Ziegler, Christian Gottlieb

(b Pulsnitz, Saxony, 25 March 1702; d after 1760). German composer and theorist. He was a son of the Pulsnitz schoolmaster and organist, Johann Gottlieb Ziegler. He learnt music from his father until he was 13; in 1715 he studied at the Halle orphanage, and in 1720 embarked on three years of theological study at Halle University while continuing his musical studies with his uncle, Johann Gotthilf Ziegler. As a member of the Halle collegium musicum he composed, according to Gerber, several cantatas, overtures, concertos and trios and arranged their performance. In 1723 he was in Dresden, profiting from contact with J.D. Heinichen, S.L. Weiss, Christian Pezold and J.G. Pisendel, and above all learning from Heinichen and Pezold ‘much about music’ (according to Walther). In 1724 he returned to Halle and embarked on a three-year course in law; after that he went to Quedlinburg as court organist, becoming organist of St Benedikti in 1730. An unpublished treatise, Der wohlinformierte Generalbassist, is mentioned by Walther and Gerber as having been written between 1728 and 1731, and the New York Public Library has a manuscript Anleitung zur musicalischen Composition, written in Quedlinburg in 1739. His only surviving musical work is a cantata Kommt herzu (A-Wn), written for birthday celebrations for Princess Amalia of Prussia at the Quedlinburg convent on 9 November 1760.

For bibliography see Ziegler, Johann Gotthilf.

DIETER HÄRTWIG

Ziegler, Johann Gotthilf

(b Leubnitz, nr Dresden, 25 March 1688; d Halle, 15 Sept 1747). German organist and composer. A member of a large Saxon family of musicians, he had his first instruction from his father Daniel Ziegler, a schoolmaster and organist in Pulsnitz. He then studied under Pezold, organist of the Sophienkirche in Dresden, where he attracted attention as a child prodigy at the court of August II. Later he travelled around Germany, working with various orchestras including the collegium musicum in Halle; it was directed by the well-known pedagogue A.H. Francke, whose pupil he was for nearly three years. In 1710 he studied for six months with Zachow; he then read law and theology at Halle University for three years, and in 1715 studied with J.S. Bach in Weimar. According to Walther he was also a pupil of Johann Theile of Naumburg. In 1716 Kirchhoff, organist at the Liebfrauenkirche in Halle, certified his musical proficiency and he became assistant organist at the Ulrichskirche there, succeeding Meissner in 1718 as director musices and organist, a post he held until his death. He was much in demand as a teacher. Between 1716 and 1726 he received three invitations to a post in Reval, which he used to negotiate better conditions at Halle. In 1746 he applied to succeed Kirchhoff, but W.F. Bach was appointed.

Ziegler was the most notable member of his family and, with Zachow and Kirchhoff, was a leading figure among late Baroque composers in Halle. His fame as a composer and as an organist and teacher spread well beyond the city. Apparently none of his compositions survive; they included four cycles of church cantatas and two each of gospels and epistles, to texts by C.F. Hunold (Menantes), J.J. Rambach and Ziegler himself. The foreword to Rambach's Geistliche Poesien und Cantaten (Halle, 1720) states that the work owed its existence to Ziegler's initiative; presumably Ziegler commissioned (and repeatedly set) these texts, which are among the best church cantata poetry of the period. All the music has disappeared, but texts of some of Ziegler's works have survived, among them the solo cantatas Christi Glieder, Christi Brüder of 1716 (text no.13 in J.M. Heineccius: Hundertjähriges Denckmahl der Reformation, Halle, 1718) and Da hörst du, Mensch of the same date (in J.G. Ziegler: Texte zur Music, welche in der St. Ulrichskirche allhier am 18. Sonntag nach Trinitatis gehalten worden, Halle, 1716). In both works, da capo arias and recitatives alternate with chorales for the congregation. In 1721 Ziegler wrote in a letter that he had composed and performed ‘for three whole years a new church piece for every season’. In 1740 he wrote the Trauer-Music for the funeral of Friedrich Wilhelm I. He composed for other cities besides Halle, including a Leichen-Music (1736) for a funeral in the noble family of Zerbst, and other music for weddings and funerals. The 24 Polonoises pour le clavecin (1764) attributed by Eitner to Ziegler were in fact written by a Johann Gottfried Ziegler, possibly a relative.

Ziegler wrote three treatises which remained unpublished: Neuerfundener Unterricht vom Generalbass, 1718 (lost), Neuerfundene musicalische Anfangsgründe, die sogenannten Galanterien betreffende (lost) and Unterricht von der Composition (in D-Bsb).

