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|Title:||Anton Zimmermann's Chamber Music for Strings|
|Author(s):||Jurjevich, Marta Louise|
|Doctoral Committee Chair(s):||Hill, John Walter|
|Department / Program:||Music|
|Degree Granting Institution:||University of Illinois at Urbana-Champaign|
|Abstract:||Zimmermann enjoyed considerable success, for the largest part of his career, as Kapellmeister at the court of the powerful Batthyani family in Pressburg. In their service, Zimmermann established an excellent court orchestra; at least two of its members eventually joined Haydn's orchestra at the Esterhazy estate. This study concerns all available Zimmermann chamber music for strings and accompanied keyboard music (except sonatas) with string ensemble. More Zimmermann string chamber music may become available eventually, since the archive of the Batthyani family remains to be found.
Significant performance practice issues in mid-eighteenth-century string music are examined in detail. Ornamentation discussions focus more closely on Zimmermann's string chamber music; bass part instrumentation, tempo issues, bowing and articulation, and vibrato are explained in broader terms.
Most of Zimmermann's string chamber music conforms to contemporary practice in terms of scoring, number and arrangement of movements, harmonic plans, and melodic construction. This is particularly true in the two manuscript divertimenti and in the string quartets Op. 3 (Lyon, Guera 1776), which are clearly modelled after Haydn's enormously popular Opp. 1-2. The two accompanied keyboard pieces bearing numerical titles and the twelve manuscript string quintets (three violins) are distinguished from the other Zimmermann works principally by a far greater variety of musical topics and styles, greater reliance on relatively complex melodic manipulations and development techniques, more extended harmonic plans, and overt references to the orchestral style. Virtually all structural characteristics may be analyzed in terms of the key relationships and melodic extension techniques suggested earlier in the eighteenth century by Riepel (1752) and amplified subsequently by Koch (1782-1793).
Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1987.
|Date Available in IDEALS:||2014-12-16|
This item appears in the following Collection(s)
Dissertations and Theses [Graduate College] - Music
Graduate Dissertations and Theses at Illinois
Graduate Theses and Dissertations at Illinois