fingers needed. The fingers and thumb of the left hand are placed on the frets, the three fingers of the right hand are devoted to the bass and accompaniment strings, while its thumb is used to strike the melody strings, the operation of the left hand alone being insufficient to produce the full sound.
The thumb of the right hand is provided with a partially-opened ring with which to strike the melody strings. The best rings are of silver or gold. The ring is to the zither what the bow is to the violin. As in the one case the skill of the violinist is estimated by his manner of handling the bow, so in the other the beauty of the performance depends greatly on a judicious management of the ring.
II. A few words must be devoted to another member of the zither family—viz. the Streich or Bow Zither, which is, as its name implies, played with a bow. Here the resonance-box is heart-shaped, and a fretted finger-board is fitted across it.
The tone of the instrument is however so thin and wanting in volume that it is unworthy of consideration, especially as it is now almost entirely superseded by the Philomèle and Viola-zither, which have very rapidly grown into favour in London of late, especially in aristocratic circles.
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The Viola-zither is shaped like a Viola. The Philomèle is represented in the above drawing. These two instruments are, as regards the method of playing, precisely similar, the difference exists only in shape. They may be considered as close rivals of the violin, which they much resemble in tone. The finger-board is the same as that of the zither. Beneath the head is a little foot to steady the instrument, which is placed on the edge of a table, while the body rests on the lap of the seated player. This position, together with the fretted finger-board, gives it a considerable advantage over the violin as regards ease in acquiring proficiency, and difficult violin music can be mastered in a comparatively short time. The tuning is like that of the violin, viz. E, A, D, G. The E and A are of steel, the D of brass, and the G the same as on the violin. Gut strings may be used if preferred, but they somewhat rob the Philomèle of its individuality.
There are numerous manufacturers of the zither all over Germany, who make thousands of instruments annually. The largest and oldest firms are those of Kiend'l in Vienna, and Tiefenbrunner in Munich. Both are of world-wide renown. An immense amount of music is published for the zither. The best-known composers and publishers are Umlauf in Vienna, Grassmann in Frankfort, Hoenes in Trier, Heckel in Mannheim, Stomps in Luxemburg, Schulz, and Hart & Son, London.
The cithern-player of Giorgione at Venice is well known. Mendelssohn mentions it among the pictures for his sister to see (Letter, Sept. 14, 1839).
[ C. Sch. ]
ZOO, THE. 'An original musical folly'; words by B. Rowe, music by Arthur Sullivan. Produced at St. James's theatre June 5, 1875. The piece is still in MS.
[ G. ]
ZOPF, i.e. 'pigtail.' The German term for the old-fashioned obsolete style in music. Mendelssohn, when at the Engelberg monastery, accompanied a Mass by Emmerich; 'every note,' he says, 'had its pigtail (Zopf) and its powder.' (Letter, Aug. 24, 1831.) The French word perruque is sometimes used for the same thing. After writing some contrapuntal pieces, 'me voilà perruque' says he to Hiller. [See Devin du Village, vol. i. p. 442a.] Beethoven used to speak of his old-fashioned contemporaries as 'Reichscomponisten,' which perhaps might be rendered 'Act-of-Parliament musicians.'
[ G. ]
ZOPFF, Hermann, born June 1, 1826, at Glogau, in Silesia. Though he had received a complete university education, his father wished him to be a farmer; but his own predilections constantly inclined him to music. At length the successful performance of an overture composed by him removed his father's opposition, and from the age of twenty-four he devoted himself exclusively to music. He placed himself under the tuition of A. B. Marx and Kullak, and was soon engaged to fill an important post on the teaching staff of their new Conservatorium at Berlin. He had also other appointments in the musical circles of that city; but his ambition drew him towards Leipzig, and he gladly accepted an offer from Brendel to edit the 'Neue Zeitschrift für Musik,' which necessitated his removal thither. There he toiled until within a short time of his death, as editor, critic, conductor, composer, and professor of singing and composition. The character and tone which had been imparted to the 'Neue Zeitschrift' by Brendel were continued by Zopff, for both editors were strenuous advocates of the New German School. But Zopff was no narrow partisan; he was ready to do full justice not only to Schumann and Wagner and their followers, but to every musician of high aims.
Zopff's compositions cover a wide range of form, from the simplest PF. pieces or songs, to the largest polyphonic or dramatic works, and all bear the mark of a thorough, scientific musician. But for a certain want of spontaneity and grace, they would probably have been much better known and oftener performed. Among his numerous choral works with orchestral or PF. accompaniment, we may mention his 'Brauthymne,' 'Frühlingshymne,' and 'Triumph der Liebe.' Of his larger works, approaching the oratorio-form, we may cite 'Anbetung Gottes,' 'Evangelium der That,' and 'Alexandera.' It is clear from his operas, 'Carloman,' 'Muhammed,' 'Judas Makkabeus,' and 'Constantin,' that his
