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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zeller, Carl (Johann Adam)
(b St Peter in der Au, 19 June 1842; d Baden, nr Vienna, 17 Aug 1898). Austrian composer. As a boy he had a fine soprano voice and showed facility on several instruments. He studied with the village teacher and organist, and at the age of 11 joined the boys' choir of the court chapel in Vienna. He studied law at Vienna University, at the same time studying composition with Simon Sechter, and in 1869 took a doctorate in law at Graz University. After practising as a solicitor with the land tribunal he entered the Ministry of Education and Culture in 1873. His compositions include ballad plays, songs and choral works: a comic opera Joconde, set in Scotland in Cromwell's time, was produced in 1876. His greatest success was achieved with the operetta Der Vogelhändler (1891), which revived the fortunes of Viennese operetta during the 1890s. Supported by a richness of melodic invention and fine handling of the voice and ensemble numbers, it has remained one of the classics of the genre. Der Obersteiger (1894), though also a success and scarcely inferior in invention, has remained familiar mainly through the tenor solo ‘Sei nicht bös’. Zeller's last years were unhappy: by 1895 he had risen to a high position in the ministry, but signs of nervous and mental disorder began to appear. After he was retired on pension he was found guilty of perjury, but the conviction was later repealed. WORKS operettas first produced in Vienna unless otherwise stated
BIBLIOGRAPHY GänzlEMT A.M. Schneider: ‘Der Tondichter Carl Zeller’, Unsere Heimat [Vienna], new ser., xi (Vienna, 1939) C.W. Zeller: Mein Vater Carl Zeller (St Pölten, 1942) R. Holzer: Die Wiener Vorstadtbühnen: Alexander Girardi und das Theater an der Wien (Vienna, 1951) E. Nick: Vom Wiener Walzer zur Wiener Operette (Hamburg, 1954) R. Traubner: Operetta: a Theatrical History (New York, 1983) ANDREW LAMB Zelman, Alberto (b Melbourne, 15 Nov 1874; d Melbourne, 3 March 1927). Australian violinist and conductor. He was the son of an Italian musician who had taken an opera company to Australia in the 1860s. Alberto, who was largely self-taught in music, made his first appearance as a violinist at six, and at 17 toured as a soloist in Tasmania and New Zealand; in his early years he also conducted light opera. He taught privately, at the Melbourne University Conservatorium and at the Albert Street Conservatorium. He founded several musical organizations in Melbourne, including the Melbourne String Quartet (1905) and the Melbourne SO (1906), which then consisted largely of amateurs and his own pupils. For 16 years he was conductor of the Melbourne Philharmonic Society, giving many choral works (including the Australian premières of several by Elgar) with leading soloists from Australia and abroad. He conducted one season with Melba. In 1922 he and his wife (the Australian soprano Maude Marie Harrington) undertook a European tour, during which he conducted the LSO and the Berlin PO. Moresby wrote of his broadly flowing style and his pure and beautiful violin tone, as well as his warm and sympathetic temperament. (I. Moresby: Australia Makes Music, London, 1948)
Zeltenpferd (fl c1400). Composer. Reaney attributed a three-voice Gloria in GB-Lbl Add.29987 (ed. in CMM xi/6, 1977, p.115, and in PMFC, xii, 1976, p.25) to Antonio Zacara da Teramo, partly on the basis of a slight similarity (especially in the ‘Amen’) to Zacara’s (four-voice) Gloria ‘Micinella’. This attribution was generally rejected; but when it was noted (by F. LeClercq) that the same music appears in the lost Strasbourg manuscript (F-Sm 222, now known only from Coussemaker’s transcription, B-Bc 56.286) ascribed to ‘Zeltenpferd’, Fischer agued that this could be a corruption of ‘z. de Teramo’. The piece is cited as ‘Et in terra Zeltenpferd’ twice in the treatise De minimis notulis, also known only from F-Sm 