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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 |
Zuccalmaglio, Anton Wilhelm Florentin von
(b Waldbröl, 12 April 1803; d Nachrodt, 23 March 1869). German music scholar, critic and poet of Italian and Dutch extraction. He was educated in Mülheim am Rhein and at the Carmelite Gymnasium in Cologne. After three years’ military service he entered the University of Heidelberg in 1826 to study civics and law. There he joined a circle around Thibaut which concerned itself with early church music and the preservation of folksong repertories, and with friends he founded a literary student club. He also interested himself at this time with the German language and its dialects, mythology, archaeology, history, astronomy and natural science. In 1829 he published with E. Baumstark his first folksong collection, Bardale, and in the same year ceased studying for financial reasons. After living in Cologne, Mülheim and Bouzonville, he became tutor to the only son of Prince Gorchakov of Warsaw in 1833. In Warsaw he met Ernemann, Elsner, Vieuxtemps and Henselt and wrote for periodicals, among them Schumann’s Neue Zeitschrift für Musik. The Persian Mirza Muharem interested him in oriental poetry and introduced him to oriental mercenaries in the Russian army, whose songs he transcribed. He received honorary doctorates from the universities of Dorpat and Moscow and the title of Regius Professor from the tsar. On returning to Germany in 1840, he issued the second volume of his Deutsche Volkslieder mit ihren Original-Weisen, which he had begun with A. Kretzschmer in 1838. He worked in Schlebusch until 1847, then in Frankfurt, Freiburg, Oberlahnstein, Elberfeld, Wehringhausen and finally in Nachrodt. A reworking and expansion of the great folksong collection was completed in 1856 but never published. Zuccalmaglio was a polymath, his main contributions in the musical field being his articles for the Neue Zeitschrift für Musik and, more important, his editions of folksongs. The latter were controversial, and Zuccalmaglio was accused of composing many of the songs. Wiora has shown that he did not do so, but that he made alterations to them which Wiora called ‘Romantic coloration’; such alterations may largely be understood as extensions of the normal processes of folksong evolution. Zuccalmaglio’s invigoration of folksong in Germany was of great importance and his editions figured significantly in Brahms’s work as a folksong arranger. FOLKSONG EDITIONS
WRITINGS ed. F. Cramer: ‘Das deutsche Volkslied und seine Fundstätten am Niderrhein’, Festschrift zur Feier des 50jährigen Bestehens der Realschule zu Mülheim (Cologne, 1880) [preface to Deutsche Volkslieder und Volksweisen] ed. E. Yeo: Erinnerungen (Bonn, 1988–91) Numerous articles in NZM; other articles in AMZ; Deutsche Musikzeitung, Niederrheinische Musikzeitung and other periodicals [complete list in Günther] BIBLIOGRAPHY W. Wiora: Die rheinisch-bergischen Melodien bei Zuccalmaglio und Brahms: alte Liedweisen in romantischer Farbung (Bad Godesberg, 1953) R. Günther: ‘A.W.F. von Zuccalmaglio’, Rheinische Musiker, v, ed. K.G. Fellerer (Cologne, 1967) K.G. Fellerer: ‘A.W. Zuccalmaglios Bearbeitungen Mozartscher Opern’, MJb 1978–9, 21–58 E. Yeo: Anton Wilhelm von Zuccalmaglio: Begleitheft zur Ausstellung und Nachlassverzeichnis (Aachen, 1990) E. Yeo: Eduard Baumstark und die Brüder von Zuccalmaglio: drei Volksliedsammler (Cologne, 1993) R.J. PASCALL Zuccari, Carlo (b Casalmaggiore, nr Cremona, 10 Nov 1704; d Casalmaggiore, 3 May 1792). Italian violinist and composer. He studied the violin first in his home town, later in Parma, Guastalla and Bologna, and finally in Cremona with Gasparo Visconti. Giuseppe Gonelli taught him counterpoint. In 1723 Zuccari arrived at Vienna in the suite of Count Pertusati. Having won favour at the imperial court, he travelled on to Olomouc, where he stayed for four years, and visited various German towns. In 1733 he married and in 1736 settled in Milan, where he founded a school. In 1741 he participated in the famous academy held at the Collegio dei Nobili under the direction of G.B. Sammartini, who was to call on his services as a violinist on several future occasions. During this period he acquired the nickname Zuccherino quoted in some contemporary sources. Around 1760 he was living