Scan 88
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KŘIČKA, Jaroslav (b. Kelč, Moravia, 1882), Czech composer, choirmaster and professor at the Prague Conservatoire.
3Křička entered the Conservatoire as a student in 1902, working at composition under Stecker. He belongs, however, to the group of musicians directly influenced by Vít. Novák. Leaving the Prague Conservatoire in 1905 he spent a little time in Berlin before visiting Russia. Fascinated by the artistic life of that country, he settled down for several years as professor of composition at the Music School at Ekaterinoslav. Křička was a great admirer of Rimsky-Korsakov, and this Russian period left its traces upon his earlier works. He returned to Prague in 1909, and quickly made a reputation as a choirmaster, directing the famous choral society 'Hlahol' until 1920. In the meantime he discarded external influences in his creative work and formed a clear personal style which deepens as time goes on. Křička enjoyed a happy childhood in beautiful surroundings, and in the companionship of a younger brother, Peter, now a poet of distinction. From this unspoilt past he has kept a simple and delightful humour which enables him to sympathise with children, for whom, and about whom, he has written charmingly and—what is rarer—appropriately. Although much of his music is optimistic, he is by no means without a shadow. In his later choral works he touches chords of tragic memory and profound human sympathy. He has also a sincere religious sense, which is finely expressed in his cantata for chorus, soli and orchestra, 'Pokušení' (The Temptation in the Wilderness). Křička's best work is lyrical and choral. His earlier song cycles 'Severni noci' (Northern Nights), containing the remarkable song 'The Albatross,' 'O lásce a smrti' (Of Love and Death), and 'Pisně rozchodu' (Songs of Parting) would—if well translated—enrich the recital programmes of other lands. The later songs, including the 'Tři bajky' (Three Fables) and the 'Children's Songs' require more intimate interpretation. His overture to The Blue Bird of Maeterlinck is a happy inspiration. His short choral works are sung by all such Czech choirs as are equal to the demands they make upon the technical powers of the singers. Křička has only made one operatic essay: 'Hypolita,' based on a story from Maurice Hewlett's Little Novels of Italy, produced at the National Theatre, Prague, in 1917.
5The following is a list of his chief compositions:
7Orchestral: Symphony in D min., op. 3; 'Nostalgia,' for strings, op. 4; 'Vira' (Faith), symphonic poem, op. 6; Polonaise for Orchestra, op. 7a, and b; Elegy on the Death of Rimsky-Korsakov; Children's Suite for small orchestra; 'Venkovské Scherzo' (Idyllic Scherzo); 'Adventus'; Overture, 'Modrý Pták' (The Blue Bird), 1912.
9Pianoforte Works: Intimate Pieces; Lyrical Suite, op. 30; 'Rozmar' (Caprices), op. 11.
11Chamber Music: Preludium for two violins and piano, op. 9; string quartet in D, op. 10; sonata for vln. and piano.
