week from Buttelstädt to Weimar, in order to take lessons from Walther, author of the Lexicon, who was organist there, and from Sebastian Bach, at that time concertmeister at Weimar. He was afterwards appointed organist at Buttelstädt, where he died. He so thoroughly grounded his son in music, that when in 1726 he went to the Thomas-Schule in Leipzig, he was already sufficiently advanced to be at once admitted by Bach into the number of his special pupils. He enjoyed Bach's instruction for nine years (to 1735), and rose to so high a place in his esteem, that he was appointed to play the clavier at the weekly practices to which Bach gave the name of 'collegium musicum.' Punning upon his pupil's name and his own, the old Cantor was accustomed to say that 'he was the best crab (Krebs) in all the brook (Bach).' At the close of his philosophical studies at Leipzig he was appointed organist successively at Zwickau, Zeitz, and Altenburg, where he remained from 1756 till his death in 1780. He was equally esteemed on the clavier and the organ, and in the latter capacity especially deserves to be considered one of Bach's best pupils. His published compositions include 'Klavier-Uebungen' (4 parts), containing chorales with variations, fugues, and suites; sonatas for clavier, and for flute and clavier; and trios for flute. Several of these have been reprinted in the collections of Korner and others. Among his unpublished works a Magnificat and 2 Sanctuses with orchestral accompaniments are highly spoken of. He left two sons, both sound musicians and composers, though not of the eminence of their father. The eldest, Ehrenfried Christian Traugott, succeeded his father as Court-organist and Musik-director at Altenburg, and on his death was succeeded by his younger brother, Johann Gottfried.
KREISLERIANA, a set of 8 pieces for piano solo, dedicated to Chopin and forming op. 16 of Schumann's works. Kreisler was the Kapellmeister in Hoffmann's musical papers [App. p.693 "for musical papers read 'Fantasiestücke in Callots Manier'"] so much admired by Schumann. The pieces were written in 1838, after the Phantasiestücke (op. 12) and Novelletten (op. 21), and before the Arasbeske (op. 18).[1] They are full of energy, variety and character, and like the Novelletten are cast in the so-called Lied and Rondo forms. Schumann has added to the title 'Phantasien für das P.F.' The Kreisleriana were published by Haslinger of Vienna shortly after Schumann's visit (1838–9).
KREISSLE VON HELLBORN, Heinrich, Dr. juris, Imperial-finance-Secretary at Vienna, and Member of the Direction of the Gesellschaft der Musikfreunde, finds a place here for his Lives of Schubert, viz. 'F. Schubert, eine biografische Skizze, von Heinrich von Kreissle' (small 8vo. Vienna, 1861), a preliminary sketch; and 'Franz Schubert' (8vo. Vienna, Gerold, 1865), a complete and exhaustive biography, with a portrait. The latter has been translated in full by Mr. Arthur Duke Coleridge, 'The Life of Franz Schubert … with an Appendix by George Grove' (giving a thematic catalogue of the nine symphonies, and mentioning other works still in MS.), 2 vols., 8vo., London, Longmans, 1869. It has also been condensed by Mr. E. Wilberforce, 8vo., London, Allen, 1866.
Kreissle died April 6, 1869, aged 66, much beloved for his amiability and modesty, and for his devotion to the subject of his biography.
KRENN, Michael. Beethoven's body-servant while he lived at his brother Johann's at Gneixendorf in the autumn of 1826. Krenn was one of the three sons of the vine-dresser on the farm. The old man died in 1861, but the son survived him, and his story—to all appearance a natural and credible account—was drawn from him by Dr. Lorenz, who communicated it to the 'Deutsche Musik-Zeitung' of Vienna for March 8, 1862. It is a very curious and interesting account of the great master's habits and disposition a few months before his death (see vol. i. p. 198b of this Dictionary). It has been made the subject of a lecture to the Schillerverein at Trieste by Mr. Thayer, 'Ein kritischer Beitrag,' etc. (Berlin, W. Weber, 1877)
KRETSCHMER, Edmund, organist and dramatic composer, born Aug. 31, 1830, at Ostritz in Saxony, where his father the Rector of the school, gave him his early musical education; studied composition under Julius Otto, and the organ under Johann Schneider at Dresden, where he became organist of the Catholic church in 1854 and to the court in 63. He founded several 'Gesangvereine,' and in 65 his composition, 'Die Geisterschlacht,' gained the prize at the first German 'Sängerfest' in Dresden. Three years later he took another prize in Brussels for a mass. His opera 'Die Folkunger,' in 5 acts, libretto by Mosenthal, was produced at Dresden June 1875. It was well received and had a considerable run, but has since disappeared; nor does 'Heinrich der Loewe,' to his own libretto, appear likely to meet with more permanent success. The music is correct and shows both taste and talent, but no invention or dramatic power. His vocal part-writing has little life; and his duets, terzets, finales, etc., are too much like part-songs. [App. p693 "'Heinrich der Löwe' was produced at Leipzig in 1877, and another opera, 'Der Flüchtling' at Ulm in 1881. His most recent production is 'Schön Rohtraut,' an opera in 4 acts, produced at Dresden Nov. 5, 1887. 'Sieg im Gesang,' a cantata, was lately performed at Dresden."]
KREUTZER, Conradin, German composer, son of a miller, born Nov. 22, 1782 [App. p.693 "1780"], at Mosskirch in Baden; chorister first in his native town, then at the Abbey of Zwiefalten, and afterwards at Scheussenried. In 1799 he went to Freiburg in Breisgau to study medicine, which he soon abandoned for music. The next 5 years he passed chiefly in Switzerland, as pianist, singer, and composer; and in 1804 arrived in Vienna. And there he took lessons from Albrechtsberger, and worked hard at composition, especially operas. His first opera was 'Conradin von Schwaben' (Stuttgart 1812), and its success gained him the post of Capellmeister to the King of Würtemburg; thence he went to Prince von Fürstenberg at Donaueschingen; but in 1822 returned to Vienna and produced 'Libussa.' At the Kärthnerthor theatre he was Capellmeister in 1825, 1829–32, and 1837–40. From 1833 to 40 he was conductor
- ↑ Waislelewsky, 181.
