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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zimmermann, Julius Heinrich
(b Sternberg, 22 Sept 1851; d Berlin, 25 April 1922). German music publisher and woodwind and brass instrument manufacturer. He had factories in St Petersburg (1876), Moscow (1882) and Riga (1903). The headquarters of the publishing firm was established in Leipzig in 1886, with the actual printing being carried out by Breitkopf & Härtel. Zimmermann became friendly with Balakirev in 1899 and thereafter published all the works of that composer. It may be that it was Zimmermann’s exhortations that encouraged the prolificness of the final decade of Balakirev’s life. He also published the majority of the compositions of Balakirev’s protégé Sergey Lyapunov. Other composers’ music published by him include Medtner, Josef Hofmann, Tausig, A.S. Taneyev and Reinecke. He suffered financial hardship during World War I, but, although he resumed the publication of music by Russian composers in 1919, he was unable to reopen his former Russian factories and shops. In 1928 the proprietor became Wilhelm Zimmermann and, after World War II, the firm was established in Frankfurt. BIBLIOGRAPHY V.A. Kiselyov and A.S. Lyapunova, eds.: M.A. Balakirev: perepiska s notoizdatel'stvom P. Yurgensona [Balakirev’s correspondence with Jürgenson’s publishing house] (Moscow, 1958) M.E. Shifman: S.M. Lyapunov: zhizn' i tvorchestvo [Life and works] (Moscow, 1960) E. Garden: Balakirev: a Critical Study of his Life and Music (London, 1967) A.S. Lyapunova and E.E. Yazovitskaya: Mily Alekseyevich Balakirev: letopis' zhizni i tvorchestva [Chronicle of his life and works] (Leningrad, 1967) B. Vol'man: Russkiye notnïye izdaniya: XIX–nachala XX veka [Russian editions of music: 19th century–beginning of the 20th] (Leningrad, 1970) EDWARD GARDEN Zimmermann [Zimmerman], Pierre-Joseph-Guillaume (b Paris, ?19 March 1785; d Paris, 29 Oct 1853). French pianist, teacher and composer. The son of a Paris piano maker, he entered the Conservatoire in 1798 to study piano with Boieldieu and harmony with J.-B. Rey and then Catel. In 1800 he won a premier prix for piano (over Kalkbrenner) and in 1802 a premier prix in harmony; later he studied composition with Cherubini. From 1811 he assisted in teaching the piano at the Conservatoire and in 1816 was appointed professor. In 1821 he was selected to succeed A.-F. Eler as professor of counterpoint and fugue, but decided to teach the piano only and the vacant post went to Fétis. He was one of the most influential French keyboard teachers of his time; his pupils included Franck, Alkan, Louis Lacombe, Ambroise Thomas, Bizet and A.-F. Marmontel (who succeeded him in 1848). He also taught Gounod (who became his son-in-law). He retired early from public performance in order to devote himself to teaching and composition. His Encyclopédie du pianiste (1840) was intended to train the pianist both as executant and composer. He was a Chevalier of the Légion d'Honneur. WORKS (selective list)
BIBLIOGRAPHY FétisB J.B. Labat: Zimmermann et l’école française de piano (Paris, 1865) A.-F. Marmontel: Les pianistes célèbres: silhouettes et médaillons (Paris, 1878, 2/1887) FRÉDÉRIC ROBERT Zimmermann, Tabea (b Lahr, 8 Oct 1966). German viola player. Encouraged by her elder siblings, who wanted to play trios, she started playing a small viola at three and at five began learning the piano. From 1979 she studied with Ulrich Koch at the Staatliche Hochschule für Musik in Freiburg and from 1986 with Sándor Végh at the Salzburg Mozarteum. She was a prizewinner at international competitions at Geneva in 1982, Paris in 1983 – where she was awarded a new Etienne Vatelot viola – and Budapest in 1984. She then began an outstanding career which has taken her all over the world. Her US début was made in 1993 and in 1995 she gave her first recital in Carnegie Hall, New York. Zimmermann is among today's finest viola virtuosos, with a superb technique and an ample, supple tone; but she is also an artist of rare profundity. She is often heard in concert with the pianist Hartmut Höll or the conductor David Shallon, and other close colleagues are the oboist Heinz Holliger, and violinists Gidon Kremer, Thomas Zehetmair and Frank Peter Zimmermann (not related to her). She gave the first performances of Volker David Kirchner's Shibboleth and Mark Kopytman's Cantus V, both in 1990; Wilhelm Killmayer's Die Schönheit des Morgens and Ligeti's Viola Sonata (dedicated to her), both in 1994; and of Alexander Goehr’s