222 (ed. in CoussemakerS, iii, 414 and 415), which might therefore endorse the correctness of the name. On the other hand, the name is otherwise unknown and may be a pseudonym (like ‘Zacara’), and the word appears in early German contexts to denote an odd manner of walking, which would evidently apply to Zacara; moreover, the work is very much in the North Italian mannerist style, unlike anything otherwise known by Germanic composers, and is in several ways reminiscent of Zacara. Pending further investigation, the case remains open. BIBLIOGRAPHY G. Reaney: ‘The Manuscript London, British Museum, Additional 29987 (Lo)’, MD, xii (1958), 67–91 K. von Fischer: ‘Bermerkungen zur Überlieferung und zum Stil der geistlichen Werke des Antonius dictus Zacharias de Teramo’, MD, xli (1987), 161–82 DAVID FALLOWS Zelter, Carl Friedrich (b Berlin, 11 Dec 1758; d Berlin, 15 May 1832). German composer, conductor and teacher. His father George, a mason from Saxony, settled about 1750 in Berlin, where he worked as a building contractor and married Anna Dorothea Hintze, daughter of a cloth-worker; Carl Friedrich was the second of two sons of this marriage. Zelter was first taught at home and then attended the Joachimsthaler Gymnasium. At his father’s wish, he trained as a mason, becoming in 1783 a master mason and partner in his father’s business, which he took over in 1787; he remained a member of the Berlin masons’ guild until 1815. In 1787 Zelter married Sophie Eleonora Flöricke, née Kappel, who had three children by her first marriage and bore him eight more but died in 1795. A year later he married the singer Juliane Pappritz (d 1806), who bore him two children. Zelter was familiar with music from early childhood. He taught himself to play various instruments (including the violin and piano) and later took formal violin lessons. In 1779 he played part-time in the orchestra of the Theater am Gendarmenmarkt, and a few years later he played first violin in J.A. Hiller’s Berlin performance of Messiah. His early compositions date from this period. Zelter finally took composition lessons (1784–6) with C.F.C. Fasch, who later founded the Berliner Sing-Akademie. He became a member of this organization in 1791 and its conductor after Fasch’s death in 1800. Under Zelter, the Sing-Akademie became a model for the performance of sacred music from the past, and similar institutions were founded throughout Germany. While a cappella singing predominated at first, it soon began performing choral works with instrumental accompaniment, provided by an ensemble, the Ripienschule, which Zelter founded in 1807. Its repertory ranged from polyphony of the 16th and 17th centuries to contemporary works; Zelter set high standards with his performances of Handel’s oratorios, Bach’s motets, cantatas and St Matthew Passion, Haydn’s Creation and Seasons and Mozart’s Requiem. Zelter also established the Liedertafel, a patriotically inclined men’s choir, in 1809, and he was appointed professor of music of the Akademie der Künste in Berlin the same year. On his initiative, institutes for teaching church and school music were founded in Königsberg (now Kaliningrad; 1814), Breslau (now Wrocław; 1815) and Berlin (1822); he took over complete responsibility for the Berlin institute in 1823. He also founded a student ‘collegium musicum vocale’ (1830). His many pupils included A.W. Bach, Eduard Grell, A.B. Marx, Felix Mendelssohn, Giacomo Meyerbeer, Otto Nicolai and G.W. Teschner. In 1829 Zelter received an honorary doctorate from the University of Berlin. He died only a few weeks later than his friend Goethe. Zelter’s work had consequences for the whole of German musical life in the 19th century, and led to a realization that music education should now be delivered by state-maintained institutes and civic music societies. Zelter, who was himself active in both kinds of organizations, saw his prime task as their creation and development, and he devoted himself to it passionately and