Chamber, solo instrumental and tape

Extemporale, pf, 1939–46; Kleine Suite, vn, pf, 1942, lost; Str Trio, 1944, unpubd; Capriccio, pf, 1946, arr. 4 hands, 1946, unpubd [on folksong themes]; Enchiridion, short pieces, pf, 1949–52; Sonata, vn, pf, 1950; Sonata, vn, 1951; Metamorphosen, pf, 1954; Perspektiven, music to an imaginary ballet, 2 pf, 1955–6; Sonata, va, 1955; Konfigurationen, 8 pieces, pf, 1956; Sonata, vc, 1960; Présence, ballet blanc, pf, trio, 1961; Tempus loquendi, pezzi ellittici, fl + a fl + b fl, 1963; Monologe, 2 pf, 1964 [after Dialoge, 2 pf, orch, 1960]; Tratto, choreographic study, tape, 1965–7; Die Befristeten, jazz qnt, 1967; Intercomunicazione, vc, pf, 1967; 4 kurze Studien, vc, 1970; Tratto II, choreographic study, tape, 1970

Incidental music

Das Grün und das Gelb (puppet drama, F. Schneckenburger), 1952, unpubd [used in Kontraste; orch suite, 1952]; Die Grasharfe (Capote), 1954, unpubd; Metamorphose (film score, M. Wolgensinger), small orch, 1954, unpubd; Miss Sara Sampson (G.E. Lessing), 1954, unpubd; Sam Egos Haus (Saroyan), 1954, unpubd; Die Verschwörung des Fiesco zu Genua (Schiller), 1954, unpubd; Der Graf von Ratzeburg (Barlach), 1955, unpubd; Die Sündflut (Barlach), 1955, unpubd; Der Lügner (Goldoni), 1956; unpubd; Melusine (Goll), 1956; unpubd; Der Ruhetag (Claudel), unpubd; numerous radio scores, unpubd

Principal publisher: Schott

Principal recording companies: Wergo, Sony, CPO, Koch, ECM

Zimmermann, Bernd Alois

WRITINGS

(selective list)

‘Jenseits des Impressionismus: von Debussy bis zur Jeune France’, Musica, iii (1949), 339–441

‘Material und Geist’, Melos, xviii (1951), 5–7

‘Unzeitgemässe Betrachtungen zur Musik und der jungen Generation’, Melos, xix (1952), 305–7

‘“Zeitgenössische” oder “neue Musik”’, Köln: eine Vierteljahresschrift für die Freunde der Stadt (1960)

Intervall und Zeit: Aufsätze und Schriften zum Werk (Mainz, 1974)

Zimmermann, Bernd Alois

BIBLIOGRAPHY

Grove6 (M. Rothärmel) [incl. further bibliography]

G.W. Baruch: ‘Zeitgenössische Komponisten: Bernd Alois Zimmermann’, Melos, xx (1953), 319 only

M. Rothärmel: ‘Der pluralistische Zimmermann’, Melos, xxxv (1968), 97–102

H. Halbreich: ‘Bernd Alois Zimmermann’, Festschrift für einen Verleger: Ludwig Strecker, ed. C. Dahlhaus (Mainz, 1973), 242–58

A. von Imhoff: ‘Der frühe Bernd Alois Zimmermann’, Melos, xlii (1975), 359–65

A. von Imhoff: Untersuchungen zum Klavierwerk Bernd Alois Zimmermanns (Regensburg, 1976)

C. Kuhn: Die Orchesterwerke Bernd Alois Zimmermanns (Hamburg, 1976)

K.-J. Müller: ‘Erleben und Messen: zu Bernd Alois Zimmermanns Anschauung der Zeit in seinen letzten Werken’, Musik und Bildung, ix (1977), 550–54

C. Dahlhaus: ‘“Kugelgestalt der Zeit”: zu Bernd Alois Zimmermanns Musikphilosophie’, Music und Bildung, x (1978), 633–6

H. von Lüttwitz: ‘Und das verjagte: zur Funktion der Collagen in Bernd Alois Zimmermanns Zeitkugel Jahresring 79–80’, Literatus und Kunst der Gegenwart (Stuttgart, 1979), 311–16

W. Konold: ‘Zimmermanns zweites Opernprojekt’, Für und Wider der Literarturoper, ed. S. Wiesman (Laaber, 1982), 43–119

W. Grohn: ‘Integrale Komposition: zu Bernd Alois Zimmermanns Pluralisations-Begriff’, AMw, xl (1983), 287–302

Bernd Alois Zimmermann, Contrechamps, no.5 (1985)

