|
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 |
Zwelinck, Jan Pieterszoon.⇐ ПредыдущаяСтр 46 из 46
See Sweelinck, jan pieterszoon. Zwerchpfeiff (Ger.). See Flute or Fife. The term has also been used for a small Recorder and for the pipe of the Pipe and tabor. Zweter, Reinmar von. See Reinmar von Zweter. Zwetler [Zwettler], Theodor [Johann Nepomuk Felix] (b Weitra, Lower Austria, bap. 5 June 1759; d Vienna, 30 Aug 1826). Austrian composer. He was a choirboy at the Schottenkloster in Vienna, studied humanities at Krems an der Donau and completed a philosophy course in Vienna. In 1778 he entered the Schottenkloster and in 1783 became a Benedictine priest; he was a priest (1786–1802) at the Laurenzkirche in the parish of Schottenfeld, Vienna, and parish administrator (1802–7) at the Ägydkirche in the Viennese suburb of Gumpendorf, where Haydn was also living. From 18 July 1807 until his death Zwetler was a prior and parish administrator at the Schottenkloster. He did much to improve its music, particularly during the period of peace (1815–48) that followed the Vienna Congress. Under him J.L. Eybler was the choir director, followed in 1824 by Ignaz Assmayr (1790–1862), and Franz Volkert (1778–1845) was the organist. During his administration the abbey’s archive and repertory were enriched by many works of the Classical masters, and Joseph Frühwald (1783–1856), Joseph Perschl (1784–1856) and Haydn’s former factotum J.F. Elssler were employed as music copyists. Eybler composed his Missa Sancti Theodori in honour of Zwetler’s patron saint; the work had its première at High Mass on Easter Monday 1821 in the Schotten church. In his last years Zwetler was blind. Zwetler’s works are mostly Latin arrangements, suitable for liturgical use, of oratorios, cantatas, hymns, motets and choruses by Handel, C.H. Graun, Haydn, Antonio Sacchini and J.A.P. Schulz. Of his own compositions only two Tantum ergo settings for soprano, alto and organ continuo (published in Vienna, c1835) are extant; because he based the second one on a motif from Peter Winter’s Requiem in C minor the manuscripts bear Winter’s name and the piece has been attributed to many other composers. BIBLIOGRAPHY PazdírekH WurzbachL MSS and published documents (A-Ws) Catalogue du fonds de musique de Aug. Cranz à Hambourg (Hamburg, 1887), 599 KARL PFANNHAUSER Zwick, Johannes (b Konstanz, c1496; d Bischofszell, 23 Oct 1542). Swiss reformer, poet and hymnographer. In 1509 he entered Freiburg University to study law, where he met and became a friend of the humanist Bonifacius Amerbach. In 1518 he was ordained and, with his brother, matriculated at Bologna University, later going to study law at Siena University. In 1521 he became instructor in jurisprudence at Basle University and continued his studies in theology. At about this time he became a follower of Luther and eschewed humanism. In 1522 he married and took a parish at Riedlingen. Because of his Reformation activities he was ordered to appear in Rome in September 1524, but when he ignored this it was not pursued. However, because the peasants considered him a member of their party in the Peasants' War of 1525, he was expelled from Riedlingen. Later in the same year he assumed a pastorate in Konstanz where, with his brother Konrad and the brothers Ambrosius and Thomas Blarer, he was to become a leader of the reform movement. Zwick's most important contributions to the Swiss reform movement were concerned with the Eucharist and the use of hymns. Contrary to the attitudes of Zwingli, Zwick stated that scriptures neither command nor forbid hymn singing in church and that although psalm singing was important, other hymns should also be encouraged. He did not, however, approve of Latin hymns or polyphony. Together with Ambrosius Blarer he edited the third edition of the Konstanz hymnal (1540, 4/1548); his preface, ‘Vorred zu Beschirm und Erhaltung des ordentlichen Kirchengesangs’, was widely quoted and stands alongside Luther's hymnbook prefaces in importance. 