Scan 92
Groves Dictionary Of Music And Musicians,vol.3, 1907
12 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1(2) PAUL (b. Würzburg, c. 1760), son of the former, showed early talent for music, but was destined by his father for the study of the law. Overcoming all obstacles, however, he entered the Munich court chapel and in 1773 achieved success with an opera, 'The Countess' (MS. now in Dresden Libr.). He intended to return to Würzburg, but finding no vacancy he went to Ratisbon, where he joined the chapel of the Prince of Turn and Taxis and wrote the music for the reception of the Emperor Joseph II., who was so pleased with his compositions that he engaged him for his court at Vienna, where he produced his operas, 'The Illumination' in 1792, and 'Robert and Calliste' in 1794. He wrote also some excellent church music, which was partly still in use during the latter part of last century; and secular songs. Kürzinger was still living in Vienna in 1807 as music director of an educational institute (Fétis; Mendel).
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5KUFFERATH, (1) HUBERT FERDINAND (b. Mühleim on Ruhr, Rhenish Prussia, June 10, 1818; d. Brussels, June 23, 1896), was the youngest of eight brothers, all musicians, and grew up in musical surroundings. As a child of 7 he was accustomed to tune the church organs of the neighbourhood, and played both piano and violin in public at a very early age. His eldest brother, Johann, director of the music-school at Utrecht, undertook to teach him, and eventually sent him to Cologne to complete his studies in violin playing and composition. At the Niederrheinische Festival of 1839 at Düsseldorf, he played a violin solo so much to Mendelssohn's satisfaction that the master urged him to go to Leipzig, where, after studying the violin under David, Kufferath took up the pianoforte, studying composition under Mendelssohn and Hauptman. In the winter of 1840 he played his capriccio for piano and orchestra at a Gewandhaus concert, and the piece was noticed by Schumann in the Neue Zeitschrift für Musik. Kufferath was one of the band of brilliant students which included Bennett, Horsley, Verhulst, Eckert and Gade. On returning to Cologne in 1841 he became conductor of the Männergesangverein, and after spending some time as a travelling virtuoso, he settled in Brussels in 1844, where he was for some time conductor of the Choral Society, and, with Léonard and Servais, founded a regular series of chamber concerts, at which he played, alternately, pianoforte and viola. Schumann's concerted music was introduced to the Belgian public by this organisation, and Mme. Schumann occasionally took part in their concerts. The title of pianist to the King was conferred upon Kufferath by Leopold I. From 1872 until his death he held the post of professor of counterpoint and fugue at the Conservatoire; he wrote an École du Choral which is in use in Belgium and France. Among his pupils may be mentioned Charles de Bériot, Edouard Lassen, Franz Servais, Léon Jahin, Arthur de Greef and Edgar Tinel. Kufferath's works include a symphony, a piano concerto, a string quartet, a trio, many compositions for piano, books of songs, and an andante for violin and orchestra.
7His son (2) MAURICE (b. Brussels, Jan. 8, 1852; d. there, Dec. 8, 1919) was a pupil of the two Servais for violoncello, took the degree of 'docteur en droit et en philologie' at the university, where a thesis on the theatre of Molière was rewarded with a prize. In 1873 he joined the staff of the Indépendance Belge and remained there until 1900. He was especially responsible for the articles on foreign politics, etc. Later on he contributed frequently to the Guide musical, and eventually became its editor and chief proprietor. Under his control the paper became known for its championship of the best modern tendencies in music. For the exhibition at Brussels in 1880 he wrote a report on musical instruments, and subsequently was sent by the Belgian Government to report upon the conditions of German and Austrian theatres. Among his literary works, the most famous are his interesting monographs on Wagner's later works, Les Maitres Chanteurs, Lohengrin, Walkyrie, Siegfried, Tristan et Yseult, and Parsifal. Most of them have gone through many editions. Hector Berlioz et Schumann, and Henri Vieuxtemps are the subjects of two more volumes, and Kufferath translated into French certain famous books of Wagner, Richter, etc., as well as Wagner's letters to Roeckel; he wrote translations of the words of songs, etc., and of several operas, such as Mozart's 'Enlèvement au sérail,' etc. In 1900 he was appointed director of the Théâtre de la Monnaie with Guillaume Guidé. Under their direction the first complete performance of the Wagnerian trilogy in French took place, and the following operas were given for the first time: D'Indy's 'Étranger,' Ernest Chausson's 'Roi Arthur,' J. Albeniz's 'Pepita Jimenez,' and 'L'Ermitage fleuri,' Gilson's 'Captive,' and Blockx's 'Fiancéé de la mer.' He was associated with Ysayé and Guillaume Guidé in founding the Ysayé concerts, was a member of the 'Comité de lecture des œuvres musicales,' a chevalier of the order of Leopold and of the Sauveur de Grèce, an officer of public instruction, and commander of the order of Alphonso XII.
9BIBL.—L. SOLVAY, Notice sur M. Kufferath. Brussels, 1923.
11The daughter of H. F. Kufferath, (3) ANTONIA (b. Brussels, Oct. 28, 1857), studied singing under Stockhausen and Mme. Viardot-Garcia. Her fine soprano voice and pre-eminently artistic singing were much admired at the Schumann Festival at Bonn in 1880, by which date she had made herself a name as an interpreter of Schumann and of Brahms's songs,
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