Scan 33
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KALLIWODA
3in 1831, Kalkbrenner's reputation was at its height: his compositions, mostly written for the market and now forgotten, were upon the desks of all dilettanti, and his playing was upheld as a model. Chopin, who was then only 22 years of age, but had already written his two concertos, the études, op. 10, the first scherzo and ballade, etc., called on him and played his concerto in E minor, whereupon Kalkbrenner came forward with the astounding proposal that Chopin should bind himself to be his pupil for three years and thus under his guidance become a good artist! Chopin took no lessons, but attended certain class-meetings, and soothed Kalkbrenner by dedicating the concerto to him. In a letter dated Dec. 16, 1831, Chopin speaks in high terms of Kalkbrenner's technique, praises his charming, equable touch and quiet self-possession, and says that Herz was a zero compared with him. Still Chopin seems from the first to have been of Mendelssohn's opinion, who said to him soon after, 'You had nothing to learn from Kalkbrenner; you play better than he does.'
5Professor Marx used to tell a story of how Kalkbrenner called on him in 1834 at Berlin, anxious to make a good impression, as the Professor was then editor of the new Berliner Musikzeitung, and an influential personage. The visitor in moving terms deplores the decay of the good old art of improvisation, saying that since Hummel had retired he was the only one who still cultivated it in the true classical spirit. He opens the piano and improvises for a quarter of an hour with fluent fancy and great neatness, interweaving all manner of themes, even a little fugue, much to the Professor's edification. Next day a parcel of music just printed at Paris arrives for review. 'The Professor, greatly interested, opens the topmost piece—'Effusio musica, par Fred. Kalkbrenner': when lo and behold! he has yesterday's improvisation before him, fugue and all, note for note!
7An instruction-book with études belonging to it1 is the best thing Kalkbrenner left.2 His attainments as a musician are shown in four pianoforte concertos, one for two pianos, a septet, sextet, and quintet, and various sonatas; all well written for the instrument, but dull and trite, spite of the glitter of what was called a 'brilliant' style.3
9Kalkbrenner died of cholera at Enghien, near Paris.
11E. D.
13KALLIWODA (KALIVÔDA), (1) JOHANN WENZESLAUS (b. Prague, Mar. 21, 1800; d. Carlsruhe, Dec. 3, 1866), a violin-player and popular composer. From 1811–17 he was a pupil of the Conservatorium, under Dionys Weber and Pixis, and from 1817–23 a member of the orchestra of that town. During a visit to Munich he was introduced to Prince Fürstenberg, who took a lively interest in his talent, and appointed him conductor of his private band at Donaueschingen, which post Kalliwoda retained, in spite of various offers from more important places, for the rest of his professional life, till he retired on a pension in 1853.
15Kalliwoda, as a violinist, is regarded as one of the best representatives of the Prague school under F. W. Pixis. Without possessing very startling qualities of execution or style, his performances showed a well-finished technique, a sympathetic but not large tone, and were altogether more remarkable for elegance and a certain pleasantness than for vigour or depth of feeling. His compositions consist of:
16Seven Symphonies—F minor (1826); Eb; D minor; C; B minor (op. 106); G minor; and F.
17Overtures, Concertinos, and other Solo-pieces for the violin and other orchestral instruments, especially the clarinet.
18Quartets for stringed instruments.
19Violin-Duets, Pianoforte-pieces, and a number of songs.
20Many of his works enjoyed for some time, and chiefly in amateur circles, a considerable popularity; and the index of the Leipzig A.M.Z. shows a long list of performances. Their day is now over, but Schumann4 speaks of Kalliwoda's fifth symphony with enthusiasm, and further testified his esteem by dedicating his Intermezzi (op. 4) 'al Sign. Kalliwoda.'
22His son (2) WILHELM (b. Donaueschingen, July 19, 1827; d. Carlsruhe, Sept. 8, 1893) was for a short time a pupil of Mendelssohn at Leipzig in 1847, and at Hauptmann in 1848. He held various posts at Carlsruhe with credit to himself, and succeeded his father as conductor at Carlsruhe, but was compelled by ill-health to give up his work in 1875.
24KALNINS, A., see LATVIAN MUSIC.
25KAMMERTON, see PITCH, subsection HISTORY.
27KANDLER, FRANZ SALES (b. Kloster-Neuburg, Lower Austria, Aug. 23, 1792; d. Baden, near Vienna, Sept. 26, 1831), a musical historian, to whom we owe an admirable condensation of Baini's Palestrina. He belonged to the War Office, and went as interpreter with the army to Venice and Naples in 1817 and 1821. He died of cholera. His two works are Cenni storico-critici alla vita ed opere del … G. Ad. Hasse (Venice, 1820; 2nd ed., Naples, 1820), and that above mentioned, Über das Leben und die Werke des … Palestrina, etc. This was published after Kandler's death by Kiesewetter (Leipzig, B. & H., 1834). Another posthumous publication, collected from Kandler's contributions to musical periodicals, was Cenni storico-critici sulle vicende e lo stato attuale della musica in Italia (1836).
29KAPELLMEISTER, see CHAPELLE.
30KAPSBERGER, JOHANN HIERONYMUS (d. circa 1633), a prolific composer and skilled musician, flourished at Venice about 1604, and
321 'Méthode pour apprendre le pianoforte à l'aide du guide-mains contenant les principes de musique' … op. 108. Paris, 1830.
332 He also wrote a Traité d'harmonie du pianiste (1849).
343 See Mendelssohn's Letters, and the Life of Moscheles, passim; Life and Letters of Sir Charles Hallé, p. 212; and Niecks's Chopin, l. 232-40.
354 Gesamm. Schriften, iii. 278.
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