Alexander von Zemlinsky
Born: October 14, 1871; Vienna, Austria
Died: March 15, 1942; Larchmont, NY
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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
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Works
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12 Lieder, Op. 27: Afrikanischer Tanz (1)
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12 Lieder, Op. 27: Der Wind des Herbstes (1)
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12 Lieder, Op. 27: Gib ein Lied mir wieder (1)
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12 Lieder, Op. 27: Regenzeit (1)
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Ahnung Beatricens (1)
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Albumblatt (2)
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Ballades (4) for Piano (2)
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Ballads (2) (2)
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Brettl-Lieder (2) (3)
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Cymbeline (1)
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Cymbeline: Suite (1)
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Das gläserne Herz: Fauntanz (1)
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Das gläserne Herz: Minuet (1)
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Das gläserne Herz: Presto (1)
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Das gläserne Herz: Reigen (1)
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Das Rosenband (1)
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Der Kreidekreis: Act 3, Prelude (2)
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Der Kreidekreis: Am Ufer zwischen Weiden steht das Haus (1)
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Der König Kandaules (1)
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Der König Kandaules: Act 3 - Prelude (5)
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Der König Kandaules: Gyges's monologue (2)
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Der Traumgörge (3)
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Der Traumgörge: Wer das verstünd! dein ewiges Rauschen (1)
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Der Zwerg, Op. 17 (2)
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Die Seejungfrau (7)
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Die Seejungfrau (The Mermaid) - Symphonic Fantasy: Sehr bewegt, rauschend (1)
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Die Seejungfrau (The Mermaid) - Symphonic Fantasy: Sehr gedehnt, mit schmerzvollem Ausdruck (1)
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Die Seejungfrau (The Mermaid) - Symphonic Fantasy: Sehr mäßig bewegt (1)
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Die Seejungfrau: Sehr bewegt, rauschend (1)
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Die Seejungfrau: Sehr massig bewegt (1)
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Die Seejungfrau: Seht gedehnt, mit schmerzvollem Ausdruck (1)
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Drei Stücke, for cello & piano (1)
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Ein Lichtstrahl (1)
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Ein Tanzpoem (1)
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Eine florentinische Tragödie, Op. 16 (2)
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Eine florentinische Tragödie, Op. 16: Overture (1)
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Elfenlied, for voice & piano, Op. 22/4 (1)
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Entführung (1)
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Es war einmal: Act 1, Interlude (1)
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Es war einmal: Act 1, Prelude (2)
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Es war einmal: Flattert ihr bunten, schimmernden (1)
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Es war einmal: Interlude (1)
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Es war einmal: Prelude (3)
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Es war einmal: Schön Ingeborg sitzt traurig im hohen Saal (1)
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Fantasies on poems of Richard Dehmel, Op. 9 (2)
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Frühlingsbegräbnis (2)
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Frühlingslied (1)
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Fugue for Piano in G minor (1)
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Gesänge (4), Op. 8 (1)
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Gesänge (4), Op. 8: no 1, Turmwächterlied (2)
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Gesänge (4), Op. 8: no 2, Und hat der Tag all seine Qual (1)
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Gesänge (4), Op. 8: no 3, Mit Trommeln und Pfeifen (1)
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Gesänge (4), Op. 8: no 4, Tod in Ähren (1)
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Gesänge (5), Op. 7 (3)
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Gesänge (5), Op. 7: no 2, Entbietung (2)
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Gesänge (5), Op. 7: no 3, Meeraugen (2)
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Gesänge (5), Op. 7: no 4, Irmelin Rose (1)
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Gesänge (5), Op. 7: no 5, Sonntag (1)
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Gesänge (6), Op. 10 (1)
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Gesänge (6), Op. 10: no 4, Meine Braut fuhr ich heim (1)
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Gesänge (6), Op. 13 (6)
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Gesänge (6), Op. 13: no 1, Die drei Schwestern (1)
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Gesänge (6), Op. 13: no 2, Die Mädchen mit den verbundenen Augen (4)
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Gesänge (6), Op. 13: no 3, Lied der Jungfrau (1)
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Gesänge (6), Op. 13: no 4, Als ich Geliebter schied (2)
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Gesänge (6), Op. 13: no 5, Und kehrt er einst heim (2)
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Gesänge (6), Op. 13: no 6, Sie kam zum Schloss gegangen (2)
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Gesänge (8), Op. 5 (1)
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Gesänge (8), Op. 5: no 1, Schlaf nur ein (1)
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Gesänge (8), Op. 5: no 3, O Blätter, dürre blätter (1)
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Gesänge (8), Op. 5: no 6, Tiefe Sehnsucht (1)
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Gesänge (8), Op. 5: no 8, Im Korn (1)
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Humoreske for Wind Quintet (3)
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Kleider machen Leute: Act 1, Walz-Intermezzo (2)
