Scan 86
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
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1Gottingen (1948–54) and received his doctorate in 1954 under Rudolf Gerber with a dissertation on Weerbeke’s motets. After working for four years on a scholarship from the Deutsche Forschungsgemeinschaft he became assistant lecturer in 1959 at the University of Münster, Westphalia, where two years later he completed his Habilitation with a work on Steffani. In 1966 he was appointed to the newly created chair of musicology at Salzburg.
3Croll worked initially in the field of sacred music of the 15th and 16th centuries, but after submitting his doctoral dissertation he turned to Italian and German Baroque opera as well as to music of the Classical era. One of the editors of the Gluck-Gesamtausgabe, he has been editor-in-chief since 1960. He is also a member of the Zentralinstitut für Mozart-Forschung and contributes to the Neue Mozart-Ausgabe. Some of his more remarkable Mozart discoveries include the Larghetto and Allegro in Eb for two pianos (KV deest) and a sixth string quartet arrangement of a Bach fugue by Mozart (K405).
5WRITINGS
6‘Gaspar van Weerbeke: an Outline of his Life and Works’, MJD, vi (1952) 67
7Das Motettenwerk Gaspar van Weerbeke (diss., U of Gottingen, 1954)
8‘Zur Vorgeschichte der Mannheimer’, IMSR, vii (Cologne 1958), 87
9Agostino Steffani: Studien zur Biographie, Bibliographie der Opern und Turnerspiele (Habilitationsschrift, U of Münster 1961, extracts in Festschrift Karl Gustav Fellerer (Regensburg, 1962), 87)
10‘Ein überraschender Mozart Fund’, MJD 1962, 3, 108
11‘Zu Mozarts Larghetto und Allegro Es-dur für 2 Klaviere KV deest’, MJD 1964, 28
12‘Eine neuentdeckte Bach-Fuge für Streichquartett von Mozart’, OMZ, xxi (1966), 508
13‘Briefe zum Requiem’, MJD 1967, 12
14with K. Birsak ‘Anton Stadlers “Bassetklarinette” und das “Stadler-Quintett” KV 581’, OMZ, xxiv (1969), 3
15Festmusiken der Renaissance (Salzburg, 1969)
16‘Klaviermusik von Michael Haydn’, Musica cameralis Brno VI/1971, 361
17‘Miscellen zu Michael Haydn’, OMZ, xxvii (1972), 1
18‘Kanons von Michael Haydn’, Musica scientiae collectanea Festschrift Karl Gustav Fellerer (Cologne, 1973) 64
19‘Papagenos Glockenspiel’, OMZ, xxiv (1974), 341
20‘Gluck, Christoph Willibald’, 881 8, ‘Weerbeke, Gaspar van’, Grove 6
22EDITIONS
23A Steffani Tavolone, 1709, Denkmaler rheinischer Musik, viii (Dusseldorf, 1958)
24W A Mozart Der Schauspieldirektor, Neue Ausgabe sämtlicher Werke, ii/5/15 (Kassel, 1958), Larghetto und Allegro, ibid, x/31 (Kassel, 1964)
25C W von Gluck Le cinesi, Sämtliche Werke, iii, 17 (Kassel, 1958), La danza, ibid, m/18 (Kassel, 1969), Iphigene auf Tauris [Ger version 1781], ibid, m/11 (Kassel, 1965), Iphigene en Tauride [Fr version 1779], ibid, m/9 (Kassel, 1973) one of two readings
26C W von Gluck Le cinesi, Sämtliche Werke, iii/17 (Kassel, 1958), La danza, ibid, iii/18 (Kassel, 1969), Iphigene auf Tauris [Ger version 1781], ibid, iii/11 (Kassel, 1965), Iphigene en Tauride [Fr version 1779], ibid, i/9 (Kassel, 1973) one of two readings
28RUDOLF KLFIN
30Croma (It.). QUAVER (eighth-note). The term was also used for a CROTCHET (quarter-note), with semicroma being used for the quaver. See also NOTE VALUES.
