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Groves Dictionary Of Music And Musicians,vol.3, 1907
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1which he filled with honour and advantage till 1871. From that date he conducted the orchestra in the Catholic chapel. His compositions are numerous and varied in kind—masses, operas ('Silva,' 1830, 'Agnes Bernauer,' 1835), a Te Deum, orchestral pieces, songs and pianoforte works, many of them much esteemed in Germany. In England, however, his name is known almost exclusively as the father of (2) MARIE KREBS (b. Dresden, Dec. 5, 1851; d. June 27, 1900), the pianist. On the side of both father and mother (ALOYSIA MICHALESI, an operatic singer of eminence, b. Aug. 29, 1826, married Krebs July 20, 1850) she inherited music, and like Mme. Schumann was happy in having a father who directed her studies with great judgment. Marie appeared in public at the early age of 11 (Meissen, 1862). Her tours embraced not only the whole of Germany and England, but Italy, France, Holland and America. She played at the Gewandhaus first, Nov. 30, 1865. To this country she came in the previous year, and made an engagement with Gye for four seasons, and her first appearances were at the Crystal Palace, Apr. 30, 1864; at the Philharmonic, Apr. 20, 1874; and at the Monday Popular Concerts, Jan. 13, 1875. She enjoyed many years of great popularity in England and on the continent, and retired from the profession on her marriage with Herr Brenning.
3G., with addns.
5KREHBIEL, HENRY EDWARD (b. Ann Arbor, Michigan, U.S.A., Mar. 10, 1854; d. Mar. 20, 1923), an eminent American critic and writer of music. He studied law in Cincinnati, but soon turned to journalism, devoting himself especially to music. He was music critic of The Cincinnati Gazette from 1874 to 1879, and then entered upon the same office for The New York Tribune, which post he held till his death. He occupied a position of outstanding authority and influence among American critics, was one of the ablest champions of musical progress, and at the same time a deep student of the classics. He did much to advance the understanding and love of Wagner's later music dramas in America, and was among the earliest to welcome and appraise discriminately the music of Brahms, Tchaikovsky, Dvořák and other modern composers. It was to some extent at any rate due to him that such work was made familiar in New York before it was widely known in many European capitals.
7Krehbiel's activity was by no means confined to newspaper criticism. Amongst the list of his many books given below, the revised and completed edition of the English text of Thayer's Life of Beethoven is pre-eminent (see THAYER.) It was the work of his last years, and its publication was attained through the instrumentality of the Beethoven Association of New York. (See BAUER, Harold.) Another line of original research in which his work is important was his study of the negro folk-songs, of which he made a large collection. His intimate and first-hand knowledge was ultimately embodied in Afro-American Folk-songs (1914). He was widely known as a lecturer; he accomplished a useful work for many years by means of the programme notes and analyses that he prepared for the principal New York concerts (see ANALYTICAL NOTES). He acted as editor for American matters to the second edition of this Dictionary and contributed to it many important articles. His principal books are as follows:
9Notes on the Cultivation of Choral Music and the Oratorio Society of New York (1884); Review of the New York Musical Season (five volumes, 1886-90), Studies in the Wagnerian Drama (1891), The Philharmonic Society of New York: a Memorial published on the occasion of the Fiftieth Anniversary of the Founding of the Philharmonic Society (1892); How to Listen to Music (1897); Music and Manners in the Classical Period (1898); Chapters of Opera, a valuable history of opera in New York (1908, 2nd edition 1909); A Book of Operas (1909), The Pianoforte and its Music (1911); Afro-American Folk-songs (1914); A Second Book of Operas (1917); More Chapters of Opera (1919); Thayer's Life of Beethoven revised, completed and published for the first time in English (3 vols., 1921).
11In 1900 he was on the jury for musical instruments at the Paris Exposition; and in 1901 received the cross of the Legion of Honour.
13M.; addns. R. A.
15KREHL, STEPHAN (b. Leipzig, July 5, 1864; d. Apr. 7, 1924), composer and theorist, was a pupil at the Leipzig and Dresden Conservatoriums. In 1889 he was appointed teacher of piano and theory at the Carlsruhe Conservatorium. In 1902 he went in a similar capacity to the Conservatorium at Leipzig, attaining the title of 'Royal Professor' in 1910, and in 1921 he succeeded Hans Sitt as director of that institution, a post which he occupied till his death. He was an admirable theorist, and possessed the invaluable gift of being able to express lucidly whatever he wished to say. In the main he followed Hugo Riemann's system of harmony and counterpoint, and wrote several handbooks for educational purposes, for the most part of an elementary kind: Praktische Formenlehre (1902); Fuge (1909); Allgemeine Musiklehre (1910); Harmonielehre (1911); Kontrapunkt (1912); and (more advanced) Theorie der Tonkunst und Kompositionslehre, 2 vols. (1921-24). His compositions, always well written and workmanlike, are in some instances attractive; notably his clarinet quintet, op. 19, and the 'Symphonic Prelude to Hannele,' op. 15. Amongst the better of his other compositions are a string quartet, op. 17, sonata for piano and violoncello, op. 20, a cantata called 'Tröstung,' op. 33, and a suite for string quartet written just before his death.
17H. B.
19KREISLER, FRITZ (b. Vienna, Feb. 2, 1875), violinist, displayed musical gifts of an uncommon order in earliest infancy. These were recognised by his father, an eminent physician and enthusiastic musical amateur, who instructed and encouraged him to such purpose
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