in London, where he became a member of the Italian opera orchestra and had some violin compositions published, including his celebrated set of 12 adagios in dual plain and ornamented versions (The True Method of Playing an Adagio). He had returned to Italy by 1765, when he led an orchestra under Sammartini in an academy held at Cremona to mark the passage of the Archduke Leopold. Burney reports having heard him in Milan in 1770, noting that Zuccari was considered ‘a good musician’. In 1778 he retired to Casalmaggiore. In the sonatas for one or two violins – the bulk of his surviving output – Zuccari’s conservative inclinations are evident. One may point to his regular adoption of a three-movement cycle (the tempo sequence slow–fast–fast being preferred in the solo sonatas as opposed to fast–slow–fast in the trio sonatas), the complexity of melodic elaboration and the exclusion of the bass from the thematic discourse; but despite these ‘modern’ features his basic harmonic and contrapuntal language departs little from that of Corelli’s disciples. In fact, the easy mastery of conventional forms possessed by his contemporaries is supplemented by a similar mastery of contrapuntal procedures associated with earlier generations. A movement such as the fugue in the second solo sonata, where two (occasionally even three) instruments are simulated by means of multiple stopping on the single violin, is a remarkable demonstration of the improvements which a more methodical approach could bring to a well-established species of composition cultivated in Italy from Corelli’s time. WORKS
BIBLIOGRAPHY MoserGV R. Monterosso: ‘I Musicisti cremonesi’, Annali della Biblioteca governativa e libreria civica di Cremona, ii (1949), 83–5 G. Barblan: ‘La musica strumentale e cameristica a Milano nel Settecento’, Storia di Milano, xvi (Milan, 1962), 619–60 MICHAEL TALBOT Zucchini [Zucchino, Zuchino], Gregorio (b Brescia, ?c1540 or ?c1560; d after 1615). Italian composer. He was a Benedictine monk; the dedication of his Promptuarium harmonicum (1616) establishes that he took holy orders in the monastery of S Giorgio Maggiore at Venice at the earliest possible age, probably when he was about 15. He may have been the ‘D.nus Gregorius de Brixia’ who professed on 29 June 1556, but it is possible, though less likely, that instead a similar entry (with the name ‘Georgius’) in the monastery’s records for 15 August 1575 refers to him. In 1600 he sought the permission of Pope Clement VIII to spend some time in the Roman monastery of S Paolo fuori le Mura, where he composed the masses and motets of his Harmonia sacra. He seems also to have stayed for a while at Praglia Abbey, near Padua. Zucchini’s surviving music is exclusively sacred, and much of it is in the traditional style of functional church music for four to seven voices. His first publication, however, contains rich polychoral works for three and four choirs which indicate that he was one of the most important composers who emulated Giovanni Gabrieli. The four-choir mass, the 16-voice Laudate Dominum and the 20-voice motet Sanctificati sunt from Harmonia sacra represent his polychoral technique at its best. He made greater use than many of Gabrieli’s followers of imitative part-writing, often beginning a section with an imitative point and broadening the final cadence with polyphonic elaboration. In the four-choir mass, flowing polyphony for all 16 voices together alternates with short concerted phrases in which the choirs are clearly differentiated in antiphonal exchanges. Occasionally, as in the second Kyrie, the choirs join in a solid block of homophonic sound. Zucchini’s skilful manipulation of contrasting textures is matched by a strong sense of formal clarity. The works for two choirs are harmonically richer than those for larger forces, and here and in his later, still smaller-scale works Zucchini sometimes interpreted the text closely in his music. In the book of four- and five-part masses and motets of 1609 he abandoned polychoral writing (to which he apparently never returned) in favour of imitative polyphony. The masses contain much note-against-note writing, and some of the longer movements include sections in falsobordone. The seven-voice mass of the 1610 book contains no such sections and is an altogether more expansive work. In 1615 and 1616 Zucchini published