32Cromcorn [cromorne]. See CRUMHORN; see also ORGAN STOP (Cromorne)
34Croner, Daniel (b Brașov, 22 March 1656, d Hălchiu, 23 April 1740) Transylvanian composer and organist of Saxon descent. He studied theology and music in Brașov and Breslau and, with the organist Johann Ulrich, in Wittenberg. In addition to his work as an officer of Brașov City Council, he was organist of the Black Church, after completing his studies, he became a professor of organ and composer there. During his last years he was organist of the Evangelical Church in Hălchiu.
36From the four manuscript collections of organ music in tablature in the Library of the Black Church in Brașov (dated Brașov, 1675; Breslau, 1671; Wittenberg, 1682, Brașov, 1685, respectively), it is possible to distinguish not only Croner’s considerable musical skills but also an innovatory spirit underlying the works. The fugues, preludes, toccatas, fantasias and chorales all mark the transition from the earlier polyphonic style (illustrated by the works of Johann Ulrich, Johann Froberger, Bernhard Meyer and Johann Kittel, some of whose pieces are included in his collections) to the new styles of the high Baroque. The composer’s main innovation was the idea of a collection of pieces in a complete cycle of keys, for example, his own organ pieces (cf Bach’s later Das wohltemperirte Clavier). Other important features include the rhythmic variations of choral themes, the departure from early church modes, and the frequent introduction of the pedal. Quite interesting and original (in view of information expressed in earlier treatises) are the fingering methods he recommended for keyboard instruments and the finger extension principle for the execution of preludes and capriccios.
38BIBLIOGRAPHY
39I H Müller ‘Eine Tabulatur des Dresdner Hoforganist Kittel’, JMs, xiii (1930), 99
40V Bickerich ‘Muzica de orgă în țara noastră’ [Organ music in our country], Muzica vii (1962) 20
41J H Baron ‘A 17th-century Keyboard Tablature in Brașov’, JAMS, xx (1967) 279
42V Cosma Muzica română (Bucharest, 1970), 145
43O I Cosma ‘Creația muzicală în Transilvania în secolul XVII’ [Musical creation in Transylvania in the 17th century], Muzica, iii (1972), 11
45VIORFI COSMA
47Croner, Franz Carl Thomas (b Augsburg, c1724, d Munich, 1 Dec 1787) German composer, violinist and flautist. He was the son of Thomas Croner (c1690–1757), court musician to the Prince-Bishop of Augsburg and violinist at the Munich court from 1735. Franz Carl Thomas became an Accesist (unsalaried player who succeeded to a salaried post when one became vacant) in the Munich court orchestra in 1737–8 and for a time he was in the service of the abbot of the Benedictine Rot Abbey. During the early 1740s he toured extensively, going as far afield as Russia and England, with two of his brothers, Franz Ferdinand (b Augsburg, 24 March 1720, d Munich, 12 June 1780), violinist and flautist, deputy Konzertmeister at the Munich court from 1754 and Konzertmeister from 1772, and Anton Albert (b Augsburg, 23 April 1727, d Traunstein, 30 Sept 1770), a cellist and from 1745 court violinist at Munich; JOHANN NEPOMUK CRÖNER was another brother. Franz Carl Thomas and Anton Albert were sent to Italy for musical study in 1744–5 by Emperor Charles VII, in 1748 Franz Carl Thomas entered the service of Maximilian III Joseph as a court musician, as both violinist and flautist, and the five ‘Sinfoniae’ and ‘Sonatae’ listed in the 1753 Hofkapelle catalogue are probably by him. In 1759 he was made court composer. In this capacity he provided the elector with six viola da gamba concertos annually, none of which survives, his only known music is a six-movement Sinfonia in C (D-HAR) and Six Sonatas for two Violins with a Thorough Bass (London, 1758), works largely in the Baroque tradition. He also wrote for the Munich court the scenic oratorio Il Giuseppe riconosciuto (1756; libretto by Metastasio) and for the Greater Latin Congregation he wrote the Lenten
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