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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 |
All first performed in Stuttgart
Ballads and songs
Other works
BIBLIOGRAPHY C.A. Siebigk: ‘Johann Rudolph Zumsteeg’, Museum berühmter Tonkünstler, ii/4 (Breslau, 1801), 1–29 F. Schlichtegroll: Nekrolog der Teutschen, i (Gotha, 1802), 201–10; ed. R. Schaal in Musiker-Nekrologe (Kassel, 1954), 108–13 I.T.F.C. Arnold: ‘Johann Rudolph Zumsteeg’, Gallerie der berühmtesten Tonkünstler des achtzehnten und neunzehnten Jahrhunderts, i/2 (Erfurt, 1810/R, 2/1816), 2–168 A.W. Ambros: ‘J.R. Zumsteeg, der Balladencomponist’, Bunte Blätter: Skizzen und Studien für Freunde der Musik und der bildenden Kunst (Leipzig, 1872, 2/1896; new ser. (Leipzig, 1874, 2/1896), 65–92 P. Spitta: ‘Ballade’, Musikgeschichtliche Aufsätze (Berlin, 1894/R), 403–61 L. Landshoff: Johann Rudolph Zumsteeg (1760–1802): ein Beitrag zur Geschichte des Liedes und der Ballade (Berlin, 1902) H. Abert: ‘Die dramatische Musik’, Herzog Karl Eugen von Württemberg und seine Zeit (Esslingen, 1907), 555–611 E. Arnold: Gedenkblatt für J.R. Zumsteeg: zur 150. Wiederkehr seines Geburtstages (Stuttgart, 1910) H. von Hase: ‘Beiträge zur Breitkopfschen Geschäftsgeschichte: Johann Rudolf Zumsteeg’, ZMw, ii (1919–20), 469–74 A. Sandberger: ‘Johann Rudolph Zumsteeg und Franz Schubert’, Ausgewählte Aufsätze zur Musikgeschichte, i (Munich, 1921/R), 288–99 F. Szymichowski: Johann Rudolph Zumsteeg als Komponist von Balladen und Monodien (Stuttgart, 1932) J. Völckers: Johann Rudolph Zumsteeg als Opernkomponist: ein Beitrag zur Geschichte des deutschen Singspiels und der Musik am Württembergischen Hofe um die Wende des 18. Jahrhunderts (Erfurt, 1944) K. Haering: ‘Johann Rudolph Zumsteeg: Opern-, Balladen- und Leiderkomponist, Konzertmeister, 1760–1802’, Schwäbische Lebensbilder, ii (1941), 545–55 E.G. Porter: ‘Zumsteeg’s Songs’, MMR, lxxxviii (1958), 135–40 G. Maier: Die Lieder Johann Rudolf Zumsteegs und ihr Verhältnis zu Schubert (Göppingen, 1971) E.D. Ragogini: Johann Rudolf Zumsteeg and the ‘Kleine Balladen und Lieder’ (DMA diss., Peabody Conservatory, 1975) D. Richerdt: Studien zum Wort-Ton-Verhältnis im deutschen Bühnenmelodram: Darstellung seiner Geschichte von 1770 bis 1820 (Bonn, 1986) W. Dürr: ‘Johann Rudolf Zumsteeg und Schubert: von der “schwäbischen Liederschule” zum romantischen Klavierlied’, Baden und Württemberg im Zeitalter Napoleons, ii (Stuttgart, 1987), 625–34 G. Maier: ‘Johann Rudolf Zumsteeg’, Mein Boxberg, xxiv (1990), 47–62 M.-A. Dittrich: Harmonik und Sprachvertonung in Schuberts Liedern (Hamburg, 1991) J.J. Swain: Three Cello Concertos of Johann Rudolf Zumsteeg (DMA diss., U. of Texas, 1991) W. Dürr: ‘Hagars Klage in der Vertonung von Zumsteeg und Schubert: zu Eigenart und Wirkungsgeschichte der “Schwäbischen Liederschule”’, Studien zum deutschen weltlichen Kunstlied des 17. und 18. Jahrhunderts: Wolfenbüttel 1990, 309–27 I. Henning: ‘Zumsteegs Monodie Die Erwartung – und was Schubert daran fasziniert haben mag’, Musik und Bildung, xxv/4 (1993), 14–19 GUNTER MAIER Zunge (i) (Ger.). Tongue, as in Zungenstoss or Zungenschlag; that is, an attack or stroke of the tongue (for further information see Tonguing). Zunge (ii) (Ger.). A Reed, as in Zungenpfeife (reedpipe), and Zungenstimmen or Zungenwerk (reed stop or Reed-work). Zupan [Suppan], Jakob (b Schrötten, nr Hengsberg, 27 July 1734; d Kamnik, 11 April 1810). Slovenian composer. In 1749 he was mentioned in the register of the Jesuit University in Graz. In 1757 he went to Kamnik near Ljubljana as a music teacher and by 1773 he was referred to as Civis chori regens. He is likely to have taken part in the activities of the Accademische Confoederation Sanctae Caeciliae, a church music society which existed at Kamnik between 1731 and 1784. Some time during the 1780s he wrote the opera Belin, which would make it the first opera of its kind in Slovene, and among the first to be written in any Slavonic language. Zupan’s surviving works show that he was close to the style of the mid-18th-century South German School of church music. WORKS all extant works pubd in MAMS, xxxvi–xxxviii (Ljubljana, 2000)
BIBLIOGRAPHY D. Cvetko: ‘Jakob Zupan: the last Master of the Slovenian Baroque’, Essays in Musicology in Honor of Dragan Plamenac, ed. G. Reese and R.J. Snow (Pittsburgh, 1969/R), 9–19 R. Flotzinger: ‘Zu den Anfängen des slowenischen Musiktheaters’, Slovenska opera v evropskem okviru: Ljubljana 1982, 20–42 R. Škrjanc: ‘Prispevek k dataciji rokopisov skladb Jakoba Frančiška Zupana’ [Towards the dating of the MSS of Zupan's compositions], MZ, xxxiv (1998), 35–68 BOJAN BUJIĆ Županović, Lovro (b Šibenik, 21 July 1925). Croatian musicologist and composer. He studied Romance and Slavonic languages at the University of Zagreb, graduating in 1950, and musicology at the Academy of Music in Zagreb, where he graduated in 1953. In 1965 he was awarded the doctorate at the University of Ljubljana with a dissertation on Vatroslav Lisinski. He also studied composition in Ljubljana under L.M. Škerjanc. He taught in schools in Zagreb (1950–61) and at the Zagreb Pedagogic Academy (1961–78); from 1978 until his retirement in 1990, he taught in the department of musicology at the Zagreb Academy