DICTIONARY OF MUSIC - El Atril

KIND KIXG 575
appendix ffrtZTen'c der alien Contraptintu^en. a selection from their
works, chronologically armnb-L-d. Also about liity scattered art idea
in different periodicals, reviews, etc. [A letter from him to R. L. de
FearsjUl, dated 183i*, and exj^ressed in very queer English, is printed
in the j/iwjco? Tirrwi, 1902, p. 9;i, from the original in the possession
of Mr. W. B. Squire.]
C. F. P.
KIND, JoHAXN Feiedeich, author of the
words of ' Der Freischiitz ' ; born at Leipzig,
March 4, 176S : brought up to the law, but
frei]^uented the Thomassehule of his own accord.
He began to practise literature as early as ISOO,
and after much success with novels and tales,
settled in 1S14 at Dresden, became a Hofrath,
and definitely renounced the law for a literary
life. Here Weber met him, at the house of
Ton Nordstern. About Feb. 15, 1817, Kind
read to him his Vandyck's LancUeben, which so
pleased the compioser that he at once consulted
him as to an opera-book. The choice of a source
fell on Apel's Gcspensteriv.ch (Ghost Stories).
"Weber had, several years before, been attached
to the story of the Freischiitz, and so entirehdid
his enthusiasm communicate itself to Kind,
that by the evening of Feb. 23, he had completed
the first act of the opera. This was the
only important joint composition of the two,
but Jahns's Catalogue contains eleven other
pieces, the words of which were supplied by
Kind. The chief of these is the ' Jubcl Cantata,
another cantata called 'Natur und Liebe,' five
songs, two fiart-songs, and a chorus. Some of
these were taken from operas of Kind's— 'Der
Weinberg an der Elbe,' 'Der Abend am Waldbrunnen,'
and 'Das Xachtlagcr in Granada.'
The last of these was set to music by Conradin
Kreutzer. Kind seems to have supplied Spanish
materials for 'Preciosa, ' and
Weber had two
librettos by him— 'Alcindor,' 1819, and 'Der
Cid,' 1821— under consideration, but 'Der
Freischiitz '
is the one which Weber adopted in
full. Kind's ' Holzdieb ' (Wood-thief) was
composed by JIarschner in 1824. He died at
Dresden, June 25, 1843, having for many years
quite forsaken literature. He is described by
AVeber's son as a small person, with a gi-eat
opinion of himself and a harsh voice. Two
volumes of his works were published, Leipzig,
1821.
KINDERMANX, ArorsT, born
G.
Feb. 6,
1817, at Berlin, began his career at the opera
as a chorus-singer, received instruction from
Meyer, and played both bass and baritone parts
at Leipzig in 1839-1846, after which he was
engaged at JIunich, where he obtained a life
engagement, and was always a great favourite,
being a very versatile artist. He celebrated
his twenty-fifth anniversary of his engagement
there on June 15, 1871, as Figaro in 'Nozze,'
the Cherubino being his elder daughter Marie,
then engaged at Cassel. He sang Titurel at
BajTcuth in 1882 ; and on Sept. 9, 1886, he
celebrated the jubilee of his career, and the
fortieth year of his engagement at Munich,
playing the part of Stadinger in Lortzing's
' Waflfenschmied. ' He died at Munich, JIarch 6,
1891. For his daughter Hedwig, see Reichee-
KlXDERMAXN.
KINDERMANN", Johanx EEAsjirs, Nuremberg
organist, is said to have been born at Nuremberg
in 1616, but some doubt is cast upon the
accuracy of this date, since already in 1630 he
held the important post of organist at the St.
Aegidien Kirclie at Nuremberg. He died April
14, 1655. His chief work is entitled i/a7'))iortj(z.
Onjanica in tahnlaiiLrarii Gcrmanicam ccnnposita,
etc., first published in 1645, and republished in
1665. It is remarkable, as being one of the
earliest specimens of C^erman copper-plate engraving,
and is also of importance in the history
of organ-pilaying and organ composition. As
the title indicates, the music is given in the
old German tablature notation. A detailed
description of the contents is given in Ritter's
Gcschiclite dcs Orgdspiels, pp. 146-47. The
work opens with fourteen preludes mainly in
the church tones, followed by fugal fantasias
on chorale -tunes, and concludes with some
Magnificat intonations and verses. The Pedal
is treated obbligato throughout. Kitter gives
three examptles from the work in modern nota-
tion. Kinderniann's other works are partly
sacred, partly secular compositions for voices
with Basso continuo and occasional viol and
violin accompaniment. He also composed a
large number of chorale-tunes, harmonised for
three voices, to the Nuremberg preacher Dilherr"s
Erangdische Schlussrcimcn and GottUcTie Licbesflamme,
1649-52. Some works for instruments
only, partly viols, partly wind instruments, are
also mentioned, but do not seem to exist com-
pilete. (See Eitner, QueUcn-Lexikon,) .t. e. m.
KING, Charles, Mus.B., born at Bury St.
Edmunds in 1687, became a chorister of St.
Paul's under Dr. Blow and Jeremiah Clarke.
He was next a supernumerary singer in the
choir at the small annual stipend of £14. On
July 12, 1707, he graduated as Mus.Bac. at
Oxford. On the death of Clarke, whose sister
he had married, he was apipointed almoner and
master of the choristers of St. Paul's. In 170S
he became also organist of St. Benet Fink, Royal
Exchange. On Oct. 31, 1730, he was admitted
a vicar choral of St. Paul's. King composed
several services and anthems, some of which are
printed in Arnold's CaihrdraJ Music, and others
in Page's Harmonia Sacra ; and there are some
in the Tudway Collection (Harl. MSS. 7341
and 7342). Although his compositions evince
no originality they are vocal and not without
spirit, they long continued in frequent use in
choirs, and some of them, particularly his
services in F and G, are still performed. They
have justified the joke of Dr. Greene, that King
was a scrvirrahlc man. Six of them in all are
published by Novello, besides five anthems.
Hawkins intimates that his inferiority was the
result rather of indolence than want of ability.
He died in London, March 17, 1748. w. h. h.