Zeuner, Charles (Heinrich Christoph)

(b Eisleben, Germany, 20 Sept 1795; d Philadelphia, 7 Nov 1857). German-American composer, compiler and organist. He studied in Weimar with Hummel, then with Michael Gotthard Fischer in Erfurt, where in about 1822 he published a set of piano variations and four polonaises. He was apparently a court musician near his birthplace, and also served as a musician in the military. He probably arrived in Boston in 1830, when he made his first concert appearance on 13 February, playing the organ and piano and singing in his own works. He became organist for the Handel and Haydn Society in September of the same year. During his years in Boston he held posts as organist at three city churches, and also taught the organ, theory and singing. In 1839 he moved to Philadelphia, where he became organist at St Andrew’s Episcopal Church, and then at Arch Street Presbyterian Church.

Zeuner composed a number of songs and piano works, and many hymn tunes, of which ‘Hummel’ and ‘Missionary Chant’ are still in use. His two organ concertos are the first extant written in the USA; he also wrote the earliest published American voluntaries. He compiled three collections of church music and a musical manual for Sunday schools. He also wrote larger works for choral and instrumental groups, much of high quality. His most ambitious work, and perhaps the first of its kind to be composed in the USA, was the oratorio The Feast of Tabernacles (1832), which received eight complete performances by the Boston Academy of Music in 1837. His fine abilities as a composer are evident in 20 manuscript organ fantasias and fugues, which show a thorough understanding of J.S. Bach’s music.

WORKS

MSS in US-Wc and PHf

Vocal: Missa solemnis no.1, c (Leipzig, n.d. [1826]); Mass no.3, E , c1824–30; The Feast of Tabernacles (orat), 1832, choral parts pubd (Boston, 1837); 8 services, liturgical settings; 7 anthems; c244 hymn tunes, chorales, chants; 5 cants.; 47 songs, some separately pubd; 8 glees; 3 canons; 6 other works

Inst: Variations, A, pf, orch; Rondo polacca, hn, orch/str; Variations on ‘Home Sweet Home’, hn, str; Variations on Mozart’s ‘Là ci darem la mano’, vn, pf; 4 marches, band

Solo kbd: Voluntaries, org (Boston, 1830); 2 org concs., 1830, 1831; Voluntaries, org (Boston, 1840); 20 fantasias and fugues, org; 28 marches, 8 variations, 4 waltzes, 4 polonaises, 3 divertissements, 2 rondos, 12 other works, pf, some separately pubd

Edns: Church Music … Anthems, Motets, and Chants (Boston, 1831); The American Harp (Boston, 1832); The Ancient Lyre (Boston, 1833); The New Village Harmony: a Musical Manual for Sabbath Schools (Boston, 1833)

BIBLIOGRAPHY

DAB (O. Strunk)

C.C. Perkins and J.S. Dwight: History of the Handel and Haydn Society of Boston, Massachusetts, i (Boston, 1883–93/R)

F.J. Metcalf: American Writers and Compilers of Sacred Music (New York, 1925/R)

W.G. Bigger: The Choral Music of Charles Zeuner (1795–1857), German-American Composer, with a Performance Edition of Representative Works (diss., U. of Iowa, 1976)

J.B. Clark: ‘American Organ Music before 1830: a Critical and Descriptive Survey’, The Diapason, lxxii/11 (1981), 1–3

K. Loveland: ‘The Life of Charles Zeuner, Enigmatic German-American Composer and Organist’, The Tracker, xxx/2 (1986),19–28 [incl. list of works]

J.B. Clark: The Dawning of American Keyboard Music (Westport, CT, 1988)

B. Pursley: Charles Zeuner's Concerto No.1 for Organ and Orchestra (diss., U. of Kansas, 1988)

J. BUNKER CLARK

Zeuner, Karl Traugott

(b Dresden, 28 April 1775; d Paris, 24 Jan 1841). German pianist and composer. He studied the piano in Dresden and composition with D.G. Türk in Halle; in 1802 while in St Petersburg he also took lessons from Clementi. On a later visit to Russia he taught the young Glinka, who found his theoretical teaching dull though he made progress as a pianist. He undertook concert tours to Paris in 1803, and in 1805 to Vienna, where he settled briefly (and was employed by Prince Golitsïn). He returned to his home city and continued to tour Europe as a successful concert pianist until just before his death on a visit to Paris. Though less admired for his composition than his playing, he wrote some technically skilled if uninspired piano pieces, chamber music and songs which were much in vogue in his time. These included fantasias and variations for piano, a Polonaise for piano duet op.10, string quartets (opp.11, 14 and 15), two piano concertos (op.12 in G and op.13 in E ) and several ballets.

