Page:A Dictionary of Music and Musicians vol 2.djvu/80

68 that time she was constantly in request, particularly as an oratorio singer, until 1843, when she retired. She died in Feb. 1876. [ W. H. H. ]

KÖCHEL, Dr., learned musician and naturalist, born Jan. 14, 1800, at Stein, near Krems on the Danube; tutor to the sons of the Archduke Karl (1828–42). From 1850 to 1863 he lived at Salzburg, and from that time to his death, on June 3, 1877, at Vienna. His work as a botanist and mineralogist does not concern us: as a musician he has immortalised his name by his 'Chronologisch-thematisches Verzeichniss' of all W. A. Mozart's works, with an appendix of lost, doubtful, and spurious compositions (Breitkopf & Härtel, Leipzig 1862). As a precursor of that precious work a small pamphlet should be named, 'Über den Umfang der musikalischen Productivität W. A. Mozarts' (Salzburg 1862). The complete edition of Mozart's works which Breitkopf & Härtel are now publishing could scarcely have been made without his generous cooperation. In 1832 von Köchel was made an Imperial Councillor, and in 42 he received the order of Leopold. Among his intimate friends was Otto Jahn, in whose work on Mozart he took an active interest. See Jahn's Mozart, 2nd ed., p. xxxi. His private character was most estimable. [ C. F. P. ]

KÖHLER. The name of an eminent family of military wind-instrument makers, at present established at 35, Henrietta Street, Covent Garden. The founder of the family was, a native of Volkenrode, a hamlet near Cassel. He came to England, acted as bandmaster to the Lancashire Volunteers, and in 1780 established himself as a musical instrument maker at 87, St. James's Street. Having no children, he sent for his nephew,, from Germany, who succeeded to his business in 1801. The latter was appointed musical instrument maker to the Duke of York, then commander-in-chief, and the Prince of Wales successively. He was succeeded by his only son,, who removed the business to Henrietta Street, and died in 1878. His inventions in brass instruments were many and successful. He first introduced the cornet-à-piston or cornopean into this country, and, with Macfarlane, added the third valve to that instrument. His improved mute to the cornopean, with extra bell (1858), enabling the instrument to be played in a very low tone and perfectly in tune, is well known. His triple slide trombones and patent levers were very remarkable improvements in their day. He obtained prize medals at the Exhibitions of 1851 and 62, and was favourably mentioned in the Report of the latter. The business is now carried on by his eldest son,, who entered the firm in 1863. [ G. ]

KÖMPEL,, a distinguished violinist, born in 1831 at Brückenau. He is one of the best pupils of Spohr, and the quiet elegiac style of his master suits his talent precisely. His tone is not large but very pure and sympathetic, his execution faultless. He was for a time member of the bands at Cassel and Hanover, and has been since 1867 leader of that at Weimar. [ P. D. ]

KOLLMANN,, of a musical family, his father an organist and schoolmaster, his brother, George Christoph, an organist of great renown at Hamburg; was born at Engelbostel, Hannover, in 1756, and thoroughly educated in music. He was selected to be chapel-keeper and schoolmaster at the German Chapel, St. James's, London, and entered on his duties about 1782 [App. p.692 "April 9, 1784"]. In 1792 George III. presented a chamber organ to the chapel, which was played by Kollmann under the title of 'clerk' till his death in Nov. 1824 [App. p.692 "Easter Day, 1829."]. He was a person of much energy, and in 1809 during a large fire in the palace is said to have saved the chapel by standing in the doorway and preventing the firemen from entering it to destroy it. His works are numerous:—Essay on Practical Harmony, 1796; do. on Practical Musical Composition, 1799; Practical Guide to Thorough Bass, 1801; Vindication of a passage in ditto, 1802; New Theory of Musical Harmony, 1806; Second Practical Guide to Thorough Bass, 1807; Quarterly Musical Register, 1812—two numbers only; Remarks on Logier, 1824—(some of these went through two editions); Analyzed Symphony, op. 3; First beginning on the P.F. op. 5, 1796; Concerto for P.F. and Orchestra, op. 8; Melody of the 100th Psalm, with 100 harmonies, op. 9; Twelve analyzed Fugues, op. 10; Introduction to Modulation, op. 11; Rondo on the Chord of the Dim. 7th. He is also said to have published an orchestral symphony 'The Shipwreck, or the Loss of the East Indiaman Halsewell,' a piece of programme music quite in the taste of the time; songs, sonatas, and an edition of Bach's Well-tempered Clavier. His son was a good organ-player, and on his father's death succeeded to his post as organist. On his death, March 19, 1845, his sister succeeded him; and on her death, in May 1849, the post was bestowed on Mr. F. Weber the present organist. [ G. ]

KONTSKI, DE, a family of virtuosi, of which, the eldest, born at Warsaw in 1815, appeared as a pianist in public at the age of seven, but, like the majority of prodigies, did not fulfil the promises of childhood. He made his first studies in Warsaw and continued them at Paris, where he settled as teacher, and died 1867 [App. p.692 "Aug. 27"].

Anton de Kontski, the second, born at Cracow Oct. 27, 1817, a clever pianist, with great delicacy of touch and brilliancy of execution, but a superficial musician, and composer of many 'pièces de salon,' of which the 'Reveil du Lion' (op. 115) is universally known. He has travelled a great deal and is now living in London.

, the third brother, born in 1820, pianist and pupil of Antoine, living at Petersburg.

Apollinaire de Kontski, a violinist, the youngest of the four brothers, was born Oct. 23, 1826, at Warsaw. His first master was his elder brother Charles, himself a clever violinist and pupil of the Warsaw Conservatoire. He showed the same precocity of talent as the restof his family, performing in public concerts at an age of not much over four years.