H. Beyer and S. Mauser, eds.: Zeitphilosophie und Klanggestalt: Untersuchungen zum Werk Bernd Alois Zimmermanns (Mainz, 1986)

K. Ebbeke: ‘Sprachfindung’: Studien zum Spätwerk Bernd Alois Zimmermanns (Mainz, 1986)

W. Konold: Bernd Alois Zimmermann: der Komponist und sein Werk (Cologne, 1986)

Zwischen den Generationen: Cologne 1987

‘Die Soldaten’ de Bernd Alois Zimmermann, Contrechamps (1988) [special issue]

K. Ebbeke, ed.: Bernd Alois Zimmermann: Dokumente zu Leben und Werk (Berlin, 1989)

L. Helleu: ‘Interchangeabilité de l'espace et du temps dans Les Soldats de B.A. Zimmermann’, Analyse musicale, no.15 (1989), 25–32

W. Konold: ‘Bernd Alois Zimmermann: Struktur und Imagination’, Vom Einfall zum Kunstwerk: der Kompositionsprozess in der Musik des 20. Jahrhunderts (Laaber, 1993), 297–308

J.P. Hiekel: Bernd Alois Zimmermanns Requiem für einen jungen Dichter (Stuttgart, 1995)

S. Hilger: Autonom oder ungewandt? Zu den Hörspielmusiker von Winfried Zillig und Bernd Alois Zimmermann (Mainz, 1996)

E. Ebbeke: Zeitschichtung: Gesammelte Aufsätze zum Werk von Bernd Alois Zimmermann (Mainz, 1998)

Zimmermann, Frank Peter

(b Duisburg, 27 Feb 1965). German violinist. He studied at the Folkwang Hochschule, Essen, with Valery Gradov, the Staatliche Hochschule in Berlin with Saschko Gawrillof, and from 1980 with Hermann Krebbers in Amsterdam. He made his début in 1975 playing Mozart's G major Concerto k216, and in 1976 he won the Jugend Musiziert competition. Zimmermann subsequently appeared as a soloist throughout Europe and made his US début in 1984 with the Pittsburgh SO. He has since followed an international solo career, performing with the world's leading orchestras and conductors, and has often played in major festivals. Notable among his many recordings are Tchaikovsky's Concerto and Prokofiev's First Concerto with the Berlin PO conducted by Maazel, Mozart sonatas with Alexander Lonquich and Paganini's 24 Caprices (1985). He plays the ‘Hilton’ Stradivarius of 1691, strung with gut strings, on which he produces a beautiful, pure tone.

BIBLIOGRAPHY

S. Tomes: ‘Steady Success’, The Strad, xcix (1988), 624–7

MARGARET CAMPBELL

Zimmermann, Heinz Werner

(b Freiburg, 11 Aug 1930). German composer. He first received composition tuition from J. Weismann, then studied with Fortner in Heidelberg (1950–54). After taking examinations to teach composition in Freiburg he became lecturer and Fortner's successor at the Kirchenmusikalisches Institut Heidelberg. Zimmermann's proximity to one of the most important Protestant theological faculties, together with the cultivation of church music in Heidelberg, directed his attention to biblical texts, above all psalms, and he began to examine the legacy of the movement to renew church music. In 1963 he was appointed director of the Berliner Kirchenmusikschule in Spandau. His awards include a scholarship for the Villa Massimo, Rome (1965–6). In 1967 he received an honorary doctorate from Wittenberg University, Springfield, Ohio. He taught in the USA, from 1967, and at New College, Oxford (1969). From 1975 to 1996 he taught composition in Frankfurt at the Hochschule für Musik und Darstellende Kunst.

Zimmermann is regarded as an outstanding representative of modern sacred symphonic writing for choirs. Prosody and jazz idioms were early on fundamental to his work, and instrumental recitation already characterized his early compositions. Inspired by his study of American spirituals, he created a new kind of choral music, in which biblical prose is sung syllabically, the vocal parts written using the rhythms of speech and underpinned by a plucked double bass (to which his addition of an augmented cantus firmus is often rhythmically related). He unites central European and North American musical traditions while maintaining a Lutheran fusion of the sacred and the secular. Traditional genres and forms are filled with new content, through his combination of jazz rhythms with contrapuntal techniques such as fugue (The Bible of Spirituals). His inclusion of jazz elements, which he understands as ‘international folklore’, serves to represent over and above the compositional and artificial a philosophical idea. From 1965 he tested possibilities of a ‘polystylistic polyphony’, combining counterpoint, prosody and jazz rhythm, as well as further developing quotation, collage and montage procedures (Credo in Missa profana). His musical idiom is fundamentally vocal, and he broadens the harmony by ‘twin and triplet chords’, in which two or three different independent chords are combined.