BIBLIOGRAPHY

EitnerQ

MGG1 (K. Laux) [incl. list of works]

M.I. Glinka: Zapiski [Memoirs] (St Petersburg, 1887)

D. Brown: Mikhail Glinka (London, 1974)

JENNIFER SPENCER/MICHAEL MUSGRAVE

Zeuner, Martin

(b Mupperg, nr Coburg, 1554; d Ansbach, bur. 13 Dec 1619). German composer and organist. He was appointed to the collegiate church of St Gumbertus at Ansbach on 16 June 1576 with a yearly salary of 50 florins and remained at this post until his retirement. On 20 June 1610 he was called to play the positive, regals and other instruments at the Brandenburg-Ansbach court; he was entrusted with composing the ceremonial music for the marriage of Margrave Joachim Ernst in 1612. He retired on 17 September 1616 after playing a leading role in the musical life of Ansbach for 40 years. Municipal tax records show that he was involved in several disputes concerning the payment of taxes and his various dealings in wine, and on 5 October 1615 the margrave settled in his favour a quarrel concerning singing and organ playing in which he had become involved with the Konrektor. His German songs (1617) show the influence both of prominent earlier German composers of such pieces, notably Georg Forster and Leonhard Lechner, and of such Italians as Gastoldi, Marenzio and Orazio Vecchi. They are predominantly contrapuntal, as are some of the chorale settings (1616). Other chorales, however, are chordal pieces in a more modern style with very simple harmonies; the frequent modulation and the cadential appoggiaturas anticipate Bach. Zeuner's wedding music (1612), for 12 and 24 voices, is in the polychoral Venetian tradition adopted in Germany by such composers as Hassler and Lechner, who may have influenced him.

WORKS

[17] Cantilena pia in solemnitatem nuptialem … Henricii Wilhelmis Comitis Solmensis, 12vv (Ansbach, 1612)

Votum musicale in nuptias D.J. Ernesti, Marchionis Brandenburgiensis, 24vv (Ansbach, 1612)

82 schöne, geistliche Psalmen, 5vv (Nuremberg, 1616); ed. in PÄMw, xxviii (1904/R)

Schöne teutsche weltliche Stücklein, 4, 5vv (Nuremberg, 1617)

BIBLIOGRAPHY

BlumeEK

EitnerQ

GerberNL (‘Zeuner, Maximus’)

G. Schmidt: Die Musik am Hofe der Markgrafen von Brandenburg-Ansbach (Kassel, 1956), 40ff

E. FRED FLINDELL

Zeutschner, Tobias

(b Neurode [Nowa Ruda, Poland], 1621; d Breslau [Wrocław], 15 Sept 1675). German composer, organist and poet. He received a Protestant schooling at Bernstadt. Though he was drawn into the religious upheaval that afflicted Silesia, he was also receptive to his musical environment, and he may have been taught music by Löwenstern. His first post was nearby at Öls, where he was organist and also a member of the council from 1643 to the spring of 1649. From 4 May 1649 he was an organist and schoolmaster in the New City of Breslau and from 8 October 1655 was organist of the second most important church in Breslau, St Maria Magdalena. From 24 February 1654 he was permitted to sign himself ‘Notarius Caesareus Publicus’. The many surviving copies of his 1661 volume (as well as transcriptions of it) indicate that he was one of the most successful exponents of the simplified sacred concerto. The characteristics of his style – clear-cut forms (with sinfonias, interludes, solo episodes and tutti ritornello sections), smooth harmony and parlando choral declamation – were particularly suited to music intended for use in the home as well as in church; following traditional theological thinking, he regarded devotion as more important than art. His song collections of 1667 and 1670 contain settings of his own poems and show him clearly following in Löwenstern’s footsteps, without, however, adopting his complex metrical structures.

