Scan 82
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1a town musician. He studied at the University of Frankfort-on-Oder, and became a barrister in 1753. He was a song composer, whom Riemann calls 'the soul of the Berlin Liederschool,' and the author of important essays on music (A. Schering, Studie über Krause; see also Riemann).
3KRAUSS, MARIE GABRIELLE (b. Vienna, Mar. 24, 1842; d. Paris, Jan. 5-6, 1906), received instruction at the Conservatorium in piano-forte playing and harmony, and in singing from Mme. Marchesi. She sang in Schumann's 'Paradise and Peri' at its publication in Vienna by the Gesellschaft der Musikfreunde, Mar. 1, 1858. She made her début at the opera there as Mathilde ('Tell') in July 1859, and played also Anna ('Dame Blanche') and Valentine. She became a favourite, and remained there for some years, until about 1867. She made her début at the Italiens, Paris, as Leonora ('Trovatore'), Apr. 6, 1867, and Lucrezia; became very successful, and was engaged there every season until the war of 1870. She gained great applause by her performance of Donna Anna, Fidelio, Norma, Lucia, Semiramide, Gilda, etc., in a new opera of Mme. de Grandval's, 'Piccolino,' Nov. 25, 1869, and in Halévy's 'Guido et Ginevra' (1870). She sang with great success at Naples in Petrella's 'Manfredo' (1871), and 'Bianca Orsini' (1874), also as Aida; with less success at Milan as Elsa on the production there of 'Lohengrin,' and in Gomes's 'Fosca,' Feb. 16, 1873. She returned to the Italiens for a short time in the autumn of 1873, accepted the offer of an engagement for the Opéra, previous to which she played at St. Petersburg in 1874. She made her début at the Opéra, at the inauguration of the new house, as Rachel in 'La Juive' (first two acts), Jan. 5, 1875, and in the same opera in its entirety, Jan. 8. With the exception of a short period, 1885-86, she remained a member of that company until the end of 1888. She played in operas produced there for the first time as the heroine (Mermet's 'Jeanne d'Arc'), Apr. 5, 1876; Pauline (Gounod's 'Polyeucte'), Oct. 7, 1878; Aida, Mar. 22, 1880; Hermosa (Gounod's 'Tribut de Zamora'), Apr. 1, 1881; Katharine of Aragon (Saint-Saëns's 'Henry VIII'), Mar. 5, 1883; the heroine on revival of Gounod's 'Sapho,' Apr. 2, 1884; Gilda ('Rigoletto'), Mar. 2, 1885; and Dolores (Paladilhe's 'Patrie'), Dec. 20, 1886.
5'By degrees Gabrielle Krauss became as great an actress as she was a singer … and the French were right when they gave her the name of 'La Rachel chantante' (Marchesi).
7After her retirement, she frequently sang at concerts, and for many years devoted herself to teaching.
9A. C.
11BIBL.—CHARMAÇÉ, Les Étoiles du chant (Paris, 1868-69); H. DE COURZON, Croquis d'artistes (Paris, 1893).
13KREBS, (1) JOHANN LUDWIG (b. Buttelstädt, Thuringia, Feb. 10, 1713; d. Altenburg, Jan.1 1780), distinguished organist. His father, JOHANN TOBIAS (b. Heichelheim, 1690; d. Buttelstädt, after 1728), himself an excellent organist, for seven years walked every week from Buttelstädt to Weimar, in order to take lessons from Walther, author of the Lexicon, who was organist there, and from Sebastian Bach, at that time Konzertmeister at Weimar. He was appointed organist at Buttelstädt about 1721. He so thoroughly grounded his son in music that when in 1726 the latter went to the Thomasschule in Leipzig he was already sufficiently advanced to be at once admitted by Bach into the number of his special pupils. He enjoyed Bach's instruction for nine years (to 1735), and rose to so high a place in his esteem that he was appointed to play the clavier at the weekly practices to which Bach gave the name of 'collegium musicum.' Punning upon his pupil's name and his own, the old cantor was accustomed to say that 'he was the best crab (Krebs) in all the brook (Bach).'
15At the close of his philosophical studies at Leipzig he was appointed organist successively at Zwickau (1737). Zeitz (1744), and Altenburg, where he remained from 1756 till his death. He was equally esteemed on the clavier and the organ, and in the latter capacity especially deserves to be considered one of Bach's best pupils. His published compositions include 'Klavier-Uebungen' (4 parts), containing Chorals with variations, fugues and suites; sonatas for clavier, and for flute and clavier; and trios for the flute. (See Q.-L.) Several of these have been reprinted in the collections of Körner and others. Among his unpublished works a Magnificat and two settings of the Sanctus with orchestral accompaniments are highly spoken of.
17He left two sons, both sound musicians and composers, though not of the eminence of their father. The eldest, (2) EHRENFRIED CHRISTIAN TRAUGOTT, succeeded his father as court organist and Musik-director at Altenburg, and on his death was succeeded by his younger brother, (3) JOHANN GOTTFRIED, who wrote cantatas, songs, etc.
19A. M.
21KREBS, a musical family of the 19th century. (1) KARL AUGUST (b. Nuremberg, Jan. 16, 1804; d. May 16, 1880), the head, was the son of A. and Charlotte Miedcke, belonging to the company of the theatre at Nuremberg. The name of Krebs he obtained from the singer of that name at Stuttgart, who adopted him. His early studies were made under Schelble, and in 1825 under Seyfried at Vienna. In Mar. 1827 he settled in Hamburg as head of the theatre, and there passed twenty-three active and useful years, till called to Dresden in 1850 as Kapellmeister to the court, a post
231 Buried Jan. 4.
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