Scan 68
Groves Dictionary Of Music And Musicians,vol.3, 1907
22 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1Kapellmeister at Augsburg Cathedral. In 1580 he was still studying under J. de Cleve. He composed 'Rosetum Marianum' (1604); 'Sacr. Symphoniarnum,' Book i. (1607); single numbers are in various collective volumes (Riemann; Q.-L.).
3KLÖFFLER (KLÖFLER), JOHANN FRIEDRICH (d. Castle Steinfurt, near Münster, 1792), a late 18th century flute virtuoso and instrumental composer. He was Kapellmeister of Count Bentheim-Steinfurt, Castle Steinfurt, near Münster, c. 1787. He composed a piece of programme music, 'The Battle,' which he produced in 1782 in Berlin and in 1783 in London. He wrote: Zergliederung eines Instrumental Tonstückes von … 1787 (probably the analytical programme of the above); composed symphonies, flute-concertos, trios 2 flutes and basso continuo; quartets 4 flutes, a nonet, sonatas, etc. E. v. d. s.
5KLOTZ, the name of a numerous family of violin-makers who lived at the little town of Mittenwald, in the Bavarian Alps, and founded a manufacture of stringed instruments which makes Mittenwald to this day only less famous than Markneukirchen in Saxony, and Mirécourt in the Vosges.
7A variety of the pine, locally known as the 'Hasel-fichte' (Bechstein calls it the 'harte oder späte Roth-tanne'), of delicate but strong and highly resonant fibre, flourishes in the Bavarian Alps. The abundance of this material, which the ingenious peasants of the neighbouring Ammerthal use for wood-carving, led to the rise of the Mittenwald violin manufacture. For about two centuries there was held in the town a famous fair, greatly frequented by Venetian and other traders. In 1679 this fair was removed to Botzen, and the Mittenwalders attribute the rise of the violin industry to the distress which thereupon ensued.
9(1) EGIDIUS KLOTZ had already made violins at Mittenwald. Tradition says that he learned the craft from Stainer at Absam. He is more likely to have learned it from seeing Stainer's violins, which he imitated with success. His son, (2) MATTHIAS or MATTHEW (1653-1743), followed in the same path. He travelled, however, into Italy, sojourning both at Florence and Cremona. Tradition reports him to have returned to Mittenwald about 1683, and to have at once begun to instruct many of the impoverished Mittenwalders in the mystery of fiddle-making. The instruments found a ready sale. They were hawked about by the makers at the churches, castles and monasteries of South Germany; and Mittenwald began to recover its prosperity. Most of the instruments of Matthias Klotz date from 1670-96. They are well built, on the model of Stainer, but poorly varnished.
11His son (3) SEBASTIAN surpassed him as a maker. His instruments, though Stainer-like in appearance, are larger in size, of flatter model, and better designed: and his varnish is often of a good Italian quality. Another son of Matthias, (4) JOSEPH, still has a good reputation as a maker.
13Until about the middle of the 18th century, a distinctive German style prevailed in violins, of which the above-mentioned makers are the best exponents. In several towns of Italy there were Germans working in their own style side by side with Italian makers. Tecchler worked thus in Rome, Mann in Naples, and the three Gofrillers (Gottfriedl) in Venice. It is certain, too, that there was a demand for German violins in Cremona itself. Two Germans, named Pfret-schner and Fricker, who made violins of their own ugly pattern, gained a subsistence there in the golden days of Stradivarius: and the famous Veracini always used a German violin. But this competition could not long endure. The superiority of the Italian violin was established in the earlier half of the century: and wherever stringed instruments were made, imitation of the Italian models began. It penetrated to Mittenwald, as it did to London and Paris.
15This stage of the art is represented by (5) GEORG KLOTZ, whose fiddles date from 1750-1770. They have lost their distinctive Tyrolese cut, without gaining the true Italian style, and are covered with a thin brittle spirit varnish, laid upon a coat of size, which keeps the varnish from penetrating the wood, and renders it opaque and perishable. Besides George, we hear of (6) MICHAEL, (7) CHARLES and (8) EGIDIUS, second of the name. Nine-tenths of the violins which pass in the world as 'Stainers' were made by the Klotz family and their followers.
17E. J. P.
19KLUGHARDT, AUGUST FRIEDRICH MARTIN (b. Cöthen, Nov. 30, 1847; d. Dessau, Aug. 3, 1902), was for twenty years a theatrical conductor before becoming court music-director, first at Weimar in 1869, then at Neustrelitz in 1873, and at Dessau in 1882. Under Liszt's influence he threw himself into the modern school of music, but stopped short of the extremes towards which many of Liszt's followers were led. Five overtures, five symphonies, two suites, concertos for oboe, violin and violoncello respectively, the oratorios 'Die Grablegung Christi,' 'Die Zerstörung Jerusalems' (his best-known work), and 'Judith,' two psalms for soli and chorus, and much chamber music, represent his chief work apart from the stage, to which he contributed 'Miriam' (Weimar, 1871), 'Iwein' (1879), and 'Gudrun' (1882), both produced at Neustrelitz), and 'Die Hochzeit des Mönchs' (Dessau, 1886), given as 'Astorre' at Prague in 1888. (Riemann.)
21KNABE & COMPANY, an eminent firm of American pianoforte manufacturers with headquarters in Baltimore. Its founder, William
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