music for the canonical hours, and he included in the 1616 book a number of instrumental canzonas for church use. During his lifetime Zucchini remained almost unknown in Italy, but his Harmonia sacra won him renown north of the Alps. His masses were performed at the court of Archduke Ferdinand at Graz, and a manuscript collection compiled for the Hofkapelle there in 1610 includes his mass for four choirs from Harmonia sacra; the Pelplin Tablature contains three eight-voice motets from the same volume. It is interesting that, except for a few eight-voice motets, it was the modest four-voice motets and masses that were most often included in Netherlandish and German anthologies; over 30 of his works were printed in collections dating from 1604 to 1628. WORKS all printed works published in Venice
BIBLIOGRAPHY EitnerQ EitnerS SchmidlD WaltherML G. Draudius: Bibliotheca classica, sive Catalogus officinalis (Frankfurt, 1611, enlarged 2/1625) W.C. Printz: Historische Beschreibung der edelen Sing- und Kling-Kunst (Dresden, 1690/R1964 with introduction and index by O. Wessely) H. Federhofer: ‘Alessandro Tadei, a Pupil of Giovanni Gabrieli’, MD, vi (1952), 115–31 E. Simbeck: ‘Die zweichörige Motette Ave Maria von Gregorio Zucchino’, Gedenkschrift Hermann Beck, ed. H. Dechant (Laaber, 1982), 33–56 based on MGG1 (xiv, 1409–12) by permission of Bärenreiter WOLFGANG WITZENMANN Zuckerkandl, Viktor (b Vienna, 2 July 1896; d Locarno, Switzerland, 24 April 1965). Austrian musicologist and conductor, active in the USA. Possibly a member of the Schenker's circle of students in Vienna as early as 1912, Zuckerkandl studied the piano with Richard Robert and after army service during World War I, was a free-lance conductor in Vienna, 1920–29. In 1927 he took the doctorate in musicology, with a dissertation on the methods of instrumentation in Mozart's works. (He also took art history and philosophy as secondary subjects.) He was a music critic for the Ullstein-Blätter, an editor for the publisher Bermann-Fischer (1927–33) and taught music theory at the Vienna Music Academy until 1938. After fleeing Austria, he taught at Wellesley College (1942) and then worked as a machinist in an arms factory in Boston. In 1946 he became a music theory teacher at the New School of Social Research, New York and in 1948 began his major study on ‘the nature, structure and significance of the tonal language which had been used by great composers of the past’, supported by a grant from the American Philosophical Society. That same year he joined the faculty of St John's College, Maryland and thereafter received two three-year Bollingen fellowships. In 1960 he chaired for the first time an Eranos Conference held at the Casa Eranos in Ascona, Switzerland, an institute closely associated with C.G. Jung. Zuckerkandl found many like-minded scholars in Ascona and elected to move there after retiring in 1964. Until the 1990s Zuckerkandl remained an obscure scholar. This was partly due to the curious combination of disciplines his work represents: an advocate of Schenker, Zuckerkandl combined his teacher's theories with observations on language by various German-speaking philosophers (Wittgenstein, Heidegger, Husserl) and theories on folk music by German comparative musicologists (Hornbostel, Stumpf, Helmholtz) to explain the ‘true nature’ of music. According to Zuckerkandl, music relates directly to the mystical aspects of human existence; based on this theory, he described in phenomenological terms how music could function in all cultures. Although Zuckerkandl's work is grounded in the universalism inherent in 19th-century writings, it serves as an early example of a cross-disciplinary approach to musicology and the provocative insights such a perspective can yield. WRITINGS Prinzipien und Methoden der Instrumentation in Mozarts Werken (diss., U. of Vienna, 1927) Musikalische Gestaltung der grossen Opernpartien: jugendlich-dramatisches Fach (Berlin, 1932) ‘Bekenntnis zu einem Lehrer’ Anbruch, xvii/5 (1935), 121–5 [on Heinrich Schenker] Die Weltgemeinschaft der Juden (Zürich, 1938) Sound and Symbol; Music and the External World (New York 1956/R, 2/1973; Ger. orig., Zürich, 1963, as Die Wirklichkeit der Musik: Der musikalische Begriff der Aussenwelt, 2/1973) ‘Das Österreichische in der Musik’, Speculum austriacae, ed. O. Schulmeister and