Scan 80
Groves Dictionary Of Music And Musicians,vol.3, 1907
26 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.
1Artaria of Vienna, and contains a list of MS. works. Of much greater importance is his cousin and pupil,
3(2) LEOPOLD (b. Welwarn, 1754 1; d. Vienna, May 7, 1818 2). In 1765 he went to Prague for his education, and there composed a ballet, performed at the national theatre in 1771, with so much success that it was followed in the course of the next six years by twenty-four ballets and three pantomimes. In 1778 he went to Vienna and became the pianoforte master of the Archduchess Elizabeth, and favourite teacher of the aristocracy. When Mozart resigned his post at Salzburg (1781) the Archbishop at once offered it with a rise of salary to Koželuh, who declined it on the ground that he was doing better in Vienna. To his friends, however, he held different language:
5'The Archbishop's conduct towards Mozart deterred me more than anything, for if he could let such a man as that leave him, what treatment should I have been likely to meet with?'
7The respect here expressed was strangely at variance with his subsequent behaviour towards Mozart.3 At the coronation of the Emperor Leopold II. at Prague (1791) even his own countrymen, the Bohemians, were disgusted with his behaviour to Mozart, who was in attendance as court composer. He nevertheless succeeded him in his office (1792), with a salary of 1500 gulden, and retained the post till his death. His numerous compositions include two grand operas, 'Judith' and 'Debora und Sisara'; an oratorio, 'Moses in Aegypten'; many ballets, cantatas, about thirty symphonies, and much pianoforte music, at one time well known in England, but all now forgotten. (See list in Q.-L.) It should be added that he arranged some Scottish songs for Thomson of Edinburgh, in allusion to which, Beethoven, in a letter of Feb. 29, 1812 (Thayer, iii. 449), whether inspired with disgust at Koželuh's underselling him, or with a genuine contempt for his music, says, 'Moi je m'estime encore une fois plus supérieur en ce genre que Monsieur Koželuch (miserabilis).'4 F. G.
9KRAF, MICHAEL, a Frankonian, Kapellmeister and organist of the monastery of Weingarten, Württemberg, between 1620–27. He was a prolific composer of masses, motets, other church music, and of songs. (List in Q.-L.)
11KRAFFT, (1) FRANÇOIS (b. Ghent, 1728; d. there, Jan. 13, 1795), choir-boy at Ghent Cathedral, maitre de chapelle, Brussels. He was at Ghent Cathedral from 1770 or 1771. He left some 60 compositions, mostly in private hands. (2) FRANÇOIS (b. Brussels, Oct. 3, 1733), music teacher at Brussels, 1760, composer to the Royal Chapel, 1770 83. According to Fétis he was organist at Notre Dame au Sablon. Fétis quotes also FRANÇOIS-JOSEPH (b. Brussels, July 22, 1720). The history is so far greatly confused, and it is uncertain to which of the foregoing the sonatas in Haffner's 'Raccolta' or the 12 minuets, 13 pièces en écho mentioned in Q.-L. have to be attributed. It appears certain, however, that the masses and sacred songs at the collegiate church of Anderlecht (dated 1783) are by François (2).
13KRAFT, (1) ANTON (b. Rokitzan near Pilsen, Bohemia, Dec. 30, 1752 5; d. Aug. 28, 1820), distinguished violoncellist, son of a brewer and amateur, who had his son early taught music, especially the violoncello. He studied law at Prague, where he had finishing lessons from Werner, and at Vienna, where Haydn secured him for the chapel of Prince Esterhazy, which he entered on Jan. 1, 1778. On the Prince's death in 1790 he became chamber-musician to Prince Grassalkowitsch, and in 1795 to Prince Lobkowitz, in whose service he died. On one of his concert-tours he was at Dresden in 1789, and with his son played before Duke Karl, and before the Elector the night after the court had been enchanted by Mozart. Both musicians were staying at the same hotel, so they arranged a quartet, the fourth part being taken by Teyber the organist.6 Haydn valued Kraft for his power of expression, and for the purity of his intonation, and in all probability composed (1781) his violoncello concerto (André) for him. According to Schindler7 the violoncello part in Beethoven's triple concerto was also intended for Kraft. As he showed a talent for composition, Haydn offered to instruct him, but Kraft taking up the new subject with such ardour as to neglect his instrument, Haydn would teach him no more, saying he already knew enough for his purpose. He published three sonatas with accompaniment, op. 1 (Amsterdam, Hummel); three sonatas, op. 2 (André); three grand duos concertantes for violin and violoncello, op. 3, and first concerto in C, op. 4 (Breitkopf & Härtel); grand duos for two violoncellos, opp. 5 and 6 (Vienna, Steiner); and divertissement for violoncello with double bass (Peters). Kraft also played the baritone in Prince Esterhazy's chamber music,8 and composed several trios for two baritones and violoncello.
15His son and pupil (2) NICOLAUS (b. Esterház, Dec. 14, 1778; d. May 18, 1853), early became proficient on the violoncello, accompanied his father on his concert-tours (see above), and settled with him in Vienna in 1790. He played a concerto of his father's at a concert of the Tonkünstler-Societät in 1792, and was one of
171 Riemann gives 1748.
182 The date, 1814, was given by Dlabac and Wurzbach, who have been followed by some later authorities. one of two readings
192 The date, 1814, was given by Dlabač and Wurzbach, who have been followed by some later authorities. one of two readings
203 See Jahn's Mozart, Engl. trans., ii. 347.
214 See Thayer, iii. 449; Krehbiel, ii. 219.
225 This is the date in the baptismal register; 1751 and 1749 have been given.
236 Mozart also played with the Krafts his Trio in E (Küchel, 542) see Nohl's Mozart-Briefe, No. 251.
247 Vol. i. p. 147; see also Thayer's Beethoven, vol. ii. p. 299.
258 For an anecdote on this point see Josef Haydn, by C. F. Pohl vol. i. p. 252.
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