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Scan 628
grove's dictionary of music and musicians, 1916
14 lines. Read by computer on 11 September 2026. Printed page 574. See the scan on archive.org.
1pianoforte, 'Canons und Fugen' opp. 1 and 2; variations and fugue, op. 17; and several pieces for PF. and violoncello, of which the 'Reisebilder' are specially interesting. In 1862 his Requiem (op. 20), a remarkable work, was performed by Stern's Choral Society—also by the University Musical Society of Cambridge, May 21, 1878. In 1865 he composed a 'Missa Solemnis,' and in 1871-72 an oratorio 'Christus.' He was a member of the council of the Berlin Academie der Künste from 1869, and was professor of composition in the Hochschule für Musik, in which capacity he was much esteemed. Kiel was a distinguished teacher of counterpoint and fugue, and as such forms one of the race of musicians of whom the late Moritz Hauptmann may be considered the chief. His compositions are of the sound classical school, tempered with a due regard for the best modern tendencies. [A second Requiem (op. 80) was brought out a few years before his death, which took place in Berlin, Sept. 14, 1885.] F. G.
3KIENZL, WILHELM, born Jan. 17, 1857, at Waitzenkirchen in Austria, is the son of a lawyer. His father was elected in 1861 mayor of the town of Gratz, where Kienzl has lived nearly all his life. He studied composition under Dr. W. Mayer, who has also had as pupils Weingartner and Busoni. Later he attended the Conservatorium at Prague, and concluded his studies in Munich under Rheinberger. Encouraged by the advice of Adolf Jensen and the sympathy of Liszt, he began to compose, simultaneously continuing his abstract studies, his work in this direction finding expression in a highly interesting and valuable work on musical declamation, which attracted the attention of Wagner, to whom Kienzl felt himself drawn by the similarity of their musical opinions. Kienzl stayed for some time at Bayreuth on terms of intimacy with the family, until the proverbial narrow-mindedness of the Master, who would not tolerate Kienzl's outspoken admiration of Schumann, put an end to their amicable relations. Nevertheless, Kienzl remained, musically speaking, in the Wagnerian fold, and did not desert the tenets of Bayreuth. His first opera, 'Urvasi,' which was produced at Dresden in Feb. 1886, attracted more attention by its melodic charm and the beauty of its orchestration than by the action of the drama, which was weak. His next opera, 'Heilmarder Narr,' was held in abeyance for some ten years owing to difficulties in the staging. In the meantime his third and best-known opera, 'Der Evangelimann,' which had a phenomenal success all over Germany and Austria, rivalling that of Humperdinck's 'Hänsel und Gretel,' appeared in 1894. It was given at Covent Garden, July 3, 1897. In 1898 another opera, on the subject of Don Quixote, was produced in Berlin. In all these works Kienzl, like Humperdinck, has retained the constructive features of the Wagnerian creed, but discarded the purely heroic drama, proving that the methods of Bayreuth are capable of being brought nearer to the people than their first propounder ever intended. His style, which is less intricate than that of Humperdinck, is full of musical interest, and is superior to most of the productions of modern Germany by the attractiveness of the material he uses. Besides his operas Kienzl has published over 100 songs, of which a representative selection exists, in the form of an album obtainable in the 'Universal Edition,' other interesting sets being op. 55, six songs, and op. 66, three songs. Further, some 150 piano pieces, amongst which the 'Dichterreise,' op. 46, and the 'Tanzbilder,' op. 41, the latter for piano duet, deserve mention. He has also contributed copiously to orchestral and chamber music, and has published a large number of smaller choral works. His most important production in musical literature, besides the book mentioned above, is an interesting monograph on Wagner, which appeared in 1903. In the same year a marble relief monument in his honour was unveiled in his native town.
5E. E.
7KIESEWETTER, RAPHAEL GEORG, ELDLER VON WIESENBRUNN (uncle to Ambros the historian of music), Imperial councillor from 1803, and learned author on musical subjects, born at Holleschau in Moravia, August 29, 1773; settled in Vienna in 1794. In 1816 he began to form a collection of scores of the old masters, and made his house a rendezvous for the first musicians of Vienna. There also during Advent, Lent, and Holy Week, a first-rate amateur choir performed the principal works of the old Italian composers, and of Bach, Handel, etc. He died Jan. 1, 1850, at Baden, near Vienna, and was buried in the cemetery at Vienna, 'vor der Währinger Linie.' He was ennobled for his services as an official in the Kriegsrath, taking his title from his estate. Innumerable societies elected him a member in acknowledgment of his services as a musician. He left his musical MSS. and his correspondence with musical men of letters to Aloys Fuchs, and to the Court library his invaluable collection of scores, with the condition that they should be kept together as the 'Fond Kiesewetter.'
9That he was a most prolific writer the following list of his principal works will show:—
111. Die Verdienste der Niederländer um die Tonkunst (received the gold prize-medal, Amsterdam, 1828). 2. Geschichte der europäisch-abendländischen, das ist; unserer heutigen Musik (Breitkopf & Härtel, 1834, 2nd ed. 1846, translated into English by R. Müller, 1848). 3. Ueber die Musik der Neugriechen, with remarks on ancient Egyptian and ancient Greek music; three treatises (ibid. 1838). 4. Guido von Arezzo, life and works (ibid. 1840). 5. Schicksale und Beschaffenheit des Weltlichen Gesanges, from the early Middle Ages down to the discovery of the dramatic style and rise of opera (ibid. 1841). 6. Die Musik der Araber, from original sources (ibid. 1842). 7. Ueber das Leben, und die Werke Palestrinas, a condensation of Baini's work left unpublished by Kandler; edited with preface and remarks (ibid. 1834). 8. Der neuen Aristocener zerstreute Aufsätze (ibid. 1846). 9. Ueber die Octave des Pythagoras, supplement to the preceding (Vienna, 1848). 10. Catalog ueber die Sammlung der Partituren alter Musik, etc.1 (Vienna, 1847), with preface and
131 The scores left to the Court Library.
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