# Alexander von Zemlinsky



## JTech82

Although he himself was a highly gifted composer, Austrian-born Alexander Zemlinsky is today better remembered as the man who taught both Arnold Schoenberg and Erich Wolfgang Korngold than for his own creations. Zemlinsky was born to a Vienna-based Polish family in 1871. After attending the Vienna Conservatory from 1887 to 1892 (first studying piano with Anton Door and later composition with J.N. Fuchs) he joined the Wiener Tonkünstlerverein (Vienna Composer's Society) in 1893. He made the acquaintance of Arnold Schoenberg in 1895, teaching him counterpoint for many months, and thus becoming that remarkable musician's only formal teacher.

Zemlinsky's Piano Trio, Op. 3, had already received the approval of Johannes Brahms (to whose music the work bears a strong resemblance), who recommended the work to Simrock for publication, and his Viennese reputation was furthered by the successful premiere of his Symphony No. 2 in 1897 and by Mahler's presentation of his opera Es war einmal in 1900.

Zemlinsky served as Kapellmeister at the Carltheater in Vienna from 1899 until his appointment as Kapellmeister at the Volksoper in 1906. From 1911 until 1927 he worked in Prague as opera conductor of the Deutsches Landestheater, where he gave the premiere of Schoenberg's Erwartung in 1924. Moving from Prague to Berlin at the end of his tenure with the Landestheater, Zemlinsky served first as Kapellmeister at the Kroll Opera where he worked under Otto Klemperer, and later as professor at the city's Hochschule für Musik. Fearful of the frightening state of politics in Berlin, Zemlinsky returned to Vienna in 1933, devoting himself to composition full-time (while still making occasional appearances as a conductor), before relocating to the United States in 1938. He died in Larchmont, New York four years later.

Zemlinsky's music, highly regarded by the Viennese circle which he did a great deal to help create, has since fallen into disuse. While his early music owes a great deal to Brahms, by the turn of the century Zemlinsky had adopted a more progressive Wagnerian chromaticism. As the Schoenberg circle's innovations during the early decades of the twentieth century grew more and more daring, however, Zemlinsky responded with an increased belief in the value of tonality. Of particular value is the Lyrische Symphony, Op. 18, of 1923, which set the precedent for (and was quoted in) Alban Berg's Lyric Suite of 1926.

(Article taken from All Music Guide)

This composer is very neglected I think. His "Lyric Symphony" is a beautiful piece of music. His important significance I believe has to do with the fact that he was Arnold Schoenberg's teacher, but Zemlinsky wrote some great music that deserves wider recognition.


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## Sid James

The article was an interesting read. Yet another composer who had to leave Europe due the the rise of Facsism (it doesn't say whether he was Jewish, but I assume this was the case). It's interesting how he's been neglected, much like Mahler was until the middle of the C20th when conductors like Bruno Walter (who actually knew him well, maybe even knew Zemlinsky as they would have moved in the same circles...) resurrected his reputation. I read a book, dating from the 1980's, which predicted that Zemlinsky would be the next big re-discovery in classical music. Somehow, this has not happened, although there are now more modern recordings out there of his symphonies.

I borrowed his _Lyric Symphony _from the local library a few months back, but didn't really like it (I'm not into song-cyle type works, that's why I'm not interested in Mahler's _Das Liede von Erde_. The shorter more condensed Penderecki's _Symphony No. 8 'Songs of Transcience' _in the same tradition, has proved to be the sole exception to this so far). However, I am interested in listening to his two earlier instrumental symphonies, Nos. 1 & 2. Saw them at a Cd shop in the city a while back (EMI encore series) but foolishly didn't buy them. I'll probably order them at some stage (hope they aren't out of print!), they are definitely on my wishlist, as I don't mind similar pieces like Mahler's instrumental symphonies.

Any impressions/information about his first two symphonies, as well as maybe suggestions as what I may have missed in the third, are welcome...


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## YsayeOp.27#6

JTech82 said:


> Zemlinsky wrote some great music that deserves wider recognition.


His operas, for example.


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## JTech82

Andre said:


> The article was an interesting read. Yet another composer who had to leave Europe due the the rise of Facsism (it doesn't say whether he was Jewish, but I assume this was the case). It's interesting how he's been neglected, much like Mahler was until the middle of the C20th when conductors like Bruno Walter (who actually knew him well, maybe even knew Zemlinsky as they would have moved in the same circles...) resurrected his reputation. I read a book, dating from the 1980's, which predicted that Zemlinsky would be the next big re-discovery in classical music. Somehow, this has not happened, although there are now more modern recordings out there of his symphonies.
> 
> I borrowed his _Lyric Symphony _from the local library a few months back, but didn't really like it (I'm not into song-cyle type works, that's why I'm not interested in Mahler's _Das Liede von Erde_. The shorter more condensed Penderecki's _Symphony No. 8 'Songs of Transcience' _in the same tradition, has proved to be the sole exception to this so far). However, I am interested in listening to his two earlier instrumental symphonies, Nos. 1 & 2. Saw them at a Cd shop in the city a while back (EMI encore series) but foolishly didn't buy them. I'll probably order them at some stage (hope they aren't out of print!), they are definitely on my wishlist, as I don't mind similar pieces like Mahler's instrumental symphonies.
> 
> Any impressions/information about his first two symphonies, as well as maybe suggestions as what I may have missed in the third, are welcome...


