Scan 60
Groves Dictionary Of Music And Musicians,vol.3, 1907
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11814,1 an 18th century pianist-composer, teacher of the Prussian Crown Princess at Berlin in 1795; from 1803 Konzertmeister to the Duke of Gotha. He composed a Mass, trios, sonatas, variations for pianoforte, etc. (Q.-L.).
3KIRNBERGER, JOHANN PHILIPP (b. Saalfeld, Thuringia, Apr.2 1721; d. Berlin, July 27, 1783), composer and writer on the theory of music, learnt the rudiments of music at home, the organ from Kellner of Gräfenrode, and the violin from Meil of Sondershausen. Gerber, court organist there, taught him to play Bach's fugues, and recommended him to Bach, whose pupil he was from 1739–41. Several years were passed at Leipzig, in Poland, and at Lemberg. On his return to Germany he resumed the study of the violin under Zickler of Dresden, and in 1751 entered the service of Frederick the Great at Berlin as violinist. In 1758 he became Kapellmeister to Princess Amalie, and remained with her until his death, in Berlin, after a long and painful illness. During these twenty-five years he formed such pupils as Schulz, Fasch and Zelter, and devoted his leisure to researches on the theory of music. Of his many books on the subject, Die Kunst des reinen Satzes, two vols. (Berlin, 1771–76), alone is of permanent value. He also wrote all the articles on music in Sulzer's Theorie der schönen Künste, and warmly criticises Marpurg's Kritische Briefe, in which various charges had been brought against him. (See Q.-L.) He prided himself on the discovery that all music could be reduced to two fundamental chords, the triad and the chord of the seventh, and invented a new interval bearing the relation of 4 : 7 to the keynote, and which he called I:—but neither of these ideas has stood the test of time. As a composer his most interesting works are his fugues, remarkable for their correctness. In 1773–74 he edited a large collection of vocal compositions by Graun, who was a kind friend to him, and 'Psalmen und Gesänge' by Leo (Leonhard) Hassler. The autograph scores of several motets and cantatas, and a quantity of fugues, clavier-sonatas and similar works, are preserved in the State Library at Berlin and elsewhere. (See Q.-L.) Kirnberger was of a quarrelsome temper, and fond of laying down the law, which made him no favourite with his fellow-musicians.
5F. G.
7KISTLER, CYRILL (b. Grossaitingen, near Augsburg, Mar. 12, 1848; d. Kissingen, Jan. 2, 1907), composer of operas, displayed early taste for music, was a choir-boy at the age of 8, and could play the flute.
9At first intended for the Church, he afterwards entered upon the career of a schoolmaster, and taught in various schools from 1867–75. In 1876 he entered the Munich Conservatorium, and studied regularly under Wüllner, Rheinberger and Fr. Lachner. The last of these took him as a private pupil after his leaving the Conservatorium, and did all in his power to counteract the strong influence of Wagner which had even then declared itself. In 1883 he was appointed teacher of theory, etc., at Sondershausen, and in 1884 his most important work, an opera or music-drama, 'Kunihild,' was brought out at that place. It was not until its revival at Würzburg in 1893 that it was widely recognised as a piece of any great significance. It then excited a good deal of comment, stimulated by the polemical attitude adopted by the composer towards theatrical managers and others, and expressed in a series of Musikalische Tagesfragen, published between 1884 and 1894. The opera is constructed on purely Wagnerian principles, with numerous 'leading-motives.' Occasionally the composer declines into a style that is more akin to that of the usual German partsong, in choruses and such things, for, during his earlier life, he had written much music of a less ambitious aim. After 1885 he lived at Bad Kissingen, as principal of a private music-school, and as a publisher. In 1889 his comic opera, 'Eulenspiegel,' was brought out at Würzburg without much success, although in some ways it is more original than 'Kunihild.' 'Arm' Elslein' was given at Schwerin in 1902, 'Röslein im Hag' at Elberfeld in 1903, and 'Baldurs Tod' at Düsseldorf in 1905. He left a 3-act opera, 'Die deutschen Kleinstädter' (published), unperformed at the time of his death. Besides these dramatic works, Kistler published many pieces for orchestra, among them an interesting 'Trauerklänge,' choruses, songs, organ pieces, etc., method of harmony on Wagnerian principles (Harmonielehre, 1879 and 1903), a Musikalische Elementarlehre, a Volkschullehrer (1880), a Tonkünstler-Lexikon, which reached its third edition in 1887, and Der einfache Kontrapunkt (1904).
11BIBL.—Riemann; Baker, B. Dict. of Mus., Masters of German Music, Mus. T., Apr. 1893; H. Ritter, Führer durch Kistlers Kunihild.
13KISTNER, a music-publishing firm of Leipzig. The business was founded in 1823 by PROBST, who was succeeded in 1831 by (1) KARL FRIEDRICH KISTNER (b. Leipzig, Mar. 3, 1797; d. Dec. 21, 1844), a man of some gifts for music and great business powers. The new name was not assumed till 1836. Kistner greatly improved the business, and secured important works of Mendelssohn, Schumann, Chopin, Moscheles, Sterndale Bennett, etc. He was succeeded by his son (2) JULIUS (d. May 13, 1868), who followed in his father's steps with equal success. He added the names of Hiller, Taubert and Rubinstein to the catalogue of the house, and will long be remembered by those who had to do with him for his kindness and liberality. He withdrew from the business in 1866 in favour of Karl Friedrich
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