Scan 63
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KLAPPENHORN
3on his 'Nibelungen' tour, still in an inferior capacity, and when the Trilogy was produced at Her Majesty's Theatre, London, Frau Klafsky's modest débuts were made, May 5 and 6, as Wellgunde ('Rheingold') and Waltraute ('Walküre'). From 1883-86 she played all the principal parts, and in 1885 played the title part in a revival of Geisler's 'Ingeborg.' From 1886-95 she was the principal singer at Hamburg, and established her reputation as one of the greatest artists in Germany in an extraordinary number of parts. She also sang in opera and concerts at Stuttgart, the Rhenish Festival at Cologne, at St. Petersburg, etc. On July 2 she reappeared in England at Drury Lane in 'Fidelio,' and made an immediate success as Leonora, as Brünnhilde in the 'Trilogy,' and as Isolde and Elizabeth, singing both at Drury Lane and Covent Garden. In 1894 she made a welcome reappearance at Drury Lane, and sang for the first time here as Elsa, and Agatha in 'Der Freischütz.' Later in the year she sang at the Lamoureux Concerts, Paris. In the autumn she and her third husband, Otto Lohse, went to North America as principal singer and conductor of the Damrosch German Opera Company. In Aug. 1896 Frau Klafsky reappeared at Hamburg as Elizabeth, and on Sept. 11 appeared on the stage for the last time as Fidelio. Her life was written by Ludwig Ordemann (Fuendeling, Hameln and Leipzig, 1903), and has been of material assistance in the preparation of this notice.
5KLAPPENHORN. Horns of the bugle type, fitted with keys to close or open side-holes, preceded those with the cylinder or valve action. They all come under the Klappenhorn group in German nomenclature and comprised instruments in various pitches, from soprano to bass. The alto instrument in C or B flat, corresponding to the English 'Key' or 'Kent-bugle,' (see PLATE LXXIV. No. 9) was (and still is when fitted with pistons) known more particularly as the Flügel horn. (See BASS-HORN, BUGLE, FLÜGEL HORN.)
7KLEBER, LEONHARD (b. Göppingen, Württemberg, c. 1490; d. 1556), organist at Pforzheim, Baden, is known as the writer and compiler (from 1520-24) of a large MS. collection of organ and clavier music, in old tablature notation, now in the State Library, Berlin. A full account of the work will be found in Ritter's Geschichte des Orgelspiels, pp. 103-5, also in a monograph by H. Löwenfeld, Berlin, 1897. It has two parts, one for clavier alone in 3-part harmony, the second part requiring the use of the pedals. There are in all 116 pieces, some with the names of their composers, consisting of a certain number of preludes in various keys, described as being in ut, re, mi, fa, sol with and without B flat, la with and without B flat, and a large number of fantasias and organ arrangements of sacred and secular songs. Ritter says:
9'The whole collection shows the South German organ-playing in a very advantageous light; it extends and completes the work begun by Schlick, on whose principles it is based.'
11Seventeen preludes and a fantasia are given in modern notation in the M.f.M., 1888, and three other pieces by Ritter.
13KLEEBERG, CLOTILDE (b. Paris, June 27, 1866; d. Brussels, Feb. 7, 1909), was educated at the Conservatoire under Mme. Emile Réty and Mme. Massart, where she carried off the first piano prize at 12 years of age. Shortly afterwards she played Beethoven's C minor concerto with conspicuous success at one of Pasdeloup's concerts, and from that time onwards she made annual appearances at all the most important Parisian concerts. In 1883 she came to England, and appeared at a recital, at Mann's benefit at the Crystal Palace, and elsewhere. In the following year she appeared at the Philharmonic Society, and at all the first-rate London concerts. Richter, hearing her play in a private house, engaged her forthwith for the Philharmonic Concerts at Vienna, where she made a great success, as she did in Berlin in 1887, where Von Bülow greeted her with enthusiasm. She married the sculptor, Charles Samuel, and settled in Brussels. Her interpretative power was very remarkable, and her vigorous, artistic and unaffected playing was fully appreciated wherever she was heard. She was perhaps at her best in Bach and Schumann, and she made a speciality of the works of the old French clavecinistes.
15KLEIN, BERNHARD (b. Cologne, Mar. 6, 1793; d. Berlin, Sept. 9, 1832), a composer, whose father was a bass-player in Cologne.
17In 1812 he found means to get to Paris, where Cherubini's advice, the hearing of fine performers, and the study of the library of the Conservatoire, advanced him greatly. On his return to the Rhine he conducted the performances in Cologne Cathedral, and profited by an acquaintance with Thibaut and his fine library at Heidelberg. His first important works were a Mass (1816) and a Cantata on Schiller's 'Worte des Glaubens' (1817). In 1819 he was sent officially to Berlin to make acquaintance with Zelter's system of teaching, and to apply it in Cologne Cathedral. He, however, found it more profitable to remain in Berlin, where he became connected with the Institut für Kirchenmusik, then recently established, and was made director of music and teacher of singing in the University. These occupations in no wise checked his productivity. He composed many sonatas and songs, an oratorio, 'Job' (Leipzig, 1820), and two grand operas, 'Dido,' to Rellstab's text (1823), and 'Ariadne' (1825). In 1823 he married and went to Rome, where he enjoyed intercourse with Baini, and
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