WORKS

Decas prima, oder Musicalischen Fieisses erster Theil, 3–5, 7vv, vns ad lib (Breslau, 1652)

Ein hertzlicher Wunsch: O dass ich dich mein Bruder, 2vv, 2 vn, bc (Breslau, 1652), lost

Threnodia, oder Briegische Trauer-Klage: Höchster Gott, schaw unsern Jammer, 4vv (Breslau, 1659), lost

Neu-Jahrs-Lied, auff das 1660ste Jahr Christi: Gott und Vater, reich von Güte, 4vv (Breslau, 1660)

Musicalische Kirchen- und Haus-Freude, 4–6vv, 2 vn, 3 trbn, 2 clarinos (Leipzig, 1661)

Musicalischer Hausandacht erstes Zehn (Brieg, 1667); several melodies ed. in ZahnM

Unser Wandel ist im Himmel, 5vv, 2 vn, trbn, trbn/va, trbn/vle, bc (Breslau, 1670)/R1991 in Bircher)

Musicalischer Hausandacht anderes Zehn (Brieg, 1670); several melodies ed. in ZahnM

Ade, du süsse Welt, birthday ode, 3vv, 2 vn, bc (n.p., 1670), lost

O Trauerstund, und stock-dick finstrer Tag, 4vv (Brieg, n.d.) [5vv version, D-Bsb]

1 chorale in P. Sohr: Musicalischer Vorschmack (Ratzeburg, 1683)

Musicalischer Wunsch: Der Herr gebe euch vom Taw des Himmels, 18 or 23vv, 1656, D-Bsb*

Halleluja, höret an die Geburt, 18vv, Bsb

Musicalischer Zuruff: In suis Deus profecto sit, 8vv, 10 insts, 1668, Bsb*

Te Deum, 15 or 20vv, Bsb

Ach Jesu, liebes Kind, 1v, 2 va, bc, PL-WRu

Ich, der Herr, ich bin der erste, 4vv, 2 vn, D-LUC

Jesu dulcis memoria, 3vv, 2 vn ad lib, 3 va, bc, S-Uu; doubtful authenticity

Several lost MS works, see MGG1

BIBLIOGRAPHY

R. Starke: ‘Tobias Zeutschner’, MMg, xxxii (1900), 195–207, 213–19

R. Starke: ‘Die Orgelwerke der Kirche zu St. Elisabeth in Breslau’, MMg, xxxv (1903), 34–8

R. Starke: ‘Kantoren und Organisten der Kirche zu St. Maria Magdalena zu Breslau’, MMg, xxxvi (1904), 85–100

F. Koschinsky: Das protestantische Kirchenorchester im 17. Jahrhundert unter Berücksichtigung des Breslauer Kunstschaffens dieser Zeit (diss., U. of Breslau, 1931), 65

F. Hamann: ‘Dokumente zur Musikpflege in Schweidnitz (Schlesien) um 1700’, Mf, iii (1950), 72–4

B. Grusnick: ‘Die Dübens ammlung: ein Versuch ihrer chronologischen Ordnung’, STMf, xlvi (1964), 27–82, esp. 43, 51, 53, 79; continued in xlviii (1966), 63–186

L. Hoffmann-Erbrecht: ‘Die Weihnachtshistorie von T. Zeutschner (Breslau, um 1660)’, Jb der Schlesischen Friedrich-Wilhelms-Universität zu Breslau, xxix (1988), 111–20

L. Hoffmann-Erbrecht: ‘T. Zeutschners kleines geistliches Konzert “Unser Wandel ist im Himmel”’, Briefe der Fruchtbringenden Gesellschaft und Beilagen: die Zeit Herzog Augusts von Sachsen-Weissenfels, 1667–1680, ed. M. Bircher (Tübingen 1991), 227–32

W. Braun: ‘Berliner Kirchenmusik im letzten Drittel des 17. Jahrhunderts: zur Sammelhandschrift Koch aus der ehemaligen Singakemie’, Jb des Staatlichen Instituts für Musikforschung Preussischer Kulturbesitz (1996), 166–93

