A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Æ Ø Å
Alfred (de) Kaiser Belgian-English pianist and composer
Brussels, 1872 - Bournemouth, 1917
The middle "de" in his name was added in connection with WW I, since he had settled in England and didn't wanted to be taken for a German.
Ballade 1905 (Enoch & Sons)
Friedrich (Wilhelm Michael) Kalkbrenner German-French piano virtuoso and composer
-?- , 07.11.1785 - Deuil, Seine-et-Oise, 10.06.1849
His father Christian Kalkbrenner
(1755-1806) was both composer and court violinist in Cassel and
among his (forgotten) works are some operas, 2 symphonies, a piano
concerto, three sets of piano sonatas and two strange so-called oratorios
which in fact were built on tunes by Mozart, Haydn and others.
The reason for not giving the exact place of birth for Friedrich is, that
he was born in a carriage on the way between Cassel and Berlin.
Fugue in D major
This is in fact the only piece Kalkbrenner wrote for the left hand. In older books (f.ex. Musik in Geshichte und Gegenwart VII 452, where it is hailed as an unicum being the first piece for the left hand alone) the sonata op. 42 is mentioned too but that one is for both hands - but with special emphasis on the left hand which also can be deduced from the title: Sonate pour la main gauche principale. (Sonata - primarily for the left hand).
Václav Kaprál Czech pianist and composer.
Určice u Prostějova, 26.03.1889 - Brno-Kralovo, Pole, 06.04.1947
Kaprál studied composition from 1907 to 1910
at the school for organists in Brno where Janácek was leader and his
principal teacher for composition and later he studied privately from 1920
to 1921 under Vitezslav
Novak i Prague and perfecting his pianoforte technique under Adolf
Con duolo - six pieces for
left hand (1926)
Nikolai Kapustin Russian composer and pianist
Born: Gorlovka, Ukraine, 22.11.1937
Kapustin graduated from the
class of Prof. A. Goldenweiser at the Moscow Conservatory in 1961. During
the late 1950's he made himself an excellent reputation as a jazz pianist,
arranger and composer and made numerous appearances with his own quintet as
well as with the Yuri Saulsky's Central Artists' Club Big Band in
Moscow. During 1961-72 he toured throughout the Soviet Union and aboard with
the Oleg Lundstrem's Jazz Orchestra. Kapustin is a member of the old USSR
Composer's Union since 1980.
Maurice (Ingvar) Karkoff Swedish composer
Born: Stockholm 17.03.1927
pianostÿcken för vänstra hand (Three piano pieces for the left hand) op.
Fantasia for the left hand
op.193 (1992) (Da
1994 op.205 (fantasia No. 2 for piano left hand) (1994)
For the poet
op.221 (2000) (Da
Fantasy on a
op.224 (for two hands or the left hand) (2000)
Capriccio - Notturno op.225 (2001)
I : Pastorale op.226
(2001) (Da Capo)
II : Riflessioni op.229 (2002)
(2002) (Svensk notmaterial)
III : Reflections op.233 (2003)
IV : Atmospheric interludes op. 238.
(Manchester: Da Capo Music Ltd)
Tranströmer was born in
15.04.1931 Västerås. His father was a journalist and his mother was a teacher.
Wiesbaden 1877 -
Pupil of Grieg
Anschlagstudie für die
linke Hand allein op.
41 no. 3 1921 (Dresden: Günther)
Don Kay Tasmanian composer and pianist
Born: Smithson, 25.01.1933Don Kay was educated in Tasmania before completing his music degree at the University of Melbourne. During his London days (1959-1964) he studied composition privately with Malcolm Williamson. Since returning to Hobart he has composed much music for professional individuals , ensembles, young performers, amateur groups, theatre, concert and public occasions.
Over time, his music has increasingly resulted from responses to Tasmanian landscape, ecology and history. His compositions include two one-act operas, three concertos, a symphony, vocal, choral, chamber- and film music as well as theatre music.
