; Martinican and Guadeloupan biguine (classique, vidé and kombass) and cadence; Dominican merengue, cadence and cadence-lypso; Trinidadian calypso and soca rock, North American big band jazz, soul and funk; and Latin American salsa. It is played by groups incorporating rhythm and brass sections, synthesizers, guitar and bass. Lyrics (which can follow a verse and refrain pattern) are characteristically about love and romantic relationships. BIBLIOGRAPHY and other resources J. Guilbault: Zouk: World Music in the West Indies (Chicago, 1993) Un toque latino, perf. Kassav, Columbia, 491500–2 (1999) JAN FAIRLEY Zsasskovszky. Hungarian family of church musicians. (1) András [Endre] Zsasskovszky (2) Ferenc Zsasskovszky (3) Endre [András] Zsasskovszky BIBLIOGRAPHY K. Bárdos: Eger zenéje 1687–1887 [The music of Eger 1687–1887] (Budapest, 1987) K. Bárdos: Székesfehérvár zenéje 1688–1892 [The music of Székesfehérvár 1688–1892] (Budapest, 1993) M. Eckhardt, ed.: Liszt Ferenc hagyateka a budapesti Zenemuveszeti Foiskolan [Franz Liszt's estate at the Budapest Academy of Music], ii (Budapest, 1993) MÁRIA ECKHARDT Zsasskovszky (1) András [Endre] Zsasskovszky (b Zsasskó, County Árva [now Žaškov, Slovakia], 22 Oct 1794; d Eger, 18 April 1866). Schoolmaster and cantor. His musicality greatly influenced the careers of his children. Following his retirement from teaching, he was a violinist in the orchestra of Eger Cathedral. Zsasskovszky (2) Ferenc Zsasskovszky (b Alsó-Kubin [now Dolný Kubin, Slovakia], 3 April 1819; d Eger, 2 Dec 1887). Conductor and composer, son of (1) András Zsasskovszky. He entered the teacher-training college in Kassa (now Košice) in 1837 and completed his musical studies at the Prague Organ School (1841–2). From 1845 until his death he was the conductor at Eger Cathedral and a music teacher at the local teacher-training college. In 1864 he reorganized the boys' choir of the cathedral in the spirit of the Cecilian movement. His compositions include vespers, responsories and hymns; his Manuale musico-liturgicum (1853, 2/1876), written with the assistance of his brother (3) Endre Zsasskovsky, helped to bring uniformity to the chants of the various liturgies of the Roman Catholic churches in Hungary, and was an indispensable handbook for hundreds of church choirs until Kersch's Sursum corda superseded it in 1902. With his brother he also published collections of secular choral works. Zsasskovszky (3) Endre [András] Zsasskovszky (b Alsó-Kubin [now Dolný Kubin, Slovakia], 21 Jan 1824; d Eger, 15 May 1882). Composer and organist, son of (1) András Zsasskovszky. He studied law at Eger before he was appointed organist at Eger Cathedral (1849). Like his brother, he completed his studies at the Prague Organ School (1851–2) and later taught at the teacher-training college in Eger. His sacred compositions include five masses, graduals, offertories, hymns and other choral music; many of these became known abroad as well as at home. A distinguished organist, he wrote the first Hungarian organ tutor, A gyakorlati orgonász (‘Practical organist’; Eger, 1880), which he dedicated to Liszt. With his brother he published a number of church music books, secular music for choruses and pedagogical works that greatly enriched musical life in Hungary in the late 19th century. Zsolt [Zsakovecz], Nándor (b Esztergom, 12 May 1887; d Budapest, 24 June 1936). Hungarian violinist, composer and conductor. He studied the violin with Hubay and composition with Koessler at the Budapest Academy of Music (1901–6). In 1907 he qualified as a teacher, and soon after he changed his name to the more Hungarian-sounding Zsolt. As a composer, he made a highly successful début in 1908 with the première of his Piano Quintet, which was awarded the Erkel Prize. Also in 1908 he accepted the position of leader of the Queen's Hall Orchestra, London. He returned to Hungary two years later, eventually obtaining a