tirelessly. It was this side of Zelter’s character that drew Goethe to him. According to P.C. Kayser and J.F. Reichardt, Goethe found in Zelter the musical adviser he had been seeking. Their correspondence, eventually comprising almost 900 letters (1799–1832), grew increasingly intimate, and finally, when Goethe wrote to Zelter about the suicide of his stepson Karl Flöricke, employed the familiar pronoun ‘du’. Accounts of notable events – the meeting between Goethe and Beethoven in 1812, the production of Der Freischütz in 1821, the performance of Bach’s St Matthew Passion in 1829 – make it a valuable source of music history. Goethe and Zelter also discussed basic questions relating to music – notably the lied – and its position among the arts. The correspondence reveals Zelter’s natural outspokenness and his earthy wit and humour, as well as profound shocks that he suffered. Zelter is remembered primarily as a composer of lieder. Of his 210 solo lieder, 75 are to texts by Goethe. In a letter of 10 January 1824 to Carl Loewe, Zelter describes some of his aesthetic principles in songwriting: the text must take priority, the strophic song is to be preferred to ‘absolute through-composing’, the accompaniment must stay in the background (so that ‘if necessary the melody could exist without it’). His setting of Der König in Thule is a classically simple, self-contained melodic structure with dark tone-colours and an Aeolian modal quality. Goethe praised the Mitternachtslied in a letter to Zelter of 19 March 1818, saying: ‘Your midnight six-eight time is all-exhausting. Such quantities and qualities of tone, such diversity of movement, of rests and of pauses for breath! It is always the same and ever-changing!’ Zelter, he wrote earlier, understood ‘the character of such a piece, with its recurrent strophes, so well that you feel it anew in every individual part, where others would destroy the impression of the whole by introducing obtrusive details in what is called through-composing’ (letter to Wilhelm von Humboldt, 14 March 1803). This opinion, which Zelter no doubt shared, does not imply the outright rejection of the principle of through-composition, but merely questions its suitability for the setting of classical lyric poetry. Goethe particularly liked the powerful, sturdy tone of Zelter’s male choruses, which he preferred to a more elegiac style. At their best, these works display many varieties of humour, which may be conveyed subtly (as in Beherzigung), directly (Meister und Gesell) or with a touch of irony (Flohlied). Outstanding among his sacred works are a Requiem for Fasch (now lost), the motet Der Mensch lebt und bestehet and the oratorio Die Auferstehung und Himmelfahrt Jesu. None of the large projects that he and Goethe discussed was ever realized: Goethe could not warm to the operatic subjects of Samson and Hercules suggested by Zelter, and Zelter left his incidental music to Goethe’s Götz von Berlichingen unfinished, nor did he carry out his plans to set Goethe’s play Pandora and write a Reformation cantata. Zelter always felt compelled to express his artistic ideas in writing: hence his autobiographies and memoranda, commemorative addresses and testimonials, reviews and music criticism, sketches and analyses of projects, and in particular the surviving letters, which number over 1000 in all. His contributions to such journals as Deutschland, Lyceum der schönen Künste and the Allgemeine musikalische Zeitung reflect an understanding of music history derived from the Berlin school of the 18th century. He left a valuable and extensive collection of music, containing many Bach manuscripts. While this may have been intended chiefly for the use of the Sing-Akademie, Zelter also drew from it his profound understanding of musical works and sources, and thereby gained a reputation as an authority on the church music of the past and on the works of Handel, Bach and his sons, the Grauns and others. Of the Viennese Classical