Being a new fan, I'm not too terribly familiar with his works, but I bought this set:










And his first and second symphonies, which you mentioned:










From what I've gathered, his family was very diversified. He studied with Anton Bruckner too, which would be an incredible experience for anyone I imagine! I wonder if Zemlinsky ever knew Franz Schmidt? That would be an interesting meeting. Here's another interesting meeting: Zemlinsky, Schoenberg, Mahler, Schmidt, Berg, and Webern all in the same room together having breakfast. How's that for a meeting? We could call them the "Vienna Breakfast Club."


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## handlebar

While I only own the Marco Polo CD of the 1st Symphony, I do like what I hear. I liken it certainly more to Mahler than Schoenberg.
I need to find that other symphony now.

Jim


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## EarlyCuyler

his setting of Psalm 23 is powerful stuff. Its hard not to like _Der Zwerg_, and _Die Seejungfrau_ also.


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## shsherm

I saw a performance of "Der Zwerg" by the Los Angeles Opera a year ago and commented to an elderly gentleman sitting near me that I thought the opera was a jewel of an opera. It turned out that this man was a conductor who had conducted the Hollywood Bowl Orchestra and the LA Philharmonic as well as many other orchestras. This performance was part of the series called Recovered Voices which is an attempt to perform works by composers repressed by the Nazis and persued by the conductor James Conlon with the LA opera. They are currently performing "The Birds" by Walter Braunfels and are also in the middle of a Ring Cycle.


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## Sid James

Anyone else feel that Zemlinsky's music kind of lacks a personal style? I've listened to his _Lyric Symphony_, as well as getting the Naxos recording of _The Mermaid _(c.1903) & _Sinfonietta_ (1934) recently. They all sound too much like Mahler & to a lesser degree R. Strauss. True, the _Lyric Symphony _has some good writing for the voice, _The Mermaid_ has some wonderful orchestration & _Sinfonietta_ sounds a bit more modern & astringent (like Hindemith & maybe even Stravinsky in parts). But my gut feeling is what's the point? Is it worth persevering with these works if they sound a bit too similar to other composers? I don't know...


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## StlukesguildOhio

Anyone else feel that Zemlinsky's music kind of lacks a personal style? I've listened to his Lyric Symphony, as well as getting the Naxos recording of The Mermaid (c.1903) & Sinfonietta (1934) recently. They all sound too much like Mahler & to a lesser degree R. Strauss. True, the Lyric Symphony has some good writing for the voice, The Mermaid has some wonderful orchestration & Sinfonietta sounds a bit more modern & astringent (like Hindemith & maybe even Stravinsky in parts). But my gut feeling is what's the point? Is it worth persevering with these works if they sound a bit too similar to other composers? I don't know...

Is novelty the measure of quality? Are we to assume that because we've heard one of Bach's preludes from the WTC we've heard 'em all? Do we assume the same of Mozart's piano concertos? I heard one... what's the point of listening to another? The point seems to be that they bring a certain degree of aesthetic pleasure... and this pleasure is not limited to their novelty. If the experience of art were predominantly rooted in novelty, listening to the same piece of music, reading the same poem, or looking at the same painting more than once would be like listening to a stale joke we've already heard several times before. But there's more to the pleasure of art than novelty and surprise. Quite often, repeated hearing unveil far more than was revealed upon the first listen. Yes, Zemlinsky's music is deeply of the same tradition as Mahler and Strauss. It is also quite sensuous and exquisite and repeated hearings certainly reveals that it is much more than a mere imitation of Mahler.


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## Sid James

StlukesguildOhio said:


> ...But there's more to the pleasure of art than novelty and surprise. Quite often, repeated hearing unveil far more than was revealed upon the first listen. Yes, Zemlinsky's music is deeply of the same tradition as Mahler and Strauss. It is also quite sensuous and exquisite and repeated hearings certainly reveals that it is much more than a mere imitation of Mahler.


I wouldn't say that Zemlinsky's music sounds exactly like Mahler or those other composers, but a bit too much like them. Maybe, as you say, more will be revealed with repeated listening - I'm open to that. Perhaps the fact that _The Mermaid_ also sounds a bit like a Hollywood soundtrack also adds to my not enjoying it as much as I could have at first, although that's not Zemlinsky's fault, but more because subsequent composers have carried on (copied?) this style. Admittedly, it's his orchestration which stands out the most, in this regard he was definitely equal to Mahler & R. Strauss. But, apart from a few of their works, I'm not a huge fan of those two composers - though I am trying to be flexible here, I assure you...


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## StlukesguildOhio

Admittedly, it's his orchestration which stands out the most, in this regard he was definitely equal to Mahler & R. Strauss. But, apart from a few of their works, I'm not a huge fan of those two composers - though I am trying to be flexible here, I assure you...