Schlussgesang in 1997. Goehr’s Sur terre, en l’air was written as a musical portrait of her. Her recordings include the Bartók and Schnittke concertos, Hindemith's Die Schwanendreher, Kopytman's Cantus V, the Brahms and Shostakovich sonatas, a viola transcription of Schubert's Winterreise and songs by Adolf Busch (with Höll and his wife Mitsuko Shirai). From 1987 to 1989 she taught at the Musikhochschule in Saarbrücken and in 1994 she was appointed professor of viola at the Musikhochschule in Frankfurt. In 1995 she was awarded the Frankfurt Music Prize and in 1997 the International Prize of the Accademia Chigiana. TULLY POTTER Zimmermann, Udo (b Dresden, 6 Oct 1943). German composer. A member of the Dresden Kreuzchor as a boy, he then attended the Dresden Hochschule für Musik (1962–8), where he studied composition with Thilman, in addition to conducting and singing. His studies were completed by attending Kochan’s masterclasses at the German Academy of Arts in East Berlin (1968–70). Between 1966 and 1968 he received the GDR’s Mendelssohn Scholarship three times, and in 1972 he was awarded the Hanns Eisler Prize of Radio DDR. In 1974 he became founder and director of the Studio Neue Musik of the Dresden Staatsoper and Radio DDR. He became professor of composition at the Dresden Hochschule für Musik in 1982, and directed the Werkstattbühne für Zeitgenössisches Musiktheater in Bonn from 1985 to 1990. In 1986 he was appointed director of the Dresden Centre for Contemporary Music, and in 1988 artistic director of the Musica-Viva-Ensemble, Dresden. In 1990 Zimmermann became director of the Leipzig Opera, which he has led in a series of startling productions; indeed, under his directorship, the repertory of Leipzig Opera has become unique among opera companies in Central Europe. Since 1990 he has held numerous other posts, including president of the board of trustees of the Stiftung Kulturfond in Berlin, composer-in-residence at the Salzburg Festival (1991 and 1995), president of the Freie Akademie der Künste, Leipzig (since 1992), artistic director of the Musica Viva series of the Bayerischer Rundfunk (1997) and president of the Jean Sibelius Gesellschaft Deutschland (since 1999). He also holds membership of the European Academy of Arts and Sciences, the Akademie der Künste, Berlin, and the Freie Akademie der Künste, Hamburg. He is multiple winner of the UNESCO Composers’ Tribune, Paris, and has won numerous other national and European prizes. Zimmermann has conducted his works and those by other composers with all major European orchestras since 1979. As might be expected from his work in theatre, the form of Zimmermann’s own music is often strongly dramatic. A clear structure, and the use of serialism, aleatory elements and collage are among the features of his works. Compositional techniques are rarely used for their own sake; rather they remain subordinate to the dramaturgy and to the subject of the piece. Occasionally, tonality continues to play a certain role. In the 1960s Zimmermann grappled with the music of Henze and with the ‘Polish School’ (Lutosławski, Penderecki and Baird). Lutosławski’s influence can be felt in Musik für Streicher (1968) and in Reflexionen über Ernst Barlach (1970). With respect to aesthetics, Zimmermann is drawn to Rihm and Schnittke. He rejects both intellectual and technical projections as well as the ‘New Simplicity’, and regards as important a music motivated by moral considerations and human emotions. This aspect is most manifest in his operas: in Weisse Rose, composed in two versions (1966–8 and 1985), he exposes the tragic fate of the students Hans and Sophie Scholl who were active in the resistance against Hitler. Zimmermann’s vocal and stage music is founded on the role of the text; in the vocal part, therefore, he prefers syllabic settings which frequently carry features of recitative. He does not treat the lyrics as linguistic stock, but as a starting-point to provide a formal integrity and fulfil functional purposes. In his instrumental works as well, Zimmermann is often guided by non-musical considerations: for instance, the mood and attitude of García Lorca’s lyrics is present in Sinfonia come un grande lamento (1977), composed in commemoration of the poet. Zimmermann’s compositional output has decreased since the late 1980s (the only substantial work of the 90s is the opera Gantenbein), as he has become increasingly committed to his work as musical manager and director. He will be director of the Deutsche Oper, Berlin, from 2001. WORKS (selective list)