Among Don Kay's works that have received special awards are: The Golden Crane - an opera for young people's theatre (1985), Tasmania Symphony: The Legend of Moinee - for cello and orchestra (1989) and Dance Concertante - for string orchestra (1990).
In 1991 he was appointed a Member of the General Division of the Order of Australia for his service to the Arts, particularly in the field of music composition and he is currently on the staff of the Tasmanian Conservatorium of Music, University of Tasmania, where he was Head of Department from 1990–1993.
For Shirley Harris (two pieces)
Photo and information: Australian Music Center http://www.amcoz.com.au
Frida [Friederike] Kern (born: Seitz) Austrian composer
Vienna, 09.03.1891 - Linz, 23.12.1988
Elegie und Toccata (Elegy and Toccata) (1949)
Joseph Christoph Kessler [Kötzler] German pianist and composer
Augsburg, 26.08.1800 - Vienna, 14.01.1872
Both as pianist and composer
Kessler was largely self-taught but he seems to have had some lessons from
Bilek. For a number of
years he lived in Lemberg and Landshut as pianist and successful composer
and as private music director of Count Potocki. From 1826 he taught in
Vienna, from 1829 in Warsaw and from 1829 and from 1830 to 1835 in
Breslau. From then on he lived alternately in Vienna and Lemberg.
Etude in F minor
Hungarian pianist and
Baja, 25.03.1848 - Paris, 01.04.1883
Ketten was a pupil of Marmontel (piano) and Halévy (composition) and he soon gained a great success a pianist and as a composer of pieces that are today considered essentially trivial and practically forgotten.
(Sérénade de Schubert)
Warblings of the Birds (McKinley Pub.)
Otto (Adolf) Klauwell German composer and writer on music
Langensalza, Germany, 07.04.1851 - Cologne, 11.05.1917
Klauwell came from a family of teachers and
Otto was the nephew of the composer and piano teacher Adolf
Klauwell (1818-1879). After his participation in the German-French war
(1870-1871) he started studying mathematics at the Leipzig University but
soon (1874) turned to music and became a pupil of Reinecke and Richter at the Leipzig Conservatory where his uncle
also was teacher. Klauwell was for a number of years professor
of composition at the Conservatory at Cologne. His output - which is
typical late romantic - encompasses two
operas: Das Mädchen vom See (The Girl from the Sea) and Die
heimlichen Richter (The secret Judge), works for orchestra, chamber music, songs and many pieces for
Drei Klavierstücke für die linke Hand allein op. 34 (c. 1880) (Vom Ende)
Gem from Flotow's Martha 1896 (Ellis)
Ernst-Lothar von Knorr German composer an teacher
Eitorf, Sieg, 02.01.1896 - Heidelberg, 30.10.1973
Knorr studied harmony and violin at the
Cologne Conservatory, and after having produced his first compositions in
1909 he won the Joseph Joachim Prize in 1911.
Intermezzo for piano and violin
(Two pieces): 1. Serenade, 2. Etüde
Ah, che la morte ognora from Verdi's Il Trovatore (Akt IV scene 1) 1913 (Buchbaum)
(Sigurd Christian) Erland von Koch Swedish composer, pianist and teacher
Stockholm, 26.04.1910 -
His Father Sigurd von Koch
(1879 -1919) was a composer of symphonic poems, works for solo instrument
with orchestra and chamber music
and through him Erland was introduced to the basic elements of music very
early. After some private lessons in piano playing he entered the
Stockholm Conservatory in 1931 as pupil of Ernst Hellberg and H. M.
Melchers (composition) and Olallo Morales (conducting).
Nocturnal Etude for the
left hand (1973) (Gehrmanns
Melody (Theme with two variations) 1908 (Schirmer)
Romance from Wagner's "Tannhäuser" (Wolfram's aria "Oh - du mein holder Abendstern") 1911 (Koeppler)
(Christian) Louis (Heinrich) Köhler German pianist, conductor, teacher and composer
Brunswick, 05.09.1820 - Königsberg, 16.02.1886
After his first education in Brunswick Köhler settled in Vienna in 1839 as pupil of Simon Sechter (theory) and Bocklet (piano). From 1843 he was conductor in Marienburg and Elbing until he finally settled in Königsberg in 1847. Here he composed operas and ballets but today he is primarily remembered for his educational piano compositions and collections.
