Scan 75
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KÖLER, DAVID (b. Zwickau, Saxony, first half of 16th century; d. July 1565). His first appointment was at Altenburg, whence in 1563 he was called to be Kapellmeister at Güstrow in Mecklenburg. The town council of Zwickau afterwards called him back to his native town, giving him the post of cantor at St. Marien, the principal church.
3His one published work consists of Ten Psalms with German words for four to six voices, composed throughout in several divisions ('Zehen Psalme Davids des Propheten mit vier, fünf und sechs Stimmen gesetzt durch David Köler von Zwickau,' Leipzig, 1554). The only known copy of this work is preserved in the public library at Zwickau. Otto Kade has the merit of first calling attention to this work, and rescuing its able composer from utter oblivion. Since then Dr. Georg Göhler of Leipzig has reprinted two of the Psalms, and conducted performances of them at Zwickau and elsewhere. In his preface to Psalm III. Dr. Göhler says:
5'It may be considered as one of the most perfect pieces of contrapuntal art and genial interpretation of the text which we anywhere possess. . . . The realism of the musical drawing is as astonishing as the quite modern conception and presentation of the different parts of the text.'
7In the Beilagen zu Ambros Kade printed from a MS. Köler's four-voice setting of the Geistliches Lied, 'O du edler Brunn der Freuden,' which is also an excellent piece of work. Among the few other works of Köler in MS. there is a Mass for seven voices on Josquin's Motet 'Benedicta es coelorum regina.' J. R. M.
9KÖMPEL, AUGUST (b. Brückenau, Aug. 15, 1831; d. Weimar, Apr. 7, 1891), a distinguished violinist, one of the best pupils of Spohr, whose quiet, elegiac style suited his talent precisely. His tone was not large, but very pure and sympathetic, his execution faultless. He was for a time member of the bands at Cassel and Hanover (the latter in 1852-61), and from 1863 was leader of that at Weimar. He retired on a pension in 1884. P. D.
11KÖNIG, JOHANN BALTHASAR (b. 1691; d. 1758), director of church music at Frankfurt-am-Main, is best known as the editor of the most comprehensive Choral-book of the 18th century, Harmonischer Lieder-Schatz oder Allgemeines evangelisches Choral-buch, Frankfurt, 1738. It contains 1940 tunes, including those to the French Calvinistic Psalms, but the older tunes and the French Psalm-tunes have all been deprived of their original variety of rhythm, and the more modern tunes from the Freylinghausen and other hymn-books have all been simplified by the retrenchment of slurs and appoggiaturas and othersuperfluous ornaments. All the tunes have thus been reduced to a uniform pattern with notes of equal length, and while this simplification has been of advantage in the case of the Freylinghausen tunes it has rather spoilt the older melodies. The tunes are only provided with figured bass. J. R. M.
13KÖNIGIN VON SABA, DIE, opera in 4 acts; words by J. Mosenthal, music by Carl Goldmark; produced Vienna, Mar. 10, 1875: in English, Carl Rosa Co., Theatre Royal, Manchester, Apr. 12, 1910. (See also REINE DE SABA, LA.)
15KÖNIGSKINDER, dramatised fairy-tale in 3 acts, written by Ernst Rosmer, with music by Engelbert Humperdinck; produced Munich, Jan. 23, 1897; in English, Court Theatre, Oct. 13, 1897. Originally the action was carried on in declamation through continuous music. Later Humperdinck transformed the work into opera, and it was so given for the first time, Metropolitan Opera House, New York, Dec. 28, 1910; Berlin, Jan. 14, 1911; Covent Garden, Nov. 27, 1911.
17KÖNIGSPERGER, MARIAN (MARIANUS) (b. Roding, Bavaria, Dec. 4, 1708; d. Oct. 9, 1769), received his early education in the Benedictine Abbey of Prüfening near Ratisbon, where he afterwards took the vows, and spent the rest of his life as organist and director of the choir, and occupied in musical composition.
19He enjoyed great reputation in his time as an organ player, and composer of works for the church. Lotter, the music publisher of Augsburg, acknowledged that he owed the foundation of his prosperity in business to his publication of Königsperger's works, and the profits which were obtained for the composer himself were all generously devoted by him to the benefit of the Abbey, providing it with a new organ, purchasing valuable books for the library, and furnishing the means for the publication of literary works by the other brethren. His works are enumerated in Q.-L., and even more fully by Ernst von Werra in Haberl's Kirchen-musikalisches Jahrbuch, 1897, pp. 32-34. Both E. v. Werra and Eitner say that Königsperger wrote for the theatre as well as for the church, but the works, as they enumerate them, are all for the church, and consist of—
21(1) A large number of masses, offertoria, vespers, litanies, etc., all for voices with a considerable instrumental accompaniment—strings, horns, trumpets and drums.
22(2) Sonatas or symphonies for strings and other instruments with organ, evidently for church use.
23(3) Various sets of preludes and fugues or versetts in the church tones for organ.
25Ritter (Geschichte des Orgelspiels, pp. 80, 161) considers the organ works to show good schooling, and to have more substance in them than similar works of his South German contemporaries. None appear to be reprinted in modern times. J. R. M.
27KOLB, KARLMANN (b. Köstlarn, Bavaria, 1703; d. Munich, 1765), received his first musical instruction as a choir-boy in the Benedictine Abbey of Aschbach. Taking the vows at this Abbey in 1723, he was ordained priest in 1729, and acted as organist. Later on, with the permission of his superiors, he entered the service
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