Scan 34
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1elsewhere in Italy. He attained great skill on instruments of the lute family, and among his publications were three books of 'Intabolatura di chitarrone' (1604, 1616, 1626); four of 'Villanelle' for voices, with chitarrone accompaniment (1610, 1619, 1619, 1623); besides motets, arias, a wedding chorus (1627), and an Apotheosis of Ignatius Loyola (1622). He is mentioned with great eulogium by Kircher (Musurgia). He seems to have died about 1633, as no work of his of later date is known. (For list see Q.-L.; also Ambros, Gesch. d. Mus. vol. iv. p. 126.)
3KARAJAN, THEODOR GEORG, RITTER VON (b. Vienna, Jan. 22, 1810; d. Apr. 28, 1873), Dr. juris., philologist, and historian; clerk (1841) and custos (1854) in the court library, appointed vice-president (1851), and president (1859) of the Akademie der Wissenschaften; received the order of Leopold in 1870. His philological works are numerous and important; but his title to admission here is his pamphlet, J. Haydn in London, 1791 und 1792 (Vienna, Gerold, 1861). In addition to matter from the well-known pamphlets of Dies and Griesinger, it contains a number of Haydn's letters, chiefly from London and Estoras, to his friend Maria Anna von Genzinger, the wife of Leopold Peter, Edler von Genzinger, an esteemed physician, with four from the lady herself. She played the piano well and even composed. Haydn wrote several sonatas for her, and whenever he was in Vienna spent much of his time at her house, where a pleasant musical society was generally to be found. Karajan also furnished his friend Otto Jahn with valuable material for his book on Mozart.
5KAREL, RUDOLF (b. Pilsen, now Plzen, Czechoslovakia, Nov. 1880), composer and teacher.
7Karel attended the Gymnasium, first in Plzen and then in Prague, and later studied law in the Prague University. These studies, however, were not congenial to him, and finally, against his father's wish, he entered the Prague Conservatoire, where he became a pupil of J. Klička (organ) and Antonin Dvořák (composition). On completing his course, in 1904, he devoted himself exclusively to composition. For ten years he lived quietly in Prague, until the summer of 1914. He was then taking a holiday in Russia, where, on the outbreak of war, he was interned as an Austrian subject. After a few months, he was sent to teach in the State Music School at Taganrog, and two years later was appointed professor in the Conservatoire at Rostov-on-Don. When, in the autumn of 1917, the Bolshevist upheaval took place, Karel was forced to fly to Irkutsk, in Siberia. But even there he was pursued, and only rescued by the Czechoslovak Legionaries, whose ranks he joined. Finally he was appointed conductor of the Symphony Orchestra of the Legion, in which capacity he eventually succeeded in getting home. He is now on the teaching staff of the Prague Conservatoire.
9Karel is chiefly an instrumental composer; a typical 'absolute' musician, even when he occasionally adopts a programme for his works (see below). In this respect he is a true pupil of Dvořák, in fact, his only successor among the Czech composers. Karel started with a thorough study of Bach, Mozart, Beethoven, Dvořák and Brahms, and afterwards found his own personal and modern idiom wherewith to fill the mould of classical instrumental forms. Thence his relationship to Bruckner, with whom he shares the tendency to breadth of structure, and also to Reger, and, in his later period, to Hindemith, and others. Like the Russians he usually employs in his works the old church tonalities. His instrumental music is epic rather than lyrical; it is not impressionistic; it lacks the softer qualities and is pervaded by a certain austerity. At the same time, much passion is often concealed within its broad themes. Karel's adagios are remarkable for their depth and are generally the strongest of his movements. In his scherzos, the humour is rather biting than careless, and Slavonic rhythms may be clearly heard. His themes are broad, his harmony rich; and the whole plan of modulation constructed upon the apparently simple relations of keys, combined at the same time with the allied church tonalities, a method which gives rise to new and interesting complications. His instrumentation avoids all affectations and is pithy, sane and real. In the 'Renaissance' symphony (by which is meant the renaissance of classical music) he simplifies his orchestral resources so much, and strives for such a peculiarly transparent quality of tone, that he only uses a small orchestra (like Beethoven and Brahms he holds back the trombones for the last movement) in which, wherever possible, each instrument plays an independent part, and the tone of the full orchestra almost disappears. Hence the polyphonic tendency of Karel's work.
11A special feature of Karel's art is his remarkable capacity for the use of the variation form. When he introduces a theme, he continues to elaborate it, so that his work actually consists of a continuous development. For this reason he likes to combine sonata-form or rondo-form with variation-form. It is characteristic of him that immediately after the composition of the Theme and Variations for piano, op. 13, he started to write a monothematic sonata (op. 14) in four movements on the same motive. Also his Capriccio for violin, op. 21, varies the same theme used in the preceding violin concerto, op. 20, which the composer calls a symphony for violin and orchestra. Besides these works, the symphonic epic, 'The Ideals,' the string quartet in E flat, and the pianoforte quartet in
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