Schule der linken Hand op.
302 1881 (Peters)
Wellen-Melodie (Wave-Melody); Etude op. 86 1865
Ellis B. Kohs American composer and pianist
Chicago, 12.05.1916 - Los Angeles, 17.05.2000
Kohs grew up in San Francisco
where he got his first musical education at the
San Francisco Conservatory. In 1928 his family moved to New York City where he entered the Institute of Musical
Art - then continuing his studies at the University of Chicago, studying composition with Carl Bricken. After he completed his master's degree there in 1938, he returned to New York and enrolled at the Juilliard School, where he studied composition with Bernard Wagenaar. He also studied with Walter Piston and musicology with Willi Apel and Hugo Leichtentritt at Harvard University.
Audrey Kooper Hammann See under catalogue H
Klimenty (Arkadievich) Korchmarev Russian pianist and composer
Verkhny Udinsk, 03.06.1899 - Moscow, 07.04.1958
Korchmarev studied piano and composition at
the Odessa Conservatory and was at first only known as a pianist. In 1923
he settled in Moscow after which he began to attract attention as a
Erich Wolfgang Korngold Austrian-American composer, conductor and pianist
Brno, Moravia, 29.05.1897 - Hollywood, 29.11.1957
In a fairly recent book (by Brendan
G. Carroll) about Korngold
called The Last Prodigy, and indeed - prodigy he was - stunning the Viennese audiences
with his playing and composing at the age of ten. The musical history has
had a number of prodigies but none like Korngold. Mozart's early works are
fantastic by any standard, but his early opera La finta Giardinere
can not be compared to Don Giovanni however delightful it is. With
Korngold it was quite another situation: From the very beginning his works
were in a unique unparalleled mature musical language which
made Mahler call him a genius, Sibelius said he was A young
Eagle. Max Kalbeck said that Korngold was the most important and
successful composer of our time - and Puccini simply declared: Korngold
is the greatest hope of German music.
Julius Korngold with his
Julius was a very ambitious man which
prompted him to name his two sons: Wolfgang
(after Mozart) and the older brother Robert (after Schumann) - and indeed
Erich Wolfgang fully lived up to those ambitions with works of remarkable maturity and innovativeness
from his earliest boyhood.
Siegfried Wagner, Max Reger,
Arthur Nikisch, Richard Strauss
(Anschluss) the Jewish Korngold and his family fled to USA where he
created what was to become a whole new standard for film music with music scores
to films like Sea Hawk, Elizabeth and Essex, The Adventures of
Robin Hood and Another
Dawn. This new and
brilliant career was certainly not something that pleased old Julius who
thought it was mere musical prostitution - though it earned his son both money
and an Oscar award (Robin Hood) and for him being instrumental in creating
Hollywood's Golden Age of Film Music.
once said that he had two reasons for commissioning
A renewed interest in Korngold's music first came some 25 years after his death and today all his major works
have been recorded repeatedly. His output as a serious composer spans
from operas and incidental music to a symphony, concertos for piano (for
Wittgenstein), for violin (for Heifetz) and for cello (in fact from
Korngold's last film score to Deception), chamber music, piano works and songs.
In the case of Korngold the whole problem of prodigies is once again put into focus. Somehow they don't fit into modern society. Well - of course we accept a Mozart or a Mendelssohn - but they are happily dead many years ago. But a child - like the one on the picture above - not making pedestrian life a misery with his skateboard - not playing baseball or doing drugs - but writing operas? That can certainly not be a God's gift to music - that is a psychological problem - perhaps beyond therapeutic reach.
in C sharp (!) op. 17
piano, 2 violins and cello op. 23
in E major op. 15) Commune
naufragium dulce est (Joint
shipwreck is comforting). We are now several who have made the same
mistake of taking this work for a left-hand piece: Fred Flindell, Theodore
Edel and - alas - myself. It is in fact for two hands, dedicated to
the sculptor Gustinus Ambrosi and first performed in Vienna by Korngold himself.
