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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zuckermann, Wolfgang Joachim
(b Berlin, 11 Oct 1922). American harpsichord maker of German origin. He began studying the cello at the age of ten. After moving to the USA in 1938, he read psychology at Queens College, New York (BA 1949), and continued with postgraduate work. His musical interests, however, led him to study piano technology. He was never apprenticed to a harpsichord builder, but having had to deal with harpsichords in the course of his work as a piano technician, he determined in 1954 to build one for his own use in amateur chamber music playing. It was a somewhat simplified one-manual model with little claim to historical authenticity. He continued to produce similar harpsichords which found a ready market. In 1960 he introduced a kit version in response to the evident demand for a basic inexpensive harpsichord. The kit was designed for production on a small industrial scale and by the end of 1969 almost 8000 instruments had been sold. A clavichord in kit form was also developed and marketed. In 1969 he sold his New York enterprise to D.J. Way of Stonington, Connecticut, but Zuckermann continued to act as consultant to his former company until the late 1970s. The instruments introduced after 1970 were modelled more closely on historical instruments than the earlier ones and production was expanded to include a full range of harpsichords, clavichords and a fortepiano after Johann Walter, marketed both as kits and in finished form. After Way’s death in 1994 the firm continued under the direction of Marc Ducornet whose Paris workshop had already been associated with Zuckermann Harpsichords for several years. Zuckermann wrote The Modern Harpsichord (New York, 1969). HOWARD SCHOTT Zuffolo [chiufolo, ciufolo] (It.). In Italy a name for any small duct flute or whistle. It was first described in the 14th century (Marcuse, 1964) as having two front finger-holes and a rear thumb-hole (it thus falls into the normal pattern for three-hole pipes; see Pipe and tabor). It was traditionally carved from boxwood and had a conical bore. The narrow compass obtainable from the three finger-holes could be extended to over two octaves by stopping and half-stopping the bell with the palm of the hand, and by overblowing. In Sicily the term applies to a larger duct flute with a wide-beak mouthpiece and six finger-holes. A larger, much improved zuffolo (lowest note c'') appeared during the early 17th century. According to Van der Meer this ‘was also called flautino and flauto piccolo in works by Monteverdi, Praetorius, Schütz, Schein and Telemann; Keiser alone maintains the original name’. The Germanisches Nationalmuseum, Nuremberg, houses a few three-hole duct flutes, some with f'' as the lowest note; instruments such as these were also referred to as flautino, flauto piccolo, and even flautino piccolo by Schein, Telemann and Schürmann, although Keiser again retained the term zuffolo (see Van der Meer). The existence of similarly constructed instruments at different pitches might explain the varied ranges which are found in Keiser's opera scores: Croesus (1711 and 1730) and Jodelet (1726) both have solo passages for zuffolo (both occurring in pastoral scenes) with parts extending from a' to d'''; Tomyris (1717), however, calls for traverso [flute] o zuffolo, and the part has a range of g' to e'''. A zuffolo of about 8 cm in length was mentioned by Grassineau (A Musical Dictionary, 1740) as being used to teach birds to sing. This instrument was popularized in London by the blind musician Picco in 1856 and, having become known as the Picco pipe, was manufactured as a toy into the 20th century. There has been much confusion about the 18th-century zuffolo. Bonanni (Gabinetto armonico, 1722) described the ciufolo del villano as that small shawm (ciaramella) which is used in conjunction with the bagpipe (zampognari) in the Abruzzi for dancing. This is no reason for concluding, as some have done, that Keiser's zuffolo was a small shawm; indeed he actually imitated the zampognari in Croesus, using oboes and bassoons. Kleefeld claimed that this zuffolo was neither flageolet nor shawm, but panpipes, basing his view on another item in Bonanni's list (ciufolo: panpipes), on Walther's conjecture that ciufolo pastorale meant panpipes and on V.-C. Mahillon's observation that panpipes were sometimes called zoffolo pastorale in Lombardy. BIBLIOGRAPHY WaltherML V.-C. Mahillon: Catalogue descriptif & analytique du Musée instrumental du Conservatoire royal de musique de Bruxelles (Ghent and Brussels, 1880–1922/R; i, 2/1893/R; ii, 2/1909/R) W. Kleefeld: ‘Das Orchester der Hamburger Oper 1678–1738’, SIMG, i (1899–1900), 219–89 S. Marcuse: Musical Instruments: a Comprehensive Dictionary (New York, 1964/R) J.H. van der Meer: Germanisches Nationalmuseum Nürnberg: Wegweiser durch die Sammlung historischer Musikinstrumente (Nuremberg, 1971) J.A. FULLER MAITLAND/ANTHONY C. BAINES/MARY TÉREY-SMITH Zug (i) (Ger.: ‘pull’, ‘draught’, ‘stress’, ‘procession’, ‘progression’). In Schenkerian analysis (see Analysis, §II, 4), a conjunct diatonic succession of notes, encompassing a certain interval, by which movement from one pitch, register or part to another is established; hence one of the chief methods of Prolongation of a basic musical structure. As a technical term, Zug is usually translated as ‘progression’ or, more precisely, as ‘linear progression’. In identifying these progressions in Schenkerian analyses, the interval forms part of the name, thus Terzzug, Quartzug, Quintzug, Sextzug, Septzug, Oktavzug (‘3rd-progression’, ‘4th-progression’, ‘5th-progression’ etc.). At the most basic level of an analysis, the background Layer, the function of a Zug is to connect the fundamental upper voice (Urlinie) with an inner voice. In ex.1, for instance, the Terzzug d''–c''–b' delays the completion of the Urlinie movement to c''. Because this progression prolongs a note in the Urlinie itself, it is called a Terzzug erster Ordnung (‘3rd-progression of the highest order’).