teaching post alongside Hubay at the Budapest Academy, but then returned to the London orchestra in 1913. Interned in England at the beginning of World War I, he was repatriated in 1919, and subsequently served as professor of violin at the Budapest Academy. His students included Sándor Végh. Zsolt frequently played viola in the Hubay String Quartet, and in 1926–7 he made a concert tour of Spain as a violin virtuoso. Apart from his early works, Zsolt composed primarily character pieces for violin with piano accompaniment. He intended his major work to be the symphony, which was largely finished in London in the summer of 1913 and which Sir Henry Wood was planning to conduct. Frustrated by the war, the première finally took place in Budapest in 1925, most likely after numerous revisions. Zsolt's most important achievement, however, was in training orchestras. He proved a highly successful leader of the academy’s student orchestra, and in 1930 he formed, from young unemployed musicians, the Budapest Concert Orchestra, the most significant ensemble of its time next to the Philharmonic Society. WORKS (selective list) Orch: Vn Conc., 1905–6, unpubd; Sym., 1910–18, rev. 1921–2, unpubdChbr, solo pf: Sonata, vn, pf, 1905; Pf Qnt, 1907–8; Toccata, pf (1915)Pieces for vn, pf: Romance, op.1, 1902; Berceuse, 1909; Elégie, 1909; Valse caprice, 1909; Air (1912); Dragon Flies (Libellules) (1912); Sérénade triste, 1914; In Chains (Enchaîné), 1915; Autumn Leaves (Feuilles d'automne), (1918); Satyr and Dryads, 1917 [transcr. of Scherzo from Sym.]Songs: Es ragt ins Meer (H. Heine), 1904; Der erste verlust (J.W. von Goethe), 1905; Der schwere Abend, 1905 Principal publisher: Augener BIBLIOGRAPHY J. Hubay: ‘Visszaemlékezés Zsolt Nándorra’ [Recollections of Zsolt], Pesti napló (18 Dec 1936) A. Siklós: ‘Zsolt Nándor 1887–1936’, A Zene, xvii/16 (1936), 308–9 K. Isoz: ‘Zsolt Nándor emlékezete’ [Remembrance of Zsolt], A Zene, xviii/15–16 (1937), 281–3 LÁSZLÓ GOMBOS Zubeldia, Emiliana de [Bydwealth, Emily] (b Salinas de Oro, nr Pamplona, 6 Dec 1888; d Hermosillo, Sonora, 26 May 1987). Mexican composer and pianist of Spanish birth. At the age of eight she entered the Pamplona Academia Municipal de Música, studying the piano with Joaquín Maya, and at 15 the Madrid Real Conservatorio, completing her course there in 1906. After her father's death in 1909, she returned to Pamplona; there she was appointed profesor auxiliar de piano at the institution from which she had graduated. Her brother, Nestor, canon archivist of Pamplona Cathedral, officiated at her marriage in 1919 to Dr Joaquin Fuentes Pascal (1887–1976), from whom she separated three years later. She then moved to Paris, studying at the Schola Cantorum with the Bach specialist Blanche Selva, for piano, and composition with Vincent d'Indy. She undertook many concert tours in the following years; in 1931 she played at Town Hall, New York, being billed as a Basque composer. She gave a further concert at the Roerich Museum, New York, later in the same year, which culminated with her eight Basque Folk Dances for two pianos, choreographed by dancers from the Centro Basco Americano of New York City. In New York she met the prominent Mexican acoustician, Augusto Novaro (1893–1960), inventor of a keyboard instrument with changeable tone-colour. Already a composer of symphonies, piano music and songs, she was profoundly affected by his harmonic theories and her musical language evolved accordingly. Just over a year later Zubeldia moved to Mexico City, continuing her studies with Novaro and giving her first recital at the Teatro Hidalgo on 18 August 1933. Shortly thereafter she undertook a concert tour of Central America. She took Mexican citizenship in 1942. In 1947, after a decade of teaching in Mexico City, she accepted an invitation to spend a year developing choruses at the University of Hermosillo, but this one year stretched into 40. In August 1956 José Vásquez conducted the orchestra of the Universidad Nacional Autónoma de México in the première of her Sinfonía elegíaca, composed in 1940 in memory of her sister Eladia (1887–1939). According to Varela, she wrote 116 works, 42 for voice and piano, 31 for piano, 19 choral, 14 orchestral and 10 chamber. She donated many of her compositions (some published at Pamplona under the name of Emily Bydwealth) to the University of Sonora at Hermosillo. WORKS (selective list) unless otherwise stated, dates other than those of publication are of first performance
