Emilie Zumsteeg

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Emilie Zumsteeg, lithograph by Christian Siegmund Pfann , 1857
Morgenfreude, Op 4/2. Singing Sieglinde Schneider , piano Stewart Emerson. Recorded April 1995 from songs by women composers . (Recording 1 min 31 sec, 128 kbps, 1.42 MB)

Emilie Zumsteeg (born December 9, 1796 in Stuttgart ; † August 1, 1857 there ) was a German composer , music teacher , choir director , pianist and music writer. She had a decisive influence on the development of Stuttgart's musical life in the 19th century, where she influenced the musical tastes of the bourgeois audience and had a lasting impact on the repertoire of concerts on offer. She founded the first women's choir in Württemberg and was one of the first women to appear publicly as a conductor .

Life

Emilie Zumsteeg's parents were Johann Rudolph Zumsteeg , concertmaster at the Württemberg court, and his wife Luise nee Andreä (1760–1837), a doctor's daughter. It is believed that Luise Zumsteeg descended from the Stuttgart court pharmacist Maria Andreae . Emilie Zumsteeg was the couple's seventh and last child. Only three of Emilie Zumsteeg's siblings survived childhood like them.

Emilie Zumsteeg grew up carefree until her father's untimely death in 1802 when she was five years old. Her parents were in contact with the middle-class families who formed the cultural center of Stuttgart. These included the families of the merchant Gottlob Heinrich von Rapp and the painter Johann Heinrich Dannecker and the Hartmann and Reinbeck families . At gatherings in the homes of these families, readings were held, literature and the visual arts were discussed and music was performed. From 1802 the widow Luise Zumsteeg had to earn a living for herself and her four children. With the help of the publishers Breitkopf and Härtel, she founded a music store (Zumsteeg's widow) , in which her daughter worked. In 1825 Luise Zumsteeg handed over the trading business to her son Gustav Adolf Zumsteeg, who had completed a commercial apprenticeship.

Emilie Zumsteeg's interest in and talent for music was evident early on. She received lessons in piano , singing, figured bass and score playing at an early age . Her teachers were Gottlob Schick (1776–1812) (piano and score) and choir director Wilhelm Sutor (vocals, basso continuo). She showed herself to be particularly gifted for playing the score. Zumsteeg began composing in her youth. For example, the song The First December (EZ 54) was written in November 1814 when she was 18 years old. From 1817 she published songs and piano works in separate books - with Simrock in Bonn, with Schott in Mainz and in her own publishing house, Zumsteeg - as well as in music magazines.

Emilie Zumsteeg performed both as a singer and as a pianist in 1821 and 1822. Her performances were part of the subscription concerts of the royal court orchestra , which usually took place in the winter half-year as a cycle of twelve concerts in the Redoutensaal of the palace and in what was then the Museum of Stuttgart. Her beautiful alto voice was praised in meetings. These performances ended after two years for an unknown reason. After that she was only active as a conductor, choir director and music teacher. She earned her living primarily with music lessons. She worked as a private music teacher, later also - the beginning of this activity is unknown - as a music teacher at the Königin-Katharina-Stift .

From 1820 Emilie Zumsteeg performed “Sunday music” in her house. For this she won respected artists. Various choral works were also rehearsed at these events, including Handel's oratorio Messias in 1826 . Zumsteeg directed the choral works from the piano. From these meetings the "Association for Classical Church Music" developed in 1847, which Zumsteeg helped to bring into being. The association, from which the "Oratorienverein Stuttgart" emerged, developed into one of the leading German church music choirs. The piano teacher and composer Immanuel Faißt took over the official direction , but the choral pedagogical work was done by Emilie Zumsteeg.

Zumsteeg also played a key role in other musical performances in private houses in Stuttgart. She prepared public choir performances as a choir director and conductor and rehearsed the voices, especially with the singers. During the actual performance, male conductors stood at the podium, as was the case in 1832, for example, at a performance of the Messiah . With her choral pedagogical work, the rehearsal and performance of operas and oratorios that were not known to the general public in Stuttgart until then, Zumsteeg had a taste-forming effect and had a lasting impact on the repertoire of the Stuttgart concert range.