At subsequent structural levels, a linear progression tracks movement in one direction between two voices; in some instances it may be extended to embrace a third voice. In Schenker’s analysis of the first movement of Mozart’s G minor Symphony, for instance, the initial Quartzug d''–a' in bars 3–10 is extended downwards by a third, to f
Schenker occasionally used the term Zug with a secondary meaning of ‘trait’ or ‘feature’, on which he often punned. Thus Stimmführungszüge may be taken to mean the various linear progressions that make up a contrapuntal design or simply ‘the characteristics of the part-writing’. WILLIAM DRABKIN Zug (ii) (Ger). (1) Slide, as in Zugposaune (slide Trombone) and Zugtrompete (Slide trumpet) (2) A draw-stop on an organ or harpsichord. A Zugärmchen is a roller arm; and a Zugdraht or Zugrute is a pull-down. Zügler, Joseph Paul. See Ziegler, Joseph Paul. Zugposaune (Ger.). Slide Trombone. Zugtrompete (Ger.). See Slide trumpet. Zuidam, Robert (b Gouda, 23 Sept 1964). Dutch composer. He studied at the Rotterdam Conservatory with Philippe Boesmans and Klaas de Vries, and in Tanglewood with Knussen and Foss. In 1989 he won the Koussevitzky Composition Prize with Fishbone, which launched his international career. While being trained as a classical pianist, he played the guitar in punk bands, and his chameleon-like musical output reflects a natural affinity with the complex compositional procedures of serious music and the simple directness of rock music. Though Zuidam uses a multiplicity of genres and styles, both Western and non-Western, he alludes to his models rather than borrowing from them literally. In his music, which is vigorous and entertaining, rhythm plays a paramount role because ‘it forges the link between reason and emotion’. The communicative simplicity and formal transparency of his music stems from a desire for clear musical argument but involves elaborate transformational techniques. These facilitate the music’s change of perspective by shifting quickly but smoothly between disparate elements and emotions. Zuidam’s talents for twisting the obvious and predictable are considerable. In a way, his music reflects on ordinary perceptions. It is a critique in disguise, seriously humorous and biting, even as it pretends to be sentimental or downright vulgar. His opera Freeze turns the modern-day myth of Patricia Hearst into a reflection on the manipulative violence of our high-speed mass media in conflict with human freedom of expression. WORKS
BIBLIOGRAPHY J. Oskamp: ‘ Writing Music is a Cranky Business: Rob Zuidam’s Fascination for Rhythm’, Key Notes, xxvi (1992), 22–5 C. Maas: ‘Componeren is een excuus om alleen te zijn’, De Volkskrant (18 June 1993) E. Schönberger: ‘Jonge componisten en de operatraditie’, De Gids, clvii (1994), 252–70 K. Umbach: ‘ Randale im Polkaschritt’, Der Spiegel (9 May 1994) FRANS VAN ROSSUM Zukerman, Pinchas (b Tel-Aviv, 16 July 1948). Israeli violinist of Polish descent. His father, also a violinist, encouraged a childhood instinct for music, and at eight he entered the Tel-Aviv Academy of Music, where he studied with Ilona Feher, a pupil of Hubay. In 1961 he was heard by Isaac Stern and Pablo Casals, on whose recommendations he received scholarships enabling him to enter the Juilliard School of Music, New York, with Stern as his legal guardian. There Zukerman studied with Ivan Galamian and extended his interest to the viola, the better to participate in chamber ensembles. He appeared at the 1966 Spoleto Festival in Italy, and the next year was joint winner of the Leventritt Memorial Competition. The resulting solo engagements throughout North America were supplemented by deputizing for an indisposed Stern, and since Zukerman’s New York début at Lincoln Center in 1969 he has toured frequently in Europe. His British concert début was at the 1969 Brighton Festival and afterwards in London. As well as benefiting from the guidance of Stern, Zukerman was much encouraged by Casals at the latter’s festival in Prades. He has often appeared as a viola soloist (to which his strong physique more naturally accommodates him), and in this capacity he recorded Mozart’s Sinfonia concertante k364, with Stern and the English Chamber Orchestra, and such works as Bartók’s Viola Concerto and Berlioz’s Harold en Italie. Zukerman is chiefly admired for the richness