composers, Haydn and Mozart were the closest to him; his introductory text for the Sing-Akademie’s performance of The Creation on 31 March 1826 appeared in the fifth volume of Kunst und Altertum. He had an ambivalent attitude towards Beethoven (whom he met in 1819): while he admired the Egmont overture and Wellingtons Sieg, he seems otherwise to have flinched from Beethoven’s novelty and radicalism. He was opposed to some tendencies in contemporary music (such as those in the works of Weber and Berlioz), and ignored others (as in the case of Schubert). WORKS Editions:Karl Friedrich Zelter: Fünfzehn ausgewählte Lieder, ed. M. Bauer (Berlin, 1924) [B]Carl Friedrich Zelter: Lieder, Balladen und Romanzen, ed. F. Jöde, NM, lx (1930) [J]C.F. Zelter: Fünfzig Lieder … für eine Singstimme und Klavier, ed. L. Landshoff (Mainz, c1932) [L]C.F. Zelter: Lieder, ed. R. Kubik and A. Meier, EDM, 1st ser., cvi (1995) [facs.] [K] Vocal
Instrumental
WRITINGS Karl Friedrich Christian Fasch (Berlin, 1801/R) Practische, Gesang Lehre (MS, 1812, D-Bsb) 2 und 3 Cursus der Compositionslehre (MS, 1824, Bsb) Gesang-Übungen (MS, 1825, Bsb) ed. J.-W. Schottländer: C.F. Zelter: Darstellung seines Lebens (Weimar, 1931/R) For contributions to contemporary journals, see MGG1 BIBLIOGRAPHY GerberNL; MGG1(M. Geck) Correspondence with Goethe, 1799–1832, D-WRgs, pubd as Briefwechsel zwischen Goethe und Zelter in den Jahren 1799 bis 1832, ed. H.-G. Ottenberg and E. Zehm (Munich, 1991–) Correspondence with L. van Beethoven, C. Loewe, F. Mendelssohn, J.F. Reichardt, F. von Schiller, L. Spohr and others, esp. Bsb, DL, DÜk, Ff, WRgs F. Rochlitz: ‘K.F. Zelter: Nekrolog’, AMZ, xxxiv (1832), 157–94 W. Rintel, ed.: Carl Friedrich Zelter: eine Lebensbeschreibung nach autobiographischen Manuscripten (Berlin, 1861) C. von Ledebur: Tonkünstler-Lexicon Berlin’s (Berlin, 1861/R) G.R. Kruse: Zelter (Leipzig, 1915, 2/1931) J.-W. Schottländer: ‘Zelters Beziehungen, zu den Komponisten seiner Zeit’, Jb der Sammlung Kippenberg, viii (1930), 134–248 W. Victor: Carl Friedrich Zelter und seine Freundschaft mit Goethe (Berlin, 1960) C. Schröder, ed.: Carl Friedrich Zelter und die Akademie: Dokumente und Briefe zur Entstehung der Musik-Sektion in der Preussischen Akademie der Künste (Berlin, 1959) [incl. Zelter’s essays on music education, 1803–12] I. Kräupl: ‘Die Zelter-Bildnisse im Goethe-Museum Düsseldorf’, Jb der Sammlung Kippenberg, new ser., i (1963), 70–100 R.A. Barr: Carl Friedrich Zelter: a Study of the Lied in Berlin during the Late Eighteenth and Early Nineteenth Centuries (diss., U. of Wisconsin, 1968) R. Elvers: ‘Ein nicht abgesandter Brief Zelters an Haydn’, Musik und Verlag: Karl Vötterle zum 65. Geburtstag, ed. R. Baum and W. Rehm (Kassel, 1968), 243–5 E.R. Jacobi: ‘C.F. Zelters kritische Beleuchtung von J.N. Forkels Buch über J.S. Bach, aufgrund neu aufgefundener Manuskripte’, IMSCR XI: Copenhagen 1972, 462–6 R.M. Grace: Carl Friedrich Zelter’s Musical Settings of Johann Wolfgang Goethe’s Poems (diss., U. of Iowa, 1976) P. Nitsche: ‘Die Liedertafel im System der Zelterschen Gründungen’, Studien zur Musikgeschichte Berlins im frühen 19. Jahrhundert, ed. C. Dahlhaus (Regensburg, 1980), 11–26 D. Seaton: ‘A Composition Course with Carl Friedrich Zelter’, College Music Symposium, xxi/2 (1981), 126–38 H.-G. Ottenberg: ‘C.P.E. Bach and Carl Friedrich Zelter’, C.P.E. Bach Studies, ed. S.L. Clark (Oxford, 1988), 185–216 H.-J. Schulze: ‘Karl Friedrich Zelter und der Nachlass des Bach–Biographen Johann Nikolaus Forkel’, JbPrKu (1993), 141–50 D. Fischer-Dieskau: Carl Friedrich Zelter und das Berliner Musikleben seiner Zeit: eine Biographie (Berlin, 1997) HANS-GÜNTER OTTENBERG Zemlinsky [Zemlinszky], Alexander (von) (b Vienna, 14 Oct 1871; d Larchmont, NY, 15 March 1942). Austrian composer and conductor. Although closely linked to the Second Viennese School (Schoenberg was his pupil), Zemlinsky was no outright revolutionary. While undisputedly a conductor of the first rank and an interpreter of integrity, he lacked ‘star quality’ and was overshadowed by more domineering personalities. His music is distinguished by an almost overpowering emotional intensity. It took several decades before it became known and began to be appreciated. 