Scan 52
Groves Dictionary Of Music And Musicians,vol.3, 1907
18 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1'Piano à doubles claviers renversés,' shown in the Paris Exhibition of 1878 by Mangeot frères of that city. It was in fact two grand pianos, one placed upon the other, with keyboards reversed as the name indicates, the lower starting as usual with the lowest bass note at the left hand; the higher having the highest treble note in the same position, so that an ascending scale played upon it proceeded from right to left; the notes running the contrary way to what has always been the normal one. By this cumbersome contrivance an analogous fingering of similar passages in each hand was secured, while other advantages were claimed.
2A. J. H.
3KEY-BUGLE, an improvement of the original Bugle (q.v.). (See PLATE LXXIV. No. 9).
4KEYED GUITAR. Towards the end of the 18th century a mechanical device was frequently attached to the English guitar or either consisting of little buttons placed at the side of the instrument which, by a lever action, plucked the strings with small points or plectra, as in the spinet, or else struck the strings with small hammers, as in the pianoforte. For this latter purpose a detachable box furnished with 6 keys and 6 hammers (one for each set of strings) was affixed to the guitar just over the bridge, but notwithstanding the subsequent addition of so-called Trumpet, Harp, Hautboy and Cremona stops the keyed guitar failed to hold its own against the Spanish instrument (PLATE XXXI. No. 3; see GUITAR).
5F. W. G.
6KEYED HORN, see Bass Horn.
7KEYNOTE, the note by which the key is named, and from which the scale starts, corresponding to the Final of the Ecclesiastical Modes: the Tonic. (See Key; Tonic.)
8KEYRLEBER, JOHANN GEORG (b. Württemberg, 2nd half of 17th cent.), Magister philosophiae et artium liberalium, possessed a great facility for writing canons in any known species. For the birthday of the Emperor Joseph I., in 1691, he wrote an 'Aggratulatio musica-poetica' in a 'canon perpetuo' of 16 trebles and 16 violins of different melody, which could be increased to 256 vocal and 256 instrumental parts, i.e. 512 distinct parts. He also wrote circle and other trick canons in many parts (Mendel).
9KHOVANTCHINA, opera in 5 acts; text and music by Moussorgsky. Completed (finale to last act) and orchestrated by Rimsky-Korsakov. Produced St. Petersburg, 1885; Drury Lane, July 1, 1913; in English (Beecham), Covent Garden, Nov. 25, 1919.
10KHUEN (KUEN), JOHANN (b. Mosbach (or Mosach), Bavaria; d. Nov. 1675), beneficiary of St. Peter's, Munich; a prolific composer of sacred songs, some of which have appeared in modern editions (Q.-L.).
11KIALLMARK, (1) GEORGE (b. King's Lynn, Feb. 1781; d. Islington Mar. 1835), studied the violin under Barthélemon and Spagnoletti, and became leader in various orchestras. He wrote many songs which were popular in their day, and a great number of fantasias for the pianoforte. His son, (2) GEORGE FREDERICK (b. Islington, Nov. 7, 1804; d. Dec. 13, 1887), studied the piano under Moscheles, Logier and his father; also at Paris under Kalkbrenner. He lived in London as a player and teacher (Brit. Mus. Biog.)
12KIDSON, FRANK (b. Leeds, Nov. 15, 1855; d. there, Nov. 8, 1926), was an antiquary who combined to a remarkable degree enthusiasm and accuracy, as his numerous publications show. He was among the earliest modern collectors of folk-songs, one of the founders of the Folk-Song Society and an editor of its journals. He contributed many articles on old English music and publishers to this Dictionary, in both the 2nd and the present editions, and his contributions always gave evidence of original, conscientious research. His speciality was the popular music, more particularly the songs, ballad operas, dances and publishers of the 18th century in this country, as to which he might be regarded as the leading authority. He was also a recognised authority on Leeds Pottery, on which he collaborated with his brother, J. R. Kidson, in writing a book, Historical Notes of the Leeds Old Pottery (1892), which is always quoted as the chief source of information on the subject. His local knowledge was shown in the valuable notes on music and musicians, painting, etching and pottery, which he contributed to the Handbook of the 'Old Leeds Exhibition' of July 1926. The honorary M.A. conferred on him by Leeds University in 1923 was a suitable recognition of his work.
13His publications include:
14Old English Country Dances (1890); Traditional Tunes (1891); British Music Publishers, Printers and Engravers, from Queen Elizabeth's Reign to George the Fourth's (1900), English Folk-song (1900); The Beggar's Opera, its Predecessors and Successors (1922).
15He also edited, jointly with Alfred Moffat, several collections of old songs. (See also under LIBRARIES.)
16H. T.
17KIEL, FRIEDRICH (b. Puderbach on the Lahn, Oct. 7, 1821; d. Berlin, Sept. 14, 1885), son of a schoolmaster, who taught him the pianoforte. At 14 he began the violin under Schulz, Konzertmeister to Prince Carl von Wittgenstein-Berleberg, and soon entered the band of the reigning Prince, who sent him first to Caspar Kummer at Coburg, and in 1843 to Dehn at Berlin. While there he received a salary from King Frederick William IV. His first compositions were for the pianoforte, '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
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