Scan 53
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KIENLEN
3oy Stern's Choral Society—also by the University Musical Society of Cambridge, May 21, 1878. In 1865 he composed a 'Missa solennis,' and in 1871-72 an oratorio 'Christus.' A second Requiem (op. 80) was brought out a few years before his death. He was a member of the council of the Berlin Akademie 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. F. G.
5KIENLEN, JOHANN CHRISTOPH (b. Ulm, 1784; d. Dessau, 1830), appeared as a prodigy, both of the voice and the piano, at the age of 7, and was sent by his Munich patrons to Paris, where he studied under Cherubini. On his return he became municipal music director of Ulm. In 1810 he produced his composition of Goethe's Claudine von Villa Bella at Leipzig with scant approbation. It met with a better reception at Stuttgart in 1811, and achieved distinct success at Berlin in 1818 after revision and a partial rewriting. About this time he received the title of 'Royal Bavarian Director of Music.' In 1811 he went to Vienna where he became the teacher of Schnyder von Wartensee. Between that time and 1823 he held various appointments and produced several operas. In the latter year he became singing-master at the Berlin opera. In 1828 a symphony was produced at Posen. He wrote an introduction and romance to E. T. A. Hoffmann's composition of Goethe's Scherz, List und Rache, many songs, and two pianoforte sonatas. He died in poverty. E. v. d. s.
7KIENZL, WILHELM (b. Waizenkirchen, Austria, Jan. 17, 1857), composer principally of operas, was 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. Kienzl studied composition under Dr. W. Mayer, who 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 his 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.
9His 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, 'Heilmar der 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,'1 which had a conspicuous 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, 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 his German contemporaries by the attractiveness of the material he uses. Later stage works of Kienzl are 'In Knecht Rupprechts Werkstatt' (Gratz, 1907), 'Der Kuhreigen' (Vienna, 1911), 'Das Testament' (Vienna, 1916), and 'Hassan der Schwärmer' (Riemann). 'Der Kuhreigen' was given in English as 'The Dance of Death' by the Moody-Manners Opera Company at Liverpool and London in 1914.
11Besides 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.
13E. E., with addns.
15KIESEWETTER, RAPHAEL GEORG, EDLER VON WIESENBRUNN (b. Holešov, Moravia, Aug. 29, 1773; d. Baden, near Vienna, Jan. 1, 1850), uncle to Ambros the historian of music, Imperial councillor from 1803, and learned author on musical subjects. He 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
171 It was given in English (Moody Manners Co.) at Liverpool Apr. 1914.
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