Scan 81
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KRAKOVIAK
3Prince Karl Lichnowsky's famous quartet party, who executed so many of Beethoven's works for the first time. The others were Schuppanzigh, Sina, and Franz Weiss, all young men.1 In 1796 he became chamber-musician to Prince Lobkowitz, who sent him in 1801 to Berlin for further study with Louis Duport. There he gave concerts, as well as at Leipzig, Dresden, Prague and Vienna on his return journey. In 1809 he entered the orchestra of the court-opera, and the King of Württemberg hearing him in 1814, at once engaged him for his chapel at Stuttgart. He undertook several more concert-tours (Hummel accompanied him in 1818), but an accident to his hand obliged him to give up playing. He retired on a pension in 1834. Among his pupils were Count Wilhorsky, Merk, Birnbach, Wranitzky's sons, and his own son (3) Friedrich (b. Vienna, Feb. 12, 1807), who became violoncellist in the chapel at Stuttgart, 1824.
5Among Nicolaus's excellent violoncello compositions may be specified—
7Fantasie with quartet, op. 1 (André); concertos, opp. 3, 4 (B & H) and 5 (Peters); Scène pastorale with orchestra, dedicated to the King of Württemberg, op. 9 (Peters); 8 divertissements progressifs with second violoncello, op. 14 (André); three easy duos for two violoncellos, op. 15, and three grand duos for ditto, op. 17 (André)
9C. F. P.
11KRAKOVIAK (CRACOVIAK, or 'RACOVIEENNE), a Polish dance, belonging to the district of Cracow. 'There are usually,' says an eye-witness, 'a great many couples—as many as in an English country dance. They shout while dancing, and occasionally the smart man of the party sings an impromptu couplet suited for the occasion—on birthdays, weddings, etc. The men also strike their heels together while dancing, which produces a metallic sound, as the heels are covered with iron.' The songs, which also share the name, are innumerable and, as is natural, deeply tinged with melancholy. Under the name of Cracovienne the dance was brought into the theatre about the year 1840, and was made famous by Fanny Elssler's performance. The following is the tune to which she danced it; but whether that is a real Krakoviak, or a mere imitation, the writer is unable to say:
13It has been varied by Chopin (op. 14), Herz, Wallace, and others.
151 See Thayer's Beethoven, vol. ii. p. 278.
17KRAUSE
19KRAUS, JOHANN FRIEDRICH (b. Weimar, 1754; d. Stuttgart, 1807), violinist and composer, pupil of Göpfert, Weimar (violin), and Jos. Haydn, Vienna. From 1778-81 he was a member of Weimar court orchestra; was sent by the Duke to Italy for further studies; returned in 1739, and was appointed second Konzertmister in the court orchestra and music director of the opera. He composed several Singspiele, especially those by Goethe, who mentions him in Tag und Jahreshefte, 1791 (vol. 21, p. 12). In 1803 he became Zumsteeg's successor as Kapellmeister of the Stuttgart court theatre, which post he held till the time of his death.
21E. v. d. s.
23KRÁSNOHORSKÁ, ELIŠKA (b. Nov. 18, 1847), a distinguished Czech authoress who furnished librettos for many popular Bohemian operas in the second half of the 19th century. She showed musical talent in her girlhood, and studied singing and theory under Zvonař at the 'Žofín' Academy, but literature finally claimed her whole attention. The chief operas for which she wrote the texts were: Bendl's 'Lejla' (from Bulwer Lytton) (1868), 'Bictislava,' (1870), 'Ditě Tabora' (The Child of Tabor) (1892), and 'Karel Škreta' (1883); Fibich's 'Blanik' (1881); while for Smetana she wrote the texts of 'Hubička' (The Kiss) (1876), 'Tajemství' (The Secret) (1878), and 'Čertova Stěna' (The Devil's Wall) (1882). She also made a very happy translation into Czech of Bizet's 'Carmen.' Krásmohorská has been a frequent contributor to the leading musical and other journals, and her articles on 'Czech Poetry and Music Drama,' 'Czech Musical Declamation,' and her reminiscences of Smetana are useful to the student, especially her brochure Bedřich Smetana, published in 1885 in Em. Chávla's series of Musical Essays (Rozpravy Hudební, Fr. Urbánek, Prague).
25R. N.
27KRAUS, JOSEPH MARTIN (b. Miltenberg, near Mainz; d. Stockholm, Dec. 15, 1792), pupil of Abbé Vogler. He studied philosophy and law at Mainz, Erfurt and Göttingen; and went with a Swedish co-student to Stockholm, where he became conductor at the theatre in 1778 and Kapellmeister in 1781. In 1782 he travelled at the expense of, and partly with, the King of Sweden through Germany, Italy, France and England, returning to Stockholm in 1787. In 1788 he succeeded Uttini as court Kapellmeister. He composed 4 operas, church music, secular songs, symphonies, overtures and string quartets; he also wrote essays on music (anon.), poetry, and an autobiography. (List in Q.-L.)
29KRAUS, FATHER LAMBERT (b. Pfreund, Palatinate; d. Nov. 27, 1790), abbot of the monastery of Metten in Bavaria. He composed sacred and secular 'Singspiele' (1762-70), 12 symphonies, 16 masses and other church music.
31KRAUSE, CHRISTIAN GOTTFRIED (b. Winzig, Silesia, 1719; d. Berlin, July 21, 1779), son of
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