others, (Vienna, 1957), 524–63 [repr. in Die Wirklichkeit der Musik (1963), 233–67] Review of D. Cooke: The Language of Music (London, 1959), JMT, iv (1960), 104–69 The Sense of Music (Princeton, NJ, 1959) ‘Die Tongestalt’, Eranos-Jb, xxix (1960), 265–307 [repr. in Die Wirklichkeit der Musik (1963), 13–58] ‘Der singende und der sprechende Mensch’, Eranos-Jb, xxx (1961), 241–83 [repr. in Die Wirklichkeit der Musik (1963), 59–102] ‘Im Kampf um das Wort’, Merkur, xvi (1962), 1116–24 ‘Vom Wachstum des Kunstwerkes’, Eranos-Jb, xxxi (1962) [repr. in Die Wirklichkeit der Musik (1963), 103–49] ‘Das Theater des singenden Menschen: zur 150. Wiederkehr der Geburtstage von Richard Wagner und Giuseppe Verdi’, Merkur, xvii (1963), 921–42 [repr. in Die Wirklichkeit der Musik (1963), 193–222] Vom musikalischen Denken: Begegnung von Ton und Wort (Zürich, 1963) ‘Die Wahrheit des Traumes und der Traum der Wahrheit’, Eranos-Jb, xxxii (1963), 173–210 [repr. in Die Wirklichkeit der Musik (1963), 151–92] ‘Die Entstehung einer Melodie. Zur Phänomenologie des künstlerischen Schaffens’, Merkur, xix (1965), 929–38 ‘Thomas Mann, der Musiker’, Neue Züricher Zeitung, 10 Oct 1965; Eng trans. in. The Thomas Mann Commemoration at Princeton University (Princeton, NJ, 1965), 13–37 Man the Musician: Sound and Symbol, ii (Princeton, NJ, 1973) BIBLIOGRAPHY E. von Kahler: ‘Was ist Musik? Zum Lebenswerk von Viktor Zuckerkandl’, Merkur, xix (1965), 923–8 K. Hashimoto: ‘Die musikalische Welt und der homo musicus: Zuckerkandl in den sechziger Jahren’, Ongaku-gaku, xxviii (1982), 101–49 [in Jap. with Ger. summary] J. Blacking: ‘Towards a Human Science of the Tonal Art: Anthropology and the Reintegration of Musicology’, Schladminger Gespräche zum Thema Musik und Tourismus, ed. W. Suppan, (Tutzing, 1991), 9–16 W. Suppan: ‘“Musik der Menge”, “Volk” und “Volksmusik” in den Schriften Heinrich Schenkers und seines Schülers Viktor Zuckerkandl’, Festschrift Walter Wiora zum 90. Geburtstag, ed. C.-H. Mahling and R. Seibert (Tutzing, 1997), 471–91 W. Suppan: ‘War der Rattenfänger von Hameln ein Künstler?’, Kunst – Geschichte – Soziologie: Festschrift für Gerhard Kapner (Frankfurt, 1997), 172–85 W. Suppan: ‘Viktor Zuckerkandls Homo Musicus’, Ethnologische, Historische und Systematische Musikwissenschaft: Festschrift für Oskár Elschek, ed. F. Födermayr and L. Burlas (Bratislava, 1998), 25–35 WOLFGANG SUPPAN Zuckermann [Tsukkerman], Viktor Abramovich (b Brailov, Ukraine, 6 Oct 1903; d Moscow, 30 Sept 1988). Russian musicologist and teacher. He graduated from the Kiev Conservatory, having studied the piano with Boleslav Yavorsky, Felix Blumenfeld and Grigory Kogan, and music theory with Yavorsky and A.A Al'shvang. From 1923 to 1926 he lectured on musicology at the Kiev Conservatory after which he taught at the Moscow Conservatory, where he was head of one of its music theory departments (1936–42) and professor from 1939. While teaching at the conservatory he obtained the Kandidat degree (1931) and the doctorate (1958). He was also active in the Union of Soviet Composers and was awarded the Order of the Red Labour Banner (1947), the Order of Lenin (1953) and the title of Honoured Worker of Art of the RSFSR (1966). He trained many prominent Russian musicologists, including I.A. Barsova and Grigor'yeva, and composers, such as Denisov, Eshpay and Peyko. Zuckermann was one of the founders of the modern Russian musicology during the Soviet era. The main focus of his work was on the theory and the methodology of music analysis. Together with Mazel' and others, he developed a method of ‘integral analysis’, which sought to interpret a work through the detailed analysis of melodies, harmonies, rhythm and syntactic structures and forms. One of the results of this method was to clarify the basis for a semantics of musical and expressive devices. Zuckermann’s contribution to the history of musical form was significant: his Variatsionnaya forma (1974) covers music from Palestrina and Byrd to Stravinsky and Bartók; similarly his Rondo v yego istoricheskom razvitii (‘The Rondo in its Historical Development’, 1988–90) includes music from Caccini and Lully to Skryabin and Stravinsky. His studies of individual composers’ styles are also of great scholarly value. Characteristically, he was able to make profound general observations based on a comprehensive analysis of one