Scan 87
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
53 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1meditations De bono usu mediorum ad finem, sive Job (1751) and Odoratus (1761). For the Jesuit grammar school in Munich he wrote the comedies Alphonsi Peresu Gusmani in regem fidelitas (1760), Religio Jovinianus (1761) and Urbanitas praemium (1763). Only the librettos of these works survive.
3The family, also referred to as Kroner, Groner, Krenner or Kriener, was ennobled in 1749 and thereafter known as von Croner. A son of Franz Carl Thomas, Theobald (baptismal name Alois, 1763–1806), was a violinist who composed music, none of which survives, for the Cistercian Raitenhaslach Abbey, Upper Bavaria; Joseph von Croner (b 1754), a son of Franz Carl Thomas or his brother Anton, was a violinist in the Munich court orchestra, 1775–8
5BIBLIOGRAPHY
7LutherQ
8F J Lipowsky Bayerisches Musiklexikon (Munich, 1811)
9F M Rudhart Geschichte der Oper am Hofe zu Munchen, 1 (Fresing 1865)
10‘Aus den Tagebuchern des Theodor Freiherrn von Ingenheim’ Burghauser Geschichtsblätter, vn (1918), 3 63 one of two readings
11*Aus den Tagebuchern des Theodor Freiherrn von Ingenheim* Burghauser Geschichtsblätter, vn (1918), 3 63 one of two readings
12R Münster ‘Die Musikerfamilie Croner in Munchen’, Familienbriefe Kroner-Groner-Gruener xxxiii xxxiv (1970), 298 one of two readings
13R Münster 'Die Musikerfamilie Croner in Munchen', Familienbriefe Kroner-Groner-Gruener xxxiii xxxiv (1970), 298 one of two readings
14R Schaal ‘Ein unbekanntes Inventar der Münchner Hofkapelle aus dem Jahre 1753’, Conyvium musicorum Festschrift Wolfgang Boetticher (Berlin, 1974), 309 one of two readings
15R Schaal 'Ein unbekanntes Inventar der Münchner Hofkapelle aus dem Jahre 1753', Convivium musicorum Festschrift Wolfgang Boetticher (Berlin, 1974), 309 one of two readings
16R Münster, ed La finta giardiniera Mozarts Münchener Aufenthalt 1774–75 Ausstellungskatalog (Munich 1975)
17G Haberkamp Thematischer Katalog der Musikhandschriften der Münchener Hofkapelle (c1750 1840) nach dem Manuskript in der Bayerischen Staatsbibliothek (Munich, in preparation)
18ROBERT MÜNSTER
20Croner, Johann Nepomuk (b ?Munich, c1737, d Munich, 24 June 1785) German composer and violinist, brother of FRANZ CARL THOMAS CRONER. He was an Accessist (unsalaried player who succeeded to a salaried post when one became vacant) in the Munich court orchestra for some time before 1748. On 1 September 1751 he became a full court and chamber violinist. In 1774 he became vice-Konzertmeister of the orchestra, which he probably led at the premiere of Mozart’s La finta giardiniera on 13 January 1774 at the Munich Salvator Theatre (see Leopold Mozart’s letter of 18 October 1777, where he mistakenly called Johann Nepomuk ‘Jos’). Of his compositions, six four-movement symphonies and a violin concerto survive (D-Mbs) one of two readings
21Croner, Johann Nepomuk (b ?Munich, c1737, d Munich, 24 June 1785) German composer and violinist, brother of FRANZ CARL THOMAS CRONER. He was an Accessist (unsalaried player who succeeded to a salaried post when one became vacant) in the Munich court orchestra for some time before 1748. On 1 September 1751 he became a full court and chamber violinist. In 1774 he became vice-Konzertmeister of the orchestra, which he probably led at the premiere of Mozart's La finta giardiniera on 13 January 1774 at the Munich Salvator Theatre (see Leopold Mozart's letter of 18 October 1777, where he mistakenly called Johann Nepomuk 'Jos'). Of his compositions, six four-movement symphonies and a violin concerto survive (D-Mbs) one of two readings
23His wife Maria Josepha Croner (b ?Munich, c1737, d Munich, 24 June 1785) was a soprano who sang in opera and oratorio performances at the Munich court between 1753 and 1766; she was probably a daughter of the Munich court singer and tenor Johann Baptist Anton Perberich (1703–59).
25For bibliography see CRONER, FRANZ CARL THOMAS
26ROBERT MÜNSTER
28Croner de Vasconcelos, Jorge (b Lisbon, 11 May 1910, d Lisbon, 9 Dec 1974). Portuguese composer and pianist. After initial studies with his mother, Laura Croner, he entered the Lisbon Conservatory, where he studied the piano with Silva and composition with de Freitas Branco. A government grant enabled him to pursue his studies in Paris with Dukas, Boulanger, Roger-Ducasse and Cortot. On returning to Lisbon he was appointed professor at the conservatory, and he continued his activities as a pianist. His works reveal a certain delicacy of harmonic and melodic style, with a tendency towards short, condensed forms, in which he subtly attempted to recapture moods of other times, as in the Toccatas a Carlos Seixas.
