Page:A Dictionary of Music and Musicians vol 2.djvu/71

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KINSKY.
59
KIRCHEN CANTATEN.

of the great nobles who at that date gave musical entertainments in their palaces with full orchestra, at which the greatest singers and instrumental performers, as well as rising composers, displayed their powers. Young Kinsky had therefore the best possible opportunity to cultivate his musical taste, and a few years later formed one in the circle of young nobles who admired and appreciated Beethoven's music. By the death of his father, August 11, 1798, he succeeded to the estates, and, June 8, 1801, married Caroline Maria, Baroness von Kerpen.

His claim to a place in this Dictionary is that he was the principal subscriber to Beethoven's annuity (see ante, p. 189b [App. p.690 "vol. i."]). This matter was hardly settled when he was called to his estates to prepare for the second invasion of Bonaparte. He raised a battalion of soldiers, officered it from his own officials and dependents, and led it—under the title of the 'Archduke Charles Legion'—in the battles of Ratisbon, Aspern, and Wagram. One of the first checks which Bonaparte ever received was at Aspern. Kinsky and his legion held a very critical position there, and, by their steadiness and disregard of danger, contributed materially to the success of the day. Archduke Charles happened to be witness of Kinsky's conduct on that occasion, and gave him on the battle-field the Maria Theresa Cross. In the spring of 1811 Kinsky accompanied the Emperor Francis to Dresden, on a visit to his daughter Marie Louise and her husband Napoleon. The Saxon General von Vieth related, that on the presentation of Francis's suite Napoleon stepped up to Kinsky, took hold of the cross on the breast of his coat, and asked insultingly: 'Est-ce au Prince Kinsky ça?' 'Non, Sire, c'est à la bataille d'Aspern,' was the reply. Napoleon moved on without a word. On November 2, 1812, Prince Ferdinand, while riding at Wetrus near Prague, by the bursting of his saddle girths was thrown to the ground, and died on the 3rd,[1] not having quite completed his 31st year.

The paragraph in p. 189a [App. p.690 "vol. i."] of this work, on the effect of the Austrian finance-patent of 1811 upon Beethoven's annuity, and his suit against the Kinsky estate, accords perfectly with all the authorities known at the time it was written. But these authorities, from Schindler down, are in error. It is true that from and after March 1811, the bank notes (Bancozettel) then in circulation were reduced in value to the rate of five for one in silver; and notes of redemption (Einlösungsscheine), equal to silver, were issued in their place at that rate; but the payment of contracts previously made, Beethoven's annuity included, was regulated by the depreciation at the date of the contract. The date of the document conferring the annuity is March 1, 1809, when the depreciation (decimally) was 2.48 for one, and it follows that his income under the finance patent was reduced—not to one fifth, or 800 florins, as Schindler and his copyists unanimously state, but to 1612.90 florins. That is to say

Kinsky, instead of 1800, paid 725.80 fl.
Rudolph,  " " 1500, " 604.84
Lobkowitz,  " " 700, " 282.26
1612.90

The subscribers however continued to pay the annuity in full, regardless of the patent, and Rudolph gave the necessary instruction to his agents in writing. Kinsky unfortunately neglected to do this, and thus, upon his untimely death, unwittingly deprived Beethoven of all legal claim to more than the above-named 725.80 florins; for the trustees of the estates had no power to add to that sum, being responsible to the Landrecht or high tribunal at Prague for their action. Beethoven, trusting to the equity of his claim, seems to have been so foolish as to instruct his advocate in Prague, Dr. Wolf, to enter a suit which could have had no favourable issue. It was fortunate for him that the legal agent of the Kinsky estates (Verlassenschaftscurator), Dr. Johann Kauka, was a musician of considerable attainments, a great admirer of his music and on intimate terms with him during his first years in Vienna. On a visit to the capital, Kauka discussed the matter with him; the suit was abandoned, and a compromise at last effected—confirmed by the Landrecht, January 18, 1815—by which 1200 florins a year were secured to him, and arrears to the amount of 2479 florins, paid in cash, on March 26th, to his representative, Baron Joseph von Pasqualati.

Beethoven's letters to Kauka (Life of Beethoven, iii. App. viii) and his dedication of op. 94, 'An die Hoffnung,' to the widowed Princess Kinsky, prove how well satisfied he was with the result.

[ A. W. T. ]

KIRBYE, George, was one of the ten composers who harmonised the tunes for ' The Whole Booke of Psalmes,' published by Thomas Este in 1592. In 1597 he put forth 'The First Set of Madrigals to 4, 5, and 6 Voyces,' dedicated to the two daughters of Sir Robert Jermin, Knt., whom the composer terms his 'very good maister,' and containing 24 madrigals. Several other madrigals by Kirbye are extant in a nearly contemporary MS. collection, formed by a William Firmage, and now in the library of the Sacred Harmonic Society, but unfortunately wanting the quintus and sextus parts. He contributed to 'The Triumphes of Oriana,' 1601, the six -part madrigal 'Bright Phœbus greetes most cleerely.'

[ W. H. H. ]

KIRCHEN CANTATEN. The Kirchen Cantaten of the German Lutheran Church corresponded to a great extent with the Anglican anthems, but they were for the most part on a larger scale and had a band accompaniment as well as the organ, which is rarely the case with anthems. They were used on the great festivals of the Church and on festal occasions, such as weddings of great people. They flourished especially in the time immediately before and with Sebastian Bach, and it is with his name that they are chiefly associated, both for the prodigious number and

  1. Not the 13th, as given in vol. i, p. 189b.