of Music. In his early career his main interest was Croatian Romantic music, and later he concentrated on Croatian music of the 16th and 17th centuries. He has been awarded the Prize of the City of Zagreb for his extensive study of the life and works of Lisinski. A dedicated and prolific editor, he has also published a series of monuments of Croatian music of the 16th to 19th centuries. His compositions include an opera, a sinfonietta, two string quartets, several cantatas and music for piano and organ. WRITINGS Vatroslav Lisinski (diss., U. of Ljubljana, 1965; Zagreb, 1969) ‘La musique croate du XVIe siècle’, Musica antiqua II: Bydgoszcz 1969, 79–126 ‘Novi podaci za biografiju V. Lisinskoga’ [New data for the biography of Lisinski], Zvuk, nos.96–7 (1969), 251–9 ‘Formes de la musique croate professionelle aux XVIIe et XVIIIe siècles’, Musica antiqua III: Bydgoszcz 1972, 337–83 [incl. Pol. summary] Tragom hrvatske glazbene baštine [Tracing the Croatian musical heritage] (Zagreb, 1976) Stoljeća hrvatske glazbe (Zagreb, 1980; Eng. trans., 1984–9, as Centuries of Croatian music) ‘L’influence du chant populaire des Croates, spécialement de Burgenland, sur création de Joseph Haydn’, Joseph Haydn: Vienna 1982, 209–17 ‘Značenje Ivana Zajca u hrvatskoj glazbenoj kulturi njegova vremena i danas, te mjesto u evropskoj glazbi’ [The significance of Zajc in the Croatian music culture of his time and today, and his place in European music], Zbornik radova: 150. obljetnica rodjenja Ivana Zajca, ed. L. Županović (Zagreb, 1982), 279–309 ‘Mjesto i značenje Ivana Marka Lukačića u hrvatskoj i inozemnoj glazbi njegova vremena’ [The significance of Lukačić in Croatian and European music of his time], Lukačić, zbornik radova, ed. L. Maračić (Zagreb, 1987), 134–52 Hrvatski pisci izmedju riječi i tona [Music and language in the works of Croatian writers] (Zagreb, 1989) ‘La tematica mariana nell’opera del compositore croato del Seicento Vinko Jelić (1596–1636?)’, Acta Congressus Mariologici-Mariani internationalis: Valletta 1983 (Vatican, 1989), iii, 71–8 ‘Jakob Petelin (Jacobus Handl Gallus) – Julije Skjavetić (Giulio Schiavetto/Schiavetti): pokušaj usporedjivanja života i stvaralaštva’ [Gallus and Schiavetto: a comparison of their lives and works], Gallus Carniolus in evropska renesansa, ed. D. Cvetko and D. Pokorn, i (Ljubljana, 1991), 127–48 ‘Glazbena komponenta u opusu i iz opusa Dživa Frana Gundulića’ [Musical elements in the work of Gundulić], Marulić, xxv (1992), 59–76 ‘Les opus 19, 22 et 23 de Tomaso Cecchino et leur importance pour la culture musicale croate et internationale’, The Musical Baroque, Western Slavs and the Spirit of the European Cultural Communion, ed. S. Tuksar (Zagreb, 1993), 63–74 ‘Razvoj glazbenog života na Gradecu od 14. do kraja prve polovice 19. stoljeća’ [Musical life in the Zagreb parish of Gradec from the 14th century to 1850], Zagrebački Gradec, 1242–1850, ed. I. Kampus (Zagreb, 1994), 369–82 ‘Dramatski sastavak ili oratorij Prijenos Sv. Dujma Julija Bajamontija’ [Dramatic composition or Bajamonti’s oratorio The translation of St Doimus], Splitski polihistor Julije Bajamonti, ed. I. Frangeš (Split, 1995), 118–28 Tvorba glazbenog djela [The creation of a musical work] (Zagreb, 1995) EDITIONS V. Lisinski: Izabrana djela [Selected works] (Zagreb, 1969) I. Lukačić: Četiri moteta [Four motetsl, Zvuk, no.91 (1969) Spomenici hrvatske muzičke prošlosti [Monuments of Croatian music] (Zagreb, 1970–96) [11 vols.] I. Zajc: Nikola Šubić-Zrinjski, Izabrana djela/Ivan Zajc, iv/1 (Zagreb, 1993) [vocal score] BIBLIOGRAPHY N. Njirić: ‘Plodna glazbena djelatnost: Lovro Županović prigodom 70. obljetnice rodjenja’ [A fruitful musical activity: Županović at 70], Sveta Cecilija, lxv (1995), 94–7 BOJAN BUJIC Zur, Menachem (b Tel-Aviv, 6 March 1942). Israeli composer. After graduating from the College of Music Teachers in Tel-Aviv (1964), he studied theory at the Rubin Academy of Music and Dance, Jerusalem (until 1967). He continued his studies in the USA at the Mannes College of Music (BM 1971), Sarah Lawrence College (MFA 1972) and Columbia University (DMA 1976). During his years in New York he taught at Queens College, CUNY and New York University. In addition to his role as professor of composition and theory at the Rubin Academy of Music and Dance in Jerusalem, he has served as chair of the Israel League of Composers (1992–4) and the Israeli delegate to the ISCM (1992–6). His numerous honours include an award from the ISCM Electronic Music Competition (1975), a Guggenheim Fellowship (1981), two ACUM awards, the Joel Engel Prize (Tel-Aviv, 1991), the Mark Lavri Prize (Haifa) and the ACUM Judges' Prize (1992). Zur regards his compositional style as a late 20th-century extension of the style of Alban Berg. Although Jewish ideas and sentiments hold particular significance for him, he does not see his music as a direct descendent of styles created by Israeli composers. His main output is chamber music. Within this context he has developed a genre of works entitled Discussions, based on dialogue between various instruments. These works explore various technical and artistic parameters employed in later works. The title thus also refers to a dialogue between the composer and his materials. Zur