DICTIONARY OF MUSIC - El Atril

594 KONIGIN VON SABA, DIE KOLLMANN
rather spoilt the older melodies. The tunes are
only provided with figured bass. j. K. M.
KONIGIN" VON SABA, DIE. Opera in four
acts, libretto by J. Jlosenthal, music by Carl
Goldmark; produced at Vienna, March 10, 1875.
[See Queen of Sheka.]
KONIGSKINDER, DIE. Dramatised fairytale
in three acts, "written by Ernst Rosmer,
with music by Engelbert Humperdinck ; produced
at Munich, Jan. 23, 1897 ; in English at
the Court Theatre, London, Oct. 1.3, 1897. The
action is carried on in declamation through
continuous music.
K0NIGSPER6ER, Marian (Marianus),
born Dec. 4, 1708, at Roding in Bavaria, received
his early education in the Benedictine Abbey of
Prdfening near Ratisbon, where he afterwards
took the vows, and spent the rest of his life as
organist and director of the choir, and occupied
in musical composition. He enjoyed great reputation
in his time as au organ player, and composer
of works for the church. Letter, the
music-publisher of Augsburg, acknowledged that
he owed the foundation of his prosperity in
business to his publication of Kcinigsperger's
works, and the profits which were obtained for
the composer himself were all generously devoted
by him to the benefit of the Abbey, providing
it with a new organ, purchasing valuable books
for the library, and furnishing the means for
the publication of literary works by the other
brethren. Kunigsperger died Oct. 9, 1769,
much lamented by his brethren of the Abbey,
and by all who knew him. His works are
enumerated in the QueUeii-Lexikon, and even
more fully by Ernst von Werra in Haberl's
Kirdien-'inusikalisches Jahrbuch, 1897, pp. 32-
34. Both E. V. Werra and Eitner say that
Konigsperger wrote for the theatre as well as for
the church, but the works, as they enumerate
them, are all for the church, and consist of (1),
a largo number of Masses, Otfertoria, Vespers,
Litanies, etc., all for voices with a considerable
instrumental accompaniment—strings, horns,
trumpets, and drums ; (2) sonatas or symphonies
for strings and other instruments with organ,
evidently for church use ; (3) various sets of
preludes and Fugues or Versetts in the church
tones for organ. Ritter ( Geschiclite des Orgelspiels,
pp. 80, 161) considers the organ works to show
good schooling, and to have more substance in
them than similar works of his South German
contemporaries. None appear to be reprinted
in modern times. J. R. M.
KOLB, Karlman'n, born at Kbstlarn in
Bavaria in 1703, received his first musical instruction
as a choir-boy in the Benedictine Abbey
of Aschbach. Taking the vows at this Abbey
in 1723, he was ordained priest in 1729, and
acted as organist. Later on, with the permis-
sion of his superiors, he entered the service of a
noljle family in Munich as resident- tutor, and
died there in 1765. His musical work, pub-
lished at Augsburg in 1733, is entitled Certamen
Aonium id est, Lusus vocuvi inter se innocai
coTicertcintuTYh, etc., and consists of preludes, short
fugues or versetts, and cadences or concluding
voluntaries, all intended lor church use. Ritter
(Gcschichte des Orgelspiels) gives one of Kolb's
preludes, and says of the work generally that it
shows the composer to have been an original
and capable musician, although it is also evident
from extracts given in SeiH'ert {Gcsehichte der
Klaviermusik) that many of the pieces are
written in a somewhat unecclesiastical style, a
style more suitable to the harpsichord or pianoforte
than to the organ. There are some bold
experiments in chromatic and enharmonic pro-
gressions. The whole woik is characteristic of
the lighter style of organ playing which, owing
to Italian influence, was chiefly cultivated in
Catholic South Germany and Austria. E. von
Werra has reprinted three of Kolb's pieces in
his ' Orgelbuch. J. R. M.
KOLLMANN, August Friedrich Chris-
TOPH, of a musical family, his father an organist
and schoolmaster, his brother, George Christopli,
an organist of great renown at Hamburg ; was
born at Engelbostel, Hanover, about 1756,
and thoroughly educated in music. He [was
appointed organist at Liine, near Luneburg, about
1781, and in 1784] w^as selected to be chapelkeeper
and schoolmaster at the German Chapel,
St. James's, London. In 1792 George III. presented
a chamber organ to the chapel, which
was played by KoUmann under the title of
'clerk' till his death on Easter Day, April 19,
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
to destroy it. His works are numerous:
Esscty an Practieal Harmony, 1796 ; Essay on
Practical Musical Composition, 1799 ; Practical
Guide to Thorough Bass, 1801 ; Vindication of
a passage in Thorough Pass, 1802 ; Sfew Theory
of Musical Harmony, 1806 ; Second. Practical
Guide to Thorough Bass, 1807 ; Quarterly Musi-
cal Pegister, 1812 (two numbers only) ; Remarks
on Logier, 1824 (some of these went through
two editions) ;
violin, and bass), op. 3 ;
Analysed Symphony (for piano,
First beginning on the
PF., op. 5, 1796; 'Sinfonien,' i.e. trios for
piano, ^dolin, and violoncello, op. 7 ; Concerto
for PF. and Orchestra, op. 8 ; Melody of the
100th Psalm, with 100 harmonies, op. 9 ;
Twelve analysed Fugues, for two performers on
piano and organ, op. 10 ; Introduction to Modu-
lation, op. 11 ;
Rondo on the Chord of the Dim.
Seventh. He is also said to have published an
orchestral symphony, ' The Ship\vi'eck, 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
Wohltemperirtes Clavier (see vol. i. p. 156). His
son, George Augu.st, was a good organ player.