1. Life. 2. Works. WORKS BIBLIOGRAPHY ANTONY BEAUMONT Zemlinsky, Alexander Life. His father, born in Vienna of Slovakian Catholic descent, converted to Judaism in 1870; his mother, born in Sarajevo, was the daughter of a mixed Sephardi-Muslim marriage. At the age of four he showed aptitude at the piano, and after completing his regular schooling in 1886 he enrolled at the Vienna Conservatory, studying the piano with Door, harmony and counterpoint with Krenn and Robert Fuchs (1888–90), and composition (1890–92) with the latter's brother, J.N. Fuchs. From 1893 onwards his first chamber compositions were performed at the Wiener Tonkünstlerverein, in whose concerts he also often appeared as pianist and conductor. Brahms was impressed by his work and recommended him to Simrock. In 1895–6 Zemlinsky conducted an amateur orchestra, the Polyhymnia, in which Schoenberg played the cello. Their friendship, initially an informal teacher-pupil relationship, became close: Schoenberg composed his D major Quartet under Zemlinsky's supervision, and his op.1 lieder are dedicated in gratitude to his ‘teacher and friend’. Also in 1896, with the opera Sarema (for which Schoenberg had prepared much of the vocal score), Zemlinsky won the Luitpold Prize in Munich; in 1900 Mahler gave the première of his second opera, Es war einmal …, at the Vienna Hofoper. In 1901 Schoenberg married his sister, Mathilde, and between April and November of that year Zemlinsky himself became passionately involved with his pupil Alma Schindler. She taunted him with his diminutive stature and unattractive appearance, however, and ultimately rejected him in favour of Mahler. From 1903 Zemlinsky taught orchestration at the Schwarzwald school, where his pupils included Berg, Horwitz, Jalowetz, Erwin Stein and Webern (a later, private composition pupil was Korngold). In 1904, with Mahler's support, he and Schoenberg founded the Vereinigung Schaffender Tonkünstler to promote new music in Vienna. But from 1900, due to the early death of his father, he was also obliged to seek regular paid employment. Until 1903 he was Kapellmeister at the Carltheater, and from 1903 at the Theater an der Wien (both operetta houses). In 1904 he was appointed chief conductor at the Volksoper, where the repertory extended to Mozart and Wagner (and, in 1906, to the Viennese première of Salome). In 1907 he joined Mahler at the Hofoper; after the latter's resignation he was engaged at Mannheim, but the contract was not implemented. In 1908, returning to the Volksoper, he conducted the influential Viennese première of Dukas' Ariane et Barbe-bleue; his own Kleider machen Leute followed in 1910. The acclaim with which each new work of his had been greeted gradually abated, and in 1911 he acepted the musical directorship of the Neues Deutsches Theater in Prague. Although the theatre schedule allowed little time for composition, his finest works – the Maeterlinck songs, the Second Quartet, the Lyrische Symphonie, Eine florentinische Tragödie and Der Zwerg – date from his Prague period. His assistants included Kleiber (1911–12), Webern (1917–18) and Szell (1919–20), and Viktor Ullmann as chorus master (1921–7). With the founding of the Czech Republic in 1918, the position of the German minority became precarious, but Zemlinsky proved an able diplomat and succeeded in securing the future of the Deutsches Landestheater, as it was now renamed. In 1920 he was appointed rector of the Deutsche Akademie für Musik und Bildende Kunst, where his pupils in his composition masterclass included Krása. From 1923 he was a frequent guest conductor with the Czech PO, playing a key role in establishing that orchestra's Mahler tradition; abroad he became a champion of Czech music, conducting