Schiller Festival in Stuttgart on May 8, 1839 on the occasion of the unveiling of the Schiller monument on Schillerplatz in Stuttgart

Emilie Zumsteeg founded the first "Frauenliederkranz" in Württemberg, which later became part of the " Stuttgarter Liederkranz ". Since her women's choir developed out of private circles, its founding cannot be precisely dated, but rehearsals for the performance of works for mixed voices from the 1820s onwards have been documented. Purely female choirs then had the problem of finding suitable rehearsal rooms. Male choirs often used taverns for this purpose, but women could only visit when accompanied by male friends or relatives in order not to endanger their reputation. Zumsteeg's women's choir therefore rehearsed in the town hall or in the citizens' museum. Through her music lessons, Zumsteeg succeeded in training female singers for a women's choir. In 1836 her choir, for which she recruited her singing students, already consisted of 30 singers. The "Stuttgarter Liederkranz", which was founded in 1824 by Emilie Zumsteeg's brother Gustav Adolf Zumsteeg, among others, was initially a purely male choir, but it cooperated with Zumsteeg's women's choir. The singers played a special role, especially at the annual Schiller celebrations of the Liederkranz. They took part dressed in white, which was considered the color of purity and reason. For the "Liederkranz" it was a gain in prestige to have female singers in the club. This was seen as a sign of progressiveness and a refined cultural level. Many of the Stuttgart singers came from liberal circles . The Stuttgart women's choir finally induced clubs in other cities to accept women, for example in Tübingen in 1841 .

How recognized Emilie Zumsteeg was as a musical authority is also shown by her collaboration with the Musikalisches Volksblatt , which Alois Schmitt, director of the Stuttgarter Liederkranz, founded in 1842. Her brother Gustav Adolf Zumsteeg, although a music dealer and long-time member of the Liederkranz, was not involved, which underlines her influence on Stuttgart's musical life. King Wilhelm I of Württemberg paid an annual salary for her musical work in 1841. Zumsteeg's family book contained entries from a number of well-known writers and musicians of their time, including the librettist Helmina von Chézy and the writers Gustav Schwab , Nikolaus Lenau , Justinus Kerner and Eduard Mörike .

Gravestone on the Hoppenlauffriedhof

After a long and painful illness, Emilie Zumsteeg died on August 1st, 1857 in Stuttgart. The "Liederkranz" honored them with a funeral ceremony. At the funeral in the Hoppenlaufriedhof one, as was noted at the time, “an unusually large number of people” took part. Almost six months after her death, on January 28, 1858, the "Liederkranz" and the "Association for Classical Church Music" held a memorial ceremony at which works by Emilie Zumsteeg and her father were performed. In addition to their choir, the best singers from the Royal Court Theater took part. The proceeds from the celebration were used to erect a memorial on her grave, which was built according to a design by the architect Christian Friedrich Leins and inaugurated on August 1, 1858. The grave inscription on the back of the tombstone comes from Johann Friedrich Fischer (1816–1897).

factories

Emilie Zumsteeg's complete works consist of 56 songs with piano or guitar accompaniment, 10 works for piano, 5 duets for female voices, 3 cantatas , around 20 choirs for male, female and mixed voices with or without accompaniment, as well as instrumental and vocal arrangements. Zumsteeg's first songs were still influenced by the Rococo and the influence of her father's songs was palpable. From 1830 the tonal language becomes more romantic . The importance of text declamation and musical interpretation of words increased.

The choirs and cantatas were mostly written on the occasion of public events in Stuttgart such as the annual Schiller Festival organized by the “Liederkranz”. Some were probably composed for weddings by female students and friends or as pieces for Zumsteeg's women's choir. For public events, Zumsteeg also arranged works by other composers - for example a song by Friedrich Wilhelm Kückens - which she arranged for the “Stuttgarter Liederkranz”. In the case of their piano works, however, it was seldom possible to determine an occasion for which they were composed. An exception is the piano song Obzusiegen wähnt die Zeit (EZ 39), which was written in 1819 as a musical obituary for the popular Queen Katharina .

44 of her works were published during her lifetime, a few of them several times. The song Ulrichs Lied in der Nebelhöhle (EZ 37) ("From the tower, where I often seen") from Lichtenstein by Wilhelm Hauff found wide distribution through its inclusion in Kommers books . Other multiple songs printed are Good Night! (EZ 9), don't cry! Don't cry, you my sweet life (EZ 8) and longing for love (EZ 16). After her death, her songs were rarely published.

From the 1830s onwards, Emilie Zumsteeg composed very little. The reasons for this are probably her activities as a private music teacher and as a music teacher at the Königin-Katharina-Stift and her great commitment to working with the choirs, which left her with little free time.

Catalog of works and editions
  • Emilie Zumsteeg: Six songs with accompaniment of the pianoforte op. 4. Reprint of the first edition. Schott, Mainz 1990.
  • Martina Rebmann: “Like your art, so noble was your life.” A catalog raisonné by the Stuttgart composer Emilie Zumsteeg. In: Music in Baden-Württemberg. Stuttgart 2/1995, pp. 51-74.
  • Emilie Zumsteeg: songs and duets. Work edition ed. by Martina Rebmann. Carus, Stuttgart 1998.

reception

Some of her published works were reviewed during her lifetime, with the "true expression" being praised. The poet Johann Georg Fischer wrote in his obituary “your compositional talent delivered a powerful sample” and emphasized the “originality of sensations” and the “dexterity of sazes” (sic).