of melodic line he draws from his Guarneri ‘del Gesù’ violin, his daring spontaneity of expressive phrasing, and his brilliance of technique, including a special delicacy of spiccato effect. His approach to the same concerto may vary in detail according to mood, surroundings, and the orchestra he is appearing with; in Baroque music he plays period-style ornamentation only if it is written out for him. He has continued to enjoy chamber ensemble performance, making distinctive recordings of the complete Mozart violin sonatas, the complete Beethoven violin sonatas (with Daniel Barenboim) and piano trios (with Barenboim and Jacqueline du Pré) and the complete Brahms sonatas, in addition to sonatas by Schumann, Franck, Fauré and Debussy. He has also recorded all the standard Classical and Romantic violin concertos, as well as concertos by Bartók and Berg. In 1971 he first directed performances of Bach and Vivaldi concertos with himself as soloist, and later some Mozart concertos, and in June 1974 he made a successful conducting début with the (then New) Philharmonia Orchestra at the Royal Festival Hall, London. Zukerman was artistic director of London’s South Bank Summer Music Series (1978–80), and music director of the St Paul Chamber Orchestra, Minnesota (1980–87), which he conducted in the US première of Knussen’s Where the Wild Things Are (1985). He has also conducted or played in the premières of works by Boulez, Lutosławski, Neikrug (Violin Concerto, 1989) and Takemitsu. He has appeared frequently as a guest conductor, notably with the Dallas SO, and in 1993 was appointed to teach at the Manhattan School of Music, New York. BIBLIOGRAPHY CampbellGV J. Creighton: Discopaedia of the Violin (Toronto, 1974, 2/1994) B. Schwarz: Great Masters of the Violin (New York, 1983) NOËL GOODWIN Zukofsky, Paul (b Brooklyn, NY, 22 Oct 1943). American violinist and conductor. He started music lessons when he was three and the violin at 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 specializes in 20th-century music and has complete command of new and traditional virtuoso techniques. He has given 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 1964, Zukofsky taught at the New England Conservatory and Berkshire Music Center, and joined the faculty of SUNY, Stony Brook, in 1969. Zukofsky has an extensive list of recordings, which include more than 60 first releases, among them Penderecki’s Capriccio and concertos by Sessions and William Schuman. In 1974 he recorded an anthology of American violin music written between 1940 and 1970; he has also recorded the Bach solo sonatas and partitas. He has edited works for violin by Cage and Steuermann, composed music himself, and written several books, including one on 20th-century violin techniques, All-Interval Scale Book (1977). In 1978–9 he was conductor of the Colonial SO (Madison, New Jersey), and in 1984 was appointed conductor of the Contemporary Chamber Ensemble at the Juilliard School. In addition, he is president of Musical Observations, Inc., and programme coordinator of the American Composers Series at the Kennedy Center. BIBLIOGRAPHY SchwarzGM J. Creighton: Discopaedia of the Violin, 1889–1971 (Toronto, 1974, 2/1993) MICHAEL STEINBERG/R Zulaica y Arregui, José Gonzalo. See Donostia, José Antonio de. Zulu music. See South africa, §I, 1. Zulzul. See Zalzal. Zumaqué, Francisco (b Cereté, 18 July 1945). Colombian composer. He completed his undergraduate studies in composition at the National University of Colombia (1970) and was granted a scholarship to study in Paris with Nadia Boulanger, where he twice won the Grand Prix de Composition (1971, 1973) and experimented with electronic techniques under the supervision of Pierre Schaeffer. He returned to Colombia (1973), then lived in New York (1978–80), working as a composer and arranger for Eddie Palmieri and his Fania All Stars Orchestra. After working from 1982–6 with the Bogotá PO, he was cultural attaché of the Colombian Embassy in Bonn (1986–90); during this period he travelled extensively in Europe, Asia, Africa and the Americas, lecturing about his music and giving concerts. He returned to the USA in 1991. As a composer Zumaqué was committed to bridging the gap between erudite music and urban and traditional music. His first CD, Baila, Caribe, baila (1991), produced in Germany, reflects an experimental