23 hymn texts by Zwick are extant. The 1540 hymnal contains 151 hymns of which 19 are by Luther, 16 by Zwick and nine by the Blarer brothers. He wrote largely festival hymns with didactic messages including two for Ascension in the 1540 edition and one each for Christmas, New Year and the Passion. Zwick also provided a variety of hymns for children – for catechism and hymns of prayer; the 1540 hymnal contains six, which reappear in his Gebaett für jung Lüt (Zürich, c1540) with seven additional texts. Zwick's hymns are usually brief, and, though mostly in local dialect, are notable for the quality of their texts. Melodies were often provided in the hymnal, most of which were well-known tunes, but Zahn listed seven melodies which may have been composed by Zwick. Zwick's hymn writing exercised significant influence on other composers, including Benedictus Ducis and Sixt Dietrich. BIBLIOGRAPHY BlumeEK ZahnM C.E.P. Wackernagel: Das deutsche Kirchenlied von der ältesten Zeit bis zum Anfang des 17. Jahrhunderts, iii (Leipzig, 1870/R) F. Spitta: Gebete und Lieder für die Jugend von Johannes Zwick (Göttingen, 1901) J. Hotz: Johannes Zwick: Uss der Werckstatt sines Läbens (Zürich, 1942) B. Moeller: Johannes Zwick und die Reformation in Konstanz (Gütersloh, 1961) M. Jenny: Geschichte des deutschschweizerischen evangelischen Gesangbuches im 16. Jahrhundert (Basle, 1962) VICTOR H. MATTFELD Zwickau. City in eastern Germany, dating from about 1200. The cathedral (St Marien) was consecrated in 1118, and in 1291 a city school was founded; its pupils provided music for the cathedral, but by 1470 the latter had appointed its own precentor. Typical of many medieval cities, it held performances of mystery plays and Latin comedies, and, in the early 16th century, Protestant plays at the school. The school day began and ended with choral singing; its library, established in 1537, contains some valuable manuscripts, including two volumes of music in a 15-volume original manuscript of Hans Sachs. The city was also a centre for itinerant musicians, a tradition which continued until 1846. On public occasions music was usually provided by the guild of Stadtpfeifers, employed by the city from the mid-15th century; by the mid-16th century there is evidence of an official Stadtpfeiferei. 16th-century precentors at the cathedral included Simon Cellarius, Cornelius Freundt and Johann Stolle. Zwickau's cultural life suffered during the Thirty Years War and as a result of the plagues of 1633 and 1681–3, after which the city never regained its former strength and significance. The organists of the cathedral were central to Zwickau's musical life; the earliest records of an organ date from the late 14th century. In the 18th century Johann Ludwig Krebs, a pupil of J.S. Bach, was an outstanding organist (1737–43) at the cathedral. About 1800 the middle classes became influential musically. J.G. Kuntsch, cathedral organist and Schumann's piano teacher, founded the Bürgerkonzert choral society, and in 1802 the society performed Haydn's The Creation. In 1810 Robert Schumann was born in Zwickau, and even as a boy enhanced the city's musical life, participating in musical-literary evenings and in public performances; in 1821 he played the piano in Friedrich Schneider's Das Weltgericht. In 1823 the Stadttheater opened in the Gewandhaus with a performance of Weber's Der Freischütz, and in 1837 Kuntsch's successor H.B. Schulze mounted Mendelssohn's Paulus. The first Schumann festival was held in 1847, on the initiative of Kuntsch and Emanuel Klitzsch (who composed under the name of ‘Kronach’); Robert and Clara Schumann were present and the citizens of Zwickau gave their full support. The festival became an established tradition; since 1963 it has taken the form of a four-yearly international piano competition. Martin Kreisig (1856–1940), founder of the Schumann Collection and Schumann Society (1920), made the first attempts at a systematic organization of the Schumann heritage; his work was continued by Georg Eismann (1899–1968) and Martin Schoppe. On the centenary of Schumann's death (1956) his birthplace was declared a national monument; since 1964 