has also written a substantial amount of large-scale instrumental music. The three movements of the Symphony no.2 ‘Letters’ (1988–94) take the form of ‘letters’ to three of the founding fathers of modern music: Schoenberg, Stravinsky and Berg. The ‘letters’ contain no musical quotations, but are written according to the compositional procedures of the composer to whom they are addressed. Thus, they both acknowledge Zur's musical debt to his predecessors and form a musical dialogue with them. Most of Zur's short vocal compositions are related to Jewish liturgical or sacred texts and are conservative in style. His longer vocal works are dramatic pieces on subjects taken from the Bible (Lamentations, 1982; ‘Aqedat Yishaq [The Binding of Isaac], 1989) or from Jewish legend and prayer (The Golem, 1988). These compositions are daring and experimental. His setting of Psalm cl in five languages is scored for vocal ensemble and computerized magnetic tape, an addition that sharpens the phonemic structure of each text. WORKS (selective list) for fuller list see Tischler (1988)
BIBLIOGRAPHY A. Tischler: A Descriptive Bibliography of Art Music by Israeli Composers (Detroit, 1988), 288–91 Y. Cohen: Necimei zemirot yisracel [The heirs of the psalmist] (Tel-Aviv, 1990), 419 only ELIYAHU SCHLEIFER Zürich. The largest city in Switzerland and the cultural centre of the German-speaking population. Intensive musical activity in Zürich can be traced back to the Middle Ages. The most important source of German Minnesang, the Heidelberg (‘Manesse’) Manuscript, originated in Zürich, and the services in the cathedral and the numerous monastic churches rivalled the most splendid in southern Germany. Ulrich Zwingli was pastor at the Grossmünster from 1519 until his death in 1531, and although he was musical, and competent on several instruments, he was firmly opposed to the use of music in divine service. Church music in Zürich ceased in 1525, and the organs were removed from the churches in 1527. Singing was reintroduced by order of the council in 1598, but it was not until the 19th century that the organ gradually resumed its place in the service. Concert life. In the 17th century music in Zürich was dominated by three collegia musica: the first was ‘zum Chorherrensaal’, followed by the ‘ab dem Musiksaal’ (from 1613) and ‘zur deutschen Schule’ (from 1679). Initially they were concerned only with sacred music, but later also performed contemporary German and Italian secular music. The three societies merged in 1812 to form the Allgemeine Musikgesellschaft Zürich (AMGZ), which since 1813 has produced books on musical subjects in a series of ‘Neujahrsblättern’, the successors to a series of New Year collections of polyphonic pieces published by two of the collegia musica from 1685 and 1713 respectively. In the 19th century the AMGZ organized regular subscription concerts with its amateur orchestra, occasionally augmented by professional musicians. Wagner, during his stay in Zürich (1849–58), was conductor of this orchestra from 1850 to 1855. In 1862 the conductorship was taken over by Theodor Kirchner, who exerted a powerful influence on the musical life of Zürich and Winterthur between 1843 and 1872. He was responsible for the appointment in 1862 of Friedrich Hegar as director of the orchestral society founded in 1861 and was himself succeeded by Hegar in 1865. In 1868 Hegar became conductor of the new Tonhalle-Gesellschaft, which promoted public concerts with a professional orchestra. For many years concerts had been held in the Casino, but the need for permanent premises expressed by Wagner in the 1850s continued to be felt, and between 1868 and 1895 the Kornhaus (1840, specially altered 1867–8; see fig.1) was used by the Tonhalle-Gesellschaft. In 1895 a new hall with two auditoriums was built (fig.2) and has been used ever since. Under Hegar, Zürich became an important musical centre. He was succeeded in 1906 by Volkmar Andreae, who helped to develop Zürich’s international reputation and made the Tonhalle Orchestra into a first-class ensemble. When Andreae retired in 1949 the growing demand for concerts led the Tonhalle-Gesellschaft to appoint two successors, Erich Schmid (1949–57) and Hans Rosbaud (1950–62), who were followed by Rudolf Kempe (1965–72) and Charles Dutoit (1967–71). Subsequently the orchestra reverted to having one principal conductor: Gerd Albrecht (1975–80), Christoph Eschenbach (1982–6) and Hiroshi Wakasugi (1987–91). Claus Peter Flor was artistic adviser from 1991 to 1995, when David Zinman was appointed to the post of principal conductor and artistic director, thereby assuming many of the responsibilities previously invested in various committees. The Tonhalle-Gesellschaft has endeavoured to appeal to a broad sector of the public and promotes a wide range of concerts; although it concentrates on the Classical and Romantic repertories, contemporary music is also included in its programmes. The Tonhalle Orchestra is the mainstay of Zürich’s musical life, but many other instrumental and vocal ensembles, both amateur and professional, are also active. In 1941 Paul Sacher founded the Collegium Musicum, a chamber orchestra, giving a few concerts each season. In 1946 Edmond de