fusion of the mapalé and cumbia rhythms called ‘macumbia’. For the quincentenary of Columbus’s voyage to America he was commissioned to compose 1492: Genesis, which was included in a set of three CDs of classical 20th-century Colombian composers. His CD Voces caribes (1993) contains arrangements of popular music and compositions in a popular style, including lyrics that border on the canción protesta, blended with a touch of black humour. By the time of Rituales: an Afroamerindian Suite (1994) he had evolved into a composer able to combine advanced techniques with the rhythms and motifs of popular and traditional music. WORKS (selective list)
BIBLIOGRAPHY E. Duque: ‘La cultura musical en Colombia, siglos diecinueve y veinte’, Gran enciclopedia de Colombia, ed. J.O. Melo, vi (Bogotá, 1993), 232–3 SUSANA FRIEDMANN Zumaya [Sumaya], Manuel de (b c1678; d Antequerra, Valle de Oaxaca, 21 Dec 1755). Mexican composer and organist. He probably entered the service of Mexico City Cathedral in about 1690, and quickly established a reputation as a prodigy. His name first appears in a document dated 25 May 1694, when the cathedral chapter granted him financial assistance after his father’s untimely death and arranged for him to study the organ with the cathedral’s principal organist, José de Ydiáquez, and composition with the maestro de capilla, Antonio de Salazar. In honour of the birth of Prince Luis, Zumaya wrote a play, Rodrigo, which was staged on 25 August 1707, possibly with music also by Zumaya. The following year he became second organist at the cathedral, and in 1710, despite protestations from the older and more experienced Francisco de Atienza, he was appointed interim maestro de capilla and took on some of the ailing Salazar’s teaching duties at the escoleta. According to a petition made to the chapter on 19 May 1711, Salazar was still teaching composition to ‘bachiller Manuel de Zumaya’ (the title ‘bachiller’ indicates that he had already passed examinations in several subjects, including theology). The Duke of Linares, who arrived as viceroy in 1711, soon recognized Zumaya’s talents and employed him as a translator of Italian librettos into Spanish and as a writer of new ones. He commissioned from him an opera, Partenope, which had its première in 1711, making it the first opera anywhere in the Western hemisphere by an American-born composer. Zumaya’s familiarity with Stampiglia’s libretto has led some writers to suggest a possible Italian journey during the early 1700s, and this is supported by the ease with which Zumaya captured up-to-date styles, even in his early compositions. If the journey occurred about 1703, this would explain why the mediocre Atienza, rather than Zumaya, had been chosen to serve as Salazar’s assistant at that time. On 20 June 1714 Zumaya was promoted principal organist of the cathedral. The tense competition with Atienza was revived the following year when both men competed for the post of maestro de capilla to succeed Salazar, who had retired. Zumaya’s outstanding test villancico, Sol-fa de Pedro, won him the post, and he immediately set about commissioning copies of several major choral collections and choirbooks for the cathedral (now in the Museo Virreinal, Mexico City). Between 1734 and 1736 he also expanded the cathedral’s orchestral resources, recruiting extra strings, horns and trumpets, and a more complete woodwind section. In 1738 Zumaya suddenly left Mexico City for Oaxaca with Dean Tomás Montaño, who had been made archbishop there. The cathedral chapter urged Zumaya to return, but to no avail, and in November 1740 they advertised for a replacement. Zumaya, for his part, could not immediately assume the post of maestro de capilla at Oaxaca Cathedral, which was held by Tomás Salgado. Instead he became Montaño’s personal chaplain, and on 16 November 1742 he was appointed interim curate of the cathedral parish, despite having neither a theological degree nor a command of the various languages of the region. When Montaño died, on 24 October 1742, Zumaya remained in Oaxaca, and on 11 January 1745 finally became maestro de capilla there; Salgado was demoted. Zumaya expanded the resources of his new capilla, as he had done in Mexico City, and he taught a number of talented young musicians, notably the harpist Juan Mathías de los Reyes. After his death the cathedral