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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Zimmermann, (Johann) Anton
(b Breitenau [now Široká Niva], nr Bruntál, bap. 27 Dec 1741; d Pressburg [now Bratislava], c8 Oct 1781). Austrian composer. He probably received his musical education in Silesia; later he was organist at the cathedral in Königgrätz (now Hradec Králové, Czech Republic). From the early 1770s he was active in Pressburg, where his Singspiel Narcisse et Pierre is reported to have been performed in 1772 (as documented by the Pressburger Zeitung); in 1773 he composed works for the St Cecilia festivities there. His works were first listed in the Breitkopf thematic catalogues in 1769 and 1772–84; the earliest manuscript sources date from 1770, and printed sources apparently from 1775. Early in 1776 he was appointed Kapellmeister and court composer to Count Joseph Batthyány, the Archbishop (cardinal from 1778) of Hungary. Zimmermann developed the orchestra into an outstanding ensemble of over 20 musicians (including the double bass virtuoso Johannes Sperger), in which wind instruments seem to have been prominent; he conducted from the first violinist’s chair and remained the head of the orchestra until his death. The orchestra performed publicly twice a week, with secular works dominating its repertory. From 1780 Zimmermann was also the organist at St Martin’s Church. The widely scattered sources of Zimmermann’s works are the subject of current research, and as yet a fully accurate account cannot be given. He wrote many symphonies, mostly in the early and mid-1770s, at least two of which have been confused with Haydn’s. The Sinfonia pastoritia in G, an early example of a pastoral symphony, is important for its use of Moravian folk music. The double bass concertos are notable for their thematic links between solo and tutti passages. In his string chamber music Zimmermann approached Mozart’s musical language and reached a high level of invention and originality. His divertimentos, cassations, nocturnes and partitas are marked by charm, virtuosity and instrumental effects. After Georg Benda, Zimmmermann was one of the first composers of melodrama who was capable of dramatic characterization in music. His church compositions have fugal sections and are richly scored. Some works attributed to Zimmermann may be spurious, as he has often been confused with like-named contemporaries (see GerberL, GerberNL and EitnerQ). He is almost certainly not the Lieutenant de Zimerman whose chamber sonatas were published in Paris about 1765. WORKS principal sources: A-KR, MÖ, Wgm, CZ-Bm, K, Kra, Pnm, D-RH, SWI, H-Bn, KE, I-Fc, SK-BRm, BRnm, Mms, TN, TR Vocal
Instrumental
BIBLIOGRAPHY ČSHS DlabacžKL EitnerQ GerberL GerberNL NewmanSCE WurzbachL ZL C.F. Cramer, ed.: Magazin der Musik, i/1 (Hamburg, 1783/R) [incl. C.F. Cramer: ‘Auszüge aus Briefen, Nachrichten, Lodesfälle: Presburg 1781’, 148–208, esp. 190–1; ‘Recensionen, Anzeigen, Anfündigungen, Sinphonien’, 239–317, esp. 276; (n.n.) ‘Andromeda und Perseus’, 480 only, review] ‘Über Kirchenmusik in München’, AMZ, v (1802–3), 561–9, esp. 569 Y. Lacroise: ‘Un mélodrame du XVIIIe siècle’, ReM, v/9–11 (1923–4), 1–12 A. Meier: ‘Die Pressburger Hofkapelle des Fürstprimas von Ungarn, Fürst Joseph von Batthyányi in den Jahren 1776 bis 1784’, Haydn Yearbook 1978, 81–9 P. Polák: ‘Beiträge zur Biographie von Anton Zimmermann, Kapellmeister des Fürsten Joseph Batthyány’, SMw, xxx (1979), 61–89 M.L. Jurjevich: Anton Zimmermann’s Chamber Music for Strings (diss., U. of Illinois, Urbana, 1987) D. Múdra: Dejiny hudobnej kultúry na Slovensku, ii: Klasicizmus [The history of music culture in Slovakia, Classicism] (Bratislava, 1993), 60–65 D. Múdra: Hudobný klasicizmus na Slovensku v dobových dokumentoch [Classical music in Slovakian documents] (Bratislava, 1996), 58–62 MILAN POŠTOLKA/DARINA MÚDRA Zimmermann, Bernd Alois (b Bliesheim, nr Cologne, 20 March 1918; d Grosskönigsdorf [now Pulheim], nr Cologne, 10 Aug 1970). German composer. Remaining independent from the various fashionable schools of the 1950s and 60s, he steadfastly developed and perfected an individual style in which quotations, carefully woven into a colourful atonal fabric, often played an important part. His single opera, Die Soldaten, is widely acknowledged as the most important in German since those of Berg. Zimmermann studied philosophy, German literature and music education before embarking on professional training in music at the universities of Cologne and Bonn, and at Musikhochschulen in Cologne and Berlin. His studies were temporarily interrupted by military service; he was posted to the Russian front and to occupied France, where he became acquainted with scores of Stravinsky and Milhaud that greatly influenced his subsequent development. In 