the town council has presented an annual Robert Schumann prize to performers or musicologists. Its recipients have included Sviatoslav Richter, Emil Gilels, Jacob Lateiner and Dietrich Fischer-Dieskau. Since World War II Zwickau's musical life has been that of a modern industrial city. There was a chair of music at the Pädogogische Hochschule, the city's theatres mount operas and there are regular symphony concerts. The Robert Schumann Conservatory is the centre of musical education; Schumann research is carried on at the Robert-Schumann-Haus. BIBLIOGRAPHY MGG2 (E. Möller) T. Schmidt: Zwickawische Chronicka (Zwickau, 1656) E. Herzog: Chronik der Kreisstadt Zwickau (Zwickau, 1839–45) T.W. Hildebrand: Die Hauptkirche St. Mariä zu Zwickau (Zwickau, 1841) R. Vollhardt: Bibliographie der Musik-Werke in der Ratsschulbibliothek zu Zwickau (Leipzig, 1893–6) R. Vollhardt: Geschichte der Cantoren und Organisten Sachsens (Berlin, 1899, rev. 2/1978 by E. Stimme) J. Rautenstrauch: Luther und die Pflege der kirchlichen Musik in Sachsen (14.–19. Jahrhunderts) (Leipzig, 1907/R) E. Dost, ed.: Zwickauer Culturbilder aus acht Jahrhunderten (Zwickau, 1939) H.M. Brown: ‘Music for a Town Official in Sixteenth-Century Zwickau’, Musica antiqua VII: Bydgoszcz 1985, 479–92 MARTIN SCHOPPE Zwilich, Ellen Taaffe (b Miami, 30 April 1939). American composer and violinist. She studied with John Boda at Florida State University (BM 1960, MM 1962), then moved to New York to study the violin with Galamian. As a member of the American SO under Stokowski, she acquired invaluable training in performance and orchestration. Eventually, she enrolled at the Juilliard School, where she studied with Carter and Sessions and, in 1975, became the first woman to take the DMA in composition. Meanwhile, performances of her music began occurring with increasing frequency: Symposium for orchestra (1973) was conducted by Boulez, the String Quartet 1974 was played at the ISCM World Music Days in Boston and the Sonata in Three Movements (1973–4) was performed by her husband, the violinist Joseph Zwilich. Symphony no.1, first performed in 1982 by the American Composers Orchestra under Schuller, brought her international renown in 1983, when it was awarded the Pulitzer Prize in music, making Zwilich the first woman to receive that honour. The publicity engendered by the prize enabled Zwilich to earn a living exclusively from composition. Her music had already begun to change from the jagged melodies, atonal harmonies and structural complexities of the Sonata in Three Movements and the String Quartet 1974 to a simpler, more accessible vocabulary. That change was partly due to the death of her husband in 1979; afterwards, she became interested in communicating more directly with performer and listener. Although this trend is evident in the Symphony no.1, it accelerated throughout the 1980s and 90s. Since her earliest mature compositions, Zwilich has been obsessed with the idea of generating an entire work – large-scale structure, melodic and harmonic language, and developmental processes – from its initial motives. However, beginning in the mid-1980s the motivic material itself becomes simpler, its development more audible, its melodic treatment more long-breathed and its harmonic context increasingly tonal. In subsequent works, Zwilich has employed traditional motivic materials (triads, scales, arpeggios) within classical multi-movement structures, underpinned by recognizable thematic recurrences. Orchestral works like Symbolon (1988), Symphony no.2, ‘Cello Symphony’ (1985), and Symphony no.3 (1992), commissioned by the New York Philharmonic for its 150th anniversary, are characterized by grand gestures, with tonal centres defined by propulsive ostinatos, forceful unisons and lengthy pedal-points. Her orchestral works, the bulk of her more recent output, exude a dark-hued intensity reminiscent of Shostakovich and possess a directness of utterance that has made Zwilich popular with audiences and performers alike. Concise, economical and clean in texture, Zwilich’s music might be classified