A Dictionary of Music and Musicians/Zopff, Hermann
ZOPFF, Hermann, born June 1, 1826, at Glogau, in Silesia. Though he had received a complete university education, his father wished him to be a farmer; but his own predilections constantly inclined him to music. At length the successful performance of an overture composed by him removed his father's opposition, and from the age of twenty-four he devoted himself exclusively to music. He placed himself under the tuition of A. B. Marx and Kullak, and was soon engaged to fill an important post on the teaching staff of their new Conservatorium at Berlin. He had also other appointments in the musical circles of that city; but his ambition drew him towards Leipzig, and he gladly accepted an offer from Brendel to edit the 'Neue Zeitschrift für Musik,' which necessitated his removal thither. There he toiled until within a short time of his death, as editor, critic, conductor, composer, and professor of singing and composition. The character and tone which had been imparted to the 'Neue Zeitschrift' by Brendel were continued by Zopff, for both editors were strenuous advocates of the New German School. But Zopff was no narrow partisan; he was ready to do full justice not only to Schumann and Wagner and their followers, but to every musician of high aims.
Zopff's compositions cover a wide range of form, from the simplest PF. pieces or songs, to the largest polyphonic or dramatic works, and all bear the mark of a thorough, scientific musician. But for a certain want of spontaneity and grace, they would probably have been much better known and oftener performed. Among his numerous choral works with orchestral or PF. accompaniment, we may mention his 'Brauthymne,' 'Frühlingshymne,' and 'Triumph der Liebe.' Of his larger works, approaching the oratorio-form, we may cite 'Anbetung Gottes,' 'Evangelium der That,' and 'Alexandera.' It is clear from his operas, 'Carloman,' 'Muhammed,' 'Judas Makkabeus,' and 'Constantin,' that his strength was especially concentrated on dramatic forms; but as regards popularity his symphonic poem 'Tell,' the 'Idyllen für kleines Orchester,' and the 'Traum am Rhein' have been most fortunate. Zopff was a careful and prolific writer of critical, theoretical and didactic essays; his 'Theorie der Oper' is a good illustration of the industry with Which he collected and utilised valuable information. He wrote several treatises on the cultivation of the voice, and paid special attention to the cure of defects caused by faulty training. He united lucidity, accuracy, and conscientiousness in his work, with kindness, generosity and hospitality in his social life. For foreigners and strangers he had always a friendly welcome; and the weekly musical parties at his house afforded constant opportunities for the introduction of new artists and new compositions, while a special corner of the 'Neue Zeitschrift für Musik ' was always reserved for notices of rising talent.
Zopff died of heart-disease at Leipzig, July 2, 1883.