notable premières of Smetana, Janáček and Suk. As an opera conductor he cultivated ensemble theatre at a high level and was particularly admired for his Mozart and Strauss: Stravinsky recalled Figaro in Prague as the most satisfying opera performance opera he had ever heard. In 1924 Zemlinsky conducted the world première of Schoenberg's Erwartung at the Prague ISCM Festival, but relations with his brother-in-law subsquently deteriorated – partly for personal reasons, partly due to disagreement over the technique of 12-note composition. When Schoenberg reverted to Judaism in 1933, Zemlinsky failed to follow suit: the rift was complete. While he continued to support the music of Schoenberg, and particularly of Berg, whose Wozzeck fragments he performed in 1925, his interest in other recent developments led him also to champion the music of Hindemith, Krenek, Schulhoff, Stravinsky and Weill. Despite the stability of his Prague existence, he made several attempts to return to Vienna or further his career in Germany. In 1923 Max von Schillings offered him the post of Generalmusikdirektor at the Staatsoper in Berlin; his refusal, prompted by the galloping inflation then prevailing in Germany, proved to be a serious miscalculation. The advent of Hans Wilhelm Steinberg as first Kapellmeister in Prague caused an uneasy rivalry, nurtured by the press, and in 1927 Zemlinsky accepted Klemperer's invitation to Berlin, in a subordinate position at the Kroll Oper. When the theatre was closed in 1931, Zemlinsky was offered the position of Generalmusikdirektor at Wiesbaden, but he chose to remain in Berlin, teaching score-reading at the Musikhochschule and expanding his activities as guest conductor to France, Italy, Russia and Spain. In December of that year he conducted the first Berlin production of Weill's Mahagonny. His setting of Klabund's Kreidekreis, completed in 1932, reflects a certain influence of Weill, but also of Krenek's Johnny spielt auf. With the highly acclaimed Zürich world première of Der Kreidekreis in 1933 Zemlinsky broke a creative silence of some six years. Forced to leave Germany earlier that year (although his music continued to be performed there until 1935), he returned to Vienna and concentrated his energies on composition. He completed the short score of Der König Kandaules in 1936 but was obliged to abandon the orchestration at the time of the Anschluss, in March 1938. In September he fled with his wife and daughter via Prague to New York. Bodanzky had promised to perform Kandaules at the Metropolitan Opera, but the libretto was deemed unsuitable and the score set aside. Obliged to compose school pieces and other trivia in order to eke out a living, Zemlinsky started work on a new opera, Circe, but in the autumn of 1939 he was crippled by a stroke. Partial reconciliation with Schoenberg and a nationwide NBC broadcast of the Sinfonietta under Mitropoulos could only momentarily alleviate the gloom of his final years. Although the New York Times published an obituary, in Europe his death went virtually unnoticed. Zemlinsky, Alexander Works. Following the example of Brahms and Robert Fuchs, Zemlinsky adopted and refined the technique of developing variation (maximal exploitation, modification and transmutation of minimal thematic particles). His textures are predominantly polyphonic; the tradition of ‘Viennese espressivo’ determines the inflections of his melodic line; in his harmony, which upholds longstanding Austro-German conventions of key symbolism, Zemlinsky seeks innovatory solutions but eschews the furthest extremes of dissonance. ‘A great artist, who possesses everything needed to express the essentials, must respect the boundaries of beauty, even if he extends them far further than hitherto’ (letter to Schoenberg, 18 February 1902). He remained true to this credo throughout his creative life: ultimately, the breach with Schoenberg was inevitable. Although his music demonstrates strong emotional affinity