under the rubric ‘neo-classic’ were it not for its very ‘neo-romantic’ expressive force. Beginning in the late 1980s, Zwilich wrote a series of concertos for the more neglected orchestral instruments, including the trombone (1988), the bass trombone (1989), the flute (1989), the oboe (1990), the bassoon (1992), the horn (1993) and the trumpet (1994); she also wrote a Double Concerto for violin and cello (1991). As the first occupant of the Carnegie Hall Composers Chair (1995–9), she composed the Violin Concerto for Pamela Frank (1997) and the String Quartet no.2 for the Emerson Quartet (1998), and designed and hosted an innovative concert and interview series, Making Music, devoted to living composers of every stylistic bent. A constant stream of orchestral commissions, numerous repeat performances and an increasingly accessible musical language have combined to make Zwilich one of America’s most frequently played and genuinely popular living composers. WORKS
BIBLIOGRAPHY R. Dreier: ‘Ellen Taaffe Zwilich’, HiFi/MusAm, xxxiii/9 (1983), 4–5, 18 J. Rubinsky: ‘Ellen Taaffe Zwilich’s Upbeat Road to the Pulitzer’, Keynote, viii/9 (1984), 16–19 T. Page: ‘The Music of Ellen Zwilich’, New York Times Magazine (14 July 1985) ‘Conversations with American Composers: Ev Grimes Interviews Ellen Taaffe Zwilich’, Music Educators Journal, lxxii/6 (1985–6), 61–5 H. Waleson: ‘Composer Ellen Taaffe Zwilich Living her Dream’, Symphony Magazine, xxxvii/2 (1986), 20–23, 67 R. Samuel: ‘Ellen Taaffe Zwilich, Concerto for Trumpet and Five Players: Concerto grosso 1985’, ML, lxix (1988), 143–4 Ellen Taaffe Zwilich (New York, 1988) [BMI composer brochure] P. Moor: ‘Ellen Taaffe Zwilich’, HiFi/MusAm, cix/2 (1989), 16–17 K. ROBERT SCHWARZ/R Zwingli, Ulrich [Huldreich] (b Wildhaus, 1 Jan 1484; d Cappel, 11 Oct 1531). Swiss humanist and church reformer. Of all the reformers of the 16th century he was the most musically gifted and yet the most antagonistic towards the use of music in public worship. He was educated first in Basle, then in Berne where he came under the influence of the poet, composer and humanist scholar Wölflin. While in Berne, at the age of 12 Zwingli entered the chapel choir of the local monastery simply to further his musical ambitions. Many of his contemporaries (e.g. Bullinger and Myconius) commented on his extraordinary musical gifts. Wyss (see Finsler, 1901) wrote: I have never heard about anyone who, in the musical arts – that is, in singing and all the instruments of music, such as lute, harp, large viol, small viol, pipes, German flute … the trumpet, dulcimer, cornett, and waldhorn, and whatever else of such like had been invented … could take it to hand as quickly as he. Zwingli studied in Vienna and Basle, receiving the master’s degree from Basle University in 1506, the year of his ordination. In 1516 he entered a monastery in Einsiedeln where he must have continued his music-making for his musical reputation almost hindered a decisive step in his career. In October 1518 the office of people’s priest became vacant at the Grossmünster, Zürich. Myconius campaigned on Zwingli’s behalf but reported that certain influential people in Zürich frowned on his musical activities because they thought it indicated that he was a worldly and sensual man. Zwingli replied that for him music was a private matter that need not offend anyone. He was appointed to the position and began his duties in the Grossmünster on 1 January 1519. He proved to be a powerful and popular preacher. Within three years he had begun his radical reformation in Zürich with the breaking of the Lenten fast and the petitioning of the Bishop of Konstanz for permission for the clergy to marry. Zwingli’s first attempt at a revision of the liturgy, De canone missae epicheiresis, appeared in 1523; the canon of the Mass was omitted, along with saints’ days, and musical settings were dramatically reduced. His more radical, and wholly vernacular, revision, Aktion oder Brauch des Nachtmahls, was published in 1525; it became the pattern for all subsequent Zwinglian worship. Ritual and ceremony