Scan 71
Groves Dictionary Of Music And Musicians,vol.3, 1907
34 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1composer and teacher. When only 4 years of age, he was taken by his parents to Southern Russia, and soon began his musical training under his mother, a moderate pianist. In the various small Russian towns in which at this time the Knorr family lived, the lad had much to do for himself, all the while absorbing the influence of the Slavonic folk-music which he heard. His first efforts at composition were made when he was 7 years of age, but it was not until 1868, when the family settled in Leipzig, that he determined to adopt a musical career.
3On entering the Conservatorium Iwan became a pupil for pianoforte of Ignaz Moscheles, for theory of Richter, and for composition of Carl Reinecke. After passing through the Conservatorium Knorr returned to Russia and became professor of music in the Imperial Institute for Noble Ladies. There he had ample time for composition, but, doubtful of his ability, he submitted some compositions to Brahms, at that time unknown to him, with a request for a judgment. The work submitted was the series of variations on an Ukrainian Volkslied (op. 7) for orchestra, on which Brahms expressed so highly favourable an opinion that a few years later (1883) Knorr was appointed, on Brahms's recommendation, principal teacher of composition at the Hoch Conservatorium in Frankfort-on-Main. There he numbered among his pupils many Englishmen: Cyril Scott, H. Balfour Gardiner, Norman O'Neill and Roger Quilter, for example. He believed firmly in training the mind of each pupil individually, and acted up to his belief; and he preferred the school of experience and the 'eternal laws' to the set 'rules' of composition. His text was that in harmony all is good that seems good to the thoroughly educated ear, whether it conform to the rules or not.
5Knorr's published compositions include:
7Op. 1, variations on a theme by Schumann for pianoforte trio; op. 3, pianoforte quartet; op. 6, the 'Ukrainische Liebeslieder' for vocal quartet and pianoforte, the poems by himself; op. 12, a symphonic Phantasie for orchestra; and a quantity of songs and pianoforte music for two and four hands.
9In the mass of his manuscript music is 'Dunja'—a musical village-tale in two acts, which was successfully staged at Coblenz on Mar. 23, 1904, and a second opera, 'Durchs Fenster,' given at Carlsruhe in 1908. He wrote a biography of his friend Tchaikovsky (Riemann's Berühmte Musiker, 1900) and the following pedagogic works:
11Aufgaben für den Unterricht in der Harmonielehre. (1903.)
12Lehrbuch der Fugenkomposition. (1911.)
13Fugen des wohltemperirten Klaviers in bildlicher Darstellung. (1912.)
14R. H. L., with addns.
16KNOTE, HEINRICH (b. Munich, 1870), operatic tenor. He learned singing from E. Kirschner in his native city, where he made his début at the Royal Opera in 1892. Deducting only a short stay at Hamburg, his career in Germany was exclusively restricted to Munich, Bayreuth and Berlin. From those centres his fame as a 'Heldentenor' was loudly trumpeted forth, and it must be admitted that he fully justified it on his first appearances in London (Covent Garden, 1901) and New York (Metropolitan Opera House, 1902-03), at both of which he sang frequently down to 1913. He was a typical interpreter of the heroes of Wagnerian music-drama; a particularly fine Siegfried, a noble Tristan, an impulsive Tannhäuser; his striking physique well matched by a clear, resonant, sympathetic voice and impressive declamation. In the summer of 1908 he sustained the rôle of Tristan (Miss Edyth Walker then making her first attempt as a soprano) in the 50th performance of 'Tristan und Isolde' at Covent Garden.
18BIBL.—Int. Who's Who in Music; NORTHCOTT, Covent Garden and Royal Opera.
20H. K.
22KNOTT, JOHN (b. probably Sevenoaks, Kent; d. Edinburgh, 1837), a composer and compiler of church melodies. His father was a Baptist minister at Sevenoaks. John Knott became a chorister in Durham Cathedral, and in 1811 was precentor in the West Church, Aberdeen, and a teacher of singing. While there he issued an interesting little oblong volume, Sacred Harmony, being a collection of Psalm and Hymn Tunes, 1814, 2nd ed. 1815. In 1824 he was in Edinburgh, and issued a Selection of Tunes in four parts, adapted to the Psalms and Paraphrases of the Church of Scotland. While in Edinburgh he was music-master at Heriot's Hospital, and precentor at the New North Church.
24F. K.
26KNÜPFER, SEBASTIAN (b. Asch, Voigtl. Saxony, Sept. 7, 1633; d. 1676), received his education, musical and otherwise, at Regensburg. Coming to Leipzig to pursue his philological as well as musical studies, he succeeded, in 1657, Tobias Michael as Cantor of the Thomasschule and General Director of the Town Music. From the obituary notice contained in the so-called Leichenprogramm¹ or Funeral Invitation issued by the rector of Leipzig University we learn that, amongst his contemporaries, Knüpfier was as much esteemed for his philological as for his musical attainments. He is said to have edited Kircher's Musurgia, and the treatises of Guido, Boethius, Berno and others, although no traces of such works are now to be found. The only musical works published by him consist of a few Funeral Motets (Leichengesänge) for 4 to 8 voices; but the State Library at Berlin contains a collection of 22 of his church cantatas for 3 to 8 voices, with instrumental accompaniment, which Winterfeld characterises as a valuable possession, and as showing Knüpfier to have been a serious, solid, thoroughly trained musician. Four of these are reprinted in D.D.T. lviii. and lix. one of two readings
27KNÜPFER, SEBASTIAN (b. Asch, Voigtl. Saxony, Sept. 7, 1633; d. 1676), received his education, musical and otherwise, at Regensburg. Coming to Leipzig to pursue his philological as well as musical studies, he succeeded, in 1657, Tobias Michael as Cantor of the Thomasschule and General Director of the Town Music. From the obituary notice contained in the so-called Leichenprogramm¹ or Funeral Invitation issued by the rector of Leipzig University we learn that, amongst his contemporaries, Knüpf er was as much esteemed for his philological as for his musical attainments. He is said to have edited Kircher's Musurgia, and the treatises of Guido, Boethius, Berno and others, although no traces of such works are now to be found. The only musical works published by him consist of a few Funeral Motets (Leichengesänge) for 4 to 8 voices; but the State Library at Berlin contains a collection of 22 of his church cantatas for 3 to 8 voices, with instrumental accompaniment, which Winterfeld characterises as a valuable possession, and as showing Knüpf er to have been a serious, solid, thoroughly trained musician. Four of these are reprinted in D.D.T. lviii. and lix. one of two readings
29J. R. M.
31KNYVETT, (1) CHARLES (b. Feb. 22, 1752; d. London, Jan. 19, 1822), descended from an
33¹ Reprinted in M.f.M., 1901, pp. 207-13.
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