with that of Berg, Zemlinsky never entirely crossed the threshold of atonality; and where Berg sought the most logical solution to each structural problem, Zemlinsky delighted in asymmetry, in the subtle aberration of logical processes. Craftsmanship of a consistently high level is coupled in his music with a sure instinct for vocal writing and a precise ear for instrumental sonority. In his earlier works Zemlinsky steered a middle course between the antipodes of Wagner and Brahms. Yet Sarema and Es war einmal … , despite their indebtedness to the former, demonstrate an individual talent for colour and dramatic pacing. The First Quartet and the Clarinet Trio, overtly Brahmsian in form and content, possess a nervous intensity typical of the fin-de-siècle artist and far removed from the objectivity of their classical models. The outcome of the Alma Schindler affair changed Zemlinsky radically. In Die Seejungfrau, his first musical reaction to this personal debacle, emotional intensity often rises to fever pitch. Despite an incohesive libretto, in which Alma is indirectly depicted both as fairy princess and outcast woman, Der Traumgörge contains some of his finest music. With the large-scale free forms of the two Oscar Wilde operas Zemlinsky achieved a striking integration of music and drama, a ‘seismographic reactivity to the many stimuli with which he permeated himself’ (Adorno, 1963). Der Zwerg is the catharsis of his Alma-instilled idée fixe, the ‘tragedy of an ugly man’. The early Symphonies in D minor and B In 1924 the Third Quartet, with its angular lines, irregular rhythms, astringent harmonies and spare textures, abruptly ushered in a new style. The ensuing five years were almost barren (an operatic project, Der heilige Vitalis, and a six-movement string quartet were abandoned), but the Symphonische Gesänge and Der Kreidekreis consolidated the process of rejuvenation. The Fourth Quartet (written on the death of Berg) and the lieder opp.22 and 27 carry the terse, pessimistic manner of the preceding works to its logical conclusion, while the Sinfonietta, Psalm xiii and Der König Kandaules move freely between the composer's older and newer styles. Among his smaller works, Zemlinsky's lieder stand out as models of craftsmanship and artistic sensibility. He possessed an instinctive empathy for verse wide ranging in style and origin, from Wunderhorn poetry to Franco-Belgian symbolism, from the erotic intensity of Dehmel to the wry humour of the Überbrettl. The Maeterlinck songs (1910–13) are arguably his masterpiece in this field, but earlier collections, particularly opp.7, 8 and 10, are also very fine. Had Zemlinsky outlived the war, he would, like Korngold, Wellesz and Hans Gál, have experienced his eclipse by the post-Webernian serialists. Together with Schreker, to whom he has often been likened, he all but vanished from concert and opera programmes until the later 1960s. Thereafter, in the wake of the rehabilitation of Mahler, his music experienced a renaissance. Major works, such as the Fourth Quartet and Psalm xiii, which had neither been published nor performed during his lifetime, were discovered among his posthumous papers; Die Seejungfrau, which had not been performed since 1908, was reassembled from separate manuscripts in Vienna and Washington; Der Traumgörge, scheduled for perfomance by Mahler in 1907 but cancelled by Weingartner, finally received its world première in 1980. Zemlinsky, Alexander WORKS Stage op.
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major had shown that techniques of developing variation were ultimately incompatible with traditional sonata form. Applied to developing variation and every other musical parameter, ‘seismographic’ structure enabled Zemlinsky to generate tightly argued large-scale forms within a symphonic outer framework. The most striking examples of this art are the Second Quartet (also notable for its exploitation of polyrhythm) and the Lyrische Symphonie (1922–3).