WRITINGS ‘Musikalisches Ereignis als Herausforderung für die Szene’, ÖMz, xxxiv (1979), 205–9 ‘Siebzig Blicke auf meine Musik’, Komponieren zur Zeit: Gespräche mit Komponisten der DDR, ed. M. Hansen (Leipzig, 1988), 312–44 ‘Über die “Weisse Rose”’, Im Osten nichts Neues?: zur Musik der DDR, ed. H. Hopf and B. Sonntag (Wilhelmshaven, 1989), 127–33 ‘Weshalb wir Neue Musik brauchen’, ‘Eine Sprache der Gegenwart’: musica viva 1945–1995, ed. R. Ulm (Mainz and Munich, 1995), 359–62 BIBLIOGRAPHY GroveO (D. Gojowy) KdG (F. Nicolai) RiemannL12 MGG1 (D. Härtwig) PEM (T. Gartmann) H. Böhm: ‘Sonetti amorosi von Udo Zimmermann’, MG, xviii (1968), 754–61 E. Schwinger: ‘Die Oper “Levins Mühle”’, Musica, xxvii (1973), 268–9 F. Hennenberg: ‘Musikdramatik und Dialektik: analytische Versuche’, Sammelbände zur Musikgeschichte der Deutschen Demokratischen Republik, ed. H.A. Brockhaus and K. Niemann, iv (Berlin, 1975), 236–71 D. Gojowy: ‘Affinität zu szenisch gebundener Musik’, Musica, xxx (1976), 384–91 U. Stürzbecher: Komponisten in der DDR: 17 Gespräche (Hildesheim, 1979), 86–106 F. Hennenberg: Udo Zimmermann für Sie porträtiert (Leipzig, 1983) F. Hennenberg: Udo Zimmermann: Leidenschaft Musik – Abenteuer Theater: Komponist – Intendant – Dirigent (Bonn, 1992) M. Ernst, ed.: Udo Zimmermann: ein Fünfzigjähriger im Spiegelbild von Zeitgenossen: eine Biographie in Zitaten (Leipzig, 1993) LARS KLINGBERG Zimmermann, Walter (b Schwabach, Franconia, 15 April 1949). German composer. He studied with Heider in Nuremberg (1968–70) and performed as a pianist in the ars-nova-ensemble. In 1970 he went to Cologne, where he attended courses on new music given by Kagel. Largely self-taught as a composer, he later studied at the Institute of Sonology, Utrecht (1970–73) with Otto Laske, at the Jaap-Kunst ethnological centre, Amsterdam, and at the Alexander Hamilton Institute, USA (1974), where he took a computer studies course. In 1977 he founded the Beginner-Studio in Cologne, where he organized concerts for a number of years. He has lectured at the Darmstadt summer courses (1982–4) and taught at the Royal Conservatory, The Hague, the Karlsruhe Musikhochschule and the Essen Folkwang-schule. In 1993 he was appointed professor of composition at the Berlin Hochschule der Künste. His honours include the Förderpreis of the city of Cologne (1980), first prize of the Ensemblia Mönchengladbach (1981), a bursary from the Villa Massimo, Rome (1987), the Schneider-Schott prize (1989) and the Italia Prize (1990) for Die Blinden. Zimmermann’s music derives from the tension between abstract concepts and their translation into sound. Greatly influenced by the thinking and music of Cage and Feldman, he considers a negation of the composer’s personality to be a precondition for the creative process. His works – explorations of musical material, rather than means of musical expression – are often based on the structure of philosophical and literary texts. WORKS
BIBLIOGRAPHY C. Fox: ‘Walter Zimmermann's Local Experiments’, Contact, no.27 (1983), 4–9 R. Oehlschlägel: ‘Konzeptionelle Wörtlichkeit: Walter Zimmermann’s statisches Drama “Die Blinden”’, MusikTexte, no.15 (1986), 39–43 F. Zehenreiter: ‘Walter Zimmermann: der dialektische Komponist’, Positionen, no.3 (1993), 25–8 FRIEDRICH SPANGEMACHER Zinck [Zink], Bendix [Benedict] Friedrich (b Husum, Holstein, bap. 8 March 1743; d Ludwigslust, 23 June 1801). German instrumentalist and composer, brother of Hardenack Otto Conrad Zinck. His father, also named Bendix Friedrich Zinck, was a town musician in Husum, then cathedral organist in Schleswig (c1783), who wrote Kleine Duette für verschiedene Instrumente and other pieces for wind instruments (according to GerberL). Zinck studied the violin, harpsichord and organ with his father. About 1764 he visited Norway and stayed for a time in Christiania (now Oslo), and in 1767 he became a violinist at the Ludwigslust Hofkapelle of the Duke of Schwerin, where he served until his death. From Ludwigslust he made several concert tours to Dresden, Hamburg (where he studied composition with C.P.E. Bach), Berlin, London and elsewhere, becoming known as a violinist and keyboard player. In 1781 he married the court singer Charlotte Nussbaum (1760–1817). At the centre of Zinck’s compositions are his 15 symphonies, including one published by J.J. Hummel (Simphonie à grand orchestre, Berlin and Amsterdam, 1780) and 14 in manuscript in the Landesbibliothek Mecklenburg-Vorpommern, Schwerin. They show him to be a disciple of C.P.E. Bach, who ‘personally