DICTIONARY OF MUSIC - El Atril

KUMMER KUNTZEN 611
and Tiolin ; Ballades, Boleros, etc., for piano
solo ;
' Les Etincelles, '
' Les Danaides, '
' La
Gazelle,' etc. ; also collections of small pieces,
such as ' ' Deux Portefeuilles de Musi que, ' Kinderleben,'
two sets of pieces (op. 81), 'Les
Fleurs auiniees.' Among his later works may
be mentioned ' Oudine ' (op. 112), 'Concertetude'
(op. 121). In 1S77 he published a
second edition of his '.Octave-school,' which is
Tery valuable as an instruction book.
His brother, Adolf KuLL.iK, born Feb. 23,
1823, was a distinguished musical critic in
Berlin, and wrote 'Das Musikaliseh - Sehone '
(Leipzig, 1S5S), and '
Aesthetik des Clavier-
spiels ' (Berlin, 1861). He died Dee. 25, 1862,
at Berlin. M.
KUMMER, Feiedrich August, a great
violoncellist, born at Meiningen, August 5,
1797. His father (an oboist) migrated to Dresden,
where the lad learnt the violoncello under
Dotzauer. It was his ambition to enter the
King's band, but as there was tlien no vacancy
for a violoncellist, he took up the oboe, and soon
attained such proficiency as to obtain the desired
appointment, in No-v. 1814. In 1S17 he again
took up his original instrument, and in time
became known as the most accomplished virtuoso
in Germany. "With the exception of occasional
musical tours, principally in Germany and Italy,
his career was confined to Dresden. In 1864
he celebrated the fiftieth anniversary of his appointment
as a member of the Dresden orchestra,
after which he retired on a pension, and was
succeeded by F. Griitzniacher. He died at
Dresden, May 22, 1879. Rummer's tone was
at once sweet and powerful, and his command
over difficulties very gi'eat. His playing, however,
was characterised in a remarkable degree
by repose, and he is described as never having
been excited even when playing the most ])assionate
or difficult p)assages. Kummer was
a voluminous writer for his instrvmient. 163
of his works have appeared in print, among
which are Concertos, Fantasias, a good Violoncello
School, etc. He has also composed some
200 entr'actes for the Dresden Theatre. Among
his many distinguished pupils, Goltermann of
Stuttgart, and Cossmann of Wiesbaden may be
named. [His grandson, Alex,4NDER Charles,
born 1850, at Dresden, and trained under David
at the Leipzig Conservatoriu]n, has lived for
many years in London in high esteem as a
violinist. A. c] T. p. p.
KITN"ST DER FUGE, DIE. See Art of
Fugue. g.
KUNTZEN. Three members of the family
who bore this name, father, son, and grandson,
distinguished themselves as musicians of some
consequence in their day. The first, Johanx
Paitl Kuntzex, was born August 30, 1696, at
Leisnig in Saxony, where his father was a cloth
manufacturer. While still attending the uni-
versity of Leipzig in 1716, he was engaged at
the Leipzig Opera, both as singer and instrumental
performer. In 1718 he became capellmeister
at Zerbst, and in 1719 at Wittenberg,
where he established regular concerts. In 1723
he was invited to Hamburg as opera composer.
In 1732 he was appointed organist to the
ilarien-Kirche at Lubeck, which piost he held
till his death on March 20, 1757. At LUbeck
he also established regular concerts which may
be considered as a continuation of the Advent
Abend - musiken of Buxtehude. Mattheson
speaks highly of his compositions (opera, ora-
torio, etc.), none of which, however, appiear
ever to have been printed.
The second Kuntzen, Aiiolph Karl, son of
Johann Paul, was born at Wittenberg, Sept.
22, 1720. He early distinguished himself asa
pierformer on the harpsichord and clavier
generally, and made several toiU'S as a virtuoso,
in the course of which he paid several visits
to London. It was in London that his op. 1
appeared, 12 sonatas for the harpsichord, dedicated
to the Prince of Wales. In 1749 he was
aptpointed concert-meister to the Duke of Mecklenburg
-Schwerin, and in 1757 succeeded his
father as organist at the Marien-Kirche, Liibeck,
where he continued till his death in 1781. In
his official capacity at Lubeck, as also previously
in Schwerin, he produced a large number
of Passions, oratorios, and church cantatas, a
full list of which is given in Eitner's Qucllcn-
Lexikon. The library at Schwerin also contains
a large number of instrumental works by him
(concertos, symphonies) and birthday serenatas
for members of the ducal family. Besides the
few for the harpsichord already mentioned, the
only other works published by him are three
collections of songs with accompaniment of
figured bass only, 1748-56 ('Lieder znm unschuldigen
Zeitvertreib ').
The third Kuntzen, Friedrich Ludwig
Aemilius, son of Adolph Karl, was born at
Liibeck, Sept. 24, 1761. He received his early
musical instruction from his father, 'who in
1768 brought him to London, where, alongwith
his equally talented sister, he appeared as a
juvenile prodigy, playing in a concerto for two
claviers. In 1781 he attended the university
at Kiel for the study of law. There he made
the acquaintance of Professor K. F. Cramer, a
musical dilettante and writer, who encouraged
him to devote himself to music. Giving up his
legal studies in 1787, he obtained through
Cramer's influence a minor post at the Copenhagen
Opera, where in 1789 he produced his
first Danish opera, ' ' Holger Danske (Oberon),
which the same year was also published in a
piano score edited by Cramer. Shortl}' afterwards
he went to Berlin, where, in conjunction
with Reichardt, he edited a musical journal.
In 1792 he was musical director of the theatre
at Frankfort, and in 1794 held a similar post
at Prague. In 1795 he successfully produced