Page:A Dictionary of Music and Musicians vol 2.djvu/74

62 KIRNBERGER,, composer and writer on the theory of music, born April 24, 1721, at Saalfeld in Thuringia; learnt the rudiments of music at home, the organ from Kellner of Gräfenrode, and the violin from Meil of Sondershausen. Gerber, court-organist there, taught him to play Bach's fugues, and recommended him to Bach, who received him as his pupil. Several years were passed at Leipsic, in Poland, and at Lemberg. On his return to Germany he resumed the study of the violin under Zickler of Dresden, and in 1751 entered the capelle of Frederic the Great at Berlin as violinist. In 1758 he became Capellmeister to Princess Amalie, and remained with her till his death after a long and painful illness July 27, 1783. During these 25 years he formed such pupils as Schulz, Fasch, and Zelter, and devoted his leisure to researches on the theory of music. Of his many books on the subject 'Die Kunst des reinen Satzes,' 2 vols. (Berlin 1774–76) alone is of permanent value. He also wrote all the articles on music in Sulzer's 'Theorie der schönen Künste' in which he warmly criticises Marpurg's 'Kritische Briefe.' He prided himself on the discovery that all music could be reduced to two fundamental chords, the triad and the chord of the seventh—which is obviously wrong; and invented a new interval bearing the relation of 4:7 to the key-note and which he called I:—but neither of these have stood the test of time. Indeed in his own day the theory of the even temperament steadily gained ground. As a composer he had more fluency than genius; his most interesting works are his fugues, remarkable for their correctness. In 1773–74 he edited a large collection of vocal compositions by Graun, who was a kind friend to him, and 'Psalmen und Gesänge' by Leo (Leonhard) Hassler. The autograph scores of several motets and cantatas, and a quantity of fugues, clavier-sonatas, and similar works, are preserved in the Imperial library at Berlin. Kirnberger was of a quarrelsome temper, and fond of laying down the law, which made him no favourite with his fellow musicians. [ F. G. ]

KISTNER. One of the great music publishing firms of Leipzig. The business was founded in 1823 by, who was succeeded in 1831 by Karl Friedrich Kistner, a man of some gifts for music and great business powers. The new name was not assumed till 1836. Kistner greatly improved the business and secured important works of Mendelssohn, Schumann, Chopin, Moscheles, Sterndale Bennett, etc. He died greatly esteemed, in 1844, and was succeeded by his son [App. p.691 "brother"] Julius, who followed in his father's steps with equal success. He added the names of Hiller, Taubert, and Rubinstein to the catalogue of the house, and will long be remembered by those who had to do with him for his kindness and liberality. He withdrew from the business in 1866 in favour of Karl Friedrich Ludwig Gurckhaus—by whom the establishment is still carried on in its old style—and died May 13, 1868.

Among the principal publications of the firm are found—Mendelssohn, Psalms 95 and 98; the Walpurgisnight; Antigone; Overture Ruy Blas; 2 Sonatas P.F. and Cello, and 8 other numbers. Schumann, Overture, Scherzo, and Finale; Rose Pilgerfahrt; Myrthen; Sonata for P.F. in F&#x266f;; Bilder aus Osten; Spanisches Liederspiel and 11 more, including op. 1 and 2. Chopin, P.F. Concerto E minor; Trio G minor; 12 Grandes Etudes and others. Gade's Erlkings daughter. Kretschmer's Operas 'Die Folkunger' and 'Henry the Lion.' Goetz's Symphony, 'Francesca di Rimini,' 'Taming of the Shrew,' and 137th Psalm. [ G. ]

KIT, a tiny violin, which, before the general introduction of pianofortes, was carried by dancing masters in their pockets. Hence the French and German names for it were 'pochette' and 'Taschengeige,' though pochette is also applied to an instrument of long and narrow form resembling a sourdine. It was usually about 16 inches long over all: the woodcut shows its size relatively to that of the violin. Sometimes, however, as in Nos. 61h and 66 of the Special Exhibition of Ancient Musical Instruments, S. K. Mus. 1872, the neck was longer and broader, for convenience of fingering, which gave the Kit a disproportioned look. The instrument is now practically obsolete.

The origin of the name has not yet been discovered. In Florio (1598 and 1611), Beaumont and Fletcher, Ben Jonson, and Drayton, it seems evident that it is used without reference to size, as a synonym for Crowd, Rebeck, or Pandora. Cotgrave (1611) defines it as 'a small Gitterne.' Grew, in 1681, speaks of 'a dancing master's Kit,' and as dancing-master's Kits would naturally be smaller than other Kits, the name gradually adhered to them, as that of viol or violin did to the larger sizes. [ G. ]

KITCHENER, WILLIAM, M.D., the son of a coal merchant, from whom he inherited an ample fortune, was an accomplished amateur musician. He composed an operetta entitled 'Love among the Roses, or, The Master Key,' and was author of 'Observations on Vocal Music,' 1821, and editor of 'The Loyal and National Songs of England,' 1823; 'The Sea Songs of England,' 1823;