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Kleider machen Leute: Act 2, Interlude (2)
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Liebe und Frühling (1)
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Lieder (12), Op. 27 (1)
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Lieder (12), Op. 27: no 4, Jetzt ist die Zeit (1)
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Lieder (12), Op. 27: no 7, Elend (1)
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Lieder (12), Op. 27: no 9, Afrikanischer Tanz (1)
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Lieder (13), Op. 2 (1)
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Lieder (13), Op. 2: no 1, Heilige Nacht (3)
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Lieder (13), Op. 2: no 10, Der Traum (1)
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Lieder (13), Op. 2: no 3, Gefluster der Nacht (1)
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Lieder (13), Op. 2: no 7, Vor der Stadt (1)
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Lieder (2) (2)
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Lieder (3) (2)
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Lieder (4) (2)
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Lieder (5) on poems of Richard Dehmel: no 2, Ansturm (2)
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Lieder (5) on poems of Richard Dehmel: no 3, Vorspiel (2)
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Lieder (5) on poems of Richard Dehmel: no 5, Auf See (2)
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Lieder (6) (2)
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Lieder (6), Op. 22 (1)
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Lieder (6), Op. 22: no 1, Auf braunen Sammetschuhen (1)
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Lieder (6), Op. 22: no 2, Abendkelch voll Sonnenlicht (1)
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Lieder (6), Op. 22: no 3, Feiger Gedanken (1)
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Lieder (6), Op. 22: no 4, Elfenlied (2)
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Lieder (6), Op. 22: no 5, Volkslied (2)
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Lieder (6), Op. 22: no 6, Das bucklichte Männlein (2)
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Lieder (6), Op. 22: no 6a, Auf dem Meere meine Seele (2)
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Lyric Symphony, Op. 18 (8)
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Lyric Symphony, Op. 18: Friede mein Herz (1)
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Maiblumen (4)
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Mailblumen blühten überall, for soprano & string sextet (1)
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Movements (2) for String Quartet (1896) (1)
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Movements (2) for String Quartet (1927) (4)
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Op. 27: No. 6 Der Wind des Herbstes (1)
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Op. 2: Heft 2, No. 1 Frühlingstag (1)
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Pieces (3) for Cello and Piano (2)
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Preislieder (2) (2)
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Psalm 13, Op. 24 (4)
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Psalm 23, Op. 14 (3)
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Psalm 83 (2)
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Quartet for Strings no 1 in A major, Op. 4 (7)
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Quartet for Strings no 2, Op. 15 (7)
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Quartet for Strings no 3, Op. 19 (5)
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Quartet for Strings no 4, Op. 25 (5)
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Rustic Dances, Op. 1 (2)
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Sarema (1)
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Sarema: Act 1, Prelude (2)
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Schlummerlied (1)
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Sinfonietta, Op. 23 (6)
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Sinfonietta, Op. 23: Rondo - Sehr lebhaft (1)
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Sinfonische Gesänge, Op. 20 (6)
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Skizze (2)
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Sommer, Op. 27 (1)
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Sonata for cello & piano in A minor (1)
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Sonata for Cello and Piano in A minor (3)
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Songs (2) for Baritone and Orchestra (2)
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Songs (5) (1)
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Songs (7) (1)
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String Quintet (movements 2 & 3 lost) (1)
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Suite (Serenade) in A major, for violin & piano (2)
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Suite for Violin and Piano in A major "Serenade" (1)
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Symphony no 1 in D minor (5)
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Symphony no 2 in B flat major (6)
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Symphony no 2 in B flat major: Adagio (1)
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Symphony No. 2: 2. Scherzo [excerpt] (1)
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Süsse, süsse Sommernacht (1)
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Trio for Clarinet, Cello and Piano in D minor, Op. 3 (8)
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Trio for piano, clarinet & cello in D minor, Op. 3 (1)
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Und einmal gehst du (2)
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Waldgespräch (4)
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Waltz Songs (6) on Tuscan folk lyrics, Op. 6 (3)
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Waltz Songs (6) on Tuscan folk lyrics, Op. 6: no 1, Liebe Schwalbe (1)
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Waltz Songs (6) on Tuscan folk lyrics, Op. 6: no 4, Ich geh' des Nachts (1)
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Waltz Songs (6) on Tuscan folk lyrics, Op. 6: no 5, Blaues Sternlein (1)
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Waltz Songs, Op. 6: Il segreto delle stelle (Blaues Sternlein) (1)
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Wandl' ich im Wald des Abends (3)
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| More Featured Alexander von Zemlinsky CDs & DVDs: |
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Biography |
by Blair Johnston
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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. |
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