d'Arc'), April 5, 1876; Pauline (Gounod's 'Polyeucte'), Oct. 7, 1878; Aïda, March 22, 1880; Hermosa (Gounod's 'Tribut de Zamora'), April 1, 1881; Katharine of Arragon (Saint-Saëns's 'Henry VIII.'), March 5, 1883; the heroine on revival of Gounod's 'Sappho,' April 2, 1884; Gilda ('Rigoletto'), March 2, 1885, and Dolores (Paladilhe's 'Patrie'), Dec. 20, 1886. 'The talent of Mlle. Krauss is the more remarkable, because the instrument at her disposal is far from being perfect, and always in response to her efforts. The voice, … although not wanting in brilliancy and power, is sometimes wanting in tone and character; in certain parts of the scale its resonance is dull, and it is only in the high part that it acquires its best qualities. The style is pure to perfection, her phrasing is masterly, and her musical delivery, in recitative especially, attains in the highest degree to grandeur and beauty. If one adds to these purely musical qualities the wonderful fire, … the pathetic feeling, the passionate expression, her great intelligence, and the incontestable power of her dramatic accent, one can understand the sway such an artist exercises over the public, and one can guess the secret of the success which has made her career remarkable. Mlle. Krauss is certainly one of the greatest singers that contemporary art can boast of.' (Pougin.)
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KREBS. Add date of death of Karl August, May 16, 1880. Line 23 of article, for Michaelsi read Michalesi.
KREISLERIANA. Line 4 of article, for musical papers read 'Fantasiestücke in Callots Manier.'
KRETSCHMER, Edmund. Add that '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. Line 2 of article, for 1782 read 1780. P. 72a, l. 6, for in 1843 conducted the 43rd festival, read in 1841 conducted the 23rd festival.
KREUTZER, Rodolphe. P. 72a, note, add We need not complain of this, for in the advertisements of Ernst's concert in the London papers of 1884 it is given as 'Greitzer'! See 'Mus. World,' June 20, 1844, p. 209c.
KROLL, Franz. Line 9 of article, for Variations read various readings. Line 12, add reference to English edition of Spitta's Bach, ii. 166.
KROMMER, Franz. Add day of birth, Dec. 5.
KRUMPHOLZ, Wenzel. Line 12 from end of article, for seems to have intended writing a sonata, read wrote a sonata in one movement, given under Mandoline, vol. ii. p. 205.
KÜCKEN, F. W. Add date of death, April 3, 1882.
KUFFERATH, H. F. Add date of death, March 2, 1882.
KUHE, Wilhelm, born Dec. 10, 1823, at Prague, was taught music by Tomaschek, with Schulhoff as a fellow student. He made a concert tour with great success in 1844–45 at Linz, Salzburg, Innsbruck, Augsburg, Munich, and Stuttgart. He visited London with Pischek in 1845, and played with success at the Musical Union in Mayseder's trio, op. 52, May 13. He has lived in England ever since, dividing his time between London and Brighton since 1847, at which last place he has attained popularity as a teacher and performer, and as a promoter of concerts. In the last capacity Mr. Kuhe showed great enterprise by the annual festival held by him from 1870 to 1882, wherein he encouraged native talent by the new works composed at his instance and produced by him, viz. Virginia Gabriel's 'Evangeline' in 1873; Barnett's cantata, 'The Good Shepherd,' in 1876; Clay's 'Lalla Rookh' in 1877 and 1878; Cowen's 'Deluge,' and Cellier's 'Suite Symphonique' in 1878; Walter Macfarren's overture, 'Hero and Leander,' Gadsby's 'Lord of the Isles,' Wingham's Concert Overture in A, and Sloper's suite in 1879; Leslie's cantata, 'First Christmas Morn,' A. H. Jackson's 'Ballet Suite' and W. Macfarren's Symphony in B♭ in 1880: W. Macfarren's Concertstück in B♭, played by Miss Kuhe, in 1881; Corder's orchestral Nocturne in 1882, etc., in addition to 'The Woman of Samaria,' 'The Martyr of Antioch,' etc., under the respective direction of their composers. He has occasionally appeared in London, where he has given an annual concert since 1846. He was appointed a Professor of the Royal Academy of Music in 1886. His numerous compositions include many drawing-room pieces, fantasias, and studies, viz. 'Lieder ohne Worte,' op. 12; 'Le Carillon,' op. 13; 'Chanson d'Amour'; 'Romance sans Paroles,' op. 17; 'Le Feu Follet,' op. 38; 'Victoria Fantasia on National Anthem'; 'Fantasia on Austrian Anthem'; operatic fantasias, etc.
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KUHLAU, Friedrich. For day of birth read Sept. 11, and for the place and day of death read Copenhagen, March 12. It is curious that the canon by Beethoven is on the name 'Bach,' whether by accident or design cannot of course be asserted. The last two lines of the article should run—Compositions, of which a few for flute and a few for piano, are still much esteemed. (Corrected in late editions.) Under Flute, vol. i. p. 538, a list of his most prominent compositions is given, to which may be added an excellent trio for two flutes and piano, op. 119, seven sonatas for flute and piano, and four sonatas for violin and piano.
KUHNAU, Johann. Line 10 from bottom of page, for then read in 1701. Line 8 from bottom, the date of death should probably be June 25, as given by Riemann and Paloschi.
KULLAK, Theodor. Line 12 of article, for 1851 read 1850, and add date of death, March 1, 1882.