Hardenack Otto Conrad Zinck (1746-1832) - Sonate i C-dur (1783)
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Composer: Hardenack Otto Conrad Zinck (1746-1832)
Work: Sonate i C-dur (1783)
Performers: Thοmas Trοndhjеm (piano)
Painting: Jens Juel (1745-1802) - View of the Little Belt from a hill near Middelfart, Funen (c.1800)
Image in high resolution: https://flic.kr/p/2m8qfbL
Painting: Jens Juel (1745-1802) - Landskab ved Øresund (1800)
Image in high resolution: https://flic.kr/p/2m8qfcC
Painting: Christoffer Wilhelm Eckersberg (1783-1853) - View North of Kronborg Castle (c.1810)
Image in high resolution: https://flic.kr/p/2m8mwUR
Further info: https://plade-klassikeren.dk/en/z/906832-hoc-zinck-piano-works-vol-1-thomas-trondhjem-1-cd-cdk-1012.html
Listen free: https://open.spotify.com/album/5uHt6YWTr03qsZfZplL7Zu
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Hardenack (Hartnack, Harnack) Otto Conrad Zinck [Zink]
(Husum, 2 July 1746 - Copenhagen, 15 February 1832)
German composer and instrumentalist, brother of Bendix Friedrich Zinck. Like his brother, he was taught several musical instruments and harmony by his father. He continued his studies in Hamburg for ten years and performed in both amateur and public concerts there; he also had the special esteem of his teacher, C.P.E. Bach, under whose direction he performed as a singer in 1768. In 1777 he was recruited as first flautist and chamber musician in the Ludwigslust Hofkapelle of the Duke of Schwerin, where he dedicated himself increasingly to composition, learning from imitation of Classical models and from C.P.E. Bach’s Versuch, Kirnberger’s Kunst des reinen Satzes and Marpurg’s theoretical writings (preface to his Sechs Clavier-Sonaten, 1783). In August 1786 he visited Copenhagen, where he gave a highly successful concert, appearing as a flautist, keyboard player and composer. A year later he was offered the post of Singmeister (first accompanist) in the Copenhagen Kongelige Kapel through the Hofkapellmeister J.A.P. Schulz. He accepted it, and his wife, Elisabeth Pontet Zinck, an outstanding singer at the Schwerin and Ludwigslust courts since 1779, soon took a similar post at the Danish court in Copenhagen. Zinck was also organist at the Vor Frelsers Kirke (1789-1801), a teacher at Blaagaards Seminary (1791-1811) and editor of the authorized hymnbook (Choral-Melodier, 1801). Following the example of C.F.C. Fasch in Berlin, he founded a Singakademie in 1800.
As a flute and keyboard virtuoso, and particularly as a composer, Zinck was rightly considered one of the most gifted members of the Ludwigslust Hofkapelle. Unlike his brother, he was less interested in symphonies than in lieder and lyrical keyboard pieces. His six keyboard sonatas, which C.F. Cramer praised highly, are admirably suited to the keyboard and rich in invention, and link the keyboard sonatas of C.P.E. Bach with those of the turn of the century. In the preface to this collection Zinck advocated ‘characteristic instrumental pieces with new and eloquent expression’; he also explained in detail the programmatic ideas of the sixth sonata, whose finale leads directly to a ballad-like choral setting of 12 verses by Count F.L. Stolberg. Following C.P.E. Bach’s example, Zinck took part in the newly evolving relationship between vocal and instrumental music by using instrumental sound, rather than text, as a starting-point. The four volumes of Compositionen für den Gesang und das Clavier (1791-93) contain lieder with German and Danish texts, pieces from the Singspiel Selim og Mirza and sonatas and variations for keyboard instruments. Apart from C.P.E. Bach and J.A.P. Schulz, Zinck was also influenced by J.H. Rolle, as shown, for example, by the folklike melodies of his oratorio Das Weltgericht. Zinck’s cantatas, like similar compositions of his Schwerin contemporaries, were meant for the concerts spirituels in popular character introduced there by Duke Friedrich of Mecklenburg.