work in which the qualities typical of a given style were revealed (see his monographs on works by Glinka, 1957, Liszt, 1984, and his article on Mozart, 1988). In his book on Tchaikovsky (1971), which he worked on for 30 years, Zuckermann succeeded in describing the distinctive qualities of Tchaikovsky’s lyrical melodies; his discussion includes an analysis of the relationship between the composer’s general mental processes and his melodies, and a systematization of characteristic turns of phrase and methods of melodic development. Zuckermann also contributed towards the theory of large-scale development, establishing the rules governing the logic in the structural division of a musical thought (1970). He proposed dividing forms that employ a recapitulation of the musical material into two categories: dynamic forms which heighten the intensity of the recapitulation, and static which do not produce this result. The concepts of ‘dynamic recapitulation’ and ‘giving dynamism to the recapitulation’ introduced by Zuckermann are now firmly established in Russian scholarly and educational literature on music theory. WRITINGS ‘Kamarinskaya’ Glinki i yeyo traditsii v russkoy muzïke [Glinka's Kamarinskaya and its tradition in Russian music] (Moscow, 1957) ‘De l’emploi des genres et des formes dans l’oeuvre de Chopin’, The Works of Frederick Chopin: Warsaw 1960, 114–21 ‘Zametki o muzïkal'nom yazïke Shopena’ [Comments on Chopin’s musical idiom], Friderik Shopen, ed. G. Ėdel'man (Moscow, 1960), 44–81 Muzïkal'nïye zhanrï i osnovï muzïkal'noy formï [Musical genres and the basis of musical form] (Moscow, 1964) ‘Nezabïvayemïye godï’ [Unforgettable years], ‘Yavorskiy – teoretik’ [Yavorskiy as a theoretician], B. Yavorskiy, ed. I. Rabinovich and D. Shostakovich (Moscow, 1964, 2/1972), 123–35, 173–206 ‘Muzïkal'no-pedagogicheskiye trudï G.E. Konyusa’ [The musical and pedagogical works of G.E. Konyus], G.E. Konyus: stat'i, materialï, vospominaniya, ed. G. Golovinsky (Moscow, 1965), 110–22 with L. Mazel': Analiz muzïkal'nïkh proizvedeniy [The analysis of musical compositions] (Moscow, 1967) ‘Die Beethovensche Dynamik in ihren strukturellen und formbildenden Erscheinungen’, Beethoven Congress: Berlin 1970, 379–86; Russ. trans., enlarged in Bėtkhoven: sbornik statey, ed. N. Fishman, ii (Moscow, 1972), 275–91 Muzïkal'no-teoreticheskiye ocherki i ėtyudï [Essays and studies on the theory of music] (Moscow, 1970–76) [2 vols.; vol.ii on Rimsky-Korsakov] Vïrazitel'nïye sredstva liriki Chaykovskovo [The expressive means of Tchaikovsky’s lyrical imagery] (Moscow, 1971) ed., with S. Pavchinsky: A.N. Skryabin (Moscow, 1973) [incl. ‘Po stranitsam sbornika’ [Through the pages of a collection], 3–34] Analiz muzïkal'nïkh proizvedeniy: variatsionnaya forma [The analysis of musical works: the variation form] (Moscow, 1974) Analiz muzïkal'nïkh proizvedeniy: obshchiye printsipï razvitiya i formoobrazovaniya v muzïke: prostïye formï [The analysis of musical works: the general principles of development and form creation in music, simple forms] (Moscow, 1980) ‘Pod kriticheskim uglom zreniya’ [From the critical point of view], Muzïkal'nïy sovremennik, iv (1983), 304–27 Analiz muzïkal'nïkh proizvedeniy: slozhnïye formï [The analysis of musical works: complex forms] (Moscow, 1984) Sonata si minor Lista [Liszt’s sonata in B minor] (Moscow, 1984); Fr. abbreviated version in Silences (1986), no.3, pp.55–83 Analiz muzïkal'nïkh proizvedeniy: rondo v yego istoricheskom razvitii [The analysis of musical works: the rondo in its historical development] (Moscow, 1988–90) [2 vols.; incl. ‘Motsart: Rondo a-moll dlya fortepiano’ [Mozart's, Rondo in A Minor for piano, k511]] BIBLIOGRAPHY V. Bobrovsky and G. Golovinsky: ‘V.A. Tsukkerman’, SovM (1963), no.10, p.142 A. Nikolayev and others: ‘K 70-letuyu V.A. Tsukkermana’, SovM (1973), no.10, pp.26–7 V. Bobrovsky and G. Golovinsky, eds.: O muzïke: problemï analiza (Moscow, 1974) [FS, 70th birthday; incl. V. Bobrovsky and G. Golovinsky: ‘V.A. Tsukkerman: pedagog’, 5–29, L. Mazel': ‘V.A. Tsukkerman i problemï analiza muzïki’, 30–45, and list of writings, 46–8] G.L. Golovinsky and others, eds: V.A. Tsukkerman: muzïkant, uchyonïy, chelovek [V.A. Zuckermann: the musician, scholar and person] (Moscow, 1994) [incl. list of pubns, 255–63] GRIGORY L'VOVICH GOLOVINSKY |
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