DICTIONARY OF MUSIC - El Atril

588 KLUGHARDT KNECHT
Another son of Matthias, named Joseph, still
has a good reputation as a maker.
Until about the middle of the 18th century, a
distinctive German style prevailed in violins, of
which the above-mentioned makers are the best
exponents. In several towns of Italy there
were Germans working in their own style side
by side with Italian makers. Tecchler worked
thus in Rome, Mann in Naples, and the three
Gofrillers (Gottfriedl) in Venice. It is certain,
too, that there was a demand for German violins
in Cremona itself. Two Germans, named Pfretschner
and Fricker, who made violins of their
own ngly pattern, gained a subsistence there in
the golden days of Stradivarius : and the famous
Veracini always used a German violin. But
this competition could not long endure. The
superiority of the Italian violin was established
in the earlier half of the century : and wherever
stringed instruments were made, imitation of the
Italian models began. It penetrated to Mittenwald,
as it did to London and Paris. This stage
of the art is represented by Georu Klotz, whose
fiddles date from 1750 to 1770. They have
lost their distinctive Tyrolese out, without gaining
the true Italian style, and are covered with
a thin brittle spirit varnish, laid upon a coat
of size, which keeps the varnish from penetrating
the wood, and renders it opaque and perishable.
Besides George, we hear of Michael,
Charles, and a second Egidius. Nine-tenths
of the violins which pass in the world as
' Stainers ' were made by the Klotz family and
their followers. E. .r. p.
KLUGHARDT, August Fkiedrich Martix,
born Nov. 30, 1847, at Cuthen, was for twenty
years a theatrical conductor before becoming
courtmusic-director, first at Weimar in 1 869, then
at Neustrelitz in 1873, and at Dessau in 1882.
He died at the last-named place, Aug. 3, 1902.
Under Liszt's influence he threw himself into
the modern school of music, but stopped short
of the exaggerations into which many of Liszt's
followers were led. Five overtures, five sym-
phonies, two suites, concertos for oboe, violin,
and violoncello respectively, the oratorios ' Die
Grablegung Christi,' 'Die Zerstiirung Jerusa-
lems '
(his best-known work), and 'Judith,'
two psalms for soli and chorus, and much
chamber music, represent his chief work ajjart
from the stage, to which he contributed
' Miriam ' (Weimar, 1871), ' Iwein '
(1879), and
'Gudrun' (1882, both at Neustrelitz), and
'Die Hochzeit des Mcinchs' (Dessau, 1886),
given as ' Astorre ' at Prague in 1888. (Riemann's
Lexikon.)
KNABE & COMPANY, an eminent firm of
American pianoforte manufacturers with headquarters
in Baltimore. Its founder, William
Knalie, was born in Kreutzburg, Saxe-Weimar,
in 1797, and died in Baltimore in 1864. He
began the business of making pianofortes in
1837, and souie years later entered into partner-
ship with Henry Gaehle. In 1854, he bought
the latter's interests, and associated his son,
Ernst (1837-94), with him, as also another son
William (1841-89) a little later, and a son-inlaw
Charles Keidel. The heads of the firm in
1903, are Ernest J. Knabe jun. (born July 5,
1869), and William Knabe (born March 23,
1872). H. E. K.
KNAPP, William, the author of a L.M.
psalm tune called ' "W'areham,' which was long a
favourite in churches. He was born 1698, was
parish clerk of Poole, and died 1768. He pub-
lished a ' New
Sett of Psalms and Anthems in
four parts' in 1738 (2nd edition, 1741, 3rd,
1747, all from engraved plates, 4th, 1750, and
7th, 1762, 8th, 1770, the latter from type).
In 1753 appeared 'The New Church Melody'
which was re-issued in 1756 and 1764, the last
' '
being the 5th edition. Wareham is in both
' Blandford,' and in com-
—in the former called
mon time, in the latter in triple time. Another
tune by him is given by the Rev. Henry Parr,
Church of England Psalmody. [Information
from Rev. H. Parr, the parish clerk of Poole,
Messrs. J. F. R. Stainer, and F. Kidson.] G.
KNAPTON, Philip, was born at York in
1788, and received his musical education at
Cambridge from Dr. Hague. He tlien returned
to York and followed his profession. He composed
several overtures, pianoforte concertos, and
other orchestral works, besides arranging numerous
i^ieces for the pianoforte and harp. He
acted as one of the assistant conductors at the
York Festivals of 1823, 1825, and 1828. He
died at York, June 20, 1833. [His father,
Samuel Knapton, was a music-publisher in Blake
Street, and afterwards in Coney Street, York,
at the end of the 18th century. Philip and
others of the family, together with a York musician
named White, kept on the business until
about 1840, when it passed into the hands of a
person named Banks. F. K.] "W. H. H.
KNECHT, Justin Heinrich, born Sept. 30,
1752, at Biberach in Suabia, received a good
education, both musical and general (Boeckh
was one of his masters), and filled for some
time the post of professor of literature in his
native town. [He combined with this the
office of music -director from the year 1771.]
By degrees he gravitated to music, and in
1807 became director of the opera and of
the court concerts at Stuttgart ; but owing to
successful intrigues against him, in a couple
of years he resigned tlie post and returned lo
Biberach, where he died Dec. 1, 1817, witli a
great reputation as organist, composer, and
theoretician. In the last-named department he
was an adherent of Yogler. The list of his
productions as given in the Quclhn-Lcxilcon
embraces many compositions, sacred and secular,
vocal and instrumental, and eight theoretical and
didactic works. Two of the former only have
any interest for us, and that from an accidental