You probably know the word It is human to fail, but few know the continuation: To carry on failing is folly. As I don't want to be accused of that I have hereby corrected the mistake - and with many thanks to Albert Sassmann, Vienna who pointed out my mistake.
is recorded by Howard Shelley, Chandos CHAN 9508
Anton Krause German composer
1834 - 1907
Krause worked in Leipzig and Barmen as a much respected piano teacher and choir conductor and beside his educational piano works he composed church music and songs.
10 Etuden zur Ausbildung der linken Hand op. 15 (10 studies for the education of the left hand) (Breitkopf und Härtel)
Eduard Krause German composer
1837 - 1892
He was active in Stettin, Geneva and Berlin as piano teacher and composer.
Schule der linken Hand op. 80; 40 Übungen und Etüden für höhere und höchste Ausbildung (40 exercises and studies for the higher and the highest education) (Hug)
Richard Krentzlin German pianist an pedagogue
27.11.1864 - 27.11.1956
meiner Wanderzeit 10 instruktive Charakterstücke für ...
3 Pieces: 1. Romance, 2. Voices of evening, 3. Festival Polonaise 1925 (Presser)
Ernest Richard Kroeger American
composer, pianist and teacher
St. Louis, 10.08.1862 -St. Louis, 07.04.1934His first musical instruction was his home town where he studied piano with his father, Egmont Froehlich, Waldemar Malmene and Charles Kunkel; harmony under W. Goldner and P.G. Anton; violin under Ernst Spiering; and instrumentation under Louis Mayer.
After this thorough training Kroeger was appointed "Master of Programs" on the Bureau of Music of the St. Louis World's Fair (1904) supervising all the musical programming at the fair.
Besides all other obligations Kroeger
invited the world's greatest organists to give recitals, planned a series
of great orchestral and choral concerts and arranged for competitions in
all forms for musical composition. The music at the 1904 fair was
considered by many to be one of the outstanding attractions of the event
and for his work in that capacity Kroeger was elected an Officer of the
Academy. He was a member of the National Institute of Arts of Letters,
and a Founder Member of the American Guild of Organists.
15 etudes for the cultivation of the left hand op. 55 (Presser)
Carrie William Krogman (Pseudonym
for Paul Ducelle)
pianist, composer and teacher
1860 - Boston, 1943
Among Krogman's piano pieces are still some which enjoy a certain popularity like the march, The Brave Little Warrior from 1900 and the Valse The Queena op .49 no. 1, included in the album Ten Musical Fancies. Otherwise this author would be glad to receive further information etc. on this composer.
3 Morceaux op. 90: 1. Valse Viennoise (Viennese Waltz, 2. Marche Héroique (Heroic March), 3. Poème d'Amour (Love Poem) 1911 (Wood)
Two Waltz Episodes op. 81: 1. L'Ingénue, 2. La Coquette 1912 (Ditson)
Valse-Serenade op.99 no. 1
Berceuse op. 99 no. 2
German horn player, pianist and
Danzig, 29.11.1865 - Dresden, 16.12.1938
Kronke got his education at
the conservatories in Dresden under Felix Draeseke and at the Leipzig
Conservatory under Carl
Reinecke, Among his other teachers were the Thomas organist Karl Piutti,
Theodor Kirchner und Jean Louis Nicodé. At the age of 22 Emil Kronke settled
in Dresden as a well renowned pianist, teacher and sought after chamber
Richter & Hopf Verlag)
Concert Study for the left alone (Octavian
Society Press, 2005)
Lithuanian composer and pianist
Kucinskas was educated in musical theory and
composition at the Vilnius Conservatory from where he graduated in 1988.
