Zimmerman, Franklin B(ershir)

(b Wauneta, KA, 20 June 1923). American musicologist. He attended the University of Southern California, where he took the BA in 1949 and the MA in 1952. He earned the BLitt at Oxford in 1956, then returned to USC to complete the doctorate on Purcell in 1958. His teachers have included Ingolf Dahl, Halsey Stevens, Egon Wellesz and Sir Jack Westrup. He began his teaching career at the State University of New York, Potsdam (1958–9). From 1958 to 1964 he taught at USC. He was professor of music and director of the collegium musicum at Dartmouth College, 1964–8, and following a brief period teaching at the University of Kentucky (1968), he became chairman of the music department at the University of Pennsylvania. He retired in 1993.

Zimmerman is noted for his research on English Baroque music, particularly the music of Restoration England and the works of Purcell and Handel. His numerous Purcell studies culminated in a thematic catalogue (1963) arranged by form and performing medium, and a biography (1967) including much material on genealogy and cultural history. He has also edited works by C.F. Abel (Six Symphonies, opus 1, The Symphony 1720–1840, ser. E, ii, New York, 1983).

WRITINGS

‘Purcell Portraiture’, HMYB, x (1958), 136–49

Purcell’s Musical Heritage: a Study of Musical Styles in Seventeenth-Century England (diss., U. of Southern California, 1958)

‘Italian and English Traits in the Music of Thomas Morley’, AnM, xiv (1959), 29–37

‘A Newly Discovered Anthem by Purcell’, MQ, xlv (1959), 302–11

‘Purcell’s Handwriting’, ‘Purcell’s Autographs’ [with N. Fortune], Henry Purcell, 1659–1695: Essays on his Music, ed. I. Holst (London, 1959), 103–5, 106–21

with C.L. Cudworth: ‘The Trumpet Voluntary’, ML, xli (1960), 342–8

‘Handel’s Purcellian Borrowings in his Later Operas and Oratorios’, Festschrift Otto Erich Deutsch, ed. W. Gerstenberg, J. LaRue and W. Rehm (Kassel, 1963), 20–30

Henry Purcell, 1659–1695: an Analytical Catalogue of his Music (London, 1963/R, 2/forthcoming)

‘Purcell's Family Circle Revisited and Revised’, JAMS, xvi (1963), 373–81; pubd separately, n.p., 1963

‘Musical Borrowings in the English Baroque’, MQ, lii (1966), 483–95

Henry Purcell, 1659–1695: his Life and Times (London, 1967, 2/1983)

‘Sound and Sense in Purcell’s “Single Songs”’, Words to Music (Los Angeles, 1967), 45–90

‘Anthems of Purcell and Contemporaries in a Newly Rediscovered “Gostling Manuscript”’, AcM, xli (1969), 55–70

‘Performance Practice and Rehearsal Techniques’, CMc, no.9 (1969), 101–11

The Anthems of Henry Purcell (New York, 1971)

Introduction to J. Playford: An Introduction to the Skill of Musick (London and New York, 1972)

Henry Purcell, 1659–1695: Melodic and Intervallic Indexes to his Complete Works (Philadelphia, 1975)

‘Louis Grabu in England’, The Works of John Dryden, xv, ed. E. Miner (Berkeley, 1976), 336–61

Foreword to The Gostling Manuscript (Austin, TX, 1977) [facs.]

‘Handels Parodie-Ouverture zu Susanna: eine neue Ansicht über die Entstehungsfrage’, HJb 1978, 19–30

‘Air, a Catchword for New Concepts in Seventeenth-Century English Music Theory’, Studies in Musicology in Honor of Otto E. Albrecht, ed. J.W. Hill (Kassel, 1980), 142–57

‘Purcellian Passages in the Compositions of G.F. Handel’, Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, ed. C. Hogwood and R. Luckett (Cambridge, 1983), 49–58

Henry Purcell: a Guide to Research (New York, 1989)

Henry Purcell (1659–1695): Analytical Essays on his Music (forthcoming)

PAULA MORGAN

Zimmermann, Agnes (Marie Jacobina)

(b Cologne, 5 July 1847; d London, 14 Nov 1925). English pianist and composer of German birth. Her family moved to England when she was a young child. From 1857 to 1864 she attended the RAM, studying the piano with Cipriani Potter and Ernst Pauer, and composition with Charles Steggall and George Macfarren (who later wrote his third piano sonata for her); she won the King’s Scholarship in 1860 and again in 1862. She made her professional début in 1863 at the Crystal Palace, where she performed two movements of Beethoven’s ‘Emperor’ Concerto. In 1865 she gave the first of a long-running series of recitals and chamber concerts at the Hanover Square Rooms, continued from 1875 at St James’s Hall. Zimmermann was praised for her clarity and control, and was regarded as one of the country’s leading pianists. She performed regularly at the Popular Concerts in London and accompanied Joachim (the dedicatee of her first violin sonata), Neruda and Alfredo Piatti; she also made several tours of Germany.

Zimmermann’s own compositions are rooted in Classical forms; her piano pieces and chamber music were widely played during her lifetime, though her songs and other vocal works were less highly regarded. She also edited the sonatas of Mozart and Beethoven and the piano works of Schumann.

WORKS

selective list; some MSS at GB-Lam

Chbr: Sonata, vn, pf, d, op.16 (1868); sonata, vc, pf, g, op.17 (1872); suite, vn, vc, pf, d, op.19 (1873); sonata, vn, pf, a, op.21 (1876); sonata, vn, pf, g, op.23 (1897); str qt, E ; qnt, fl, ob, cl, bn, pf, E ; pf trio, A; pf qt, c

Pf solo: Bolero, op.2; Barcarolle, op.8; Mazurka, op.11 (1869); Marche, op.13 (1869); Gavotte, op.14 (c1870); Presto alla tarantella, op.15 (c1869); Gavotte, op.20 (c1873); Suite, op.22 (1878); Bourée, op.24 (1883); Sonata, g; others

Vocal: solo songs; duets; partsongs, 4vv; Benediction Service (1901)

BIBLIOGRAPHY

FétisB; Grove1 (G. Grove)

A. De Ternant: ‘Short Sketches of Contemporary Women Composers: Agnes Zimmermann’, The Englishwoman’s Review, xviii (1887), 17–18

Obituaries, MT, lxvi (1925), 1136; The Times (17 Nov 1925)

Lady Arbuthnot: ‘In Memoriam Agnes Zimmermann: Pianist and Composer, 1847–1925’, MT, lxvii (1926), 28–9

S. Fuller: The Pandora Guide to Women Composers: Britain and the United States, 1629–Present (London, 1994), 345–7

SOPHIE FULLER

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