chapter purchased his music from a certain Señor Miranda. Zumaya was one of the most remarkable New World composers of the 18th century, equally at home in pseudo-Renaissance vocal polyphony and in the concerted style of the Baroque. In his Latin motets or himnos he most often wrote free imitative counterpoint, but his Alma Redemptoris mater paraphrases the plainchant and his Lamentations for the Holy Saturday quote the Spanish Lamentation tone. His harmonic daring, especially with regard to augmented and diminished chords and secondary dominants, sets him apart from other Mexican polyphonists. His Baroque settings are characterized by vigorous motivic activity, instrumental figuration and brisk harmonic motion. In the villancico Celebren, publiquen seemingly insignificant motifs appear in the accompaniment, and are then combined in increasingly complex ways to create a sense of forward motion. Similar motivic bonds mould together his villancico Al prodigio mayor, the earliest known piece written specifically to honour the Virgin of Guadalupe. WORKS Stage
Sacred latin Edition: Two Mexico City Choirbooks of 1717: an Anthology of Sacred Polyphony from the Cathedral of Mexico, ed. S. Barwick (Carbondale and Edwardsville, IL, 1982) [B]
Villancicos all with instruments; MSS in Oaxaca Cathedral unless otherwise stated Edition: Manuel de Sumaya: Cantadas y villancicos, ed. A. Tello, Tesoro de la música polifónica en México, vii (Mexico City, 1994) [T]
BIBLIOGRAPHY StevensonRB G. Saldívar: Historia de la música en México (Mexico City, 1934) R. Stevenson: Music in Mexico: a Historical Survey (New York, 1952), 149–53 R. Stevenson: ‘Mexico City Cathedral Music, 1600–1750’, The Americas, xxi (1964–5), 111–35, esp. 130; also pubd separately (Washington, 1964) R. Stevenson: ‘La música en la Catedral de México, 1600–1750’, RMC, no.92 (1965), 11–31 J. Estrada: Música y músicos de la época virreinal (Mexico City, 1973), 102–21 A.R. Catalyne: ‘Manuel de Zumaya (ca. 1678–1756): Mexican Composer for Church and Theater’, Festival Essays for Pauline Alderman, ed. B.L. Karson (Provo, UT, 1976), 101–380 R. Stevenson: ‘Manuel de Zumaya en Oaxaca’, Heterofonía, no.64 (1979), 3–22 A. Tello: Introduction to Tres obras de la Catedral de Oaxaca (Mexico City, 1983) R. Stevenson: ‘La música en el México de los siglos XVI a XVIII’, La música de México, ed. J. Estrada (Mexico City, 1984), 7–74, esp. 55, 66–7 R. Stevenson: ‘Mexican Baroque Polyphony in Foreign Libraries’, Inter-American Music Review, ix (1987–8), 55–64, esp. 59–62 A. Tello: Archivo musical de la Catedral de Oaxaca: catálogo (Mexico City, 1990) A. Tello: Introduction to Archivo musical de la Catedral de Oaxaca: antología de Obras (Mexico City, 1990) C.H. Russell: ‘Musical Life in Baroque Mexico: Rowdy Musicians, Confraternities and the Holy Office’, Inter-American Music Review, xiii (1992–3), 11–14 C.H. Russell: ‘Rowdy Musicians, Confraternities and the Inquisition: Newly Discovered Documents Concerning Musical Life in Baroque Mexico’, RdMc, xvi (1993), 2783–813 A. Tello: Introduction to Manuel de Sumaya: Cantadas y Villancicos (Mexico City, 1994) A. Tello: Introduction to Misas de Manuel de Sumaya, Tesoro de la música polifónica, viii (Mexico City, 1996) C.H. Russell: ‘Manuel de Sumaya: Reexamining the a cappella Choral Music of a Mexican Master’, Encomium musicae: a Festschrift in Honor of Robert J. Snow, ed. D. Crawford (Stuyvesant, NY, forthcoming) CRAIG H. RUSSELL Zumpe, Herman (b Oppach, 9 April 1850; d Munich, 4 Sept 1903). German conductor and composer. Trained at the teachers’ seminary at Bautzen (where he also received a thorough musical education), Zumpe taught in the local school at Weigsdorf in 1870–71, then went as a teacher to Leipzig, where he furthered his musical studies with Tottmann. He turned to music completely when Wagner called him to Bayreuth in 1872 (an association which became the main influence in his development) to assist in the completion of the Ring score. As a conductor he travelled widely throughout Germany and held important positions in Stuttgart (1891), Schwerin (1897) and Munich (1895 and 1900). He also visited London (conducting Wagner at Covent Garden in 1898), Odessa, Madrid and St Petersburg. An energetic and intelligent conductor, he was regarded in his day, especially in Wagner’s music, as comparable to Richter, Mottl and Levi. As a composer he was strongly influenced by Wagner; his operas and operettas enjoyed a certain measure of success during his lifetime. At his death he left an unfinished opera, Sâwitri (based on the episode of the Mahābhārata which also inspired Holst), which was expected to be his masterpiece. WORKS Stage