Stoutz founded the Zürich Chamber Orchestra, which specializes in Baroque, Classical and contemporary music. After 50 years as music director, de Stoutz was succeeded by Howard Griffiths in 1996. The Camerata Zürich, founded in 1956 by Räto Tschupp, performs contemporary Swiss music. Since 1986 various chamber and symphonic ensembles have taken part in an annual festival of contemporary music, the Tage für Neue Musik. Radio Zürich, founded in 1924, supported various ensembles until the mid-1970s. The Swiss RO, conducted by Hermann Hofmann (1930–38) and Hans Haug (1938–43), was absorbed into the Tonhalle Orchestra in 1944. The Beromünster RO, whose conductors included Scherchen, Paul Burkhard, Schmid and Jean-Marie Auberson, was founded in 1945 as the Beromünster Studio Orchestra, and was renamed in 1958. In 1970 it was transferred to Basle and renamed the Basle RSO. There was a radio choir in Zürich from 1944 to 1972. H.G. Nägeli, an important supporter of choral music in Germany and Switzerland, founded the Zürich Singinstitut, a mixed chorus, in 1805; it was combined in 1810 with Zürich’s first male-voice chorus, which was apparently the earliest of all such bodies. In 1826 Nägeli founded the Sängerverein der Stadt Zürich, which survives as the Zürich Männerchor; its conductors in the 20th century have been Andreae, Hermann Hofmann, Schmid, Jakob Kobelt and Josef Holtz. The Gemischter Chor was founded in 1865, and has worked closely with the Tonhalle Orchestra. Its first conductor was Hegar, followed by Andreae from 1902, Schmid from 1950 and Räto Tschupp from 1975. Other choirs include the Sängerverein Harmonie, founded in 1841, and the Lehrergesangverein, founded by Hegar in 1891. Choirs established in the postwar era include the Kobelt Chamber Choir (1950), the Zürich Oratorio Choir (1950) and the Zürcher Singkreis (1954). Among prominent composers who visited Zürich were Mozart (1766), Brahms (between 1865 and 1895) and Busoni (1915–20). Notable events have included the Tagung der Deutschen Tonkünstlerversammlung in 1882, at which Liszt was a guest; the opening of the new Tonhalle in 1895, at which Brahms conducted; the foundation of the Schweizerischer Tonkünstlerverein in 1900; festivals of the ISCM in 1926, 1957 and 1991; and a Schütz festival in 1963. Opera. Performances were given at the Aktientheater from 1834 until it burnt down in 1889. Wagner conducted there from 1850 to 1855, and his music dramas have since played an important part in the Zürich repertory. A new building, the Stadttheater, was opened in 1891; it was known from 1964 as the Opernhaus, and extensively renovated in the early 1980s. Zürich held its first international opera festival in 1909. In 1913 the first authorized stage performance of Parsifal outside Bayreuth was mounted under the direction of Ernst Reucker. Busoni's Turandot received its première in 1917, the composer conducting. Other notable premières were Berg’s Lulu (1937), Hindemith’s Mathis der Maler (1938) and Cardillac (new version, 1952) and Honegger’s Jeanne d’Arc au bûcher (1942). Gershwin’s Porgy and Bess received its European première there in 1945, and the first staged production of Schoenberg’s Moses und Aron was given in 1957. Works by Paul and Willy Burkhard, Kelterborn, Schoeck, Sutermeister and Zemlinsky have also been performed. Important productions in the 1960s included Martinů’s The Greek Passion, Sutermeister’s Raskolnikoff, Schibler’s Blackwood and Co. and Musorgsky’s Boris Godunov; Klebe’s Ein wahrer Held was given its première there in 1975. Music directors have included Rosbaud (1955–8), Christian Vöchting (1958–64) and Ferdinand Leitner (1969–86). Under Claus Helmut Drese, director from 1976 to 1986, the Opernhaus enjoyed a new era of international prominence, with cycles of Monteverdi and Mozart operas staged and designed by Jean-Pierre Ponnelle and conducted by Nikolaus Harnoncourt. The Tonhalle Orchestra played for productions in the Opernhaus until 1984, when a permanent opera orchestra was formed. The International Opera Studio, founded in 1961, has been the training ground for several notable singers, including Gwyneth Jones, Edith Mathis and Francisco Araiza. Zürich hosted its first Italienische Gastspiele in 1916. This was followed by the Internationale Festspiele (1921–6), the Jahrhundert-Festspiele (1934) and the Junifestspiele, which developed into an annual festival of high artistic standard under Karl Schmid-Bloss (1931–47). Known in the postwar era as the Junifestwochen, the festival suffered a hiatus from 1993 to 1997, but was revived by the Opernhaus director, Alexander Pereira, as an event embracing concerts, opera and spoken theatre. Other institutions. The Zürich Konservatorium und Musikhochschule was founded on the initiative of Hegar, who was director from 1876 to 1914. Subsequent directors have included Andreae, Carl Vogler, Rudolf Wittelsbach, Sava Savoff and Hans Ulrich Lehmann. The Musikakademie was directed from 1923 to 1959 by Hans Lavater, who developed it into a nationally acknowledged training centre for professional musicians. He was succeeded by Walter Bertschinger and Markus Müller; both the academy and the conservatory came under the general direction of Savoff from 1972 and of