30WORKS
31(Selective list)
32Ballets A lenda das amendoeiras, 1940. A faina do mar, Coimbra, 1959
33Orch Poemeto sinfonico, Suite concertante, pf, orch, Uma vela vermelha, sym poem, 1962
34Choral Sonetos (R Lobo), unacc, Vilancico para a festa de S Cecilia, chorus, orch, 1967, Erros meus (Camões), chorus, org, 1972, 8 cantos de natal [after folksongs], unacc, 1974
35Chamber Str Qt, Aria e scherzo, vn, pf, 1950, Canção, vn, pf, 1957
36Songs Redondilhas de Camões, lv, pf, 1926, No turbilhão (A de Quental), lv pf, Canções populares portuguesas, lv, pf/orch, 1947, Melodias sobre antigos textos portugueses, lv, fl, str qt, En esta vida mortal (D Brandam), lv, pf, Não, não diga nada (F Pessoa), lv, pf, 1950, Canção (L Vieira), 1950, Ao desconcerto do mundo (Camões), lv, pf, 1972 one of two readings
37Songs Redondilhas de Camões, lv, pf, 1926, No turbilhão (A de Quental), lv, pf, Canções populares portuguesas, lv, pf/orch, 1947, Melodias sobre antigos textos portugueses, lv, fl, str qt, En esta vida mortal (D Brandam), lv, pf, Não, não diga nada (F Pessoa), lv, pf, 1950, Canção (L Vieira), 1950, Ao desconcerto do mundo (Camões), lv, pf, 1972 one of two readings
38Pf 3 toccatas a Carlos Seixas, 1935 40, Partita, 1960, Canção, 1973
39JOSÉ CARLOS PICOTO
41Cronhamn, Johan [Jöns] Peter (b Östra Karup, Halland, 7 May 1803, d Stockholm, 15 June 1875) Swedish composer, organist and educationist. He was first a glazier, then a schoolteacher in Lund (1821–5), and began formal musical studies in 1825 at the conservatory in Stockholm. He was organist of Skeppsholm Church in Stockholm (1827–37) and became a teacher at the conservatory in 1842. He joined the Royal Academy of Music in 1843 and was made its secretary in 1860. He edited the academy’s proceedings from 1865 to 1873 and published a centenary account of its achievement, Kongliga Musikaliska Akademien åren 1771–1871. He wrote chiefly vocal music, including solo songs and quartets for male voices, he also edited sacred music for school performance and arranged 60 songs by Carl Bellman for male chorus. Besides his choral compositions, his contribution to Swedish musical life lay in the area of education. one of two readings
42Cronhamn, Johan [Jöns] Peter (b Östra Karup, Halland, 7 May 1803, d Stockholm, 15 June 1875) Swedish composer, organist and educationist. He was first a glazier, then a schoolteacher in Lund (1821–5), and began formal musical studies in 1825 at the conservatory in Stockholm. He was organist of Skeppsholm Church in Stockholm (1827–37) and became a teacher at the conservatory in 1842. He joined the Royal Academy of Music in 1843 and was made its secretary in 1860. He edited the academy's proceedings from 1865 to 1873 and published a centenary account of its achievement, Kongliga Musikaliska Akademien åren 1771–1871. He wrote chiefly vocal music, including solo songs and quartets for male voices, he also edited sacred music for school performance and arranged 60 songs by Carl Bellman for male chorus. Besides his choral compositions, his contribution to Swedish musical life lay in the area of education. one of two readings
44His son Frithiof August Cronhamn (b Stockholm, 26 June 1856, d Stockholm, 28 April 1897) was a music librarian and critic
46ROBERT LAYTON
48Crook (Fr corps de rechange, ton de rechange; Ger Stummhogen) Detachable lengths of tubing inserted into brass instruments for the purpose of changing the tube length and hence the pitch. Since natural horns and trumpets can sound only the notes of the harmonic series, the sole way of playing this series at another pitch is to alter the fundamental note, and this is done by the crooks, which on the horn used to number up to ten, giving a range of notes from Bb'' to Bb'. The earliest mention of a crook is, however, for the trombone, in 1541: it was inserted between slide and bell joints to allow performance of parts lower than those for which the instrument was constructed. Horn and trumpet crooks are of two kinds. The commonest, inserted between mouthpiece and instrument, was known as a ‘terminal’ or ‘mouthpipe’ crook (so called because it incorporates a mouthpipe, which receives the mouthpiece). Less common are ‘medial’ or ‘slide’ crooks, inserted like a tuning-slide and having two legs. In Germany during the 18th century an ‘Inventionshorn’ or trumpet might have had crooks of either kind. one of two readings
49Crook (Fr corps de rechange, ton de rechange; Ger Stummhogen) Detachable lengths of tubing inserted into brass instruments for the purpose of changing the tube length and hence the pitch. Since natural horns and trumpets can sound only the notes of the harmonic series, the sole way of playing this series at another pitch is to alter the fundamental note, and this is done by the crooks, which on the horn used to number up to ten, giving a range of notes from Bb'' to Bb'. The earliest mention of a crook is, however, for the trombone, in 1541: it was inserted between slide and bell joints to allow performance of parts lower than those for which the instrument was constructed. Horn and trumpet crooks are of two kinds. The commonest, inserted between mouthpiece and instrument, was known as a 'terminal' or 'mouthpipe' crook (so called because it incorporates a mouthpipe, which receives the mouthpiece). Less common are 'medial' or 'slide' crooks, inserted like a tuning-slide and having two legs. In Germany during the 18th century an 'Inventionshorn' or trumpet might have had crooks of either kind. one of two readings
51Although the need for crooks was greatly reduced by the invention of valves, many types of instruments were provided with crooks throughout the 19th century – and even into the 20th – so that a given harmonic series could be produced without the use of valves, and in one of two readings
52Although the need for crooks was greatly reduced by the invention of valves, many types of instruments were provided with crooks throughout the 19th century—and even into the 20th—so that a given harmonic series could be produced without the use of valves, and in one of two readings
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