Emilie Zumsteeg and her work were forgotten after her death. In 1929 the women's rights activist Anna Blos included them in her compilation of 15 life pictures of Swabian women. In 1941 she portrayed Kurt Haering for the Schwäbischer Lebensbilder series and regretted that she was not mentioned by name in the well-known music stories, although she " surpasses Silcher by far in her songs, even outshining a Konradin Kreutzer ". Since the 1990s, Zumsteeg has been increasingly rediscovered, to which, among other things, Martina Rebmann's catalog raisonné and edition have contributed. Her piano songs are increasingly being performed and have also been recorded on CD.

Sources

Only a few direct sources on the life and work of Emilie Zumsteeg have survived. These include letters addressed to them from Christian Reinhold Köstlin , Justinus Kerner and Eduard Mörike . In her biographical account of the life of Emilie Zumsteeg in 1929, Anna Blos was able to fall back on source material that has since been lost. She was also able to speak to the descendants of Gustav Adolf Zumsteeg.

There is no inheritance in the narrower sense. The manuscripts of their musical works are kept in the Württemberg State Library . In order to reconstruct Zumsteeg's life and work, it is necessary to fall back on scattered published sources such as individual newspaper reports, reviews, obituaries or printed eulogies.

Honors

  • In 1836, Emilie Zumsteeg was appointed guest of honor at the Stuttgart Museum, which was reserved for only a few citizens. Other guests of honor were the court conductor Peter Joseph von Lindpaintner and the poet Eduard Mörike .
  • In 1841 the city of Stuttgart presented Emilie Zumsteeg with a brooch with a certificate of honor for her services to the city's musical life.
  • In 1849, on the occasion of its 25th anniversary , the " Stuttgarter Liederkranz " appointed Zumsteeg as the director of the women's choirs as an honorary member.
  • The Stuttgart cultural center “ Treffpunkt Rotebühlplatz ” has named one of its event halls after her.
  • In the Stuttgart district of Botnang , the Emilie-Zumsteeg-Brücke has been crossing Regerstraße since 2018.

literature

  • Michael Aschauer, Rainer Bayreuther: Emilie Zumsteeg (1796–1857) . In: Rainer Bayreuther, Nikolai Ott (Hrsg.): Choir composers in Württemberg . Helbling, Esslingen 2019, ISBN 978-3-86227-418-5 , pp. 114-119 .
  • Anna Blos : Women in Swabia. Fifteen images of life . Silberburg, Stuttgart 1929, p. 135-148 ( wlb-stuttgart.de ).
  • Kurt Haering: Emilie Zumsteeg . In: Hermann Haering, Otto Hohenstatt (ed.): Swabian life pictures . tape 2 . Kohlhammer, Stuttgart 1941, p. 536-544 .
  • Waltraud Pfäfflin, Friedrich Pfäfflin: Emilie Zumsteeg . In: The graves of the poets in the Hoppenlau cemetery in Stuttgart . Edition Vincent Klink, Stuttgart 2015, p. 226-227 .
  • Martina Rebmann: Emilie Zumsteeg . In: Clara Mayer (ed.): Approaching XII to seven female composers . Furore, Kassel 2001, ISBN 3-9801326-3-3 , p. 37-57 .
  • Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 .
  • Martina Rebmann: "Your compositional talent delivered a powerful sample". On the songs of the Stuttgart composer Emilie Zumsteeg (1796–1857) . In: Georg Günther, Reiner Nägele (Ed.): Music in Baden-Württemberg. 2002 yearbook . tape 9 . Metzler, Stuttgart 2002, p. 83-100 .
  • Martina Rebmann: "She was a mainspring of those musical events". Emilie Zumsteeg (1796–1857) and the Stuttgart choir in the first half of the 19th century . In: Reiner Nägele, Martina Rebmann (ed.): Klangwelten: Lebenswelten. Women composers in south-west Germany . Württemberg State Library , Stuttgart 2004, p. 38-61 .
  • Martina Rebmann: Emilie Zumsteeg (1796–1857) on the 150th anniversary of her death . In: Vivavoce. Archive news of the International Working Group on Women and Music . tape 79 , 2007, pp. 3-4 .
  • Martina Rebmann: Zumsteeg, Emilie . In: Annette Kreutziger-Herr, Melanie Unseld (Ed.): Lexicon Music and Gender . Bärenreiter, Metzler, Kassel 2010, ISBN 978-3-7618-2043-8 , pp. 533 .
  • Maja Riepl-Schmidt : Emilie Zumsteeg. The "male" musician . In: Maja Riepl-Schmidt (Ed.): Against the overcooked and ironed-out life. Women's emancipation in Stuttgart since 1800 . Silberburg, Stuttgart 1990, ISBN 3-925344-64-0 , p. 70-79 .
  • Claudia Steinsberger: Emilie Zumsteeg. 19th century musician . In: Petra Wägenbaur (Ed.): Lauter Frauen. Detected in Baden-Württemberg. 47 portraits . Theiss, Stuttgart 1990, ISBN 3-8062-1525-1 , p. 188-190 .