Lehmann from 1976. In 1991 it merged with the Konservatorium. The musicology department of Zürich University, directed from 1927 to 1957 by Antoine-Elisée Cherbuliez, flourished through its association with Hindemith (1951–6). After 1957 the department became internationally renowned as a teaching and research centre under Kurt von Fischer. The music section of the Zentralbibliothek, directed for many years by Paul Sieber, expanded greatly from 1971 under Günter Birkner and his successor, in 1990, Christopher Walton. It has acquired the musical estate of Furtwängler and the largest collection of manuscripts by 20th-century Swiss composers, as well as a notable group of documents relating to Wagner’s stay in Zürich in the 1850s. It also houses the old library of the Stadttheater, discovered in 1974, including valuable 19th-century scores and orchestral parts. The city is also the home of the Schweizerischer Musikpädagogischer Verband (founded 1893) and its Zürich branch (1932); a branch of the Schweizerische Musikforschende Gesellschaft (1920); Pro Musica (1934), a branch of the ISCM; the Schweizerische Gesellschaft der Urheber und Verleger (SUISA, 1924); and a branch of the Schweizerische Musikerverband (1971). The leading musical businesses in Zürich are those of Musik Hug (established in 1807 and the largest music publishing firm in Switzerland) and Jecklin (1895). The Schweizerische Musikzeitung/Revue musicale suisse was published in Zürich from its foundation in 1861 until 1983. Its successor is Dissonanz (1984). The main outlet for music criticism is in the Neue Zürcher Zeitung, the oldest surviving Zürich newspaper, dating from the mid-19th century; regular weekly reviews appeared as early as 1858. Important critics have included Theodor Billroth, Gustav Weber, Adolf Steiner, Ernst Isler, Willi Schuh, Willi Reich, Andres Briner, Rolf Urs Ringger, Peter Hagmann, Marianne Zelger-Vogt and Thomas Meyer. BIBLIOGRAPHY MGG2 (P. Sieber/D. Baumann) H. Weber: Zürichs Musikleben von 1812–1850 (Zürich, 1874–5) A. Steiner: Aus dem zürcherischen Konzertleben der zweiten Hälfte des vergangenen Jahrhunderts (Zürich, 1904–5) A. Steiner: Aus der Vorgeschichte der Allgemeinen Musikgesellschaft (Zürich, 1912–13) Hans Häusermann und der Häusermann’sche Privatchor (Zürich, 1929) M. Fehr: Friedrich Hegar als Zürcher Theaterkapellmeister (Zürich, 1934) E. Isler: Das zürcherische Konzertleben seit Eröffnung der neuen Tonhalle 1895 (Zürich, 1935–5) M. Fehr, P. Sieber and G. Walter: Zürichs musikalische Vergangenheit im Bild (Zürich, 1945) Fünfzig Jahre Häusermann’scher Privatchor 1897–1947 (Winterthur, n.d.) M. Hurlimann and E. Jucker, eds.: Theater in Zürich: 125 Jahre Stadttheater (Zürich, 1959) H. Reimann: Die Einführung des Kirchengesangs in der Zürcher Kirche nach der Reformation (Zürich, 1959) G. Walter, ed.: Katalog der gedruckten und handschriftlichen Musikalien des 17. bis 19. Jahrhunderts im Besitze Allegemeinen Musikgesellschaft, Zürich (Zürich, 1960) R. Schoch: Hundert Jahre Tonhalle Zürich: Festschrift zum hundertjährigen Bestehen der Tonhalle-Gesellschaft Zürich (Zürich, 1968) F. Jakob: Der Orgelbau im Kanton Zürich von seinen Anfängen bis zur Mitte des 19. Jahrhunderts (Berne, 1969–71) H. Conradin: Die Musikwissenschaft an der Universität Zürich (Zürich, 1971) R. Puskás: Musikbibliothek Erwin R. Jacobi: seltene Ausgaben und Manuskripte: Katalog (Zürich,1973) A. Haefeli: Die Internationalen Musikfeste in Zürich (Zürich, 1977) M. Zelger-Vogt and A. Honegger, eds.: Stadttheater, Opernhaus: hundert Jahre Musiktheater in Zürich (Zürich, 1991) HANS CONRADIN/ANDREW CLARK Zur Mühlen, Raimund von (b Livonia, 10 Nov 1854; d Steyning, Sussex, 9 Dec 1931). German tenor and teacher. He studied at the Berlin Hochschule, then with Julius Stockhausen in Frankfurt and with Romain Bussine in Paris. This was followed by a special course of study of Schumann's and Schubert's songs with Clara Schumann. He first sang in London in 1882, later settling in England and becoming a very successful teacher, in London from 1905 and in Sussex from 1925. He was responsible for introducing the Liederabend, bringing the idea to England and giving Schubert a prominent place in the programmes. ‘His voice is peculiar and sympathetic’, wrote Grove, ‘but what gives Zur Mühlen's singing its chief charm is the remarkable clearness of his pronunciation, and the way in which he contrives to identify the feeling of the words with the music, to an extent which the writer has never heard equalled’. BIBLIOGRAPHY Grove1–2 (G. Grove) G. Newberry: ‘Raimund von zur Mühlen’, ML, xii (1932), 215–17 D. von Zur Mühlen: Der Sänger Raimund von Zur Mühlen (Hanover, 1969) JOHN WARRACK Zurnā. Shawm of Turkey, Syria, Iraq, Armenia, Dagestan, Azerbaijan and Georgia. See Surnāy. Zusammenklang (Ger.). See under Klang (ii). Zusammenschlag (Ger.). Term first used by F.W. Marpurg (1755) for an Acciaccatura. Zuylen, Belle van. See Belle van Zuylen. Zvonař, Josef Leopold (b Kublov, nr Beroun, Bohemia, 22 Jan 1824; d Prague, 23 Nov 1865). Czech writer on music, teacher and composer. He completed his early schooling through the help of a priest, who also instructed him in music theory. Having concluded his studies with Pitsch at the organ school