Scan 65
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1some time carried on a musical lending library on the premises. In 1847 the house opened a branch at Chemnitz, and in 1856 at Dresden. Among the original publications of the house are to be found the names of J. S. Bach, Dotzauer, F. Abt, Dreyschock, Mendelssohn, Schumann (opp. 34, 35), Lachner, F. Schneider, Julius Rietz, Marschner, etc. etc.
3KLEMM (KLEMME), JOHANN (b. Oederan, near Zwickau, Saxony, before 1600; d. after 1651), was received as a boy into the choir of the Electoral Chapel at Dresden. He was afterwards sent, by the Elector Johann Georg I., for his further musical education, to Christian Erbach at Augsburg, with whom he remained from 1613-15. Returning to Dresden he became the pupil of Heinrich Schütz for composition, and was appointed court organist in 1625. He deserves honourable mention in musical history as having generously undertaken the publication of several of the works of Schütz, when Schütz was unable to bring them out at his own expense. The work by which he himself is known as a composer is an instrumental work entitled, 'Partitura seu Tabulatura Italica, exhibens 36 fugas, 2, 3 et 4 vocibus, ad duodecim consuetos tonos musicos compositas … non tantum organo sed aliis quoque instrumentis accommodatas,' Dresden, 1631. On this work see Seiffert-Fleischer, Geschichte der Klaviermusik, Bd. I. p. 101. (For other works see Q.-L.) one of two readings
4KLEMM (KLEMM), JOHANN (b. Oederan, near Zwickau, Saxony, before 1600; d. after 1651), was received as a boy into the choir of the Electoral Chapel at Dresden. He was afterwards sent, by the Elector Johann Georg I., for his further musical education, to Christian Erbach at Augsburg, with whom he remained from 1613-15. Returning to Dresden he became the pupil of Heinrich Schütz for composition, and was appointed court organist in 1625. He deserves honourable mention in musical history as having generously undertaken the publication of several of the works of Schütz, when Schütz was unable to bring them out at his own expense. The work by which he himself is known as a composer is an instrumental work entitled, 'Partitura seu Tabulatura Italica, exhibens 36 fugas, 2, 3 et 4 vocibus, ad duodecim consuetos tonos musicos compositas … non tantum organo sed aliis quoque instrumentis accommodatas,' Dresden, 1631. On this work see Seiffert-Fleischer, Geschichte der Klaviermusik, Bd. I. p. 101. (For other works see Q.-L.) one of two readings
6KLENAU, PAUL VON (b. Copenhagen, Feb. 2, 1883), composer and conductor, studied the violin with Hilmer, and composition with Otto Malling at Copenhagen.
8In 1902 he went to Berlin and entered the Hochschule, continuing the violin with Halir and composition with Max Bruch. Proceeding to Munich, he had lessons with Ludwig Thuille until joining the opera at Freiburg i. B. in 1907. The following year he was appointed to the opera at Stuttgart, and took the opportunity of working further with Max Schillings. In 1914 he returned for a time to Freiburg and thereupon settled again at Copenhagen in order to devote himself chiefly to composition. His gifts as conductor and his interest in modern music led to the foundation of the Copenhagen Philharmonic (Dansk filharmonisk Selskab), which he still directs. He is also director of the Wiener Konzerthausgesellschaft and of the Singakademie in Vienna. His work as a conductor is animated with a sincere enthusiasm, which easily communicates itself to the orchestra. In Denmark he has played the part of a pioneer, introducing the works of numerous contemporary composers of all countries. In Vienna and in Central Europe he is noted for his performances of Delius, and was chosen to conduct the festival concert given at Frankfort in 1924, on the occasion of the composer's sixtieth birthday. In 1925 he conducted, at a Philharmonic concert in London, Delius's 'A Mass of Life,' which he had given some months previously in Vienna. He also directed the first Viennese performance of Milhaud's 'L'homme et son désir' and of the revised version of Schönberg's 'Gurre-Lieder.'
10As a composer his most important works are the opera 'Gudrun auf Island' (a revised and more concise version of 'Kjartan und Gudrun') and the series of symphonic poems or 'fantasies' based upon Dante's Inferno. This cycle originated in a Dante symphony, which was performed at Dresden in 1913 and afterwards modified. It now comprises three sections, to which, however, more may be added. The 'Paolo and Francesca' section, originally the slow movement of the symphony, was written as far back as 1904, and, though attractive musically, is less representative of the composer than the later sections. A ballet, 'Klein Idas Blumen' (after Andersen), produced at Stuttgart in 1916, has been performed on several of the more important stages of Central Europe. It is graceful, unpretentious music, and contains a waltz which has become popular. Apart from a feeling for harmonic warmth, the most salient attributes of Klenau's music are its lyrical quality and its sensitiveness to 'mood.'
12OPERAS
13'Sulamith.' (Munich, 1908. Bruno Walter.)
14'Kjartan und Gudrun.' (Mannheim, 1918. Furtwängler.) Revised version 'Gudrun auf Island.' 1924.
16BALLET
17'Klein Idas Blumen' (after Andersen). (Stuttgart, 1916.)
19ORCHESTRA
20Three Symphonies.
21Inferno 'fantasies':
221. Descent to Hell.
232. Paolo and Francesca.
243. Ugolino.
25'Bank Holiday—Souvenir of Hampstead Heath.'
27VOICE AND ORCHESTRA
28'Die Weise von Liebe und Tod des Cornet Christof Rilke' (baritone solo, chor and orch.)
29'Ebbe Skammalson,' ballad (baritone and orch.).
30'Gespräche mit dem Tode' (contralto and orch.).
31'Hiob,' choral work in preparation (1925).
32String Quartet in E minor. Several sets of piano pieces
34KLENGEL, AUGUST ALEXANDER (b. Dresden Jan. 27, 1783; d. there, Nov. 22, 1852), son of a well-known portrait and landscape painter, first studied music with Milchmayer, inventor of a piano which could produce fifty different qualities of tone (see Cramer's Magazin der Musik, i. 10). In 1803 Clementi visited Dresden, and on his departure Klengel went with him as his pupil. The two separated on Clementi's marriage in Berlin, but, the young wife dying shortly after, they went together to Russia, where Klengel remained till 1811. He then spent two years studying in Paris, returned to Dresden in 1814, went to London in 1815, and in the following year was appointed court organist at Dresden, which remained his home till his death. During a visit to Paris in 1828 he formed a close friendship with Fétis, who with other musicians was much interested in his pianoforte canons. Of these he published only 'Les Avant-coureurs' (Paul, Dresden,
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