Other works
BIBLIOGRAPHY E. von Possart: Herman Zumpe: persönliche Erinnerungen (Munich, 1905) [with list of works] H. Erdmann: Schwerin als Stadt der Musik (Lübeck, 1967) R.W. Sterl: ‘Das 2. Bayerische Musikfest 1904 unter Richard Strauss in Regensburg’, Mitteilungsblatt der Gesellschaft für Bayerische Musikgeschichte, vi (1973), 97–107 C. Fifield: True Artist and True Friend: a Biography of Hans Richter (Oxford, 1993) HANS-HUBERT SCHÖNZELER Zumpe, Johannes [Johann Christoph] (b Fürth, nr Nuremburg, 14 June 1726; bur. London, 5 Dec 1790). English harpsichord and piano maker of German origin. He may have worked for the Silbermanns and was the most famous of the German keyboard instrument makers known as the ‘12 Apostles’, who emigrated to London about the time of the Seven Years War. Zumpe worked briefly for Burkat Shudi, and married Elizabeth Beeston on 3 December, 1760 before setting up his own shop ‘at the sign of the Golden Guittar’ in Princes Street, Hanover Square, in 1761. There he probably made a few harpsichords, before commencing his successful square piano business. Fétis (1851) wrote that his first lessons were on a Zumpe piano dated 1762. J.C. Bach probably acted as an agent for Zumpe pianos, which in 1771 cost 18 guineas each. An early Zumpe square, dated 1766, is preserved in the Württembergisches Landesmuseum, Stuttgart. It has a compass G' to f''' with some divided accidentals for fine tuning. Its action is a simplified version of Cristofori's, and came to be called the ‘English single action’ because it was principally used in England (see Pianoforte, fig.9). There was no escapement in this first action, but in the 1780s Zumpe developed his ‘double action’ which included Cristofori’s intermediate lever, but still no escapement; this second action was never widely adopted like the first. The 1766 instrument resembles a clavichord, with the wrestpins, for example, located at the right-hand side of the soundboard. On a typical Zumpe square (see Pianoforte, figs.8 and 10), the soundboard is small, the scaling of the tenor and bass strings restricted, and the bottom G From 1769 to 24 September 1778 Zumpe was in partnership with Gabriel Buntebart. In 1778 Meincke Meyer joined Zumpe and a square of this year by them is now at the Museo degli Strumenti Musicali, Castello Sforzesco, Milan. In 1783 Frederick Schoene, who advertised his piano-making firm as ‘Successors to Johannes Zumpe’, took over the business. Zumpe's will, dated 1784, states that his address was in Queen Charlotte Row in the parish of St Mary-le-Bow. Although Zumpe is famous for his square pianos, other instruments survive including an English guitar (1762) at the Historisches Museum, Frankfurt, and a mandora (1764) at Glasgow Art Gallery and Museum. BIBLIOGRAPHY ClinkscaleMP R.E.M. Harding: The Piano-Forte: its History Traced to the Great Exhibition of 1851 (Cambridge, 1933/R, 2/1978/R) W.H. Cole: ‘The Early Piano in Britain Reconsidered’, EMc, xiv (1986), 563–6 R. Maunder: ‘The Earliest English Square Piano’, GSJ, xlii (1989), 77–84 M. Cole: The Pianoforte in the Classical Era (Oxford, 1998) MARGARET CRANMER Zumsteeg, Emilie (b Stuttgart, 9 Dec 1796; d Stuttgart, 1 Aug 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 Allgemeine musikalische Zeitung in 1842. An earlier collection, Sechs Lieder op.4 (Mainz, n.d.), includes mainly simple, strophic songs, but occasionally reveals an italianate flair, as in the second song, Morgenständchen (in Citron). Zumsteeg’s originality further surfaces in Neun Lieder (Bonn, n.d.): for example, the hint of fantasy in Ich denke Dein and the chamber-like setting of Des Freundes Wunsch. Two of her lieder appear in the series Frauen komponieren (ed. E. Rieger and K. Walter, Mainz, 1992). A full evaluation of her compositions must await further research into her life and the republication of more of her music. BIBLIOGRAPHY AMZ, xxiii (1821), 479–80; xxiii (1821), 816; xxxi (1829), 747; xxxvi (1834), 484; xliv (1842), 935–6 A. Michaelis: Frauen als schaffende Tonkünstler: ein