were reduced to the barest minimum and music was excluded altogether. In the previous year organs had been decreed to remain silent and three years later they were dismantled in the Grossmünster; no organ was heard in the building until almost 350 years later. Zwinglian reform spread throughout the northern cantons of Switzerland, but the south remained faithful to the Roman church. Zwingli organized a confederacy against the southern cantons in the two Cappel wars (1529 and 1531), losing his life in the second. Why a man so musically accomplished should have been so negative towards music in worship is something of an enigma. By all accounts, the musical standard in the Zürich city churches was very poor when Zwingli arrived there; this must have irritated the sensitive musician, who spoke acidly of off-key praises in the churches. To this sensitivity must be added his intellectual and internal understanding of worship. His explanation of Colossians iii.16 is significant: ‘Here Paul does not teach us mumbling and murmuring in the churches, but shows us the true song that is pleasing to God, that we sing the praise and glory of God not with our voices like Jewish singers, but with our hearts’. It seems that he believed that music had an inherent mystical power which could distract him from his devotions. For Zwingli, music-making was a non-ecclesiastical function. His plague song (and probably also his rhymed version of Psalm lxix) was written to fulfil personal needs, and his Cappel song for corporate needs, but they were to be sung outside the context of public worship. Zwingli’s reformation was of a different order from Luther’s. The latter excluded from church life only those matters that were condemned in scripture; Zwingli included only those that were expressly commanded in scripture. For Luther music came next to theology; for Zwingli music was an obstacle for the believer, and if a man practised music at all his aim should be to disturb no-one by it. Church music was adversely affected by the spread of such views. Konstanz adopted the principles of Zwinglian reform and music was excluded from the churches. Sixt Dietrich wrote, sadly, ‘I have no one in Konstanz who sings with me. Music is destroyed, lies in ashes, and the more it is destroyed, the more I love it’. Zwinglian influences may have led the English composers Taverner, Tye and Merbecke to give up composition. Thus Zwingli came to be regarded as the arch-enemy of music, an uncritical view expressed in such places as the funeral sermon for Schütz (1672) and the preface to the second edition of the Leipziger Gesangbuch (1730). This widespread view of Zwingli as the anti-musical reformer is, however, somewhat misleading and does not do justice to Zwingli’s broader view of music. Certainly, he eliminated music from church worship but not from schools and institutions of higher learning. In his educational reforms in Zürich, Zwingli specifically promoted the teaching of music especially in the bipartite institution attached to the Grossmünster. The lower level was a grammar school from which students graduated to the second level, a theological seminary for the training of pastors for the reformed churches of the area. Thus, whatever his reservations about music in worship, Zwingli regarded the study of music as an essential part of a pastor’s education. Similarly, although he specifically rejected liturgical music, he did encourage non-liturgical religious song, as his own compositions demonstrate. Three complete song settings by Zwingli are extant: Hilff, Herr Gott, hilff in diser Not (the plague song, c1520), a rhymed version of Psalm lxix Hilff, Gott, das Wasser gat mir biss an d’Seel (c1525) and the Cappel song Herr, nun heb den Wagen selb (ed. in Egli and others) for use in the first Cappel war of 1529. Bullinger (see Hottinger and Vögeli) reported that Zwingli not only composed the melodies of the Cappel and plague songs but also wrote four-voice settings of them. There are a number of extant contemporary settings of these songs, some of which may have been composed