WERNER BRAUN

Zeyfas [N. Golodnova; Zh. Kozina; N. Mikhaylova], Natal'ya Mikhaylovna

(b Rostov-na-Donu, 7 Oct 1947). Russian musicologist. She studied musicology at the Moscow Conservatory (1965–70) with Yu.A. Fortunatov (her other teachers included I.A. Barsova and V.A. Zuckermann), and she completed her postgraduate studies at the Leningrad Institute for Theatre, Music and Cinematography with L.N. Raaben in 1974. In 1975 she obtained the Kandidat degree and in 1993 the doctorate. After working as a music journalist for the Moscow Radio (1970–78), she was an editor for Sovetskaya muzïka (from 1992 called Muzïkal'naya akademiya), 1978–94. She has taught music history from 1992 at the A.V. Sveshnikov Academy of Choral Art, where she was appointed senior lecturer in 1994 and acting professor in 1997. Her scholarly interests include the music and the musical aesthetics of the 18th century, the work of contemporary composers from Russia and the former Soviet Union (especially Georgia), musical theatre and incidental music. Opposed to the idea of a ‘pure science’ of musicology, she strives to make her scholarly writings lively and accessible and her journalistic writings on music relevant to other cultural issues. She has also published under the pseudonyms Golodnova, Kozina and Mikhaylova.

WRITINGS

‘Zametki ob ėstetikye zapadnoyevropeyskogo barokko’ [Notes on the aesthetics of the Western European Baroque], SovM (1975), no.3, pp.99–106

‘Die Concerti grossi Op.6 und ihre Stellung in Händels Gesamtwerk’, HJb 1980, 2–58

Concerto grosso v tvorchestvye Gendelya [The concerto grosso in the work of Handel] (diss., Leningrad Institute for Theatre, Music and Cinematography, 1975; Moscow, 1980)

‘Mattezon i teoriya orkestrovki’ [Mattheson and the theory of orchestration], Istoriya i sovremennost', ed. A. Klimovitsky, L. Kovnatskaya and M. Sabinina (Leningrad, 1981), 33–55

‘Mattheson und Telemann: eine vergleichende Analyse ihrer ästhetischen Ansichten’, Die Bedeutung Georg Philipp Telemanns für die Entwicklung der europäischen Musikkultur im 18. Jahrhundert: Magdeburg 1981, 21–30

‘Zabïtïy “otets simfonii” (Dzh.B. Sammartini)’ [The forgotten ‘father of the symphony’ (Sammartini)], SovM (1985), no.2, pp.91–5

‘Gija Kanschelis Opera “Musik für die Lebenden”’, Sowjetische Musik im Licht der Perestroika: Interpretationen, Quellentexte, Komponistenmonographien, ed. H. Danuser, H. Gerlach and J. Köchl (Laaber, 1990), 207–13

‘Muzïka v teatrye imeni Rustaveli’ [Music in the Rustaveli Theatre], Muzïkal'nïy teatr: sobïtiya, problemï, ed. M.D. Sabinina (Moscow, 1990), 141–69

Pesnopeniya: o muzïkye Gii Kancheli [Chants: on the music of Giya Kancheli] (Moscow, 1991)

‘Simfoniya “Ognennogo angela” (3 simfoniya Prokof'yeva)’ [The ‘Fiery Angel’ Symphony (Prokofiev’s Third Symphony)], SovM (1991), no.4, pp.35–41

‘Motsart i traditsiya muzïkal'nogo barokko’ [Mozart and the tradition of Baroque music], MAk (1992), no.2, pp.184–6

Natsional'noye, individual'noye i obshchechelovecheskoye v muzïke Gia Kanceli: problemï tvorceskoye ėstetiki i stilya [Nationality, individuality and humanity in the music of Giya Kancheli: problems of creative aesthetics and style] (diss., Russian Institute of the Arts, 1993)

‘“Tret'ye dïkhaniye” gruzinskoy operi?’ [The ‘third wave’ of Georgian opera?], Muzïkal'nïy teatr: nadezhdi i deystvitel'nost', ed. E. Kurilenko (Moscow, 1993)

TAT'YANA S. KYUREGYAN

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