Page:A Dictionary of Music and Musicians vol 2.djvu/59

KALKBRENNER. had retired he was the only one who still cultivated it in the true classical spirit. He opens the piano and improvises for a quarter of an hour with fluent fancy and great neatness, interweaving all manner of themes, even a little fugue, much to the Professor's edification. Next day a parcel of music just printed at Paris arrives for review. The Professor, greatly interested, opens the topmost piece—'Effusio Musica, par Fred. Kalkbrenner': when lo and behold! he has yesterday's improvisation before him, fugue and all, note for note!

An instruction-book with études belonging to it is the best thing Kalkbrenner left. His attainments as a musician are shown in four pianoforte concertos, one for two pianos, a septet, sextet and quintet, and various sonatas; all correctly and well written for the instrument, but dull and trite, spite of the glitter of what was called a 'brilliant' style.

Kalkbrenner died of cholera at Enghien near Paris on June 10, 1849. [ E. D. ]

KALLIWODA,, a violin player and popular composer, was born at Prague March 21, 1800. From 1811 to 1817 he was a pupil of the Conservatorium, and from 1817 to 1823 a member of the orchestra of that town. During a visit to Munich he was introduced to Prince Fiirstenberg, who took a lively interest in his talent and appointed him conductor of his private band at Donaueschingen, which post Kalliwoda retained, in spite of various offers from more important places, for the rest of his professional life, till he retired on a pension in 1853. He died at Carlsruhe Dec. 3, 1866.

Kalliwoda, as a violinist, is regarded as one of the best representatives of the Prague school under F. W.. Without possessing very startling qualities of execution or style, his performances showed a well-finished technique, a sympathetic but not large tone, and were altogether more remarkable for elegance and a certain pleasantness than for vigour or depth of feeling.

As he travelled but little, his reputation mainly rests on his compositions. They consist of seven Symphonies—F minor (1826); E&#x266d;; D minor; C; B minor (op. 106); G minor; and F—Overtures, Concertinos and other Solo-pieces for the violin and other orchestral instruments, especially the Clarinet, Quartets for stringed instruments, Violin-Duets, Pianoforte-pieces, and a number of songs. Many of his works have enjoyed for some time, and chiefly in amateur-circles, a considerable popularity, and the Index of the Leipzig Allg. Mus. Zeitung shows a long list of performances. The works are certainly not of much importance in an artistic sense, and show little originality; but on the other hand, they are free from laboured efforts and ambitious striving after startling effects, are written in a thoroughly musicianly, unpretentious, and unaffected style, easy to understand, pleasing and effective. Their day is now over, but Schumann (in his 'Gesamm. Sehriften,' iii. 278) speaks of Kalliwoda' s 5th Symphony with enthusiasm, and mentions the interesting fact that only a few years previously Kalliwoda had put himself under Tomaschek of Prague for improvement in some branches of counterpoint in which he felt himself weak. Schumann further testified his esteem by dedicating his Intermezzi (op. 4) 'al Sign. Kalliwoda.' In the history of the music of the last 50 years, Kalliwoda occupies as an orchestral composer a position somewhat analogous to Onslow's as a composer of chamber-music.

His son, born at Donaueschingen July 19, 1827, was thoroughly well brought up by his father, and was for a short time a pupil of Mendelssohn's at Leipzig in 1847, and of Hauptmann's in 1848. He held various posts at Carlsruhe with credit to himself, but was compelled by ill health to forsake work. [ P. D. ]

KANDLER,, a musical historian, to whom we owe an admirable condensation of Baini's Palestrina; born Aug. 23, 1792, at Kloster-Neuburg in Lower Austria. He belonged to the War Office, and went as interpreter with the army to Venice and Naples in 1817 and 1821. He died of cholera at Baden (Beethoven's Baden) Sept. 26, 1831. His two works are 'Cenni storico-critici alia vita ed opere del … G. Ad. Hasse' (Venice, 1820; 2nd ed., Naples, 1820), and that above mentioned, 'Ueber das Leben und die Werke des … Palestrina,' etc. This was published after Kandler's death by Kiesewetter (Leipzig, B. & H. 1834). [ G. ]

KAPELLE, a musical establishment, usually orchestral. The word was formerly applied to the private band of a prince or other magnifico, but is now used to denote any band. Thus at Berlin, the Kaiserliche königliche Kapelle (97 musicians, called Kammermusiker) forms the regular orchestra of the Grand Opera, with two Kapellmeisters (Conductors), a Concertmeister (Leader or 1st Violin), and a Balletdirigent (Balletmaster). The orchestra of the Crystal Palace would in Germany be called the Kapelle, and Mr. Manns the Kapellmeister.

The smallest Kapelle existing is probably that of the Duke of Sigmaringen, which consists of a pianoforte player and a sextet of strings. [ G. ]

KARAJAN,, Dr. juris, philologist and historian, born at Vienna Jan. 22, 1810; clerk (1841) and custos (1854) in the court library, appointed vice-president (1851) and president (1859) of the Akademie der Wissenschaften; received the order of Leopold in 1870, and died April 28, 1873. His philological works are numerous and important; but his title to admission here is his pamphlet, 'J. Hadyn in London, 1791 and 1792' (Vienna, Gerold, 1861). In addition to matter from the well-known pamphlets of Dies and Griesinger, it contains a number of Hadyn's letters, chiefly from London and Estoras, to his friend Maria Anna von Genzinger, the wife of Leopold Peter, Edler von Genzinger, an esteemed physician, with four from the lady herself. She played the piano well, and even composed. Haydn wrote several sonatas for her, and whenever he was in Vienna spent much of his time at her house, where a pleasant musical