Scan 36
Groves Dictionary Of Music And Musicians,vol.3, 1907
32 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1of treatment, an intimacy of expression, and a wealth of harmonic and contrapuntal resource that make the collection the nearest approach, and a worthy successor, to Bach's labours in the same field. There appears to be no method of treatment used by Bach that Karg-Elert does not also employ, plus some devices of his own, e.g. an ingenious use of dance measures as rhythmical bases. But whatever the chosen form may be, the music is intensely alive and expressive. He has also written effectively for other instruments in combination with the organ; and in certain of his larger solo works has added, in the Coda, parts for brass and drums. Interest in England is almost confined to the organ works, a list of which is appended:
3Op.
425b. Passacaglia in E flat minor.
534b. Improvisation.
636b. Interludium.
739b. Fantasia and Fugue in D.
846. Canzone.
965. Sixty-six Chorale-Improvisations.
1072. Three Impressions.
1173. Chaconne, Fugue-Triology and Chorale.
1274. Sonatina in A minor
1375. (a) Funerale; (b) Improvisation on 'In dulci jubilo'; (c) Two Chorale Improvisations.
1478. Twenty Preludes and Postludes (Chorale-Studier).
1585. Three Symphonic Canzones.
1686. Ten Characteristic Pieces.
1787. Three Symphonic Chorales.
1892. Three Pastels.
1996. Seven Pastels from the Lake of Constance.
20106. Cathedral Windows (Six Pieces on Gregorian Tunes).
21Homage to Handel (Fifty-four studies in Variation Form on a ground bass of Handel).
23H. G.
25KASHKIN, NICHOLAS DMITRIEVICH (b. Voronezh, Dec. 9, 1839; d. circa 1909), received his first instruction in music from his father, a bookseller, who was self-taught in the art. As early as 13, Kashkin found himself obliged to give music lessons on his own account. In 1860 he went to Moscow, where he studied the piano under Dubuque. N. Rubinstein observed his talents, and offered him a post as teacher of pianoforte and theory at the classes of the Musical Society, which in 1866 developed into the Conservatoire. He retained this position until 1896, and was one of the most popular teachers in Moscow. Kashkin, an able writer, was musical critic of the Russky Viedomosti from 1877-78, and again from 1886-97. He was also on the staff of the Moscow Viedomosti. He is best known abroad by his Reminiscences of Tchaikovsky (1896), with whom he was long associated in intimate friendship. R. N.
27KASHPEROV, VLADIMIR NIKITICH (b. Simbirsk, Russia, 1827; d. July 8, 1894), composer and teacher of singing, first studied with Fotta and Henselt in St. Petersburg, and in 1850 composed an opera, 'The Gipsies' ('Tsiganer'), some scenes from which were performed. In 1856 he visited Berlin, where he worked under the celebrated theorist Dehn. From Germany Kashperov went to Italy. Here he made a special study of vocal art. His opera, 'Marie Tudor' (1859), was produced at Milan with some success. Other operas followed: 'Rienzi' (Florence, 1863), 'Consuelo' (Venice), 'The Storm' (St. Petersburg, 1867), libretto by Ostrovsky, was an attempt at national opera. as was also 'Taras Boulba' (Moscow, 1893, From 1866-72 Kashperov was professor of singing at the Moscow Conservatoire. He did great service to the musical life of the town by organising gratuitous choral classes, which were very much appreciated. R. N.
29KASTALSKY, ALEXANDER DMITRIEVICH (b. Moscow, Nov. 16/28, 1856), Russian composer and authority on the church music. He studied from 1878-82 at the Moscow Conservatoire under Tchaikovsky and Taneiev. In 1887 he was appointed teacher of piano in the Moscow Synodal School, of which he became director in 1900. After the revolution the Synodal School became the People's Choral Academy, abolished in 1923. Kastalsky led a new and progressive movement in Russian church music, and wrote a number of liturgical works. His Requiem for the Fallen Heroes of the Allied Army was given at Birmingham, Nov. 22, 1917, by the Festival Choral Society under Sir Henry J. Wood. It is an ambitious attempt to unite East and West in a solemn commemoration of the heroic dead. Ecclesiastical themes from the Eastern Orthodox, Western Catholic and Anglican liturgies are employed; and even the Hymn to Indra and the song of the Japanese soldiers are included. Kastalsky had in view the lofty, but impracticable, aim of a performance for which each of the allied nations should furnish its own choir. Though coldly received, it is the work of a highly-cultured church musician of broad-minded ideals. Kastalsky also composed an opera, 'Clara Milich' (based on Turgeniev's tale); a Georgian Suite; a symphony of the tilling of the soil; and wrote a book on the harmonisation of the folk-songs by the people. R. N.
31KASTNER, (1) JEAN GEORGES (b. Strassburg, Mar. 9, 1810; d. Paris, Dec. 19, 1867), was destined to theology; but music conquered, and the successful performance of his opera, 'Die Königin der Sarmaten,' induced the town council of Strassburg to grant him the means of going to Paris in 1835, where he finished his studies under Berton and Reicha, and resided till his death. In 1837 he published his Traité général d'instrumentation (2nd ed. 1844), the first work of the kind published in France, and the beginning of a long series of elementary treatises. Though fruitful as a dramatic composer—'Beatrice,' opera (German), 1839; 'La Maschera,' opéra-comique, 1841; 'Le Dernier Roi de Juda,' biblical opera given in concert form at the Conservatoire, Dec 1, 1844, under Habeneck; 'Les Nonnes de Robert-le-Diable,' 1845, and a number of vocal and instrumental compositions large and small, including his Livres-Partitions, half music, half treatises—he cannot occupy a high rank amongst the masters
The computer misreads some letters and numbers. Where a name matters to you, read the scan.