13Choral Works: Cantata, 'Pokušení' (The Temptation in the Wilderness), for chorus, soli and orch., op. 34 (1921-22); 'Zrození pramene' (The Fountain's Birth); 'Slovenská' (Slovakia); 'Koledy Vánoční' (Christmas Folk-songs), op. 22 (1917), for women's or children's voices; 'Zablesky' (Gleams), 'p. 26 (1917-1918), four choruses for mixed voices; 'Zornička' (Dawn-light) and other folk-songs and dances, op. 28 (1919-20), for male voice choir; 'Pozdrav' (Greeting), op. 31 A1 (1920), for mixed voices; 'Ve východní záři' (In the Eastern Light), op. 31 A2 (1921), for mixed voices; 'Kruty Host' (The Grim Guest), op. 37 (1923), double chorus for male voices. one of two readings
14Choral Works: Cantata, 'Pokušení' (The Temptation in the Wilderness), for chorus, soli and orch., op. 34 (1921-22); 'Zrození pramone' (The Fountain's Birth); 'Slovenska' (Slovakia); 'Koledy Vánoční' (Christmas Folk-songs), op. 22 (1917), for women's or children's voices; 'Zablesky' (Gleams), 'p. 26 (1917-1918), four choruses for mixed voices; 'Zornička' (Dawn-light) and other folk-songs and dances, op. 28 (1919-20), for male voice choir; 'Pozdrav' (Greeting), op. 31 A1 (1920), for mixed voices; 'Ve východní září' (In the Eastern Light), op. 31 A2 (1921), for mixed voices; 'Kruty Host' (The Grim Guest), op. 37 (1923), double chorus for male voices. one of two readings
16Song (cycles, etc.): 'Severní noč' (Northern Nights), op. 14; 'O lásce a smrti' (Of Love and Death), op. 15; 'Pisně rozchodu' (Songs of Parting), op. 19; 'Tři bajky' (Three Legends), op. 21; 'Jaro pacholatko' (Spring, the Young Lad), op. 29, three recitatives for high voice and pianoforte; 'Památník ze staré školy' (The Old Schoolhouse), op. 35, four songs for soprano. one of two readings
17Song (cycles, etc.): 'Severni noci' (Northern Nights), op. 14; 'O lásce a smrti' (Of Love and Death), op. 15; 'Pisně rozchodu' (Songs of Parting), op. 19; 'Tři bajky' (Three Legends), op. 21; 'Jaro pacholatko' (Spring, the Young Lad), op. 29, three recitatives for high voice and pianoforte; 'Památník ze staré školy' (The Old Schoolhouse), op. 35, four songs for soprano. one of two readings
19R. N.
21KRIEGER, Adam (b. Driesen in the Neumark, Prussia, Jan. 7, 1634; d. Dresden, June 30, 1666), was a pupil of Samuel Scheidt and Heinrich Schütz, and after being for a time organist at St. Nicholas, Leipzig, was appointed court-organist to the Elector of Saxony. He appears to have made an unsuccessful application for the post of cantor at St. Thomas's, Leipzig. He was poet as well as composer, and his compositions consist of so-called Arien on his own texts, songs for one, two, three and five voices with three or five-part instrumental Ritornelli between each verse. The Arias themselves have only basso continuo accompaniment, but are written in regular Lied form, while the Ritornelli have no thematic connexion with them. The original and complete edition of the Arien with their Ritornelli, published Dresden, 1676, has been republished in D.D.T. xix., with a valuable preface by Alfred Heuss. Specimens are given in the M.f.M. xxix.
23J. R. M.
25BIBL.—KURT FISCHER, Über eine Gelegenheitskomposition von Adam Krieger. A.M., July 1920.
27KRIEGER, (1) Johann Philipp (b. Nuremberg, Feb. 26, 1649; d. Weissenfels, Feb. 6, 1725), travelled in Italy, and was for a while pupil of Johann Rosenmüller at Venice. Returning to Germany he was ennobled by the Emperor at Vienna, and after various wanderings entered the service of the Duke of Saxe-Weissenfels, first as chamber-musician and organist at Halle, in 1677, and afterwards as Kapellmeister at Weissenfels from 1712. For the Weissenfels court he wrote a quantity of Singspiele, the Arias of which for one, two and three voices were afterwards published with bass accompaniment only in two volumes published at Nürnberg, 1690, 1692. Specimens of them, with accompaniment written out, are given by Eitner in the M.f.M. xxix. Chrysander gives the titles of some operas of Krieger written for Brunswick-Wolfenbüttel in 1693, some of which were also performed in Hamburg in 1694. In 1693 Krieger published as his op. 2 an instrumental work consisting of twelve sonatas for violin and viola da gamba with cembalo accompaniment. The second and third of these sonatas are given in full by Eitner, M.f.M. xxix.-xxx. In 1704 there appeared also in Nürnberg 'Lustige Feld-Musik,' consisting of suites or 'Partien' (partitas) for four wind instruments (oboes and bassoons), or ad
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