Well... considering that he was part of that circle... that certainly puts him at a decided disadvantage.

Of course I'm on the other side of the divide, here. I love the whole Viennese "decadent" school... including Zemlinskiy, Korngold, Schreker, etc... Its the Second Viennese School that I can't seem to get into... although I do love Schoenberg's _Verklärte Nacht, Pelleas und Melisande_, and the _Gurrelieder_. I will admit, however, that with the grossly inexpensive Sony boxed sets of Boulez' recordings, I have ordered his Schoenberg recordings. I guess I'm trying to be flexible, as well.


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## Sebastien Melmoth

Especially admire Zemlinsky's Clarinet Trio (d-minor, Op.3) and First String Quartet (A-major, Op. 4); the Six Songs to Poems by Maurice Maeterlinck (Op. 13), his setting of Wilde's A Florentine Tragedy (Op. 16) and the Symphonic Songs (Op. 20).


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## Janspe

I have been spending a lot of time with Zemlinsky's string quartets recently, and in all honestly there isn't a weak work in the lot - though perhaps the very early E minor quartet could be said to be less interesting than as the rest. But starting from the first opus-numbered one (A major, Op. 4) it's just brilliant music! My personal favourite at the moment is the 2nd one (Op. 15) which is just... such a brilliant work, I don't get it why it's not one of the staples of late romantic quartet repertoire! The 4th is also amazing, much more modernistic. The 3rd one I need to revisit still, I don't feel like I _get it_ yet.

I remember encountering these works when exploring the 2nd Viennese school's quartets through the LaSalle recordings many years ago - and I completely skipped them, thinking that I have more important things to listen to. My mistake! I'm discovering a great composer in Zemlinsky, and there's lot of music to dive into.


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## elgar's ghost

Agreed, Janspe. When working one's way through Zemlinsky's oeuvre it's intriguing to note how incremental his evolution was, and I think the SQs are among the more significant signposts for indicating where he was at a particular time. The operas also serve this purpose especially well.


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## vincula

elgars ghost said:


> Agreed, Janspe. When working one's way through Zemlinsky's oeuvre it's intriguing to note how incremental his evolution was, and I think the SQs are among the more significant signposts for indicating where he was at a particular time. The operas also serve this purpose especially well.


I totally agree with your view on the string quartets. I have been going through his work lately. Must have listened to 4 different renditions of his _Lyric Symphony_, which I really enjoy. His _King Caudales_ was a pleasant surprise too.

Regards,

Vincula


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## elgar's ghost

I'm glad you also like _King Candaules_. Three resounding huzzahs must go to Anthony Beaumont for posthumously orchestrating it.


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## SanAntone

Since I've been spending some concentrated time with *Zemlinsky*'s music I thought I'd give this thread a bump. Prior to this week mostly what I'd heard were the string quartets, which I think very highly of. I've delving into the lieder of *Hugo Wolf*, as well as reviewing the *Schoenberg*, *Berg*, and about to embark on surveys of the music of *Franz Schreker*, *Othmar Schoeck* and *Hans Pfitzner*.

What period do these composers fall in? Post Romanticism? The period in Germany/Austira from 1890-1930s, does it have a name?


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## Roger Knox

SanAntone said:


> Since I've been spending some concentrated time with *Zemlinsky*'s music I thought I'd give this thread a bump. Prior to this week mostly what I'd heard were the string quartets, which I think very highly of. I've delving into the lieder of *Hugo Wolf*, as well as reviewing the *Schoenberg*, *Berg*, and about to embark on surveys of the music of *Franz Schreker*, *Othmar Schoeck* and *Hans Pfitzner*.
> 
> What period do these composers fall in? Post Romanticism? The period in Germany/Austira from 1890-1930s, does it have a name?


The way I learned it was that the composers you mention, and the tonal period of Schoenberg (e.g. up to Gurrelieder) along with Berg and Webern are Post Romantic. Then the atonal and serial periods of S B and W are Modernist. (But other composers such as Hindemith in the 1920's and '30's were Neo-Classical or Neo-Baroque.)

However, in the 21st century there has been a push in musicological circles to replace "Post Romanticism" with "Early Modernism," in particular to include Mahler as an Early Modernist (contemporary with Debussy.) I'm not a musicologist and haven't followed the specifics of this change, which I don't entirely understand.


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## SanAntone

I didn't realize it until I began to foccus on Zemlinsky but 2021 was the 150th anniversary of his birth in 1871. To mark the occasion Capriccio has released a 6CD box containing the bulk of his oeuvre.


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## Vasks

SanAntone said:


> Since I've been spending some concentrated time with *Zemlinsky*'s music I thought I'd give this thread a bump. Prior to this week mostly what I'd heard were the string quartets, which I think very highly of. I've delving into the lieder of *Hugo Wolf*, as well as reviewing the *Schoenberg*, *Berg*, and about to embark on surveys of the music of *Franz Schreker*, *Othmar Schoeck* and *Hans Pfitzner*.


It's my favorite period too and don't ignore Strauss' "Salome" and "Elektra". And be sure to wallow in mid & late Szymanowski.


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