(b Brooklyn, NY, 22 Oct 1943; d Hong Kong, 6 June 2017). American violinist and conductor. He started music lessons when he was three and studying the violin at the age of four. Two years later he first played in public, and at seven became a student of Galamian. He made his first orchestral appearance in 1953 with the New Haven SO, and a formal début recital at Carnegie Hall in 1956. He specialized in 20th-century music and had complete command of new and traditional virtuoso techniques. He gave the premières of concertos by Sessions (for violin, cello, and orchestra), Wuorinen (for amplified violin and orchestra), and the Scottish composer Iain Hamilton, and of works by Babbitt, Carter, Crumb, Wuorinen, and others. From 1963 to 1976 he performed frequently with the pianist Gilbert Kalish, with whom he was associated in a repertory of over 300 works. One of the original Creative Associates at the Center for Creative and Performing Arts, SUNY, Buffalo, in ...
[Z, Bojan ]
(b Belgrade, Feb 2, 1968). Serbian pianist and composer. He discovered jazz in 1984 and quickly became one of the busiest pianists in Belgrade. After gaining a scholarship to the University of Michigan (1986) he spent time with Clare Fischer, under whose influence he renewed his approach to the piano. In the course of his service in the Serbian army (1987) he directed an ethnic music orchestra, and this supplied further inspiration for his music making. In 1988 he settled in Paris, where in the early 1990s he played in Noël Akchoté’s groups Trash Corporation and Unit and in 1992 founded Quartet Z. He joined Henri Texier’s Azur Quartet (1992) and Sonjal Septet (1996), played in Sylvain Beuf’s quartet, formed an international group including, most notably, Julien Lourau, and appeared at the festival Banlieues Bleues (1997), where he presented ...
Marcia J. Citron
(b Stuttgart, Dec 9, 1796; d Stuttgart, Aug 1, 1857). German composer, pianist, singer and teacher . The youngest of seven children born to the composer Johann Rudolf Zumsteeg, she studied the piano with Schlick and theory with Wilhelm Sutor. Gifted with a fine alto voice, she was soon singing and performing on the piano (e.g. at the Stuttgart Museumskonzerte). As an adult Zumsteeg mixed with leading musicians and poets. The literary ties reflected her interest in the lied, which formed the basis of her creative reputation. She also wrote several piano works, such as the early Trois polonaises, published in 1821 and favourably reviewed in the Allgemeine musikalische Zeitung, and sacred choral music. She occupied a central position in the musical life of Stuttgart as a teacher of voice and piano and as a leading member of the Verein für Klassische Kirchenmusik.
Zumsteeg’s lieder were still known in the late 19th century (Michaelis) but have not remained in the repertory. She composed about 60 songs. The six lieder of her op.6 received a brief but laudatory notice in the ...
revised by Barry Kernfeld
[Robert Albert; Zukowski, Bogusław Albert]
(b Detroit, Jan 17, 1912; d Los Angeles, Feb 16, 1944). American pianist and composer. At an early age he displayed a precocious talent for playing piano in an assertive, confident style influenced by the blues. He worked in Philadelphia as a member of an orchestra led by the pianist Oliver Naylor, recording in 1925 and appearing at the Palace d’Or and the Orient restaurant in the late 1920s and early 1930s; he also spent a period with the Playboys, led by the double bass player Thelma Terry (recording in 1928). After performing with the singer Seymour Simons and at Smokey’s Club in Detroit he came to prominence as a member of Bob Crosby’s band (late 1936 – mid-1939), in which he was Joe Sullivan’s replacement; while with Crosby he gained recognition as a leading exponent of the boogie-woogie style, and in 1939 he was named “best pianist” by ...
William Kirk Bares
(b New York, NY, May 18, 1930; d Paris, France, April 2, 2010). American Jazz trombonist, bass trumpeter, and author. He is most widely known in musical circles for his work in Miles Davis’s Birth of the Cool band in 1948. Zwerin is better known to readers as a jazz contributor to Esquire, Playboy, Rolling Stone, Vogue, and Elle, and also as America’s preeminent European jazz correspondent. After a stint as a jazz critic for New York’s Village Voice (1964–9), he became the publication’s European editor (1969–71). In 1979 Zwerin became the Paris-based jazz critic for the International Herald Tribune, and in 2005 for Bloomberg News. His expatriate experiences are detailed with wit and candor in the autobiographical The Parisian Jazz Chronicles: an Improvisational Memoir (New Haven, 2005). His books La Tristesse de Saint Louis: Jazz under the Nazis (1987, reprinted as ...
K. Robert Schwarz
(b Miami, April 30, 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 ...
Gary W. Kennedy
(b Hamburg, Germany, May 7, 1955). German pianist, brother of Torsten Zwingenberger. He studied classical piano from the age of six and adopted the boogie-woogie style in 1973. From 1974 he performed at numerous boogie-woogie, blues, and jazz festivals and broadcast frequently on television and radio throughout Europe, and between 1983 and 1991 he made regular appearances on the television program “ZDF-Teleillustrierte.” In addition he toured with Monty Sunshine and Max Collie (both 1978) and Alexis Korner (March 1979), recorded in Los Angeles with Joe Turner (ii) (May 1978, 1981), and toured and recorded with Lionel Hampton (April–May 1980, 1982, 1983) and the blues singer Champion Jack Dupree (October 1980, 1988, 1990). From the early 1980s Zwingenberger toured in the shows Stars of Boogie Woogie and Hot Jazz Meeting, and he made tours of East Asia (1981), Indonesia and Malaysia (...
Gary W. Kennedy
(b Hamburg, Germany, Jan 12, 1959). German drummer, brother of Axel Zwingenberger. From the mid-1970s he led his own groups and performed and recorded regularly with his brother; in 1978 the two recorded in Los Angeles as accompanists to Joe Turner (ii). In 1983 Zwingenberger made the album Buddy Tate Meets Torsten Zwingenberger (Moustache Music 120159) and formed the Swingburger Quintet, and in the 1990s he led a quartet. He recorded again as a leader in 1989 (with Plas Johnson as his guest soloist) and in 1993 (the album Open Sunroof, Blackbird 41012) and as an unaccompanied soloist in 1991. In November 1992 he played in New York in a hard-bop trio with Peter Bernstein and the double bass player Ari Roland.ReclamsJ “Jazz News,” JP, 32/7 (1983), 37 A. Geyer: “Buddy Tate und Torsten Zwingenberger Band,” JP, 37/1 (1988), 35 C. Hasenmaile: “Moderner geworden: Torsten Zwingenberger,” JP...
(b Vienna, April 29, 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....