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[Fredericus, Federico ]

(b c?1572; d after 1597). Flemish composer and singer . He is listed as one of the older choirboys in the Flemish chapel at the court of Philip II at Madrid in the second quarter of 1586; according to Becquart he very probably went to Madrid with George de La Hèle in the spring of ...


(b Moscow, 1798; d St Petersburg, 1868). Russian poet, singer and composer of songs . He was a contemporary and close friend of Pushkin and Kuchelbecker, both of whom he first met at the Tsarskoye Selo Lyceum, the school for young noblemen established in 1811 by Aleksandr I. At the Lyceum Yakovlev took part in theatrical productions and was a member of the poetical and literary circle. After leaving to take up a post at the Department of Justice in Moscow, he continued to write poems; an anthology of Russian verse which he prepared was published in 1828.

Yakovlev’s musical works, of which few survive, display a certain dilettantism and unimaginative harmonic vocabulary in comparison with music by other Russian composers of the period. He possessed a good baritone voice and composed a number of songs to perform himself in the fashionable salons of St Petersburg; he was one of the earliest composers to set the poems of Pushkin and Delvig to music. Perhaps his best work is the setting of Del′vig’s ...


Pablo Vila

[Chavero, Héctor Roberto]

(b Pergamino, Buenos Aires province, Jan 31, 1908; d Nîmes, France, May 23, 1992). Argentine composer, poet, guitarist and singer. He and the Chilean folklorist Violeta Parra are considered the founders of the folk music and subsequent nueva canción (new song) movement in Latin America, rooted in the rediscovery of rural folk music. For more than 30 years Yupanqui travelled the entire Argentine landscape collecting popular songs, sayings and poetry which later entered into his own compositions. His goal was cantar artes olvidadas (to sing forgotten arts): by living a very humble life among his paisanos (poor people from the countryside), he experienced what they experienced. He wrote his first song, Caminito del Indio, in 1926, the beginning of a wealth of compositions today considered classics; many of them use the poetic forms and rhythms of rural Argentina, interpreted in definitive fashion by his distinctive guitar style. At different points in his life (...


David Fallows

[Antonius Berardi Andree de TeramoZacarZacaraZaccaraZacharie]

(b ?Teramo, c1350–60; d after May 19, 1413). Italian composer, singer and scribe. The publication in 1983 of a document of 1390 confirmed him (rather than Nicolaus Zacharie, or somebody else entirely) as composer of the songs headed ‘M Çacherias Chantor Domini nostri pape’ in the Squarcialupi Codex ( I-Fl Pal.87), and the composer's portrait in the manuscript absolutely confirms the identity (see below). Now Zacharie can be credited with only three pieces and the rest is by Zacara da Teramo, who thereby emerges as one of the most prolific, resourceful and widely copied composers of the time.

A contract of 5 January 1390 refers to ‘magistro Antonio Berardi Andree de Teramo alias dicto vulgariter Zacchara’, requiring him to teach music to the residents of the Ospedale di Santo Spirito in Sassia, Rome, and to produce an illuminated antiphoner for the adjoining church (Esposito, 1983, 1992); the words ‘optimo perito et famoso camtore, scriptore et miniatore’ further imply that he was not particularly young, therefore perhaps born as early as ...


[Matthäus ]

(b Styria, before 1550; d after 1572). Austrian singer and composer . In 1560 he enrolled at the University of Vienna and, until his voice broke in 1562, served as a chorister in the Emperor Ferdinand I's court chapel at Vienna. Later he studied under the Jesuits in the same city and in 1565 the payment of his bursary was extended for two more years. Immediately after completing his studies he probably joined the Graz court chapel of Archduke Karl II, where he served as tenor and master of the choristers. The Graz court accounts list him for the last time in these capacities in 1572.

He was a minor master in the later Spanish-Netherlandish style, as is shown by his eight motets in collections (RISM 1568², 15684, 15685; 1 ed. in TM, xix, 1972) mainly of works composed by musicians at the Habsburg court. His three-section motet for five voices, ...


Nicholas Tochka

(b Tirana, Albania, Sep 21, 1949). Albanian singer and composer. An amateur singer who was discovered while a student in economics in the mid-1970s, he went on to have a successful career as a member of Tirana’s State Estrada and, later, a composer. With his contemporaries Kozma Dushi, Liljana Kondakçiu, and Bashkim Alibali, he specialized in performing popular music, or light music songs, in the 1970s and 80s. Zhegu became a fixture at the annual Festival of Song and the Spring Festival organized by Radio Tirana, winning several prizes as a singer. He is best known for his interpretations of composer Aleksandër Lalo’s 1982 song Kompozitori dhe Femijët (‘The Composer and the Children’) and Osman Mula’s 1987 song A Do Të Vish (‘Won’t You Come’). Though he began composing his own songs during the 1980s, Zhegu did not often perform these works because the figure of singer-songwriter remained politically suspect during socialism. In the 1990s, he largely withdrew from the stage as a singer but he continues to compose and present popular songs and children’s songs. He received the title Meritorious Artist in ...


Sophie Fuller

(Marie Jacobina)

(b Cologne, July 5, 1847; d London, Nov 14, 1925). English pianist and composer of German birth. Her family moved to England when she was a young child. From 1857 to 1864 she attended the RAM, studying the piano with Cipriani Potter and Ernst Pauer, and composition with Charles Steggall and George Macfarren (who later wrote his third piano sonata for her); she won the King’s Scholarship in 1860 and again in 1862. She made her professional début in 1863 at the Crystal Palace, where she performed two movements of Beethoven’s ‘Emperor’ Concerto. In 1865 she gave the first of a long-running series of recitals and chamber concerts at the Hanover Square Rooms, continued from 1875 at St James’s Hall. Zimmermann was praised for her clarity and control, and was regarded as one of the country’s leading pianists. She performed regularly at the Popular Concerts in London and accompanied Joachim (the dedicatee of her first violin sonata), Neruda and Alfredo Piatti; she also made several tours of Germany....


Harry B. Lincoln

(b Rome, c1537; d Loreto, 1592). Italian composer and singer. He spent most of his life in Rome. After singing in the Cappella Giulia from 9 August 1558 until February 1561, he was maestro di cappella of S Luigi dei Francesi from 1561 to 1566. From 1567 to June 1570 he held a similar position at S Giovanni in Laterano, and during this period may also have been in the service of Cardinal Guglielmo Sirleto. On 5 July 1570 he joined the choir of the Cappella Sistina as an alto but, according to an entry in the Diario sistino for August 1577, was obliged to resign because of ill-health in July 1577. On 25 October 1577 he and Palestrina were appointed by Pope Gregory XIII to prepare a corrected edition of the Roman Graduale; Zoilo worked on the Proprium sanctorum and the Antiphonale. Because of lack of funds the project was abandoned in autumn ...


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 ...


Hellmut Federhofer

(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....


Robin A. Leaver

[Huldreich ]

(b Wildhaus, Jan 1, 1484; d Cappel, Oct 11, 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....