WORKS

(selective list)

Inst: 4 Orgelpsalmen, 1955; Va Conc., 1980–86; Str Qt, 1982–8; Pf Conc., 1985–96; Ob Conc., 1987–94; Str qnt 1988–99; Prolog und Fuge, org, 1989–90; 3 Orgelvorspiele, 1994

Choral: Make a joyful noise unto God (Ps lxvi.1–3), motet, 1964; Chorvariationen über ein Thema von Distler, S, chorus, 1964; Two Spiritual fantasies, 1968; Ps cxxi, 1973; Wachet auf, ruft uns die Stimme, choral fantasia, 1979; Nun sich das Herz von allem löste (choral fantasia, J. Klepper), 1980; Gott ist Liebe, motet, 1990; Grosser Gott meines Lebens, ich will Dir lobsingen (motet, G. von LeFort: TeD), 1992

Choral with insts: Lobet, ihr Knechte des Herrn, motet, chorus, db, 1956; Uns ist ein Kind geboren, motet, chorus, db, 1956; Psalmkonzert, cant., B-Bar, chorus, children's chorus, 3 tpt, vib, db, 1956–7; Das Vater Unser, motet, chorus, db, 1957; Weihnacht, 4 motets, chorus, db, 1957–8; Herr, mache mich zum Werkzeug Deines Friedens, motet, chorus, db, 1958; 6 neue Lieder, org/chorus, 1959–68; Vesper, 5 movts, chorus, vib, cimb, db, 1960–61; Missa profana, S, M, A, T, B, chorus, jazz group, elec noises, orch, 1962–77; 3 Fragen (G. Benn, H.M. Enzensberger, I. Bachmann), T, spkr, chorus, chbr orch, 1966–8; Ps c, chorus, 1969; Ps xxiii, chorus, org, db, 1970; 5 Hymns, org/chorus, 1970–71; 4 Collagen (after J.S. Bach), chbr chorus, pf, 1972; Ps xiii, chorus, org, db, 1973; Ps cxxxiv, male chorus, hp, org, 1974; Come, let us praise the Lord, carol, org/chorus, 1974; 3 Nestroy-Collagen, chorus, 2 pf, 1976–7; Ps cl, coloratura S, 2 chorus, org, 1978; St Thomas-Kantate (‘O komm, Du Geist der Wahrheit’), Mez, Bar, chorus, orch, 1981–2; The Bible of Spirituals (orat, 2 pts, 16 texts of Amer. Spirituals), S, A, T, B, chorus, children's chorus, orch, 1984–7; Nunc (‘Herr, nun lässest Du Deinen Diener’), chorus, vib, org, db, 1987–8; TeD, S, Bar, chorus, orch, 1990–98; Neujahrslied (‘Von guten Mächten’ ) (D. Bonhoeffer), chorus, org, db, 1991; Symphonia sacra (Symphonie des Lichtes) (Bible, Ger. spiritual poetry), 5 movts, S, T, B, jazz combo, chorus, orch, 1992–5

BIBLIOGRAPHY

A. Davidson: I will Sing a New Song unto the Lord: the Works of Heinz Werner Zimmermann (Springfield, OH, 1969)

H.-G. Oertel: ‘Kirchenmusik und Jazz – Heinz Werner Zimmermann’, Credo musicale: Festgabe zum 80. Geburtstag Rudolf Mauersberger (Kassel, 1969), 197–213

A. Ilick: The Choral Style of Heinz Werner Zimmermann (diss, Stanford U., 1970)

R. Stroope: The Later Choral Works of Heinz Werner Zimmermann (diss., Arizona State U., 1988)

H.U. Engelmann: ‘Heinz Werner Zimmermann 60 Jahre’, Musik und Kirche, lx (1990), 226–8

F. Freese: The Hymns of Heinz Werner Zimmermann and their Relation to Post-1945 Hymnody (diss., Indiana U., 1991)

FRIEDHELM BRUSNIAK

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