in Prague, he became an assistant there, teaching plainsong as well as the organ, and later served briefly as the school's director. In 1860 he accepted the post of director at the Žofín Academy, where he founded courses for training women as singers and piano teachers. He also taught at various girls' high schools and ran courses for young working people. After composing some music to German texts, in 1848 Zvonař associated himself with the Czech national movement. He wrote reviews for a Prague newspaper and later in the journals Dalibor and Slavoj. One of the founders and leading members of the choral society Hlahol and the artists' society Umělecká Beseda, he also gave private composition lessons, with Bendl and probably Dvořák among his pupils. Zvonař is chiefly remembered as one of the founders of Czech music pedagogy. His work comprises articles on theory, education and music history, including the first survey of Czech music history and arrangements of traditional Czech melodies. His Navedení was the first treatise on harmony written in Czech, and brought together for the first time Czech terminology of music theory. He also wrote very valuable studies of folk music, which analyse the relationship of rhythm, words and pitch. A composer of natural though modest talent, he wrote in nearly all genres but provided mostly vocal music. His masses and other sacred works, choruses, cantatas and an unperformed three-act opera Záboj are conventional in style, although he achieved considerable popularity in his day as a song composer. His manuscripts are held in the National Museum, Prague. WRITINGS ‘Jan Křtitel Vaňhal’, Dalibor, ii (1859) Navedení k snadnému potřebných kadencí skládání: pro méně cvičené varhaníky sestavil L.Z. [Instructions of the simple construction of useful cadences: put together for less experienced organists by L.Z.] (Prague, 1859) ‘Slovo o mších Tůmových’ [A word on Tůma's masses], Dalibor, ii (1859) ‘Dějiny české hudby’ [History of Czech music], Riegrův slovník naučný [Rieger's encyclopedia], ii (Prague, 1860); extract, Dalibor, v (1862) ‘Slovo o českých národních písních’ [A word about Czech folksongs], Dalibor, iii (1860), 166–230 passim [series of 8 articles] Základy harmonie a zpěvu [Fundamentals of harmony and singing] (Prague, 1861) ‘Listy z dějin české hudby: I. Jan Trojan, II. V.K. Holan-Rovenský’ [Pages from Czech music history, I: Trojan; II: Holan-Rovenský], Dalibor, v (1862) Theoreticko-praktická škola piana s národními písněmi pro útlou mládež [Theoretical-practical piano school with folksongs for young people] (Prague, 1863) ‘Zkumné příspěvky ku poznání povahy a ducha české hudby’ [Research contributions towards an understanding of the character of Czech national music], Slavoj, iii (1863), nos.1, 2, 4, 9, 11 ‘Hudební vychovávání’ [Music education], Slavoj, iii (1863); iv (1864); v (1864) EDITIONS Hudební památky české [Czech musical monuments], i–iv (Prague, 1862–4) [Choral arrs. of Czech folksongs] Společenský zpěvník český [Czech social songbook] (Prague, 1863) BIBLIOGRAPHY ČSHS E. Axman: ‘Josef Leopold Zvonař’, ČMm, xv (1916), 11–16 K. Kazda, ed.: Josef Leopold Zvonař, Podbrdský kraj, ii (Prague, 1924–5) [incl. catalogue of works and bibliography] E. Št'astná: Josef Leopold Zvonař: průkopník moderní české hudební pedagogiky [Zvonař: pioneer of modern Czech music education] (diss., U. of Prague, 1952) O. Jetel: ‘Josef Leopold Zvonař’, HRo, vii (1954), 46 J. Tyrrell: Czech Opera (Cambridge, 1988) J. Ludvová: Česká hudební teorie novější doby, 1850–1900 [Czech music theory, 1850–1900] (Prague, 1989), 33–7, 53–8, 60–63 J. Ludvová: ‘Hankovy padělky v české hudbě’ [Hanka's falsifications in Czech music], HV, xxvii (1990), 311–2, 318 [on Záboj] MIROSLAV K. ČERNÝ/JITKA LUDVOVA Zwaap, Alexander. See Delden, Lex van. Zwart, Jan (b Rotterdam, 20 Aug 1877; d Zaandam, 13 July 1937). Dutch organist, composer and organologist. He studied with, among others, Hendrik de Vries, a composer and organist at the Laurenskerk in Rotterdam. From 1893 he worked as an organist in Rotterdam, and from 1898 until his death was organist of the Hersteld Evangelical Lutheran church in Amsterdam, where he gave many recitals on the famous Strumphler organ (now in St Eusebius in Arnhem). There he opposed the practice of playing organ transcriptions and promoted original organ music. He had an extensive repertory, including many then unknown French and German works. From 1929 he gave weekly organ recitals on the radio. He also made a study of historical Dutch organs and organ music, especially the works of Sweelinck, Hendrick Spuy and Anthoni van Noordt. Zwart composed many organ works based on Reformed church songs and in a romantic style, which he published himself along with various articles. The series Nederlandsche Orgelmuziek, published in Koog aan den Zaan from 1917, contained over 20 volumes of organ music written by Zwart and other Dutch organists of the time. After his death his sons published many of his choral improvisations. His championing of Reformed church music led to the Dutch premières of Schütz’s St Matthew Passion (1918) and St John Passion (1919). GERT OOST Zweers, Bernard (b Amsterdam, 18 May 1854; d Amsterdam, 9 Dec 1924). Dutch composer. Together