Scan 84
A dictionary of music and musicians (A.D. 1450-1880), 1879
26 lines. Read by computer on 8 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1KREUTZER.
3died at Vichy Oct. 6, 1868, was musical critic to 'La Quotidienne,' feuilletoniste to the 'Union,' and contributed a number of interesting articles to the 'Revue contemporaine,' the 'Revue et Gazette musicale,' and other periodicals. [G.C.]
5Rodolphe Kreutzer is the third, in order of development, of the four great representative masters of the classical Violin-School of Paris; the other three being VIOTTI, RODE, and BAILLOT. His style, such as we know it from his concertos, is on the whole more brilliant than Rode's, but less modern than Baillot's. Kreutzer did not require Beethoven's dedication to make his name immortal. His fame will always rest on his unsurpassed work of studies—'40 Etudes ou Caprices pour le Violon'; a work which has an almost unique position in the literature of violin-studies. It has been recognised and adopted as the basis of all solid execution on the violin by the masters of all schools—French, German, or any other nationality—and has been published in numberless editions. In point of difficulty it ranks just below Rode's 24 Caprices, and is generally considered as leading up to this second standard work of studies. Kreutzer's concertos afford excellent material for the student, but are less interesting than those of Viotti and Rode, and, with the exception of the 19th, in D minor, are now hardly ever played in public. [P.D.]
7KREUTZER SONATA. The popular title in England of Beethoven's Sonata for piano and violin in A, op. 47, dedicated to 'his friend R. Kreutzer.' The work was first played by Beethoven and Bridgetower at the Augarten at 8 a.m. May 17 or 24, 1803. The finale had originally belonged to op. 30, no. 1, but the first movement and the variations were only finished just in time, and the latter had to be played from the autograph without rehearsal. In the opening Presto, at the pause in the 9th bar, Bridgetower introduced a Cadenza in imitation of that for the Piano in the 18th bar, fortunately to Beethoven's satisfaction (see Thayer, ii. 230). He gives it as follows:—
91ma volta. (9)
112da volta. (18)
138va…
15The sonata was published in 1805, by Simrock and Traeg, before May 18. Bridgetower averred (Thayer, ii. 231) that it was originally dedicated to him, and that the change was the result of a quarrel. Why Kreutzer was chosen is as yet a mystery. He was in Vienna with Bernadotte in 1798, but no trace of his relations with Beethoven remains, though we may assume them to have been good, for Beethoven to designate him as his 'friend.' It has been alleged as a reason that the second theme of the Presto is a phrase of Kreutzer's; but this has not been substantiated. Certainly no such passage appears in Kreutzer's violin works. The dedication on the 1st ed. stands 'Sonata per il Pianoforte ed un Violino obligato, scritta in uno stilo molto concertante, quasi come d'un Concerto. Composta e dedicata al suo amico, R. Kreutzer, Membro del Conservatorio di Musica in Parigi, Primo Violino dell' Academia delle Arti, e della Camera Imperiale, per L. van Beethoven. Opera 47. A Bonn chez K. Simrock. 422.' In a notebook of Beethoven's in the Imperial Library at Berlin, the second sentence appears 'in uno stilo molto brillante.'
17Some idea of its popularity in England may be formed from the fact that it was played 44 times at the Monday Popular Concerts between 1854 and 1878, the next place being held by the Septet (33 times) and the Bb Trio (24 times). [G.]
19KROLL, FRANZ, born in 1820 at Bromberg; began with medicine, but finally devoted himself to music under the guidance of Liszt, whom he accompanied on some of his tours. He settled in Berlin, and was for some years a successful teacher. He edited the 'Wohltemperirte Clavier' for the Bachgesellschaft (14th year, 1864)—with a Preface containing a list of MSS. and Editions, and an Appendix of Variations, a highly creditable work as regards care and accuracy in collation, which Spitta has selected for honourable mention (J. S. Bach, i. 773, note). He has also published editions of Bach's chromatic fantasia, Mozart's pianoforte fantasias, and other important compositions. He was a thorough musician, and his style as a pianist was clear and eminently suggestive. He was a great sufferer for some years before his death, which took place May 28, 1877. [F.G.]
21KROMMER, FRANZ, violinist and composer, born 1759 at Kamenitz in Moravia; learned music from an uncle, then Choirmaster at Turas. From 17 to 25 he acted as organist, and composed much church music, still unpublished. He next entered the band of Count Styrum² at Simonthurn in Hungary as violinist, and in two years was promoted to the Capellmeistership. Here he became acquainted with the works of Haydn and Mozart; and composed his pieces for wind-instruments, which are of lasting importance, and perceptibly influenced modern military music. After one or two more changes he at length became Capellmeister to Prince Grassalkowitz, after whose death he lived comfortably in one of two readings
22KROMMER, FRANZ, violinist and composer, born 1759 at Kamenitz in Moravia; learned music from an uncle, then Choirmaster at Turas. From 17 to 25 he acted as organist, and composed much church music, still unpublished. He next entered the band of Count Styrum1 at Simonthurn in Hungary as violinist, and in two years was promoted to the Capellmeistership. Here he became acquainted with the works of Haydn and Mozart; and composed his pieces for wind-instruments, which are of lasting importance, and perceptibly influenced modern military music. After one or two more changes he at length became Capellmeister to Prince Grassalkowitz, after whose death he lived comfortably in one of two readings
241 The fact of Kreutzer holding these two posts in Vienna seems to imply that he remained there some time.
252 Fétis and Mendel call him Ayrum by mistake.
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