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Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KRESS
3foremost composers of the younger generation in Germany, are remarkable for the austerity of his contrapuntal outlook. He appears to be swayed by strictly musical, not to say even technical, impulses, and rarely, if ever, allows his course to be deflected by emotional or temperamental considerations. He takes the 'linear' view of polyphony which prevails in so much recent German music, and is in fact one of its most uncompromising adherents. As with others, this has committed him to atonality, but rather as a corollary to his methods than as an integral feature of them, for he does not wilfully avoid the assertion of tonality where it presents itself in the course of development. His strong feeling for rhythm is possibly a racial trait, but if so it stands alone, for he has nothing in common with the Czech national movement. His reputation was established by performances at various festivals, notably of a string quartet in 1921 and a symphony in 1923, followed in 1924 by the production of a comic opera in three acts, 'Der Sprung über den Schatten' (op. 17).
5The following is a list of his works:
71. (1) Double Fugue, and (2) 'Tanzstudie' for PF.
82. Sonata for PF.
93. Sonata, vln. and PF.
104. Serenade for clar., vln., vla. and vcl.
115. Five Sonatinas for PF.
126. String Quartet I.
137. Symphony I
148. String Quartet II.
159. Songs.
1610. Concerto grosso I. For 6 solo instr. (vln., vla., vcl., flute, clar. and bassoon) and str. orch.
1711. Symphonic Music I. For 9 solo instr. (flute, oboe, clar., bassoon, 2 vlns., vla., vcl and double-bass).
1812. Symphony II.
1913. Toccata and Chaconne for PF.
2014. 'Zwingburg.' Dramatic cantata.
2115. Songs.
2216. Symphony III.
2317. 'Der Sprung über den Schatten.' Opera.
2418. Piano Concerto in F sharp.
2519. Songs.
2620. String Quartet III.
2721. Orpheus and Eurydice. Opera.
2822. Three a cappella choruses.
2923. Symphonic Music II. (Divertimento), for 9 solo instr.
3024. String Quartet IV.
3125. Concerto grosso II.
3226. Two Suites for PF.
3327. Concertino for flute, vln., cembalo and str. orch.
3429. Violin Concerto.
3535. 'The Seasons,' 4 short a cappella choruses (perf. Donaueschingen 1925)
37Opp. 1 to 11 were composed whilst Krenek was studying with Schreker.
39E. F.
41KRESS, JAKOB (d. ? Darmstadt, c. 1736), a 17th-18th century violinist and composer, Konzertmeister in the court orchestra. He composed a symphony, overtures, violin and flute concertos, quartets, trios (1 for flute, viol d'amour, cembalo or lute; and 1 for flute viola da gamba and cembalo, MS. Rostock libr.), and sonatas for various instruments. E. v. d. s.
43KRESS (KRESSEN, CRESSE), JOHANN ALBRECHT (d. Stuttgart before 1701), vice-Kapellmeister of the court chapel at Stuttgart in 1674. He was a highly esteemed composer of sacred cantatas and songs and the author of a treatise on thorough-bass (Q.-L.).
45KRETSCHMER, EDMUND (b. Ostritz, Saxony, Aug. 31, 1830; d. Dresden, Sept. 13, 1908), organist and dramatic composer. His father, the rector of the school in Ostritz, gave him his early musical education. He studied composition under Julius Otto, and the organ under Johann Schneider at Dresden, where he became organist of the Catholic church in 1854, and to the court in 1863. He founded several 'Gesangvereine,' and in 1865 his composition, 'Die Geisterschlacht,' gained the prize at the first German 'Sängerfest,' in Dresden. Three years later he took another prize in Brussels for a Mass. His opera 'Die Folkunger,' in five acts, libretto by Mosenthal, was produced at Dresden, June 1875. it was well received and had a considerable run, but has since disappeared; nor has 'Heinrich der Loewe,' to his own libretto (produced at Leipzig, 1877), met with more permanent favour, though it was given on many German stages with success. The music is correct, and shows both taste and talent, but no invention or dramatic power. His vocal part-writing has little life; and his duets, terzets, finales, etc., are too much like part-songs. Another opera, 'Der Flüchtling,' was produced at Ulm in 1881, and 'Schön Rohtraut' in Dresden, Nov. 1887. Three later masses, 'Pilgerfahrt,' 'Sieg im Gesang,' for chorus and orchestra, and 'Musikalische Dorfgeschichten,' for orchestra, may also be mentioned.
47F. G.
49KRETSCHMAR, AUGUST FERDINAND HERMANN (b. Olbernhau, Saxony, Jan. 19, 1848; d. Gross-Lichterfelde, May 10, 1924), distinguished as a writer on music and as Joachim's successor as head of the Hochschule at Berlin (1909-20), was educated at the Kreuzschule at Dresden, where he was taught music by J. Otto, and was sent later to the Leipzig Conservatorium, where he was a pupil of Richter, Reinecke, Paul and Papperitz.
51He took the degree of Dr.Phil. with a thesis on musical notation before Guido, and became in the same year, 1871, a teacher in the Leipzig Conservatorium. He conducted several musical societies, and overworked himself to such an extent that he was forced to give up Leipzig altogether; in 1876 he undertook the conductorship of the theatre in Metz; in 1877 went to Rostock as music director at the University, and from 1880 as town music director. In 1887 he succeeded H. Langer as music director of the Leipzig University, and conductor of a male choir. He soon became a member of various important musical institutions, such as the Bach Gesellschaft, and was made conductor of the Riedel-Verein in 1888. In 1890 he organised the Academic Orchestral Concerts, which had a successful career, with especial regard to historical programmes, until 1895. In 1898 he retired from his conductorships, but retained his professorship, and continued to give lectures on musical history. His compositions include only some organ works and partsongs.
53He contributed critical work to the Musika-
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