by Zwingli (ed. in Egli and others). In addition, three psalm tunes and two prayer songs (ed. in Egli and others) share characteristics with the known songs of Zwingli. Later in the 16th century Zwingli’s three songs were included in reformed psalters and hymnals and, contrary to his intentions, were sung as congregational hymns. (see also Reformed and Presbyterian church music, §I. BIBLIOGRAPHY BlumeEK J.J. Hottinger and H.H. Vögeli: Heinrich Bullingers Reformationsgeschichte (Frauenfeld, 1838–40) G. Finsler: Die Chronik des Bernhard Wyss (Basle, 1901) E. Egli and others, eds.: Huldreich Zwinglis sämtliche Werke, Corpus reformatorum, lxxxviii–ci (Berlin and Zürich, 1905–91) H. Zenck: Sixtus Dietrich: ein Beitrag zur Musik und Musikanschauung im Zeitalter der Reformation (Leipzig, 1928) H. Reimann: Die Einführung des Kirchengesanges in der Zürcher Kirche nach der Reformation (Zürich, 1959) M. Jenny: ‘Zwinglis mehrstimmige Kompositionen: ein Basler Zwingli-Fund’, Zwingliana, xi (1960), 164–82 M. Jenny: Geschichte des deutschschweizerischen evangelischen Gesangbuches im 16. Jahrhundert (Basle, 1962) C. Garside: Zwingli and the Arts (New Haven, CT, 1966) O. Söhngen: Theologie der Musik (Kassel, 1967) M. Jenny: ‘Die Lieder Zwinglis’, JbLH, xiv (1969), 63–102 F. Schmidt-Clausing, ed.: Zwinglis liturgische Formulare (Frankfurt, 1970) M. Jenny: Luther, Zwingli, Calvin in ihren Lieder (Zürich, 1983) W.P. Stephens: The Theology of Huldrych Zwingli (Oxford, 1986) Y. Knockaert: ‘De grote hervormers aan de basis van de huismuziek in de Renaissance’ [The great reformers as the founders of domestic music in the Renaissance], Adem, xxiii (1987), 77–80 G. Aeschbacher: ‘Zwingli und die Musik im Gottesdienst’, Reformiertes Erbe: Festschrift für Gottfried W. Locher zu seinem 80. Geburtstag, ed. H.A. Oberman (Zürich, 1992–3), i, 1–11 B.A. Föllmi: Das Weiterwirken der Musikanschauung Augustins im 16. Jahrhundert (Berne, 1994) L.P. Wandel: Voracious Idols and Violent Hands: Iconoclasm in Reformation Zurich, Strasbourg and Basel (Cambridge, 1995) ROBIN A. LEAVER Zwiny, Wojciech. See Żywny, Wojciech. Zwischendominante (Ger.). See Applied dominant. Zwischenspiel (Ger.: ‘interlude’). An interlude or intermezzo. The term has been applied to musical interludes that serve simply to entertain between the acts of operatic works of the 19th and 20th centuries, although ‘entr’acte’ or ‘Entrakt’ has often been preferred even in German-speaking countries. It has also been used of those interludes that contribute to the essential dramatic structure of the whole, e.g. the Zwischenspiel between Acts 1 and 2 of Schoenberg’s Moses und Aron; ‘Siegfrieds Rheinfahrt’ is described as a Zwischenspiel in some editions of Götterdämmerung, though it is doubtful whether Wagner himself so described it. In writings about music the word is commonly used of the episodes in a fugue or rondo, the orchestral tuttis of a concerto, the purely instrumental interludes in a song accompaniment, organ interludes between the stanzas of a congregational hymn or the passages between statements of the chorale tune in a chorale prelude and, rather loosely, of the intermedi and intermezzos of the Renaissance and Baroque theatre. See also Act music (i), Entr’acte, Interlude and Psalm interlude. MICHAEL TILMOUTH Zwolle, Henri Arnaut de [Heinrich Arnold von]. See Arnaut de Zwolle, Henri. Zwysen, Sebastian. Organ builder. See Suisse. Zwyssig, Alberik (Johann Josef Maria) (b Bauen, canton of Uri, 17 Nov 1808; d Mehrerau, nr Bregenz, 19 Nov 1854). Swiss composer. He is best remembered for Trittst im Morgenrot daher, now the Swiss national anthem. At the age of 12 he entered the school of Wettingen Abbey. There he studied the piano, organ, violin and guitar, the last-named remaining his favourite instrument. He took his final vows as a Cistercian monk in 1827 and was ordained priest in 1832. He became secretary to the abbot, a music teacher and an organ specialist, but his main post was that of Kapellmeister; he contributed to the abbey's reputation as a distinguished centre of the arts. In 1841 the