BIBLIOGRAPHY

ADB (R. Eitner)

EitnerQ

GerberL

GerberNL

SchillingE

WaltherMI

S. Kümmerle: Encyklopädie der evangelischen Kirchenmusik, iv (Gütersloh, 1895/R)

W. Serauky: Musikgeschichte der Stadt Halle, ii (Halle and Berlin, 1939–42/R)

D.-R. Moser: Musikgeschichte der Stadt Quedlinburg (diss., U. of Göttingen, 1967)

G. Stauffer: ‘Christian Gottlieb Zieglers “Anleitung zur musikalischen Composition”: ein Bach-Dokument aus der New York Public Library’, BJb, lxxiv (1988), 185–9

DIETER HÄRTWIG/PETER WOLLNY

Ziegler [Zügler], Joseph Paul

(b Vienna, 14 Sept 1722; d Vienna, 18 Oct 1767). Austrian violinist and composer. After teaching the violin at the Jesuit seminary in Vienna, he became a cathedral musician at the Stephansdom and played at the court chapel. About 1753 he gave violin lessons to Dittersdorf, who later spoke of him as ‘a very fine violinist and a skilful and worthy composer of chamber music. He took great pains with me’. Through Ziegler's recommendation Dittersdorf gained his first musical appointment. Ziegler's chamber and sacred compositions were highly esteemed in Vienna and he was also respected as a virtuoso; Albrechtsberger and Joseph and Michael Haydn praised his playing.

WORKS

all MS

Masses, 4vv, orch: C, D, A-H, KR; C, H, KN, KR; A, C, KR, Wp

Litanies, orch acc.: Lytaniae Lauretanae, C, H; Lytania de BVM, H; 2 Lytaniae, KN; Lytaniae solennes, KN; Lytaniae (Lauretanae), G, KN, Wn; Lytaniae, TU; Lytaniae de venerabili, TU

Other sacred works: Salve regina, S, orch, org, KN, KR; Te Deum, KR; c20 motets, antiphons, offertories (arias, arias with chorus), H, KN, KR

Inst: Vn Conc., Wgm; Sinfonie, 1758, Wn; Divertimento, KR; Sonata, vn, bc, lost

BIBLIOGRAPHY

EitnerQ

MGG1 (K. Pfannhauser)

C.D. von Dittersdorf: Lebensbeschreibung (Leipzig, 1801; Eng. trans., 1896/R); ed. N. Miller (Munich, 1967)

GERNOT GRUBER

Ziehharmonika

(Ger.).

See Accordion.

Ziehn, Bernhard

(b Erfurt, Germany, 20 Jan 1845; d Chicago, 8 Sept 1912). German-American music theorist. After settling in 1868 in Chicago, he taught mathematics, German and music at the German Lutheran School (1868–71) before establishing himself as a private music teacher. His independent and original views were greatly admired by Hans von Bülow, Hugo Kaun, Leopold Godowsky, Ferruccio Busoni, George P. Upton and others. Ziehn’s critical essays are mostly polemic, whether championing (Theodore Thomas, Anton Bruckner) or condemning (Hugo Riemann, Eduard Hanslick, Philipp Spitta). His system of exercises for pianists led him to the realization that passages beginning on D or A yield upward and downward an exact symmetry of tones and of fingering – a principle of ‘symmetric inversion’ he subsequently applied to music theory. His textbooks on harmony and composition are distinguished by a minimum of rules and explanations and a wealth of music examples (from Schütz and Rameau to Bruckner and Boito). While still structuring chords by 3rds, he strongly rejected Riemann’s functional harmony and proceeded from accepting and interpreting literally the equally tempered division of the octave. The result is a chromatic and enharmonic system, occasionally complicated in its terminology, but pointing to the later language of Skryabin and Schoenberg. His ‘enharmonic law’ affirms that ‘every chord tone may become the fundamental’.

WRITINGS

System der Uebungen für Clavierspieler und ein Lehrgang für den ersten Unterricht/System of Exercises for Pianoforte and a New Method of Instruction for Beginners (Hamburg, 1881) [bilingual edn]

Harmonie- und Modulationslehre (Berlin, 1887; rev. 2/1907 as Manual of Harmony)

Five- and Six-part Harmonies/Fünf- und Sechsstimmige Harmonien (Milwaukee and Berlin, 1911) [bilingual edn]

Canonical Studies: a New Technic in Composition/Canonische Studien: eine neue Compositions-Technik (Milwaukee and Berlin, 1912 [bilingual edn]; abridged in Eng. as Canonic Studies, London, 1976)

ed. J. Goebel: ‘Gesammelte Aufsätze zur Geschichte und Theorie der Musik von Bernhard Ziehn’, Jahrbuch der Deutsch-Amerikanischen Historischen Gesellschaft von Illinois, xxvi–xxvii (1926–7) [double issue devoted chiefly to a collection of Ziehn’s articles, with introduction by J. Goebel and 2 essays by T. Otterstrom]

BIBLIOGRAPHY

F. Busoni: ‘Die “Gotiker” von Chicago’, Signale für die musikalischen Welt, lxviii (1910), 163; repr. in Wesen und Einheit der Musik (Berlin, 1956)

W. Sargeant: ‘Bernhard Ziehn, Precursor’, MQ, xix (1933), 169–77

H.J. Moser: ‘Bernhard Ziehn’, Jb der Musikwelt, i (1949–50), 209–98; repr. as monograph (Bayreuth, 1950) [for review see MQ, xxxvii (1951), 435]

E.M. Belcher jr: The Musical Theories of Bernhard Ziehn (diss., Indiana U., 1975)

R. Stevenson: ‘Bernhard Ziehn’s Contribution to the Development of Canon’, introduction to B. Ziehn: Canonic Studies (London, 1976)

C.K. Baron: ‘At the Cutting Edge: Three American Theorists at the End of the Nineteenth Century’, International Journal of Musicology, ii (1993), 193–247

SIEGMUND LEVARIE

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