Web links

Commons : Emilie Zumsteeg  - Collection of images, videos and audio files

Individual evidence

  1. ^ A b Waltraud Pfäfflin, Friedrich Pfäfflin: Emilie Zumsteeg . In: The graves of the poets in the Hoppenlau cemetery in Stuttgart . Edition Vincent Klink, Stuttgart 2015, p. 226-227 .
  2. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 118 .
  3. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 119-120 .
  4. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 120 .
  5. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 120-121 .
  6. ↑ a b Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 123-124 .
  7. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 130 .
  8. ↑ Michael Aschauer, Rainer Bayreuther: Emilie Zumsteeg (1796-1857) . In: Rainer Bayreuther, Nikolai Ott (Hrsg.): Choir composers in Württemberg . Helbling, Esslingen 2019, ISBN 978-3-86227-418-5 , pp. 114-119 , 116 .
  9. ↑ a b Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 124-125 .
  10. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , here pp. 131-132 .
  11. ^ A b Carola Lipp: Women and the public. Possibilities and limits of political participation in the Vormärz and in the revolution of 1848 . In: Carola Lipp (Ed.): Schimpfende women and patriotic virgins. Women in the Vormärz and in the Revolution of 1848/49 . 2nd Edition. Nomos, Baden-Baden 1998, ISBN 3-7890-5283-3 , p. 270-307 , 275-279 .
  12. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 126-129 .
  13. ↑ a b Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 130-131 .
  14. ↑ Kurt Haering: Emilie Zumsteeg . In: Hermann Haering, Otto Hohenstatt (ed.): Swabian life pictures . tape 2 . Kohlhammer, Stuttgart 1941, p. 536-544 , 541 .
  15. ↑ Anna Blos : Women in Swabia. Fifteen images of life . Silberburg, Stuttgart 1929, p. 135-148 , 142-145 ( wlb-stuttgart.de ).
  16. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 132 .
  17. ↑ Waltraud Pfäfflin, Friedrich Pfäfflin: The graves of the poets on the Stuttgart Hoppenlau cemetery . Edition Vincent Klink, Stuttgart 2015, p. 226-227 , 36-37 .
  18. ↑ a b c Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 121-122 .
  19. ↑ Martina Rebmann:  Zumsteeg, Emilie. In: MGG Online (subscription required).
  20. ^ Friedhelm Brusniak:  Hauff, Wilhelm. In: MGG Online (subscription required).
  21. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 141-142 .
  22. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 123, 130 .
  23. ↑ Anna Blos : Women in Swabia. Fifteen images of life . Silberburg, Stuttgart 1929, p. 135-148 ( wlb-stuttgart.de ).
  24. ↑ Kurt Haering: Emilie Zumsteeg . In: Hermann Haering, Otto Hohenstatt (ed.): Swabian life pictures . tape 2 . Kohlhammer, Stuttgart 1941, p. 536-544 .
  25. ↑ a b Martina Rebmann: Emilie Zumsteeg. In: MUGI. Music education and gender research: lexicon and multimedia presentations. November 9, 2018, accessed June 13, 2020 .
  26. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 117 .
  27. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 124 .
  28. ↑ Anna Blos : Women in Swabia. Fifteen images of life . Silberburg, Stuttgart 1929, p. 135-148 , 145-147 ( wlb-stuttgart.de ).
  29. ↑ Martina Rebmann: "The song you recently sung for me ...". Studies on the solo song in the first half of the 19th century in Württemberg. Sources - Function - Analysis (=  Europäische Hochschulschriften / XXXVI Musikwissenschaft . Volume 216 ). Lang, Frankfurt am Main 2002, ISBN 3-631-38132-8 , pp. 117-180 , 129 .
  30. ↑ Meeting point Rotebühlplatz - Emilie-Zumsteeg-Saal - City of Stuttgart. In: Stuttgart.de. Retrieved June 18, 2020 .
  31. ↑ öbi: In honor of the musician Emilie Zumsteeg . In: Stuttgarter Zeitung / Nord-Rundschau . July 6, 2018, p. II .
personal data
SURNAME Zumsteeg, Emilie
BRIEF DESCRIPTION German composer, music teacher, choir director, pianist and music writer
BIRTH DATE December 9, 1796
PLACE OF BIRTH Stuttgart
DATE OF DEATH August 1, 1857
PLACE OF DEATH Stuttgart