Scan 86
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1tisches Wochenblatt, and the Grenzboten; published lectures on Choral Music, on Peter Cornelius, etc. One of his most useful undertakings is the Führer durch den Konzertsaal, the equivalent of our own analytical programmes, which began to be published in 1887, and have gone through many editions, being printed in separate portions in pamphlet form in 1898 and later. His collected essays (Gesammelte Aufsätze) appeared (1911), Geschichte des neuen deutschen Liedes (1912), Geschichte der Oper (1919), and Einführung in die Musikgeschichte (1920). He edited vols. viii. and ix. of D.D.T. He succeeded Joachim as director of the Berlin Hochschule in 1909.
3KREITZSCHMER, FRANZ JOHANN KARL ANDREAS (called Andreas) (b. Stettin, Nov. 1, 1775; d. Anklam, Mar. 5, 1839), councillor of war at Berlin; musical theorist and composer of pianoforte pieces, songs, etc. He published, in conjunction with von Zuccalmaglio and Dr. Massmann, an important collection of German folk-songs; he also wrote an essay on musical theory (Q.-L.).
5KREUBÉ, CHARLES FRÉDÉRIC (b. Luneville, Nov. 5, 1777; d. near St. Denis, 1846), studied the violin, became conductor at Metz theatre, studied in 1800 under Rod. Kreutzer in Paris, and joined the orchestra of the opéra-comique as violinist, becoming 2nd conductor in 1805, and 1st conductor in 1816. He was pensioned Nov. 1828, and retired to his country house at St. Denis. He was a member of the Royal Chapel from 1814–30. He composed 16 operas, quartets, trios, violin duets, etc. (Fétis).
7KREUSSER, GEORG ANTON (b. Heidingsfeld, 1743; d. Frankfort-on-M.1 before 1811), studied under his brother Adam, the horn player, at Amsterdam, where he remained for some years as violinist; then went to Italy to study composition; returned in 1775, and became Konzertmeister in the Elector's orchestra, Mainz, before 1779. He gave a concert of his own compositions at Frankfort-on-M., Nov. 12, 1779, and a passion music, 'The Death of Jesus,' by Ramler, in 1780. He became Kapellmeister at the Frankfort theatre. Apart from his passion music, he composed symphonies, chamber music and songs (Fétis; Q.-L.).
9KREUTZER, CONRADIN (b. Messkirch, Baden, Nov. 22, 1780; d. Riga, Dec. 14, 1849), German composer, son of a miller; chorister first in his native town, then at the Abbey of Zwiefalten, and afterwards at Scheussenried. In 1799 he went to Freiburg in Breisgau to study medicine, which he soon abandoned for music. The next five years he passed chiefly in Switzerland, as pianist, singer and composer (his first operetta, 'Die lächerliche Werbung,' was performed at Freiburg in 1800); and in 1804 he arrived in Vienna. There he took lessons from Albrechtsberger, and worked hard at composition, especially operas. His first opera was 'Conradin von Schwaben' (Stuttgart, 1812), and its success gained him the post of Kapellmeister to the King of Württemberg; thence in 1817 he went to Prince von Fürstenberg at Donaueschingen; but in 1822 returned to Vienna and produced 'Libussa.' At the Kärnthnerthor theatre he was Kapellmeister in 1825, 1829–32 and in 1837–40. From 1833–40 he was conductor at the Josephstadt theatre, where he produced his two best works, 'Das Nachtlager in Granada' (1834) and a fairy opera, 'Der Verschwender.' In 1840 he was appointed Kapellmeister at Cologne, and in 1841 conducted the 23rd Festival of the Lower Rhine. Thence he went to Paris, and in 1846 back to Vienna. He accompanied his daughter, whom he had trained as a singer, to Riga, and there died.
11Kreutzer composed about thirty operas; incidental music to several plays and melodramas; an oratorio, 'Die Sendung Mosis,' and other church works; chamber and pianoforte music; Lieder, and partsongs for men's voices in Q.-L.; Fétis speaks of a one-act drama 'Cordelia' as the most original of his works. In his partsongs Kreutzer displays a flow of melody and good construction; they are still standard works with all the German Liedertafeln, and have taken the place of much weak sentimental rubbish. 'Der Tag des Herrn,' 'Die Kapelle,' 'Märznacht' and others are models of that style of piece. Some of them are given in 'Orpheus.'
13KREUTZER,2 (1) RODOLPHE (b. Versailles, Nov. 16, 1766; d. Geneva, June 6, 1831), violinist and composer. He studied first under his father, a musician, and a pupil of Antoine, son of John Stamitz, but he owed more to natural gifts than to instruction. He began to compose before he had learnt harmony, and was so good a player at 16, when his father died, that through the intervention of Marie Antoinette he was appointed first violin in the Chapelle du Roi. Here he had opportunities of hearing Mestrino and Viotti, and his execution improved rapidly. The further appointment of solo-violinist at the Théâtre Italien gave him the opportunity of producing an opera. 'Jeanne d'Arc,' three acts (May 10, 1790), was successful, and paved the way for 'Paul et Virginie' (Jan. 15, 1791), which was still more so.
15The melodies were simple and fresh, and the musical world went into raptures over the new effects of local colour, poor as they seem to us. The music of 'Lodoiska,' three acts (Aug. 1, 1791), is not sufficiently interesting to counterbalance its tedious libretto, but the overture and the Tartars' March were for long favourites. During the Revolution Kreutzer was often suddenly called upon to compose opéras de circon-
171 Fétis says Mainz.
192 His name has been often transmuted into Kreteche by Frenchmen, and appeared in the London papers of 1844 as 'Greitzer.'
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