1942 he resumed his studies, which now included musicology, at the University of Cologne (1943–4) and the Cologne Musikhochschule under Heinrich Lemacher, Paul Mies, Philipp Jarnach and others. His musical pursuits included work with dance orchestras and amateur choruses, as well as compositions and arrangements for broadcast documentaries and radio dramas. After additional study with Wolfgang Fortner and René Leibowitz (1948–50) at the Darmstadt summer courses, he was appointed to a lectureship in musicology at the University of Cologne (1950–52). His earlier experiences with broadcasting bore fruit in his subsequent appointment as director of radio drama, film and stage music at the Cologne Hochschule (from 1957, professor 1962). He was elected president of the German section of the ISCM in 1956. His later years were disrupted by recurrent illness and great personal duress. His numerous awards include two fellowships to the Villa Massimo, Rome (1957, 1963), the grand prize of Nordrhein-Westfalen (1960) and the art prize of the City of Cologne (1966). Zimmermann applied his knowledge of historical contrasts and connections in composition, drawing in particular on medieval Catholic philosophy, on literature from Aeschylus and Dante to Dostoyevsky and Mayakovsky, Pound and Joyce, and on music from the Renaissance to the 20th century (particularly Bach, Mozart and Debussy). His philosophy of time lay at the foundation of his pluralist theory of composition. He observed that time can be perceived as a unity of past, present and future, as a type of internalized consciousness or awareness. In his essay Intervall und Zeit (Mainz, 1974), he encapsulated his position in the assertion that ‘Music is essentially understood through the arrangement or ordering of progressions of time … as an experience which occurs both in time while also embodying time within itself.’ Quotation, in his view, was no mere ornament but a sign of the real simultaneity of musical occurrences. Zimmermann's earliest works, such as the Kleine Suite for violin and piano (1942), Sinfonia prosodica for orchestra (1945) and Concerto for Orchestra (1946, rev. 1948), provoked discussion from the time of their first performances. Early critical reviews by Herbert Eimert, Hans Heinz Stuckenschmidt and Heinz Joachim recognized a strong personal identity, a forceful rhythmic and harmonic alchemy, and a juxtaposition of contrasts within firmly grasped formal designs. Zimmermann's adoption of dodecaphony as a thematic resource, technique and system, can be traced in the series of works that followed shortly thereafter. His use of serialism at this stage was personalized and conditioned by his own needs, rather than inspired by any readiness to echo the Second Viennese School. The Trumpet Concerto (1954), for example, is based on both a 12-note row and the black American spiritual Nobody knows de trouble I see. Complete in one movement, the concerto adopts techniques reminiscent of the chorale prelude, with the spiritual theme serving as the chorale, as well as making extensive use of jazz media and techniques. Among his most important scores from the second half of the 1950s is Perspektiven, subtitled ‘Music for an imaginary ballet for two pianos’ (1955–6). Commissioned for the tenth anniversary of the Darmstadt summer courses, it is his first thoroughly serialized work. Canto di Speranza, a cantata for cello and orchestra (1953–7), emerged from a long creative gestation, initially appearing in 1953 as the first of two designated cello concertos. In its later form, Zimmermann perceived its conceptual origins as related to the Cantos of Ezra Pound, responding to Pound's treatment of speech rhythms and the presence of ideas on multiple levels. The cantata Omnia tempus habent (1957) is rigorous in its serialism and has been described as one of Zimmermann's most extreme works. Though it signified the fulfilment of the serial principle, it was to be subsumed into a pluralist composition, the opera Die Soldaten (1958–60). By the middle of the 1950s, Zimmermann was seriously contemplating the possibility of opera and music theatre, deliberating as to whether a modern setting of Ben Jonson's Volpone might prove a fruitful point of departure. Eventually abandoning the idea, he was alerted in the summer of 1957 to the possibilities of J.M.R. Lenz's Soldaten, a text explored over 20 years earlier by Manfred Gurlitt. In a letter to Ludwig Strecker in 1958 Zimmermann expressed his admiration and enthusiasm for the text, applauding not only its drama of class conflict and social criticism, but also its demonstration of the power of character and circumstance, forces able to destroy even fundamentally honest human beings recognizable in everyday life. Serving as his own librettist and dramaturg, Zimmermann