INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L. Taylor, B. M., M. A. ***** The Ohio State University 1995 Dissertation Committee: Approved by Dr. Keith Mixter Dr. Martha Maas Adviser Dr. Burdette Green School of Music UMI Number: 9544700 Copyright 1995 by Taylor, Robert Lee All rights reserved. UMI Microform 9544700 Copyright 1995, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright ©by Robert L. Taylor 1995 To my'Wife ii ACKNOWLEDGMENTS I would like to express my sincere gratitude and appreciation to a substantial number of individuals who assisted me during the preparation of this document. As there are a large number of people to thank, the author expresses his sincere apologies, in advance, should he leave someone out. First of all, I would like to thank my adviser, Dr. Keith Mixter, for his constant encouragement, guidance and understanding throughout the preparation of this dissertation. I am particularly grateful for the fact that, even though Dr. Mixter has retired from this University, he willingly and graciously remained as my adviser, this further demonstrated that I had made a wise decision when I asked him to guide me through this project in the first place. The author feels deeply honored that he is Dr. Mixter's last dissertation advisee, and is grateful to have had the opportunity to study and work with such an eminent scholar. I would also like to thank the other committee members, Dr. Burdette Green, who initiated my contact with The Ohio State University School of Music back in 1986, and Dr. Martha Maas, who greatly encouraged me during moments of personal frustration that I encountered early on in my graduate iii school experience. Their experience, expertise, suggestions and assistance greatly enhanced the quality and the enjoyment of this endeavor. I would also like to acknowledge the late Ms. Judit Ebner, of The Ohio State University Music Library, who helped me early on in this project by assembling a list of published editions of Zemlinsky's music which our Music Library promptly acquired. I would also like to acknowledge my predecessor at work, Mr. Alton Franz, who did likewise for the recordings of Zemlinsky's music. In addition, I would like to thank Dr. Thomas Heck, Head of the Music Library, who assisted me with the acquisitions of rental scores from European American Music Distributors in Valley Forge, Pennsylvania. I extend my thanks to all of The Ohio State University Music Library staff, students and patrons who, at one time or another, assisted me during the preparation of this study whether they realized it or not! Many people were generous with their time and energy as it pertained to the acquisitions of scores, recordings, letters and other information that were often very difficult to obtain. These include Carol Metzker, of European American Music Distributors, who provided much needed information pertaining to the rentals of the scores of Zemlinsky's Symphonic in B-Dur and Die Seejungfrati; Gail Freunsch, Music Specialist at The Library of Congress, who provided me with information on the present siatus of the Zemlinsky manuscript collection, as well as other important information; iv Mrs. Louise Zemlinsky, the composer's widow, who resides in New York City, who expressed her gratitude toward my efforts, and recommended persons I should contact for additional assistance; Dr. Leonard Stein, Director, and Mr. R. Wayne Shoaf, Archivist, of the Arnold Schoenberg Institute, in Los Angeles, California, who provided me with a substantial packet of information about Zemlinsky that is archived at the Institute; Professor Donald Harris, Dean of the College of the Arts at The Ohio State University, who provided a letter of reference, on my behalf, to Dr. Stein; Prof. Dr. Ludovit Rajter, conductor of the Czechoslovak Radio Symphony Orchestra, in Bratislava, Slovakia, who provided much needed information on Zemlinsky's Symphonie D moll fur grosses Orchester; Ms. Friederike Zeitlhofer [on behalf of Ms. Louise Zemlinsky], of the Austrian Cultural Institute, in New York City, who made me aware of the recently established Alexander-Zemlinsky Fonds, in Vienna, Austria; Antony Beaumont, musicological adviser for the Alexander-Zemlinsky Fonds, in Vienna, Austria, who willingly shared his latest information and knowledge on the manuscript of Zemlinsky's Symphonie D moll fiir grosses Orchester, and Alessandra Seledec, secretary to the chairman of the Alexander-Zemlinsky Fonds, who promptly and courteously answered some of my questions about Zemlinsky. I would also like to thank Stefan Harpner, Birgit Gotzes and Barbara Starek, of Ricordi, in Munich, Germany for their kind and able v assistance. I especially acknowledge and thank Mr. Harpner, of Ricordi Munich, for granting me permission to acquire a photocopy of the manuscript of Zemlinsky's Symphonie D moll fiir grosses Orchester, and I thank Ms. Starek for sending me the letter which granted me permission to include the necessary musical examples in my dissertation. I also wish to thank Carol Kane, of the copyright division of European American Music Distributor, for granting me the necessary permission for the inclusion of the other musical examples from works by Zemlinsky which are published by Universal Edition, in Vienna, Austria. The author would like to extend an additional debt of gratitude to all of the publishers (both the European publishers, and their agents in the United States) who, in so many ways, provided me with assistance which vastly enhanced the quality of this project. The author's interaction with the publishers of Zemlinsky's music was truly one of the greatest pleasures that he encountered over the course of this endeavor. I would also like to thank Oliver Neighbour for providing me with some important information regarding Zemlinsky's letters. I would also like to extend my thanks to Prof. Dr. Dr. Helmut Heintel, in Stuttgart, Germany for sending me a copy of the Deutsche Grammophon compact disc of Zemlinsky's Lyrische Symphonie, which is out of print in the United States. I would like to extend my most sincere appreciation and gratitude to Prof. Dr. vi Horst Weber, of Essen, Germany for sending me excerpts from his forthcoming publication of Zemlinsky's letters. The author would especially like to thank Ms. Elaine Carroll, of Boosey and Hawkes, Inc., in New York City who put forth tremendous efforts, on my behalf, by helping me acquire the legal permission that I needed in order to obtain a photocopy of Zemlinsky's Symphonie D moll fur grosses Orchester. Elaine's efforts went well above and beyond the call of duty, and the author will never forget the perserverence and the dedication that she demonstrated time and again. I am very grateful. The author would like to thank Eric Peters, manager, and the staff at Streetside Records, in Columbus, Ohio, for their assistance in locating several compact discs that were important to this research. I would also like to extend my thanks to Mark Issel, of Camelot Records, in the Dublin-Sawmill Center, Columbus, Ohio for similar kinds of help. I would also like to thank Mr. Mark Welch, of X Consortiom in Cambridge, Massachusetts who helped me with the computer formatting and trouble shooting. His vast knowledge of Macintosh computers, and his willingness to help, made the project go smoothly as it pertained to any of the computer difficulties and problems that I encountered along the way. I would like to express my love and gratitude to my wife, Dr. Sheung- Ping Lai, who not only created the orchestral reductions, but handcopied all of vii the musical examples which appear in this dissertation, as well. Her knowledge of the fields of musical composition and music theory was an invaluable asset to this dissertation. She also contributed greatly to the author's well being and mental state of mind during the stresses and strains that can accompany a project like this by providing great emotional stability and a comfortable work environment at home. Last, but certainly not least, I must thank my parents, Carlos and Marilyn Taylor, who have always supported all of my efforts in the field of music, through thin and thin: Illegitimi non carborundum! viii VITA April 1,1953 Born - Portsmouth, Ohio 1971-1974 Attended Morehead State University 1974-1985 Performed and taught music professionally 1986 B.