with Alphons Diepenbrock and Johan Wagenaar he was one of the principal figures in Dutch music at the turn of the century. His father, a well-known amateur singer, owned a book and music shop in Amsterdam where Bernard worked and consequently came to know many notable musicians. In 1881 he attended a performance of the Ring in Berlin. Wagner's music proved to be a major influence, shaping Zweers's musical idiom and the style of his future works. He was essentially self-taught but, with the support of his piano duet partner, a businessman, he studied with Jadassohn in Leipzig for eight months in 1881–2. By that time he had already had works performed in Amsterdam, including the Missa quatuor vocibus (1877) and his First Symphony (1881). On his return from Leipzig Zweers began to take an active part in Dutch musical life. For several years, until his hearing deteriorated, he conducted three prominent choirs (the Amsterdam Male-Voice choir, Liedertafel Apollo and the choir of the Mozes- en Aaronkerk). From 1895 to 1922 he was head of theory and composition at the Amsterdam Conservatory, and also gave courses in analysis at the Concertgebouw in which works from all periods, including those of his contemporaries, were studied. Although he taught many well-known composers, including Hendrik and Willem Andriessen, Sem Dresden and Daniël Ruyneman, he did not create a school of followers, preferring to encourage his pupils to develop their own individual style. Diepenbrock studied privately with him for a short time. As a composer Zweers sought to create a truly Dutch music, free from foreign influences, German in particular. To that end he chose to set Dutch texts, finding his main inspiration in the poetry of P.C. Boutens. His vocal works were performed mostly by his wife and former pupil, the soprano Dora de Louw. Although he was twice honoured by the Queen of the Netherlands, and highly regarded in musical circles, his ideas on Dutch music never took root. His best-known work is the Third Symphony, Aan mijn vaderland (1887–90), first performed in its entirety in April 1890. A large-scale work lasting over an hour, it makes extensive use of melodic and motivic transformation and requires an enlarged brass section (including saxhorns in the fourth movement). The style is distinctive but conservative; here as in other mature works there are reminiscences of Tchaikovsky, Brahms and especially Wagner. Other important works include the Preludes and Choruses for Joost van den Vondel's Gijsbrecht van Aemstel (1892–4), commissioned for the reopening of the City Theatre in Amsterdam; the Saskia Overture (1906), for the Rembrandt tercentenary; Aan de schoonheid (1909); and two Tagore settings, Wijzangen (1914–15). WORKS for further list see von Gleich
BIBLIOGRAPHY H. Viotta: Onze hedendaagsche toonkunstenaars, ii (Amsterdam, 1895), 1–6 S.A.M. Bottenheim: ‘Bernard Zweers’, Op de hoogte (1916), 88–92 Caecilia en het muziekcollege (1924), May [Zweers issue] H. Rutters: ‘Bernard Zweers’, Mens en melodie, iv (1949), 365–9 E. Reeser: Een eeuw Nederlandse muziek (Amsterdam, 1950, 2/1986), 158–66 C. von Gleich: ‘Zweers, Bernard’, Biografisch woordenboek van Nederland, ed. J. Charité (The Hague, 1985) A. Atanasijevic: Bernard Zweers en zijn derde symfonie (diss., U. of Utrecht, 1988) ANA RYKER Zweig, Stefan (b Vienna, 28 Nov 1881; d Petrópolis, Brazil, 22 Feb 1942). Austrian writer. In his day a leading European literary figure, he was exceptionally cultivated and had deep humanistic sympathies. His active pacifism dates from his exile in Zürich (1917–18), during which time he met several noteworthy musical figures. After the war he became one of the more highly regarded, widely read and translated Austrian writers of his generation. In 1934 he emigrated to England, and in 1941 settled in Brazil. Distraught at the persecution of the Jews, Zweig committed suicide, together with his wife, in 1942. His writings include several on musicians – Busoni, Toscanini and Bruno Walter, who were his close friends (Berg was another), as well as Handel, Mahler and Richard Strauss. His significance for music history lies largely in his collaboration with Strauss, which began in 1932. Only one work was produced, the comic opera Die schweigsame Frau, after Ben Jonson’s Epicoene, or The Silent Woman, although 18 different subjects were discussed, most of them proposed by the writer to the musician. Strauss considered that in Zweig he had found a partner equal to Hofmannsthal: ‘None of my earlier operas was so easy to compose or gave me such light-hearted pleasure’. Zweig was less satisfied: ‘a terribly difficult work and thus the very opposite of my original conception of it’. As Zweig was Jewish, the opera’s première at Dresden in 1935 was attended by a political scandal, which led to its cancellation after the fourth performance. Eventually, he chose to end the working relationship, wishing neither to be made a privileged exception by the Nazi regime nor to see Strauss compromised by their association, which the writer refused to continue even secretly. At Zweig’s suggestion, Strauss had the far less gifted Joseph Gregor make a sketch by Zweig into the libretto of Friedenstag. Another Zweig idea became the basis of