This article may be expanded with text translated from the corresponding article in German. (December 2021) Click [show] for important translation instructions.
Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Consider adding a topic to this template: there are already 9,773 articles in the main category, and specifying|topic= will aid in categorization.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing German Wikipedia article at [[:de:Emilie Zumsteeg]]; see its history for attribution.
You should also add the template {{Translated|de|Emilie Zumsteeg}} to the talk page.
Emilie Zumsteeg (9 December 1796 – 1 August 1857) was a German choral conductor, singer, composer, and pianist.
Among the songs composed by Zumsteeg was Morgenfreude (1:31)
Biography
Zumsteeg was born Stuttgart where she lived for her whole life. She was one of seven children of the composer Johann Rudolf Zumsteeg and his wife Luise Andreä (1760–1837).[1] Her father died when Emilie was just six years old. Her mother then ran a music store, which furthered her daughter's musical interest.
As a child, Zumsteeg took piano lessons with Gottlob Schick (1776–1812) and studied music theory with Wilhelm Sutor [de].[2] She showed a facility at sight-reading. Gifted with a fine alto voice, she soon began singing and performing on the piano at the Stuttgart Museumskonzerte. As an adult she cultivated a circle of talented musicians and leading poets. The literary ties reflected her interest in the lied, which formed the basis of her composition.
In 1830, Zumsteeg founded the first women's choir in Württemberg. As a teacher of voice and piano, she made a living through music lessons and also as a leading member of the Verein für Klassische Kirchenmusik.[3]
Her compositions include about sixty songs, an overture, piano compositions, and three polonaises. She wrote several piano works, such as the early Trois Polonaises published in 1821 and favorably reviewed in the Allgemeine musikalische Zeitung; and sacred choral music.[2] She was perhaps best known for her songs, which became popular in her homeland and beyond.[3][4] One song in particular was later used by the Russian Baptist leader Ivan Prokhanov, and became widely known as the "Prisoners' Song". In 1842, she gained national press coverage for her composition Lieder, Op. 6, which received a brief but laudatory notice in the Allgemeine musikalische Zeitung[5]
Zumsteeg's work was considered very innovative and creative for her time. The quality of her voice was reflected in the adventurousness of her compositions, sometimes requiring a larger vocal range than usual.[5] An earlier collection of her work, Sechs Lieder, Op. 4, includes mainly simple, strophic songs, but occasionally reveals an Italianate flair, as in the second song, Morgenständchen. Zumsteeg's originality further surfaces in Neun Lieder for example, the hint of fantasy in Ich denke Dein and the chamber-like setting of Des Freundes Wunsch. Two of her lieder appear in the series Frauen komponieren[2]
Her work has since been closely examined, praised for its creative liberties, and has been considered as possible influence for other leading composers such as Franz Schubert. "Her "Sehnsucht der Liebe", Op. 6 No. 4 for mezzo-soprano or contralto is considered a lovely song within modest boundaries well worthy of revival. The song is split into adagio first half and allegro vivace second half, demonstrating the coexistence of nocturnal peace and wakeful human passion. "The music she devised for this strophic song was clearly conceived with the first two verses in mind, as the details of word-painting and melodic design correspond exactly to those words and less aptly to the succeeding stanza." In the refrain she used "heartbeat" chordal figuration, and the simplicity is known to be particularly effective in the two-against-three rhythmic patterns of the preceding phrase."[6]
A full evaluation of compositions must await further research into her life and the republication of more of her music.[2]
References
^Bowers, J.M.; Tick, J. (1987). Women Making Music: The Western Art Tradition, 1150-1950. Illini books. University of Illinois Press. p. 228. ISBN978-0-252-01470-3. Retrieved December 25, 2021.
^ abcdCitron, Marcia J. (2001). "Zumsteeg, Emilie". In Rebmann, Martina (ed.). Oxford Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.47795. ISBN9781561592630. (subscription required)
^ abcRebnamm, Martina. "Emilie Zumsteeg". mugi.hfmt-hamburg.de (in German). Musik und Gender im Internet. Retrieved January 4, 2021.
^Elson, A. (1903). Woman's Work in Music: Being an Account of Her Influence on the Art, in Ancient as Well as Modern Times; a Summary of Her Musical Compositions, in the Different Countries of the Civilized World; and an Estimate of Their Rank in Comparison with Those of Men. John Bassett Memorial Library Special Collections digital books. L.C. Page. p. 159. Retrieved December 25, 2021.