biographisches Lexicon (Leipzig, 1888) H.J. Moser: Das deutsche Lied seit Mozart (Berlin and Zürich, 1937, 2/1968) K. Haering: ‘Emilie Zumsteeg’, Schwäbische Lebensbilder, ii (1941), 537–44 M.J. Citron: ‘Women and the Lied, 1775–1850’, Women Making Music: the Western Art Tradition, 1150–1950, ed. J. Bowers and J. Tick (Urbana and Chicago, 1986), 224–48 M. Riepl-Schmidt: ‘Emilie Zumsteeg, die “männliche” Musikerin’, Wider das verkochte und verbügelte Leben: Frauenemanzipation in Stuttgart seit 1800 (Stuttgart, 1990), 70–79 M. Rebmann: ‘“Wie Deine Kunst, so edel war Dein Leben”: ein Werkverzeichnis der Stuttgarter Komponistin Emilie Zumsteeg’, Musik in Baden-Württemberg, ii (Stuttgart, 1995), 51–74 M. Rebmann: ‘“Die Thatkraft einer Männerseele”: der Stuttgarter Komponistin Emilie Zumsteeg zum 200. Geburtstag’, Viva voce, no.40 (1996), 29–33 MARCIA J. CITRON Zumsteeg [Zum Steeg], Johann Rudolf (b Sachsenflur, nr Mergentheim, 10 Jan 1760; d Stuttgart, 27 Jan 1802). German composer and conductor. His father was in military service before becoming a personal servant of Duke Carl Eugen of Württemberg. After the early death of his mother, Zumsteeg received a good general education at the Carlsschule in Stuttgart, the military academy founded by the duke, where he became friendly with Schiller and the sculptor Johann Heinrich Dannecker (who made a bust of him). Zumsteeg was originally intended for a career as a sculptor, but his musical talent showed itself early. He studied the cello with the chamber virtuoso Eberhard Malterre and from 1775 with the cello soloist and court Kapellmeister, Agostino Poli, who also taught him composition. Zumsteeg’s first works, among them most of the ten surviving cello concertos, were composed during his student days. The most significant works of this period are the melodramatic setting of Klopstock’s ode Die Frühlingsfeier (1777) and his first stage work, Das tartarische Gesetz (1780). The songs for Schiller’s Die Räuber, which were published anonymously in 1782, are clear evidence of his close friendship with the dramatist. From 1781 Zumsteeg held the post of solo cellist in the court orchestra, and wrote mostly operas, incidental music and cantatas for festival occasions in the ducal family. These years also saw the composition of numerous songs which appeared in various printed collections, some of them edited by Zumsteeg himself, to help his difficult financial circumstances. Only after the duke had doubled his salary in 1783 could he marry Luise Andreae (who bore him seven children and founded a music shop shortly after his death). From 1785 to 1794 Zumsteeg worked as music master at the Carlsschule, and in 1791, after the death of C.F.D. Schubart, he took over the direction of German music at the court theatre. Finally, in 1793, on Poli’s retirement, he was promoted to the post of court Konzertmeister. In contrast to Poli, who in the spirit of Jommelli had maintained the Italian tradition in Stuttgart, Zumsteeg came out unreservedly for the hitherto neglected works of Mozart, and gave the first Stuttgart performances of Die Zauberflöte, Don Giovanni and Così fan tutte. His own greatest success as opera composer came with Die Geisterinsel to Gotter’s adaptation of Shakespeare’s The Tempest. His name became widely known through the numerous ballads and lieder published from 1791 onwards, mostly by Breitkopf & Härtel in Leipzig. Zumsteeg himself was able to publish only part of the seven volumes of Kleine Balladen und Lieder, comprising 170 settings in all, before his death of a heart attack. Although Zumsteeg composed a number of instrumental works, vocal music occupies the dominant position in his output. In particular the lieder and ballads, about 300 altogether, are historically significant for their midway position between the Berlin song school and Schubert. Some early songs, such as Die Entzückung: an Laura (Schiller) and Colma (Goethe), show their dependence on the cantata-like song by their frequent alternation between arioso and recitative sections and their lengthy descriptive interludes. These and other monodies like Die Erwartung (Schiller) and Hagars Klage (Schücking) are predominantly lyrical; but the large-scale ballads mirror the words in a combination of lyrical, epic and dramatic elements. Zumsteeg tried to do justice to the changing moods of the