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Scan 588
Grove's dictionary of music and musicians;, 1904
14 lines. Read by computer on 10 September 2026. Printed page 575. See the scan on archive.org.
1appendix Gallerie der alten Contrapuntisten, a selection from their works, chronologically arranged. Also about fifty scattered articles in different periodicals, reviews, etc. [A letter from him to R. L. de Pensall, dated 1838, and expressed in very queer English, is printed in the Musical Times, 1902, p. 93, from the original in the possession of Mr. W. B. Squire.]
3C. F. P.
5KIND, JOHANN FRIEDRICH, author of the words of 'Der Freischütz'; born at Leipzig, March 4, 1768; brought up to the law, but frequented the Thomasschule of his own accord. He began to practise literature as early as 1800, and after much success with novels and tales, settled in 1814 at Dresden, became a Hofrat, and definitely renounced the law for a literary life. Here Weber met him, at the house of von Nordstern. About Feb. 15, 1817, Kind read to him his Vandyck's Landleben, which so pleased the composer that he at once consulted him as to an opera-book. The choice of a source fell on Apel's Gespensterbuch (Ghost Stories). Weber had, several years before, been attached to the story of the Freischütz, and so entirely did his enthusiasm communicate itself to Kind, that by the evening of Feb. 23, he had completed the first act of the opera. This was the only important joint composition of the two, but Jähns's Catalogue contains eleven other pieces, the words of which were supplied by Kind. The chief of these is the 'Jubel Cantata,' another cantata called 'Natur und Liebe,' five songs, two part-songs, and a chorus. Some of these were taken from operas of Kind's—'Der Weinberg an der Elbe,' 'Der Abend am Waldbrunnen,' and 'Das Nachtlagel in Granada.' The last of these was set to music by Conradin Kreutzer. Kind seems to have supplied Spanish materials for 'Preciosa,' and Weber had two librettos by him—'Alcindor,' 1819, and 'Der Cid,' 1821—under consideration, but 'Der Freischütz' is the one which Weber adopted in full. Kind's 'Holzdieb' (Wood-thief) was composed by Marschner in 1824. He died at Dresden, June 25, 1843, having for many years quite forsaken literature. He is described by Weber's son as a small person, with a great opinion of himself and a harsh voice. Two volumes of his works were published, Leipzig, 1821.
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9KINDERMANN, AUGUST, born Feb. 6, 1817, at Berlin, began his career at the opera as a chorus-singer, received instruction from Meyer, and played both bass and baritone parts at Leipzig in 1839-1846, after which he was engaged at Munich, where he obtained a life engagement, and was always a great favourite, being a very versatile artist. He celebrated his twenty-fifth anniversary of his engagement there on June 15, 1871, as Figaro in 'Nozze,' the Cherubino being his elder daughter Marie, then engaged at Cassel. He sang Titurel at Bayreuth in 1882; and on Sept. 9, 1886, he celebrated the jubilee of his career, and the fortieth year of his engagement at Munich, playing the part of Stadinger in Lortzing's 'Waffenschmied.' He died at Munich, March 6, 1891. For his daughter Hedwig, see REICHER-KINDERMANN.
11KINDERMANN, JOHANN ERASMUS, Nuremberg organist, is said to have been born at Nuremberg in 1616, but some doubt is cast upon the accuracy of this date, since already in 1630 he held the important post of organist at the St. Aegidien Kirche at Nuremberg. He died April 14, 1655. His chief work is entitled Harmonia Organica in tabulaturam Germanicam composita, etc., first published in 1645, and republished in 1665. It is remarkable, as being one of the earliest specimens of German copper-plate engraving, and is also of importance in the history of organ-playing and organ composition. As the title indicates, the music is given in the old German tablature notation. A detailed description of the contents is given in Ritter's Geschichte des Orgelspiels, pp. 146-47. The work opens with fourteen preludes mainly in the church tones, followed by fugal fantasias on chorale-tunes, and concludes with some Magnificat intonations and verses. The Pedal is treated obbligato throughout. Ritter gives three examples from the work in modern notation. Kindermann's other works are partly sacred, partly secular compositions for voices with Basso continuo and occasional viol and violin accompaniment. He also composed a large number of chorale-tunes, harmonised for three voices, to the Nuremberg preacher Dilherr's Evangelische Schlussreimen and Göttliche Liebesflamme, 1649-52. Some works for instruments only, partly viols, partly wind instruments, are also mentioned, but do not seem to exist complete. (See Eitner, Quellen-Lexikon.) J. R. M.
13KING, CHARLES, Mus.B., born at Bury St. Edmunds in 1687, became a chorister of St. Paul's under Dr. Blow and Jeremiah Clarke. He was next a supernumerary singer in the choir at the small annual stipend of £14. On July 12, 1707, he graduated as Mus.Bac. at Oxford. On the death of Clarke, whose sister he had married, he was appointed almoner and master of the choristers of St. Paul's. In 1708 he became also organist of St. Benet Fink, Royal Exchange. On Oct. 31, 1730, he was admitted a vicar choral of St. Paul's. King composed several services and anthems, some of which are printed in Arnold's Cathedral Music, and others in Page's Harmonia Sacra; and there are some in the Tudway Collection (Harl. MSS. 7341 and 7342). Although his compositions evince no originality they are vocal and not without spirit, they long continued in frequent use in choirs, and some of them, particularly his services in F and C, are still performed. They have justified the joke of Dr. Greene, that King was a serviceable man. Six of them in all are published by Novello, besides five anthems. Hawkins intimates that his inferiority was the result rather of indolence than want of ability. He died in London, March 17, 1748. W. H. H.
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