his father, and at an early age appeared in public as a pianist. He afterwards completed his studies at the Leipzig Conservatorium, and settled at Hamburg, where he published many works of some importance, mostly for his own instrument. His second orchestral symphony was given at the Gewandhaus at Leipzig with success. In that town he held for some time the position of Capellmeister at the Stadttheater, and subsequently held similar posts at Danzig and Magdeburg, where he now resides. His first opera, 'Manon,' was successfully produced at the last two places as well as at Hamburg. He has lately completed another opera, 'Der Pfeifer von Dusenbach.' He has also made 'simplified' arrangements of the pianoforte scores of Wagner's later works.
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KLEMM. Add that C. B. Klemm died Jan. 3, 1888, leaving the business to his two sons.
KLENGEL, A. A. Correct date of birth to Jan. 27, 1783.
KLINDWORTH. P. 64b, l. 3, add they were called the 'Musical Art-union.'
KLINGEMANN. Line 18 of article add for Mendelssohn's opera 'Die Hochzeit des Camacho'; also.
KNECHT, J. H. P. 66a, l. 2, for Dec. 11 read Dec. 1.KNELLER HALL. P. 66b, l. 22 from bottom, after Forces add H. Schallehn was resident musical director till April 1859. Colonel Whitmore was appointed Aug. 15, 1863. He was succeeded, May 1, 1880, by Colonel Robert T. Thompson, who still (Jan. 1, 1888) holds the post of Commandant; Charles Cousins (appointed Nov. 1, 1874) being musical director.
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KNIGHT, Rev. J. P. Add that his last composition was a setting of Byron's 'Jephthah's Daughter,' and that he died at Yarmouth June 1, 1887.KOCH, Heinrich Christoph, born at Rudolstadt Oct. 10, 1749, the son of a member of the ducal orchestra there. In 1768 he was admitted into the band as a violinist, having received instruction from Göpfert of Weimar, and in 1777 obtained the title of 'Kammermusiker.' He composed various pieces of small importance for the court, but his fame rests upon his contributions to musical literature. His 'Versuch einer Anleitung zur Composition' appeared in three parts between the years 1782 and 1793; and his 'Musikalisches Lexicon' in 1802. This was republished in a condensed form in 1807 and 1828, but its complete revision dates from 1865, and is the work of Arrey von Dommer. [See Dommer in Appendix, vol. iv. p. 617.] He wrote several other works of less importance on harmony and other subjects connected with the art, and died March 12, 1816.
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KÖHLER, Louis. See vol. ii. p. 733a, and add date of death, Feb. 16, 1886.
KOLLMANN, August Friedrich Karl. Line 9 of article, for about 1782 read April 9, 1784. Line 12, for Nov. 1824 read Easter Day, 1829.
KONTSKI, DE. Correct date of birth of Charles to 1815, and add date of death, Aug. 27, 1867. Correct date of birth of Apollinaire to 1826, and add date of death, June 29, 1879. (Partially corrected in late editions.)
KOZELUCH, Leopold. As to the date of death the authorities are at variance, the date 1814 being supported by Dlabacz and Wurzbach, as well as by the less trustworthy evidence of Fétis and Mendel. The testimony of the first is especially weighty, since his dictionary was begun in 1815, when the date of so important a musician's death must have been well known. Almost all the authorities give May 8 as the day: Dlabacz's May 3 is probably a misprint for 8. It should be added that he arranged some Scotch songs for Thomson of Edinburgh, in allusion to which, Beethoven, in a letter of Feb. 29, 1812 (Thayer, iii. 449), whether inspired with disgust at Kozeluch's underselling him, or with a genuine contempt for his music, says, 'Moi je m'estime encore une fois plus supérieur en ce genre que Monsieur Kozeluch (miserabilis).' He again calls him 'miserabilis' (Thayer, iii. 200).KRAUSS, Marie Gabrielle, born March 23, 1842, at Vienna, received instruction at the Conservatorium in pianoforte playing and harmony, and in singing from Mme. Marchesi. She made her début at the Opera there as Mathilde ('Tell'), July 20, 1860, and played immediately after, Anna ('Dame Blanche') and Valentine. She became a favourite, and remained there for some years, until about 1867. Her parts included both Donna Anna and Elvira, Fidelio, Euryanthe, Senta, Camille ('Zampa'), Amelia Ankarstroem ('Gustavus III.'), Lalla Rookh, and Maria (in Rubinstein's 'Kinder der Haide '), Feb. 23, 1861, and Hélène ('Häusliche Krieg'), Oct. 6, 1861. She made her début at the Italiens, Paris, as Leonora ('Trovatore'), April 6, 1867, and Lucrezia; became very successful, and was engaged there every season until the war of 1870. She gained great applause by her performance of Donna Anna, Fidelio, Norma, Lucia, Semiramide, Gilda, etc, and in a new opera of Mme. de Grandval's, 'Piccolino,' in Jan. 1869. She sang with great success at Naples in Petrella's 'Manfredo' (1871) and 'Bianca Orsini' (1874), also as Aïda; with less success at Milan as Elsa on the production there of 'Lohengrin' and in Gomes's 'Fosca,' Feb. 16, 1873. She returned to the Italiens for a short time in the autumn of 1873, accepted the offer of an engagement for the Académie, previous to which she played at St. Petersburg in 1874. She made her début at the Académie at the inauguration of the new house as Rachel in 'La Juive' (first two acts), Jan. 5, 1875, and in the same opera in its entirety Jan. 8. She has played there ever since until the present time, and has maintained her position as the principal dramatic soprano of that company. She has played the heroines of Meyerbeer, also Donna Anna and Agatha, and in operas produced there for the first time as the heroine (Mermet's 'Jeanne