Capriccio. Settings of Zweig’s poems were made by Reger, Loeffler, Röntgen and Joseph Marx, among other composers. Seiber wrote incidental music to his adaptation of Volpone. An oratorio entitled Virata was composed by István Szelényi (1935) after Zweig’s Die Augen des ewigen Bruders. His autobiography, Die Welt von Gestern (1942), is also a lively social and cultural portrait of Vienna during his youth and the early part of the 20th century and a moving account of the fate of his beloved Europe in and between the two world wars. Zweig’s large collection of musical and other autograph manuscripts included Mozart’s Das Veilchen, Beethoven’s Der Kuss, Schubert’s An die Musik, Brahms’s Zigeunerlieder, arias by Handel, Gluck and Mozart, the Chopin Barcarolle, a Bach cantata and works by Richard Strauss and Stravinsky, as well as writings by Goethe, Hölderlin, Mörike, Nietzsche, Rilke and Hofmannsthal. A large portion of this collection was donated to the British Library in 1986. WRITINGS ‘Gustav Mahlers Wiederkehr’, Neue freie Presse (25 April 1915); repr. in Europäisches Erbe, ed. R. Friedenthal (Frankfurt, 1960/R), 172–82 ‘Richard Strauss und Wien’, Neue freie Presse (8 June 1924); repr. in F. Trenner, ed.: Richard Strauss: Dokumente seines Lebens und Schaffens (Munich, 1954), 173 ‘Arturo Toscanini: ein Bildnis’: preface to P. Stefan: Arturo Toscanini (Vienna, 1935; Eng. trans., 1936); repr. in S. Zweig: Begegnungen mit Menschen, Büchern, Städten (Vienna, 1937/R), 78–87 Bruno Walter: Kunst der Hingabe (Vienna, 1936); repr. in Begegnungen mit Menschen, Büchern Städten (Vienna, 1937/R). 127–9 [also pubd in P. Stefan: Bruno Walter (Vienna, 1936)] Georg Friedrich Händels Auferstehung: eine historische Miniatur (Vienna, 1937); repr. in Sternstunden der Menschheit: zwölf historische miniaturen, ed. S. Zweig (Frankfurt, 1958), 67–88; Eng. trans. in The Tide of Fortune (London and New York, 1940), 100–126 ‘Busoni’, Begegnungen mit Menschen, Büchern, Städten (Vienna, 1937/R), 111–12 Die Welt von gestern: Erinnerungen eines Europäers (Stockholm, 1944; Eng. trans., 1943) [autobiography; earliest edns in Sp. and Port., 1942] K. Beck, ed.: Gesammelte Werke in Einzelbänden (Frankfurt, 1981–) BIBLIOGRAPHY MGG1 (W. Pfannkuch) [with list of settings] F.M. Zweig: Stefan Zweig (London and New York, 1946; Ger. orig., Stockholm, 1947) W. Schuh: Richard Strauss, Stefan Zweig: Briefwechsel (Frankfurt, 1957; Eng. trans., 1977, as A Confidential Metter: the Letters of Richard Strauss and Stefan Zweig, 1931–35; Fr. trans., enlarged, 1994, as Richard Strauss, Stefan Zweig: Correspondence 1931–36) H. Arens: ‘Stefan Zweig zum Gedenken’, Acta Mozartiana, viii (1961), 62–8 A.A. Abert: ‘Stefan Zweigs Bedeutung für das Alterswerk von Richard Strauss’, Festschrift Friedrich Blume, ed. A.A. Abert and W. Pfannkuch (Kassel, 1963), 7–15 H. Oesterheld: ‘Max Reger und Stefan Zweig’, Neue Beiträge zur Regerforschung und Musikgeschichte Meiningens (Meiningen, 1970), 67–82 D.A. Prater: European of Yesterday: a Biography of Stefan Zweig (Oxford, 1972) K.W. Birkin: ‘Strauss, Zweig and Gregor: Unpublished Letters’, ML, lvi (1975), 180–95 O. Neighbour: ‘The Stefan Zweig Collection’, MT, cxxvii (1986), 331–2 R. Chesser, ed.: Stefan Zweig Series of Concerts, Lectures and Exhibitions 1987 (London, 1987) [incl. inventory of Zweig collection] K. Birkin: Friedenstag and Daphne: an Interpretative Study of the Literary and Dramatic Sources of Two Operas by Richard Strauss (New York, 1989) K. Birkin, ed.: Joseph Gregor, Stefan Zweig: Correspondence 1921–1938 (Dunedin, New Zealand, 1991) R.J. Klawiter, ed.: Stefan Zweig: an International Bibliography (Riverside, CA, 1991) RICHARD EVIDON/TAMARA LEVITZ Zweiller, Andreas (b Judenburg, Styria, c1545–50; d ?Graz, Styria, May 1582). Austrian singer and composer. He was chorister in the Stephansdom, Vienna, and in 1559 was admitted to the university there. In 1572 his name appears last in a list of five basses employed at the Graz court household of Archduke Karl II of Inner Austria. At the express wish of the archduke he took holy orders and in 1579, when he accompanied his master to Munich, he was nominated first court chaplain. He himself used the title ‘Elimosinarius’ (almoner) in 1581. All that has survived of his work is a Magnificat à 6, A la fontaine du pris (in A-Gu, D-Kl and SI-Lu, ed. in DTÖ, cxxxiii, 1981), based on the chanson with the same title by Willaert. This work shows Zweiller to have been among the earliest composers to write parody Magnificat settings, a style with which he had presumably become familiar through contact with Lassus at Munich. BIBLIOGRAPHY G. Gruber: Beiträge zur Geschichte und Kompositionstechnik des Parodiemagnificat in der 2. Hälfte des 16. Jahrhunderts (diss., U. of Graz, 1964) G. Gruber: ‘Magnificatkompositionen in Parodietechnik aus dem Umkreis der Hofkapellen der Herzöge Karl II. und Ferdinand von Innerösterreich’, KJb, li (1967), 33–60 H. Federhofer: Musikpflege und Musiker am Grazer Habsburgerhof der Erzherzöge Karl und Ferdinand von Innerösterreich (1564–1619) (Mainz, 1967), 142–3 HELLMUT FEDERHOFER Zweiunddreissigstel-Note (Ger.). See Demisemiquaver (32nd-note). See also Note values. |
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