Scan 91
Groves Dictionary Of Music And Musicians,vol.3, 1907
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1KÜFFNER
2some of which, such as 'Das Sternelein' and 'O weine nicht,' were extraordinarily beloved in their time. Almost exclusively, however, by amateurs and the masses; among musicians they found no favour, and are already almost forgotten. They were also very popular in England ('Trab, trab,' 'The Maid of Judah,' 'The Swallows,' duet, etc., etc.), and Kücken had an arrangement with Messrs. Wessel & Co. for the exclusive publication of them.
4KÜFFNER, JOSEPH (b. Würzburg, Mar. 31, 1776; d. there, Sept. 8, 1856), studied law, then took up the violin and was member of the Würzburg court chapel from 1797. When Würzburg fell to Bavaria in 1802, Küßner became a military bandmaster. He wrote an operetta, symphonies, overtures, chamber music, solo pieces, songs and pieces for military band (Q.-L.).
6KÜHMSTEDT, FRIEDRICH (b. Oldisleben, Saxe-Weimar, Dec. 20, 1809; d. Eisenach, Jan. 10, 1858), composer. When 19, he left the University of Weimar and walked to Darmstadt (a distance of full 150 miles) to ask the advice of C. H. Rinck. The visit resulted in a course of three years' instruction in theoretical and practical music under that great organist. At the end of that time he returned to his family and began to write. His career, however, was threatened by a paralysis of his right hand, from which he never recovered, and which but for his perseverance and energy would have wrecked him. During several years he remained almost without the means of subsistence, till in 1836 he obtained the post of music-director and professor of the Seminar at Eisenach, with a pittance of £30 per annum. This, however, was wealth to him; he married, and the day of his wedding his wife was snatched from him by a sudden stroke as they left the church. After a period of deep distress music came to his relief, and he began to compose. As he grew older and published his excellent treatises and his good music, he became famed as a teacher, and before his death was in easier circumstances. He died in harness at Eisenach. His works extend to op. 49. His oratorios ('Die Auferstehung,' and 'Triumph des Göttlichen'), operas and symphonies are forgotten, but his fame rests on his organ works—his Art of preluding, op. 6 (Schotts); his Gradus ad Parnassum or introduction to the works of J. S. Bach, op. 4 (ibid.); his Fantasia eroica, op. 29 (Erfurt, Körner); and many preludes, fugues, and other pieces for the organ, which are solid and effective compositions. He also published a treatise on harmony and modulation (Eisenach, Börnker, 1838).
8KÜHNNAU, (1) JOHANN CHRISTOPH (b. Volkstädt near Eisleben, Feb. 10, 1735; d. Oct. 13, 1805). Coming to Berlin as school teacher in 1763, he took further lessons in harmony and musical composition from Kirnberger, and in 1788 was appointed cantor and director of the music at the Dreifaltigkeitskirche (Trinity Church) in Berlin. He did much to stimulate musical life in Berlin by conducting performances of the larger choral works. The only published work by which he has any particular claim to remembrance is his 'Vierstimmige alte und neue Choralgesänge mit Provinzial-Abweichungen,' the first part of which appeared 1786, and was followed by a second in 1790. His son, (2) JOHANN FRIEDRICH WILHELM, republished this Choralbuch in various editions from 1817 onwards, and in a compressed form, containing altogether 336 Chorals in four-part harmony. Eight of the tunes are by Christoph Kühnau himself. He also collected and edited a book of Choral-Vorspiele by various composers, including Emanuel Bach and Kirnberger.
10J. R. M.
12KÜHNEL, AUGUST (b. Delmenhorst, Aug. 3, 1645; d. Cassel, c. 1700), one of the greatest German viola da gambists, whose claim upon posterity rests on the sterling merit of his sonatas.1 He is said to have been a pupil in composition of Agostino Steffani. He was a member of the court chapel at Zeitz from 1661-1681. In 1665 he visited France to acquaint himself with the art of the French gambists. On his return he played at various courts with great success. He refused an engagement offered by the Bavarian court as it was conditional upon his conversion to Roman Catholicism. In Nov. 1685 he gave concerts in the City and at York Buildings, London, on the viol da gamba and the baritone, when he played his own sonatas, which were published in 1698. In 1686 he was Kapellmeister at the court of Cassel, where he remained to the end of his life.
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16KÜHNEL, AUGUST (d. Leipzig, 1684), court Kapellmeister at Zeitz about the same time as the above, their biographies often appearing confused. On Sept. 26, 1682, he was appointed organist of St. Thomas, Leipzig. E. v. d. s.
18KÜHNEL, JOHANN MICHAEL (latter half of 17th cent.) virtuoso on the lute and bass viol, for some time at the court of Berlin. He went to Weimar in 1717 and afterwards entered the service of Marshal Flemming at Dresden. The latter part of his life he spent at Hamburg. He composed sonatas for 1 and 2 violas da gamba (1730). (E. van der Stracten, History of the Violoncello.)
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22KÜRZINGER. (1) JGNAZ FRANZ XAVER, court Kapellmeister c. 1750 at Mergentheim (Württemberg). He composed 'David et Apollo' . . ., and eight 6-part symphonies for church or secular use, op. 1 (1758). His other compositions remained unpublished. He wrote also an instruction book for singing and for violin playing (Augsburg, 1763).
241 See Alfr. Einstein, Zur deutschen Literatur für Viola da Gamba
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