Scan 67
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1and capitally written for showing off the possibilities of the instrument. He has done a great deal of 'arranging,' in which he shows exceptional skill and tact, occasionally amounting almost to genius. His arrangement of Brahms's clarinet quintet as a pianoforte and violin sonata is one of the best examples. It sounds at least as beautiful as the three genuine pianoforte and violin sonatas, and it won Brahms's enthusiastic approval, as well as Joachim's, who played it in public on more than one occasion with Professor Paul Klengel himself.
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5KLENOVSKY, NICHOLAS SEMENOVICH (b. Odessa, 1857), composer and conductor, was a pupil of the Moscow Conservatoire, under Hubert and Tchaikovsky. He was selected by N. Rubinstein to assist him in organising the first performance of Tchaikovsky's 'Eugene Oniegin' (1879). Klenovsky was afterwards conductor of the University orchestra, and assistant conductor at the Imperial Opera, Moscow. Deeply interested in all that concerned racial music, he was associated with Melgounov (q.v.) in collecting and harmonising the Russian folk-songs. In 1893 he became director of the Music School at Tiflis, which gave him the opportunity of studying the music of the various Caucasian races. He was the first to organise 'Ethnographical Concerts' in Russia. In 1902 he was appointed sub-director of the Imperial Chapel. He composed several successful ballets; incidental music to plays, 'Messaline,' 'Antony and Cleopatra,' etc.; cantatas and a 'Georgian Liturgy' a cappella (1902).
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9KLJČKA, JOSEF (b. Klatovy, 1855), Czech composer, attended the Organ School as a pupil of Skuherský and began his musical life as an organist. From 1876-81 he acted as assistant conductor at the Czech theatre; choirmaster of the choral society Hlahol from 1890-97; professor of organ in the master-school of the Prague Conservatoire since 1920. He has composed much music for choir and organ: the cantatas, 'The burial on the Kaňk'; 'The coming of the Czechs to the Říp-hill'; A Ballad of Czech music, 'Blaník'; some choral works of a humorous character—'The Goodman of the Mill,' 'The Gnat,' 'The Thistle,' etc.; masses, concert-fantasias for organ (his 'Fantasia on the Choral, St. Wenceslaus' and 'Legend' are published in the 'Maîtres contemporains d'orgue,' Paris); an organ sonata in F sharp minor; some chamber music. R. N.
11KLINDWORTH, KARL (b. Hanover, Sept. 25, 1830; d. Stolpe, July 27, 1916), was in early youth an accomplished performer on the violin. From his 17th to his 19th year he acted as conductor to a travelling opera troupe; he then settled in Hanover and took to playing the piano and composing. In 1852 he went to Weimar to study pianoforte-playing under Liszt, and had Hans von Bülow, W. Mason and Dionys Pruckner as his fellow-pupils.
13In 1854 he came to London, where he remained fourteen years, appearing in public at intervals as a pianist and conductor of orchestral concerts, but in the main living the quiet life of a student and teacher. His first appearance in London was at one of Ella's 'Musical Winter Evenings' on Mar. 30, 1854, and he played Henselt's concerto at the New Philharmonic concert on July 4, 1855. He organised two series of three chamber concerts in the spring of 1861 and 1862, and a series of three orchestral and vocal concerts in the summer of 1861, under the title of the 'Musical Art Union.' The most remarkable compositions brought forward at the latter were Rubinstein's 'Ocean' symphony; Gade's 'Erl King's Daughter'; Cherubini's Requiem, No. 1; Schumann's PF. concerto. They were well carried out, but were discontinued for want of capital. In 1868 Klindworth was appointed to the post of professor of the pianoforte at the Conservatorium of Moscow, and while there he brought out the works which have made his name famous, the pianoforte scores of Wagner's 'Der Ring des Nibelungen,' begun during Wagner's visit to England in 1855, and his critical edition of ('hopin; the latter beyond all praise for rare insight into the text and minute care bestowed on the presentation of it; the former quite wonderful for the fidelity with which the transcript is contrived to reflect Wagner's complicated orchestration. In 1882 he returned to Germany, and was conductor of the Berlin Philharmonic Concerts, jointly with Joachim and Wüllner, and was also conductor of the Berlin Wagner Society. He established a school of music in Berlin, which existed until 1893, when he retired to Potsdam, and devoted himself to private teaching. He visited London once again to conduct a concert given by F. Dawson, on May 15, 1898.1 His arrangement of Schubert's symphony in C major for two pianofortes, and the four-hand arrangement of Tchaikovsky's poème symphonique, 'Francesca da Rimini,' as also, amongst his original compositions, a very difficult and effective polonaise fantaisie for pianoforte, should be particularly mentioned. The manuscripts of a masterly rescoring of Chopin's concerto in F minor, and a condensation and orchestration of C. V. Alkan's concerto in G# minor (Études, op. 39), were well known to his friends. The new version of Chopin's concerto has been often played, and in the opinion of a large class of musicians the work is improved thereby, though others consider that the slighter accompaniment designed by the composer is really more effective.
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17KLINGENSTEIN, BERNHARD. From 1575-1614 (the time of his death) he was priest and
191 Mus. T., 1898, p. 513.
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