^ abThe Cambridge Companion to the Singer-Songwriter Book
emilie, zumsteeg, this, article, expanded, with, text, translated, from, corresponding, article, german, december, 2021, click, show, important, translation, instructions, machine, translation, like, deepl, google, translate, useful, starting, point, translati. This article may be expanded with text translated from the corresponding article in German December 2021 Click show for important translation instructions Machine translation like DeepL or Google Translate is a useful starting point for translations but translators must revise errors as necessary and confirm that the translation is accurate rather than simply copy pasting machine translated text into the English Wikipedia Consider adding a topic to this template there are already 9 773 articles in the main category and specifying topic will aid in categorization Do not translate text that appears unreliable or low quality If possible verify the text with references provided in the foreign language article You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation A model attribution edit summary is Content in this edit is translated from the existing German Wikipedia article at de Emilie Zumsteeg see its history for attribution You should also add the template Translated de Emilie Zumsteeg to the talk page For more guidance see Wikipedia Translation Emilie Zumsteeg 9 December 1796 1 August 1857 was a German choral conductor singer composer and pianist source source Among the songs composed by Zumsteeg was Morgenfreude 1 31 Biography EditZumsteeg was born Stuttgart where she lived for her whole life She was one of seven children of the composer Johann Rudolf Zumsteeg and his wife Luise Andrea 1760 1837 1 Her father died when Emilie was just six years old Her mother then ran a music store which furthered her daughter s musical interest As a child Zumsteeg took piano lessons with Gottlob Schick 1776 1812 and studied music theory with Wilhelm Sutor de 2 She showed a facility at sight reading Gifted with a fine alto voice she soon began singing and performing on the piano at the Stuttgart Museumskonzerte As an adult she cultivated a circle of talented musicians and leading poets The literary ties reflected her interest in the lied which formed the basis of her composition In 1830 Zumsteeg founded the first women s choir in Wurttemberg As a teacher of voice and piano she made a living through music lessons and also as a leading member of the Verein fur Klassische Kirchenmusik 3 She died in Stuttgart at age 60 3 Compositions EditHer compositions include about sixty songs an overture piano compositions and three polonaises She wrote several piano works such as the early Trois Polonaises published in 1821 and favorably reviewed in the Allgemeine musikalische Zeitung and sacred choral music 2 She was perhaps best known for her songs which became popular in her homeland and beyond 3 4 One song in particular was later used by the Russian Baptist leader Ivan Prokhanov and became widely known as the Prisoners Song In 1842 she gained national press coverage for her composition Lieder Op 6 which received a brief but laudatory notice in the Allgemeine musikalische Zeitung 5 Zumsteeg s work was considered very innovative and creative for her time The quality of her voice was reflected in the adventurousness of her compositions sometimes requiring a larger vocal range than usual 5 An earlier collection of her work Sechs Lieder Op 4 includes mainly simple strophic songs but occasionally reveals an Italianate flair as in the second song Morgenstandchen Zumsteeg s originality further surfaces in Neun Lieder for example the hint of fantasy in Ich denke Dein and the chamber like setting of Des Freundes Wunsch Two of her lieder appear in the series Frauen komponieren 2 Her work has since been closely examined praised for its creative liberties and has been considered as possible influence for other leading composers such as Franz Schubert Her Sehnsucht der Liebe Op 6 No 4 for mezzo soprano or contralto is considered a lovely song within modest boundaries well worthy of revival The song is split into adagio first half and allegro vivace second half demonstrating the coexistence of nocturnal peace and wakeful human passion The music she devised for this strophic song was clearly conceived with the first two verses in mind as the details of word painting and melodic design correspond exactly to those words and less aptly to the succeeding stanza In the refrain she used heartbeat chordal figuration and the simplicity is known to be particularly effective in the two against three rhythmic patterns of the preceding phrase 6 A full evaluation of compositions must await further research into her life and the republication of more of her music 2 References Edit Bowers J M Tick J 1987 Women Making Music The Western Art Tradition 1150 1950 Illini books University of Illinois Press p 228 ISBN 978 0 252 01470 3 Retrieved December 25 2021 a b c d Citron Marcia J 2001 Zumsteeg Emilie In Rebmann Martina ed Oxford Music Online Oxford University Press doi 10 1093 gmo 9781561592630 article 47795 ISBN 9781561592630 subscription required a b c Rebnamm Martina Emilie Zumsteeg mugi hfmt hamburg de in German Musik und Gender im Internet Retrieved January 4 2021 Elson A 1903 Woman s Work in Music Being an Account of Her Influence on the Art in Ancient as Well as Modern Times a Summary of Her Musical Compositions in the Different Countries of the Civilized World and an Estimate of Their Rank in Comparison with Those of Men John Bassett Memorial Library Special Collections digital books L C Page p 159 Retrieved December 25 2021 a b The Cambridge Companion to the Singer Songwriter Book Schubert s Poets and the Making of Lieder Book Retrieved from https en wikipedia org w index php title Emilie Zumsteeg amp oldid 1124343136, wikipedia, wiki, book, books, library,
