Scan 55
Groves Dictionary Of Music And Musicians,vol.3, 1907
25 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1and republished in 1665. It is remarkable, as being one of the earliest specimens of German copper-plate engraving, and is also of importance in the history of organ-playing and organ composition. As the title indicates, the music is given in the old German tablature notation.1 The work opens with fourteen preludes mainly in the church tones, followed by fugal fantasias on Choral-tunes, and concludes with some Magnificat intonations and verses. The pedal is treated obbligato throughout. Ritter gives three examples from the work in modern notation. Kindermann's other works are partly sacred, partly secular compositions for voices with basso continuo and occasional viol and violin accompaniment. Selections from his works have been reprinted in D.D.T. (2nd series) xiii. and xxi. He also composed a large number of Choral-tunes, harmonised for three voices, to the Nuremberg preacher Dilherr's Evangelische Schlussreimen and Göttliche Liebesflamme, 1649–52. Some works for instruments only, partly viols, partly wind instruments, are also mentioned, but do not seem to exist complete. (See Eitner, Q.-L.)
3BIBL.—PETER EPSTEIN, Aus Frankfurter Ratsakten des 17. Jahrhunderts. Z.M.W., Apr. 1923, pp. 370-73. J. R. M.
5KINDERSLEY, ROBERT, a 16th-century English composer, who wrote 2 anthems in Leighton's 'Teares and Lamentacions' (1614). One of these was also given in Myriell's 'Tristitiae remedium' (1616) A sacred partsong mentioned in Q.-L. is not traceable from indications given, but apparently refers to an incomplete edition of one of the former.
7KING, CHARLES, Mus.B. (b. Bury St. Edmunds, 1687; d. London, Mar. 17, 1748), became a chorister of St. Paul's under Dr. Blow and Jeremiah Clarke. He was next a supernumerary singer in the choir at the small annual stipend of £14. On July 12, 1707, he graduated as Mus.B. at Oxford. On the death of Clarke, whose sister he had married, he was appointed almoner and master of choristers of St. Paul's. In 1708 he became also organist of St. Benet Fink, Royal Exchange. On Oct. 31, 1730, he was admitted a vicar choral of St. Paul's. King composed several services and anthems, some of which are printed in Arnold's Cathedral Music, and others in Page's Harmonia Sacra; and there are some in the Tudway Collection (Harl. MSS. 7341 and 7342). Although his compositions evince no originality they are vocal and long continued in frequent use in choirs, particularly his services in F and C. They have justified the joke of Dr. Greene, that King was a serviceable man. Six of them in all are published by Novello, besides five anthems. Hawkins intimates that his inferiority was the result rather of indolence than want of ability.
9KING, (1) MATTHEW PETER (b. London, 1773; d. there, Jan. 1823), studied composition under Charles Frederick Horn. His first productions were 'Three Sonatas for the Pianoforte,' 'Eight Songs and a Cantata,' and three other sets of Pianoforte Sonatas. In 1796 he published Thorough-Bass made clear to every Capacity, and in 1800 A General Treatise on Music, etc., a work of repute, with second edition, 1809. On June 1, 1816, his oratorio, 'The Intercession,' was produced at Covent Garden. One of the songs in it, 'Must I leave thee, Paradise?' (known as 'Eve's Lamentation') became very popular, and long found a place in programmes of sacred music. King was also the composer of several glees (among them the popular 'Witches'), and of numerous pianoforte pieces. He composed several dramatic pieces, chiefly for the English Opera House, Lyceum, as follows:
11'Matrimony,' 1804; 'The Invisible Girl,' 1806; 'False Alarms' (with Braham); 'One o'clock, or The Wood Demon' (with Kelly); and 'Flia Rosenberg,' 1807; 'Up all night,' 1809; 'Plots' and 'Oh, this Love,' 1810; 'The Americans' (with Braham), and 'Timour the Tartar,' 1811; and 'The Fisherman's Hut' (with Davy), 1819.
13His son, (2) C. M. KING, published in 1826 some songs which were favourably received.
15W. H. H.
17KING, ROBERT, Mus.B., was one of the Royal band, appointed Feb. 6, 1679–80 vice John Bannister deceased. At Christmas 1689 a licence was granted to him to establish a concert.2 He graduated at Cambridge in 1696. He was the composer of many songs published in 'Choice Ayres, Songs and Dialogues,' 1684; 'Comes Amoris,' 1687–93; 'The Banquet of Musick,' 1688-92; The Gentleman's Journal, 1692–94; and Thesaurus musicus, 1695–96. He composed the songs in Crown's comedy, 'Sir Courtly Nice,' which were printed in The Theater of Music, Book ii. 1685. In 1690 he set Shadwell's Ode on St. Cecilia's Day, 'O Sacred Harmony.' In 1693 he set an Ode 'on the Rt. Hon. John Cecil, Earl of Exeter, his birthday, being the 21 of Sept.' beginning 'Once more 'tis born, the happy day,' the words by Peter Motteux. A collection of twenty-four songs by him, entitled 'Songs for One, Two, and Three voices, composed to a Through-Basse for ye Organ or Harpsicord,' engraven on copper, was 'sold by John Crouch at the Three Lutes in Princes St., Drury Lane' (1690). The date of his death has not been ascertained. He was living in 1711.
19W. H. H., with addns.
21KING, WILLIAM (b. Winchester, 1624; d. Oxford, Nov. 17, 1680), son of George King (d. 1665), organist of Winchester Cathedral, was admitted a clerk of Magdalen College, Oxford, Oct. 18, 1648. He graduated B.A. June 5, 1649, and in 1652 was promoted to a chaplaincy at Magdalen College, which he held until Aug. 25, 1654, when he became probationer-fellow of All Souls' College. On Dec. 10, 1664, he was
231 A detailed description of the contents is given in Ritter's Geschichte des Orgelspiels, pp. 146-7.
242 Calendar of State Papers.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.