Alexander von Zemlinsky

Although he himself was an extremely gifted composer, Austrian-born Alexander Zemlinsky is today better remembered as the person who taught both Arnold Schoenberg and Erich Wolfgang Korngold than for his own creations. Zemlinsky was created to a Vienna-based Polish family members in 1871. After participating in the Vienna Conservatory from 1887 to 1892 (initial learning piano with Anton Door and afterwards structure with J.N. Fuchs) he joined up with the Wiener Tonkünstlerverein (Vienna Composer’s Culture) in 1893. He produced the acquaintance of Arnold Schoenberg in 1895, teaching him counterpoint for most months, and therefore becoming that exceptional musician’s just formal instructor. Zemlinsky’s Piano Trio, Op. 3, got currently received the acceptance of Johannes Brahms (to whose music the task bears a solid resemblance), who suggested the task to Simrock for publication, and his Viennese popularity was furthered with the effective premiere of his Symphony No. 2 in 1897 and by Mahler’s display of his opera Ha sido battle einmal in 1900. Zemlinsky offered as Kapellmeister on the Carltheater in Vienna from 1899 until his session as Kapellmeister in the Volksoper in 1906. From 1911 until 1927 he worked well in Prague as opera conductor from the Deutsches Landestheater, where he gave the premiere of Schoenberg’s Erwartung in 1924. Shifting from Prague to Berlin by the end of his tenure using the Landestheater, Zemlinsky offered 1st as Kapellmeister in the Kroll Opera where he worked well under Otto Klemperer, and later on as professor in the city’s Hochschule für Musik. Fearful from the terrifying condition of politics in Berlin, Zemlinsky came back to Vienna in 1933, devoting himself to structure full-time (while still producing occasional appearances like a conductor), before relocating to america in 1938. He passed away in Larchmont, NY four years later on. Zemlinsky’s music, respectable from the Viennese group which he do too much to help produce, has since dropped into disuse. While his early music owes too much to Brahms, from the turn from the hundred years Zemlinsky had used a more intensifying Wagnerian chromaticism. As the Schoenberg circle’s improvements through the early years from the twentieth hundred years grew increasingly more daring, nevertheless, Zemlinsky responded with an elevated belief in the worthiness of tonality. Of particular worth may be the Lyrische Symphony, Op. 18, of 1923, which arranged the precedent for (and was quoted in) Alban Berg’s Lyric Suite of 1926.