often unusually long poems by through-composed settings. The longer ballads reveal a striving for an organized design, mainly involving two principles: the open form that is characteristic of Die Entführung (Bürger) and the more dramatic Lenore (Bürger); and the cyclic form reflected in the ballads Des Pfarrers Tochter von Taubenhain (Bürger), Die Büssende (F.L. von Stolberg) and Elwine (Ulmenstein). Here the individual sections are set apart from each other by key or tempo, but inwardly held together by means of rhythmic or melodic motifs. But these means were altogether too weak to fuse into one organic whole the various different images, however telling they may be individually. The short ballads contrast with the longer ones generally in their clear formal structure; in Ritter Toggenburg (Schiller) and Robert und Käthe (Werthes) he used elements of both strophic form and through-composed setting. Zumsteeg’s contemporaries regarded his works as models of interpretative word-setting. His aim was to reflect in the melodic line both the overall mood and the individual words, without thereby neglecting a true cantabile. Recitative is employed circumspectly in the ballads; Zumsteeg was one of the first to use it with any frequency in lyric song. His use of mediant key relations and enharmonic progressions, for example, show his willingness to explore unconventional areas of harmony. The piano accompaniment of many lieder is often simple and betrays its derivation from continuo practice. The ballads, on the other hand, make extensive use of descriptive figurations, and their detailed description of mood reveals their dependence on melodrama. Zumsteeg’s lieder and ballads had a particular influence on the young Schubert, who, according to his friend Josef von Spaun, could ‘revel in these songs for days on end’. Schubert’s ballad settings from the years 1811–16 reveal striking similarities to those of Zumsteeg: the rhapsodic form, the vivid depiction of mood and the use of recitative are characteristic. Several lieder show close affinities even in melodic structure or other matters of detail. In particular six of Schubert’s songs are directly modelled on Zumsteeg’s settings of the same texts: Hagars Klage (d5), Lied der Liebe (d109), Nachtgesang (d314), Ritter Toggenburg (d397), Die Erwartung (d159) and Skolie (d507). Besides some instances of melodic correspondence, the close connection is traceable in their formal similarities and the choice of key and metre. Initially Zumsteeg’s operas were still clearly under the influence of Jommelli, but the technique of melodrama, after the style of Benda’s Ariadne, became increasingly important and found its purest expression in the duodrama Tamira (1788), Zumsteeg’s only dramatic work in this genre. His last three operas, composed ten years later, actually abandon the dependence on melodrama, but reveal how his art was enriched by his close preoccupation with this form. The subject matter of these operas was taken from the world of magic (Die Geisterinsel), medieval chivalry (Das Pfauenfest) and oriental fairy tale (Elbondocani). His knowledge of Mozart’s operas reveals itself in his characterization, his ensemble technique and instrumentation, and, not least, in his melodic style. Zumsteeg also composed instrumental music, most of which remained unprinted, and 14 sacred cantatas (1795) in simple style, which were all published posthumously and became widely known. The music from his estate is in the Württembergische Landesbibliothek, Stuttgart (cod.mus.II, ff. 9–20 and 50–52). Two of Zumsteeg’s children, Gustav Adolf and Emilie, also had careers in music. Gustav Adolf Zumsteeg (b Stuttgart, 22 Nov 1794; d Stuttgart, 24 Dec 1859), after taking over his mother’s music shop (1821), helped to found the Stuttgart male choir Liederkranz (1824) and later established a music publishing house for choral works (1825), which remained active until it was purchased by Sikorski in 1940. WORKS all printed works published in Leipzig unless otherwise stated; MSS in D-Sl Stage |
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'. This is explained in Das Meisterwerk in der Musik, ii (1926), p.113 and fig.1c–d, and summarized in Schenker’s Der freie Satz (1935), fig.89/3, on which ex.2 is based; the example also shows how the Quartzug and the Terzzug combine to form a Sextzug.