esteemed and loved him’ (GerberNL). His other works held in Schwerin are a setting of Psalm ciii for four voices and instruments, and Hin an dein Creuz zu treten (text by G.B. Funk), a cantata-like Passion chorale. The Cölestine, a combined organ and glass harmonica of three manuals which has been wrongly attributed to B.F. Zinck, was the invention of a Zink who was a deputy headmaster in Hessen-Homburg (now Bad Homburg) in 1800. BIBLIOGRAPHY EitnerQ GerberL GerberNL SchillingE Obituary, AMZ, iii (1800–01), 754–5 O. Kade: Die Musikalien-Sammlung des Grossherzoglichen Mecklenburg-Schweriner Fürstenhauses aus den letzten zwei Jahrhunderten (Schwerin and Wismar, 1893–9/R) DIETER HÄRTWIG Zinck [Zink], Hardenack [Hartnack, Harnack] Otto Conrad (b Husum, Holstein, 2 July 1746; d Copenhagen, 15 Feb 1832). German composer and instrumentalist, brother of Bendix Friedrich Zinck. Like his brother, he was taught several musical instruments and harmony by his father. He continued his studies in Hamburg for ten years and performed in both amateur and public concerts there; he also had the special esteem of his teacher, C.P.E. Bach, under whose direction he performed as a singer in 1768. In 1777 he was recruited as first flautist and chamber musician in the Ludwigslust Hofkapelle of the Duke of Schwerin, where he dedicated himself increasingly to composition, learning from imitation of Classical models and from C.P.E. Bach’s Versuch, Kirnberger’s Kunst des reinen Satzes and Marpurg’s theoretical writings (preface to his Sechs Clavier-Sonaten, 1783). In August 1786 he visited Copenhagen, where he gave a highly successful concert, appearing as a flautist, keyboard player and composer. A year later he was offered the post of Singmeister (first accompanist) in the Copenhagen Kongelige Kapel through the Hofkapellmeister J.A.P. Schulz. He accepted it, and his wife, Elisabeth Pontet Zinck, an outstanding singer at the Schwerin and Ludwigslust courts since 1779, soon took a similar post at the Danish court in Copenhagen. Zinck was also organist at the Vor Frelsers Kirke (1789–1801), a teacher at Blaagaards Seminary (1791–1811) and editor of the authorized hymnbook (Choral-Melodier, 1801). Following the example of C.F.C. Fasch in Berlin, he founded a Singakademie in 1800. As a flute and keyboard virtuoso, and particularly as a composer, Zinck was rightly considered one of the most gifted members of the Ludwigslust Hofkapelle. Unlike his brother, he was less interested in symphonies than in lieder and lyrical keyboard pieces. His six keyboard sonatas, which C.F. Cramer praised highly, are admirably suited to the keyboard and rich in invention, and link the keyboard sonatas of C.P.E. Bach with those of the turn of the century. In the preface to this collection Zinck advocated ‘characteristic instrumental pieces with new and eloquent expression’; he also explained in detail the programmatic ideas of the sixth sonata, whose finale leads directly to a ballad-like choral setting of 12 verses by Count F.L. Stolberg. Following C.P.E. Bach’s example, Zinck took part in the newly evolving relationship between vocal and instrumental music by using instrumental sound, rather than text, as a starting-point. The four volumes of Compositionen für den Gesang und das Clavier (1791–3) contain lieder with German and Danish texts, pieces from the Singspiel Selim og Mirza and sonatas and variations for keyboard instruments. Apart from C.P.E. Bach and J.A.P. Schulz, Zinck was also influenced by J.H. Rolle, as shown, for example, by the folklike melodies of his oratorio Das Weltgericht. Zinck’s cantatas, like similar compositions of his Schwerin contemporaries, were meant for the concerts spirituels in popular character introduced there by Duke Friedrich of Mecklenburg. WORKS MSS in D-SWl unless otherwise stated
WRITINGS Die nördliche Harfe, ein Versuch in Fragmenten und Skizzen über Musik und ihre Anwendung im Norden (Copenhagen, 1801) Vorlesungen über Musik und ihre nützlichste Anwendung (Copenhagen, 1813) BIBLIOGRAPHY EitnerQ GerberL GerberNL JohanssonH ScheringGO C.F. Cramer: Review of Sechs Clavier-Sonaten (1783), Magazin der Musik, i (Hamburg, 1783/R), 1259–75 O. Kade: Die Musikalien-Sammlung des Grossherzoglichen Mecklenburg-Schweriner Fürstenhauses aus den letzten zwei Jahrhunderten (Schwerin and Wismar, 1893/R) C. Meyer: Geschichte der Mecklenburg-Schweriner Hofkapelle (Schwerin, 1913) E. Winckel: ‘H.O.C. Zinks klaversonater’, DMt, xxvi (1951), 137–43 DIETER HÄRTWIG |
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