radicals resolved to abolish the Aargau monasteries and the monks were dispersed; Zwyssig was offered several outstanding positions, which he declined, preferring to remain in attendance on his abbot. A nomadic existence followed, during which they stayed in St Karl (near Zug) for some time; there Zwyssig composed Trittst im Morgenrot daher and it was first performed on 22 November 1841. In 1847 Zwyssig was admitted, with his abbot, to the Cistercian house at Wurmsbach, where he reorganized the archives and taught singing. He remained there until 1854 but continued to seek a monastery of his own as a hostel. Finally Emperor Franz Joseph I allowed him to move to Mehrerau, near Bregenz. Zwyssig took charge of negotiations for the acquisition of a monastery established by the Benedictines in 1097. Its restoration and reopening entailed a great deal of intellectual and physical effort for Zwyssig, who died of pneumonia from the exertion, but with it he achieved his life's goal. Zwyssig wrote about 80 works, primarily occasional sacred choral pieces suitable for performance in a monastery. He enjoyed a considerable reputation as a composer of simple and pleasant songs in an early Romantic style, dominated by a spirited, clear melodic line; many have become a part of the popular heritage. His ‘Swiss psalm’, Trittst im Morgenrot daher, on a text of his friend Leonard Widmer, quickly became popular; it was included in every songbook and translated into Italian, French, Romansch and English. Zwyssig, not wanting to write a fresh composition, sought out a melody from among his compositions, finding the Diligam te Domine (composed in 1835 as a gradual for his Mass in B BIBLIOGRAPHY P. Theiler: ‘Pater Alberik Zwyssig’, Monatsrosen, xxviii (1883–4), 183 G. Arnold: ‘Alberik Zwyssig und die Nationalhymne’, SMz, xxxiv (1894), 134 B. Widmann: P. Alberik Zwyssig als Komponist (Bregenz, 1905) [with list of works] H. Koch: P. Alberik Zwyssig (Zug, 1941) H. Meng: P. Alberik Zwyssig: Gedenkschrift zum 100. Todestag (Wettingen, 1954) [with list of works] H. Helbling: Non mergor! Alberik Zwyssig, der Komponist des Schweizerpsalms (Bauen, 1956) K. Lauterer, H. Meng and E. Schwarb: Pater Alberich Zwyssig: Komponist des Schweizerpsalms (Baden, Switzerland, 1982) E. Schneider: ‘Pater Alberich Zwyssig: zum 175. Geburtstag’, Montfort: Vierteljahresschrift für Geschichte und Gegenwaft Voralbergs, xxxv (1983), 160–63 LUISE MARRETTA-SCHÄR Zydeco. Popular music genre of Louisana, which is led by the accordion and features drum kit, electric bass, guitar, often brass instruments and the frottoir (metal washboard). Zydeco developed after World War II from the genre la-la, which featured accordion, fiddle and (wooden) washboard. Modern zydeco draws not only on its la-la roots, but also incorporates elements of other American genres such as blues and jazz.
Zykan, Otto M. (b Vienna, 29 April 1935). Austrian composer and pianist. He studied at the Vienna Music Academy, where his teachers included Karl Schiske (composition), Bruno Seidlhofer and Josef Dichler (piano). He also attended the Darmstadt summer courses (1958, 1964–6), winning the Kranichstein Music Prize of the international piano competition on his first visit. In 1965, with Kurt Schwertsik and H.K. Gruber, he founded the neo-tonal and ironically intended Salonkonzerte, through which he hoped to counter a view of ‘music as a substitute religion’. After 1967 the group developed into the MOBart & toneART ensemble, whose productions, linking performance, music and language, related to the ‘instrumental theatre’ movement. Zykan's most characteristic works are his ‘total art productions’, in which processes of permutation extend to movement, sounds and linguistic elements alike, sometimes producing compromise and sometimes distortion, and often reducing critical comment to the absurd. As his creative work has been conceived entirely in relation to the present, a number of his works exist only in a sketch-like draft form. He has mostly dispensed with publication, since the majority of his works depend on his personal interpretation. As a result, a number of compositions have been lost. He has also created TV advertisements for well-known firms. WORKS (selective list)