BIBLIOGRAPHY ‘Recital of Basque Music’, New York Times (13 Feb 1931) T. Iturriaga: ‘La música popular vasca y Emiliana de Zubeldia’, Pro arte musical [Havana] (30 March 1932) J.L. Vidaurreta: ‘Emiliana de Zubeldia’, Diario de la marina [Havana] (26 April 1936) : ‘Mexico's Women Musicians’,The Musical Woman: an International Perspective, ii: 1984–5, ed. J.L. Zaimont and others (Westport, CT, 1987), 313–34 E. Pulido: ‘Emiliana de Zubeldia’, Heterofonía, xi/5 (1978), 18 L.T. Varela: Zubeldia Maestra Maitea (Hermosillo, 1992) [incl. facsimiles]; see also review by R. Stevenson, Inter-American Music Review, xiii/2 (1993), 163 ROBERT STEVENSON Zubiaurre (y Urionabarrenechea), Valentín María de (b Garay, Vizcaya, 13 Feb 1837; d Madrid, 13 Jan 1914). Spanish composer of Basque descent. He was a choirboy in the basilica of Santiago, Bilbao. In 1852 he was appointed organist in the parish church of Santurce, and the following year left Spain for South America, where he was widely acclaimed. He returned in 1866 and began studies in harmony and composition with Hilarión Eslava at the conservatory in Madrid, where he won first prize in both subjects. In 1873 he was the first recipient of a scholarship for the newly created Spanish Academy of Fine Arts in Rome. After his stay in Rome, he returned to Spain through Germany and France, his travels increasing his awareness of European musical trends. In 1875 he was appointed second maestro to the royal chapel in Madrid; three years later he succeeded Eslava as first maestro, and also began teaching at the conservatory. He became a full professor in 1891, and continued to teach and compose until his death. Zubiaurre was a prolific composer of religious music, and wrote several mass settings and motets, a Requiem, and settings for Vespers as well as a Stabat mater, Salve regina, Te Deum and a St Matthew Passion. He also composed instrumental music, including character pieces and two sonatas for piano, and a Symphony in E (1870). He is, however, best known for his operas. The first, Luois Camoens, a student work, was never produced. Don Fernando el emplazado, composed in 1869, shared first prize in a national competition to promote Spanish opera and was first performed on 12 May 1871 at the Teatro Alhambra in Madrid. A third opera, Ledia (or Leda), was staged at the Teatro Real on 22 April 1877. Set in Basque country, it features a charming zortzico (a lively Basque folk dance in 5/8) and is an important precursor of Basque opera. Sometimes criticized in Spain for the predominance of italianate melody in his stage works, Zubiaurre nevertheless made an important contribution to the move towards national opera in that country in the latter half of the 19th century. BIBLIOGRAPHY J. García Marcellán: Catálogo del archivo de música de la real capilla de palacio (Madrid, 1938), 238–9 A. Miró Bachs: Cien músicos célebres españoles (Barcelona, 1942), 114 J. Subirá: Historia de la música teatral en España (Barcelona, 1945), 192–3 A. Sagardía: Músicos vascos, iii (San Sebastián, 1972), 137–40 A. Fernández-Cid: Cien años de teatro musical en España (1875–1975) (Madrid, 1975), 31, 48 C. Gómez Amat: Historia de la música española en el siglo XIX (Madrid, 1984), 115 WALTER AARON CLARK |
Последнее изменение этой страницы: 2019-04-19; Просмотров: 309; Нарушение авторского права страницы
; Va Sonata