condensed Lenz's lengthy original text into four acts by enacting several different scenes simultaneously over stages mounted at different levels or angles. To accomplish such dramaturgical condensation, he harnessed a range of technological resources and devices, including the splicing and interpolation of film strips. Influenced by the scores of Wozzeck and Lulu, he composed the music for the four acts in a sequence of genres, indicated in recurrent titles such as ‘Strofe’, ‘Ricercare’, ‘Toccata’, ‘Ciâconna’, ‘Nocturne’, ‘Rappresentazione’, ‘Rondino’ and ‘Tropi’. Numerous scenes are linked by interludes or intermezzi, while a dodecaphonic all-interval row, divisible into four three-note cells, provides a correspondence with Lenz's desired unity of ‘internal scenario’. Also noteworthy are the superimposed layers of musical quotation in different styles, such as the Dies irae chant and the Bach chorale Wenn ich einmal soll scheiden. The third ‘Toccata’ (Act 3), which combines no less than seven of Lenz's original scenes, represents a zenith in Zimmermann's pluralist composition. Among Zimmermann's later scores, the sonatas for solo cello (1960) and solo flute (Tempus loquendi, 1963) are noteworthy, deriving their aesthetic impulse from the third book of Ecclesiastes from the Vulgate and featuring multiple movement or sectional schematas. The five movements of the Cello Sonata carry interdisciplinary titles; the middle group both affords scope for improvisation and requires a mastery of novel performance techniques, including the use of quarter-tones. In the flute sonata, where seven of the 13 movements require bass flute, there is an even greater emphasis on timbral vacillation. The sixth dialogue, viewed by the composer as a macro-structural cadence, employs a collage of layered textures, utilizing quotations from Mozart's Piano Concerto k467, figures from Debussy's Jeux, a citation of the Veni creator spiritus and jazz elements. Zimmermann's free adaptations of folk, vernacular and early music, including the Rheinische Kirmestänze for 13 wind (1950–62) and the Giostra Genovese (1962) on 16th-century dances by Gibbons, Byrd, Frescobaldi and others, occupy a middle ground between his numerous incidental works for theatre, radio and television and his major compositions engaging pluralist techniques. These works, in particular the second, prefigure the Musique pour les soupers du Roi Ubu (1962–6), in which early dances underpin and act as scaffolding for a score elaborated by the use of quotation from manifold sources. Compositions written during the last five years of Zimmermann's life place an increasing emphasis on two developing temporal concepts. The first of these, Zeitausdehnung (expansion of time, as opposed to the contraction and concentration of time), Zimmermann identified as the particular innovation of Webern. Its musical manifestation predominates in two orchestral works: Photoptosis (1968) and Stille und Umkehr (1970). The second concept, foreshadowed in Soldaten, developed from his strong identification with a compassionate humanism that could generate a form of Bekenntnismusik in which, again through pluralist quotation, various texts or text fragments are overlayed or used in quick succession. This technique is exemplified by Requiem für einen jungen Dichter (1967–9), a moving evocation of European history between 1920 and 1970, which includes texts by a variety of authors, including James Joyce, Ezra Pound, Albert Camus and Ludwig Wittgenstein. Smaller segments of text montages draw on the words of Pope John XXIII, Joseph Goebbels, Adolf Hitler, Neville Chamberlain, Imre Nagy, Mao Zedong, press reports and other sources. The musical form is comprised of sections differentiated through the type and combination of texts, the applied musical materials and various style parameters. As in Soldaten, Zimmermann favoured such titles as ‘Ricercare’, ‘Tratto’, ‘Rappresentazione’, ‘Elegia’ and ‘Lamento’ to indicate various sections. His final score, Ich wandte mich und sah an alles Unrecht, das geschah unter der Sonne (1970) for two narrators, solo bass voice and orchestra, completed five days before his death, is expressive of a deep-seated hopelessness and pessimism, yet has a succinctness and directness almost without comparison in his oeuvre. Its textural sources include the Preacher Salomo in the translation of Martin Luther, the Book of Ecclesiastes, as well as Dostoyevsky's Grand Inquisitor. WORKS WRITINGS BIBLIOGRAPHY ANDREW D. Mc CREDIE (with MARION ROTHÄRMEL) Zimmermann, Bernd Alois WORKS Dramatic
Orchestral
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; 3 in E; 3 in F; 5 in G, incl. Sinfonia pastoritia, 1 ed. in the Symphony 1720–1840, ser. B, xiv (New York, 1985), 1, doubtful, also attrib. G.B. Sammartini; 3 in A; 5 in B