BIBLIOGRAPHY KdG (N. Fuhrmann) LZMÖ H. Krones: ‘Otto M. Zykan: Inscene II’, Melos, xlix/3 (1987), 89–113 M. Schmidt: ‘Wovon man nicht reden kann, davon soll man singen: Sprachkomposition der österreichischen Avantgarde um 1970’, ÖMz, xliv (1994), 372–6 LOTHAR KNESSL Żyliński, Faustyn (b Żary or Laskowiec, 13 Feb 1796 or 1793; d Warsaw, 19 June 1867). Polish tenor and conductor. He studied the violin and then made his début as a singer in Paisiello’s La frascatana at Minsk (1814). He sang at Vilnius (1815–23, 1838 and 1851) and, until 1840, at Warsaw, where he performed in operas by Boieldieu, Hérold, Weber, Meyerbeer, Auber and Kurpiński. He also coached the orchestra and deputized for Kurpiński as conductor. Żyliński taught singing at the School for Music and Dramatic Art and, from 1825 to 1827, at the School of Drama and Singing. His repertory included the Mozart and Elsner requiems and oratorio parts. He composed a number of masses, hymns and sacred songs. BIBLIOGRAPHY Obituary, Tygodnik illustrowany, no.407 (1867), 19 J. Heppen: ‘Żyliński Faustyn’, Kłosy, no.931 (1883), 284 IRENA PONIATOWSKA Zylis-Gara, Teresa (b Landvarov, nr Vilnius, 23 Jan 1935). Polish soprano. She studied at Łódź and made her début in 1957 at Kraków as Halka. After winning the 1960 Munich radio prize she sang at Oberhausen, Dortmund (1962) and Düsseldorf (1965–70). She appeared as Octavian at Glyndebourne (1965), made her Covent Garden début in 1968 as Violetta, then sang Countess Almaviva, Donna Elvira and Desdemona, a role she took to La Scala in 1977. She made her Metropolitan début in 1968 as Donna Elvira; later roles there included Tatyana, Suor Angelica, Fiordiligi, Elsa (Lohengrin), Elisabeth (Tannhäuser), Marguerite, the Marschallin, Mimì, Tosca, Butterfly and Manon Lescaut. She sang throughout Europe and the USA, her repertory including Adriana Lecouvreur, Amelia (Un ballo in maschera), Leonora (Il trovatore), Liù, Lisa (The Queen of Spades), Maddalena de Coigny, and both the Composer and Ariadne. Zylis-Gara was also admired as a concert singer and recitalist. She was a dignified yet impassioned actress, and had a fresh, lyric voice, notable for its smoothness of production. Among her recordings are a radiant Composer under Kempe. ALAN BLYTH Zyrlerus, Stephanus. See Zirler, Stephan. Żywny, Wojciech [Adalbert] [Živný, Vojtěch; Zhyvny, Ziwny, Żiwny, Zwiny] (b Bohemia, 13 May 1756; d Warsaw, 21 Feb 1842). Polish piano teacher and composer of Bohemian origin. He studied the violin, the piano, harmony and counterpoint with Jan Kuchař in Bohemia, where his earliest compositions were also written. After a probable stay in Stuttgart and Zweibrücken, he arrived in Poland some time during the reign of Stanisław August (1764–95). For three years he worked at the court of Prince Kazimierz Sapieha; he then moved to Warsaw, where within a short time he became one of the most successful piano teachers. Of the large number of pianists who studied with Żywny, the most famous was Chopin, whom Żywny taught from 1816 until 1822. Chopin thought highly of him, saying that, ‘with Żywny and Elsner the greatest ass would learn’; and the greatness of the pupil helped to spread the fame of the teacher. It was Żywny who eventually decided to discontinue Chopin’s lessons, feeling that there was nothing further he could teach him. Żywny wrote a number of works for the piano, including sonatas, preludes and polonaises, as well as lieder and overtures. None of his works were published and nearly all are lost. (ČSHS, SMP) ZOFIA CHECHLIŃSKA |
Последнее изменение этой страницы: 2019-04-19; Просмотров: 215; Нарушение авторского права страницы
) suitable for this purpose. Simple in harmonic construction, emotional in utterance, it is a true work of Romantic naturalism, praising the Swiss people's closeness to nature and trust in God in exuberant language. Another song by Zwyssig, Der Riesenkampf, became the song of the Swiss student union.