Scan 74
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1W. A. Mozart's works, with an appendix of lost, doubtful and spurious compositions (Breitkopf & Härtel, Leipzig, 1862). As a precursor of that invaluable work, a small pamphlet should be named, Über den Umfang der musikalischen Productivität W. A. Mozarts (Salzburg, 1862). The complete edition of Mozart's works which Breitkopf & Härtel have published could scarcely have been made without his generous co-operation. In 1832 von Köchel was made an Imperial Councillor, and in 1842 he received the order of Leopold. Among his intimate friends was Otto Jahn, in whose work on Mozart he took an active interest. See Jahn's Mozart, second edition, p. xxxi.
3KOECHLIN, CHARLES (b. Paris, Nov. 27, 1867), composer, belongs to an Alsatian family. He attended first the École Polytechnique, but soon changed the direction of his studies and entered the Conservatoire, where he learned harmony with Taudou, counterpoint with Gédalge and composition with Massenet, ultimately becoming a pupil of Fauré.
5His first published compositions, settings of Rondels by Théodore de Banville and Charles d'Orléans, appeared in 1890, and one of them, 'Le Thé,' became almost immediately popular. Yet of the composer little was known, and his career has been not only uneventful, save for creative work, but isolated. At a time when the French composers of his generation were attracting world-wide attention to themselves, his growing list of compositions scarcely penetrated beyond a narrow circle. Few of them were published, and those in the larger forms were but rarely performed. Except as a song-writer, it is only since about 1921 that he has become more widely known. Now, not only the whole of his piano music and songs, but about half of his chamber music, and even a portion of his orchestral output is available in print, and it is gradually being discovered that Koechlin's contribution to the modern French movement has been far more important than was realised at the time. Though he never shared the delight of his contemporaries in recherches harmoniques, his writings as far back as the 'nineties abound in examples of harmonic independence. In other respects his style is remarkable for its unswerving sobriety and absence of all ingratiating concessions, amounting sometimes to dryness, but more often enlivened by melodic invention. He was an early exponent of the contrapuntal simplicity, the revival of which has been attributed to a more recent school; he has always had a fondness for extended melodic lines combined in the manner of the classic 'Invention,' and he has written many chorales. Apart from these features of his method his mode of thought is almost constantly lyrical, and in his later works characterised by a rhythmic freedom which frequently dispenses with time-signatures and even bar-lines. It is impossible to do more than enumerate his principal works. Those for orchestra include many extended series, such as the 'Heures persanes,' which comprise sixteen pieces.
7ORCHESTRAL
8La Forêt' (opp. 25 and 29), 'En mer la nuit' (op. 27), 'Les Saisons' (opp. 30-47, 48-69), 'Études antiques' (op. 46), 'Nuit de Walpurgis classique' (op. 38), 'Rhapsodie sur des chansons françaises' (op. 62), 'Les Heures persanes' (op. 65).
10Ballade piano and orchestra, op. 50.
11Ballets: 1. La Forêt païenne, op. 45.
122. La Divine Vespérée, op. 67.
13Chorus and orchestra, L'Abbaye, op. 16.
15CHAMBER MUSIC
163 String Quartets, opp. 51-57 and 72.
17Quintet, piano and strings, op. 80.
18Sonatas for piano with vln. (op. 64), vla. (op. 53), vcl. (op. 66), flute (op. 52), oboe (op. 58), clarinet (opp. 85 and 86), bassoon (op. 71), and horn (op. 70).
19Sonata for two flutes (op. 75).
21PIANO
22Esquisses (op. 41), Sonatinas (op. 59), 'Paysages et marines' (op. 63), Pastorales (op. 77), and two sets of 'Petites Pièces.'
23A suite for two pianos (op. 6), and another for piano, four hands (op. 19).
24Numerous songs and choral pieces.
26KÖHLER, the name of an eminent family of military wind-instrument makers. The founder of the family was (1) JOHN KÖHLER, a native of Volkenrode, a hamlet near Cassel. He came to England, acted as bandmaster to the Lancashire Volunteers, and in 1780 established himself as a musical instrument maker at 87 St. James's Street. Having no children, he sent for his nephew, (2) JOHN KÖHLER, from Germany, who succeeded to his business in 1801. The latter was appointed musical instrument-maker to the Duke of York, then Commander-in-Chief, and the Prince of Wales successively. He was succeeded by his only son, (3) JOHN AUGUSTUS (d. June 20, 1878), who removed the business to Henrietta Street. His inventions in brass instruments were many, and were successful in their day. He obtained prize medals at the Exhibitions of 1851 and 1862, and was favourably mentioned in the Report of the latter. His eldest son, (4) AUGUSTUS CHARLES, now deceased, succeeded to his business.
28KÖHLER, CHR. LOUIS HEINRICH (b. Brunswick, Sept. 5, 1820; d. Königsberg, Feb. 16, 1886), was educated at Brunswick and Vienna, being in the latter capital from 1839-43 as a pupil of Sechter for theory, and Bocklet for piano. He filled the post of conductor at Marienburg and Elbing, before settling down at Königsberg, which was his home from 1847 until his death. He wrote three operas, one of which, 'Maria Dolores,' was performed at Brunswick in 1844, and a ballet, 'Der Zauberkomponist,' at the same place in 1846. His chief work as a composer was in the direction of educational pianoforte music, such as studies of all kinds, arrangements of popular works, fantasias, etc. Two books of his studies, opp. 112 and 128, have more value than most of his works. He was a valued contributor to the Neue Zeitschrift für Musik, in 1867-78, and to the Berliner Musik-Zeitung in 1871-76.
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