Scan 89
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1libitum for strings. Two of these 'Partien' are given in score by Eitner, who says of these compositions generally that they are so excellent in form and expression that one may unhesitatingly class them with similar works by Handel. Besides these published works by Krieger there exist a quantity of sacred compositions, arias for one, two, three and four voices, with various instrumental accompaniments, somewhat after the manner of Schütz, but of a lighter and more popular character. A selection is published in D.D.T. liii.-liv. Some of these are also given by Eitner, M.f.M. For a complete list see Q.-L.
3J. R. M.
5(2) JOHANN (b. Nuremberg, Jan. 1, 1652; d. Zittau, July 18, 1735), younger brother of Johann Philipp, was for a time the pupil of his brother, and in 1672 became court organist at Bayreuth, which post, however, he gave up in 1677. After a transient connexion with Weissenfels he finally settled at Zittau, where in 1681 he was appointed town music-director, and in 1701 organist also at the church of SS. Peter and Paul. Johann is of greater importance in the history of music than his brother Philipp. Mattheson praises him specially as a composer of double fugues, and puts him beside Handel. Handel himself confessed how much he owed to Krieger. Eitner comments on his excellent gift of melodic invention, and the cleverness of his thematic work. His works are—
7(1) 'Neue musikalische Ergetzlichkeit,' 1684. Part 1. 'Geistliche Andachten,' thirty numbers. Part 2 Secular songs, thirty-four numbers. Part 3 Theatrical pieces performed in Zittau.
8(2) 'Sechs musikalische Partien,' Nuremberg, 1697. Suites for Clavier alone ('Nach einer Arienzen Manier ausgesetzt').
9(3) 'Anmuthige Clavierübungen,' consisting of preludes, fugues, a chaconne and a toccata for pedal. Nuremberg, 1699.
11It was this last work which Handel specially valued and recommended as a model for organ and harpsichord composers. It was one of the few musical works which he brought with him to England, his copy of which he gave to his friend Bernard Granville, who has recorded for us Handel's appreciation of the work.1 Eitner considers the pedal toccata of this work as approaching the grand style of Sebastian Bach.2 Besides these published works Johann Krieger left in MS. various organ works (specimens given in Ritter, Geschichte des Orgelspiels, Nos. 80, 81, and in D.D.T. (2nd series), xviii.), and a large number of sacred compositions for various combinations of voices and instruments, a full list of which is given in Q.-L.
13J. R. M.
15KRIEGK, J. J. (b. Bibra, Merseburg, June 25, 1750; d. Meiningen, 1813), violinist at the court of Meiningen c. 1762, leader of Flemish opera, Amsterdam, 1773. In 1774 he accompanied the Marquis de Taillefer to Paris, where J. L. Duport induced him to exchange the violin for the violoncello. After one year's study under that master he was for 4 years in the service of Prince Laval-Montmorency and thence went to Meiningen as chamber musician at the court, where he became a Konzertmeister in 1798. He composed 3 concertos and 4 sonatas with bass which belong to the better productions of that time for the violoncello (E. van der Straeten, History of the Violoncello).
17KŘÍŽKOVSKÝ, PAVEL (b. Holasovice, in Bohemian Silesia, Jan. 9, 1820; d. Brno, Moravia, 1885). His baptismal name in the secular world was Karol. He was the first Czech composer whose technical grasp of his art, combined with deep penetration into the spirit of the folk-songs, enabled him to weld the two elements in a satisfactory way. He was therefore the true precursor of Smetana in national music, as the more famous composer gladly acknowledged when he observed that it was not until he had heard Křížkovský's choruses that he began to realise the full significance of the Czech and Moravian folk melody.
19Křížkovský came of a family of poor but talented rural musicians who had suffered too many deprivations to wish that the boy should follow in their steps. He was forbidden to touch any musical instrument or even to speak about music. But once having heard High Mass in the Church of St. Mary at Opava, he escaped from home every Sunday and tramped the long distance between his village and the town. At first he only ventured to stand listening at the door leading into the choir, but as week after week went by he became familiar to the choristers, and one kind singer asked permission to bring him in and let him sit among the sopranos. Of course he was not intended to sing, but when the leading boy went astray in his solo, Křížkovský took up the part and sang it correctly to the end, much to the astonishment of the choirmaster. After this he was admitted to the foundation of the choir school. Extreme poverty hindered his career after his voice broke, but he managed at last to take the degree of doctor of philosophy at Brno University. Here he entered the Augustinian community of St. Thomas in 1845, and on the completion of his novitiate became a professor in the Divinity school at the head of which was F. Sušil, an assiduous collector of the Moravian folk tunes, who inculcated in the young monk a genuine love of the national music.
21Křížkovský began to arrange some of the folk-songs for four-part male voice choir, and showed an aptitude for the work which delighted Sušil. Brother Pavel was sent to Prague to study music for six months. The director of the music in the church of the community was Bohumir Rieger (1764-1855), who helped and encouraged Křížkovský during his earlier years of study, and eventually resigned his post in favour of his pupil. Křížkovský therefore had a sound training and some
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