Page:A Dictionary of Music and Musicians vol 2.djvu/76

64 house which it now occupies, known as the 'Hohe Lilie,' 14 in the Neumarkt. Klemm succeeded Wieck, the father of Madame Schumann, who had for some time carried on a musical lending library on the premises. In 1847 the house opened a branch at Chemnitz, and in 56 at Dresden. The present proprietor is Christian Bernhard Klemm. Among the original publications of the house are to be found the names of J. S. Bach, Dotzauer, F. Abt, Dreyschock, Mendelssohn, Schumann (op. 34, 35), Lachner, F. Schneider, Julius Rietz, Marschner, etc. etc. [App. p.692 "Add that C. B. Klemm died Jan. 3, 1888, leaving the business to his two sons."] [ G. ]

KLENGEL,, born Jan. 29, 1784 [App. p.692 "Correct date of birth to Jan. 27, 1783."] at Dresden, son of a well-known portrait and landscape painter, first studied music with Milchmeyer, inventor of a piano which could produce 50 different qualities of tone (see Cramer's 'Magazin der Musik,' i. 10). In 1803 Clementi visited Dresden, and on his departure Klengel went with him as his pupil. The two separated on Clementi's marriage in Berlin, but the young wife dying shortly after, they went together to Russia, where Klengel remained till 1811. He then spent two years studying in Paris, returned to Dresden in 1814, went to London in 1815, and in the following year was appointed Court-organist at Dresden, which remained his home till his death on Nov. 22, 1852. During a visit to Paris in 1828 he formed a close friendship with Fétis, who with other musicians was much interested in his pianoforte canons. Of these he published only 'Les Avant-coureurs' (Paul, Dresden, 1841). After his death Hauptmann edited the 'Canons und Fugen' (Breitkopf & Härtel, 1854), with a preface, in which he says, 'Klengel was brought up on Sebastian Bach, and knew his works thoroughly. It must not be supposed however that he was a mere imitator of Bach's manner; it is truer to say that he expressed his own thoughts in the way in which Bach would have done it had he lived at the present day.' He left several concertos, and many other works. His visit to London was commemorated by the composition of a Quintet for Piano and Strings for the Philharmonic Society, which was performed Feb. 26, 1816, he himself taking the pianoforte. There is a pleasant little sketch of him in a letter of Mendelssohn's to Eckert, Jan. 26, 1842. [ F. G. ]

KLINDWORTH,, one of the best of living musicians and pianists, whose reputation is sure to last though it was slow to rise, was born at Hanover on Sept. 25, 1830. In early youth he was an accomplished performer on the violin. From his 17th to his 19th year he acted as conductor to a travelling opera troupe; then he settled in Hanover and took to playing the piano and composing. In 1850 he went to Weimar to study pianoforte-playing under Liszt, and had Hans von Bülow, W. Mason, and Dyonis Pruckner as his fellow pupils. In 1854 he came to London, where he remained fourteen years, appearing in public at intervals as a pianist and conductor of orchestral concerts, but in the main living the quiet life of a student and teacher. He organised two series of three chamber concerts in the spring of 1861 and 62, and a series of three orchestral and vocal concerts in the summer of 1861 [App. p.692 "they were called the 'Musical Art-Union'"]. The most remarkable compositions brought forward at the latter were Rubinstein's 'Ocean' Symphony; Gade's 'Erl King's Daughter'; Cherubini's Requiem, No. 1; Schumann's P.F. Concerto. They were well carried out, but met with the usual fate of such enterprises in London, and were discontinued for want of capital. Since 1868 Klindworth has occupied the post of professor of the pianoforte at the Conservatorium of Moscow.

Foremost among the mass of good work done by Klindworth stand his pianoforte scores of Wagner's 'Der Ring des Nibelungen,' and his critical edition of Chopin; the latter beyond all praise for rare insight into the text and minute care bestowed on the presentation of it; the former quite wonderful for the fidelity with which the transcript is contrived to reflect Wagner's complicated orchestration. His arrangement of Schubert's Symphony in C major for two pianofortes, and the four-hand arrangement of Tschaikowsky's 'Poème symphonique Francesca da Rimini,' as also, amongst his original compositions, a very difficult and effective Polonaise-fantaisie for pianoforte, should be particularly mentioned. The manuscripts of a masterly rescoring of Chopin's Concerto in F minor, and a condensation and orchestration of C. V. Alkan's Concerto in G&#x266f; minor (Etudes, op. 39), are well known to his friends. [ E. D. ]

KLINGEMANN,, born at Limmer, Hanover, Dec. 2, 1798, was Secretary to the Hanoverian Legation in Berlin till 1828, when he was transferred to a similar position in London. He married, Aug. 10, 1845, the sister of Dr. Rosen the eminent Sanscrit scholar and Professor at University College, and was a man of great cultivation, considerable literary power, and a very rare judgment in music. Klingemann had been intimate with the Mendelssohns during his residence in Berlin, and when Felix came to London the friendship was warmly renewed. The famous tour in Scotland—the origin of the Hebrides Overture, the Scotch Symphony, and so much else was taken in company with Klingemann, and the journals, letters, and sketches were joint productions. (See Die Familie Mendelssohn, i. 214–294). Klingemann wrote the words for the Singspiel or Operetta so well known in England as 'The Son and Stranger,' excepting in the case of the song no. 12, 'Die Blumenglocken,' of which Mendelssohn wrote the words and Klingemann the music. [App. p.692 "and for Mendelssohn's opera 'Die Hochzeit des Camacho' also."] The title 'Symphonie-Cantate' for the Lobgesang was his. The Three Caprices (op. 33) are dedicated to him.

The following of Mendelssohn's songs are set to Klingemann's words—op. 9, no. 5; op. 34, nos. 3 and 5; op. 47, nos. 5 and 6; op. 63, no. 4; op. 71, no. 2; op. 84, no. 2; op. 86, no. 1. He also supplied a translation of Handel's Solomon for the occasion of the performance at Düsseldorf in 1835, when Mendelssohn wrote an organ part to the Oratorio. Six of his songs were published by Breitkopfs. Klingemann's house was at