After this he continued his education as composer at the Lithuanian Academy
of Music where his teacher was professor Vytautas Barkauskas. From
1991 to 1999 he taught modern music history at the Vilnius Conservatory and
in 2001 he took his doctor's degree on The Principles of Composition in the Works of Contemporary Lithuanian
- that is the title) (1997)
Photo of Antanas Kucinskas: Lithuanian music information center
(Daniel) Friedrich (Rudolph) Kuhlau
Danish composer and pianist
Uelzen (south of Lüneburg), Germany, 11.09.1786 - Copenhagen, 12.03.1832
Kuhlau came from a family of military
musicians and the family moved to Hamburg in 1802 where the 16-year-old
Friedrich gave piano recitals and got his first works published. Due to the
threatening war disturbances he fled to Copenhagen, Denmark in 1810 and was
appointed Royal Chamber Musician in 1813 but had to wait five years
(1818) for a very modest salary of 300 Rigsbankdaler (which equals 6000 $
per year) .
Kuhlau’s break-through came in 1814 with
the opera Røverborgen (The Robbers’ Castle), which brought
a new style to the conservative Danish public. He repeated the success in
1824 with the opera Lulu (with much the same theme as Mozart’s The
Magic Flute), incidental music for the play William Shakespeare and especially
Johann Ludwig Heiberg’s play, Elverhøj (The
Elf Hill) from
|The Royal Danish Theatre|
Further dramatic works like Trylleharpen (The Magic Harp), Elisa, Hugo og Adelheid and the incidental music to Trillingbrødrene fra Damask (The Triplet Brothers from Damascus) proved to be fiascos – mostly because of the lack of drama in the texts.
His last years were embittered due to the burning down of his house in Lyngby (a few miles north of Copenhagen) in 1831 where he lost almost everything; money, personal belongings and - of most importance many finished or unfinished pieces of music.
Painting of Kuhlau from
What was of great importance to the
development of his international orientated musical development were his many travels
abroad – especially to Germany and Austria where he in 1825 met Beethoven
who after a jolly champagne party dedicated to him the canon Kühl, nicht
lau (Cool, not lukewarm - (playing with the words Kühl-lau and Kuhlau).
In fact that is the whole text of Beethoven's WoO 191, B-flat 4/4, and on
September 23, 1825 Beethoven wrote from Baden to Herr. Friedrich Kuhlau:
I must admit that the champagne went a little to my head yesterday, and I
learned once more from experience, that such things rather prostrate than
Beethoven's canon on Kühl -nicht lau
Kuhlau’s many works covers all the genres of
his day except church music.
Although unable to play the flute himself he became famous for his
well-written music for one to four flutes and for flute with piano or
strings, but the major part of his production is piano music either for two
hands or for four hands. These were sonatas, variations and rondos and sonatinas, which are still used for educational purposes all over the world.
Notable - but far from unique in the history is Kuhlau’s model- or loaning technique where he takes his set-out or gets his inspiration mostly from his ideals, Mozart, Cherubini and Beethoven but later also from Weber and Rossini, but still keeping his own personal mark. His music is both cosmopolitan and Danish e.g. by using Danish folksong, which are also the foundation for his most popular work, Elverhøj that with more than one thousand performances is the most performed play at the Royal Theatre in Copenhagen.
Kuhlau must have had a fairly large hand to take B flat to D in the first bar.
I owe many thanks
to Dr.ph. Gorm Busk who is the world's leading expert on
Hans Kulla German composer and church musician
(1910 - 1956)
Kulla composed and arranged a large amount of Folk Songs which were used in the German Jugendbewegung (Youth Movements) and besides this he composed important church music. As a soldier during WW2 he lost on arm.
(4) über Verstohlen geht der Mond auf
This is an old minstrel song from Niederrhein and the same tune that Brahms used for his four variations in the second movement of his first piano sonata op. 1 in C major from 1853:
"Verstohlen geht der
"The moon rises
Rudolf Kündinger German pianist and composer
(1832 - 1913)
Born Bavaria. Not much is known (or available) about
Kündinger, but one story from his years in Russia and as Tchaikovsky's
piano teacher deserves to be told - and perhaps even included in Great
Blunders of the World. I can safely call it a blunder, since Kündinger
himself admitted it later:
In 1855 Tchaikovsky's father engaged a new piano teacher, Rudolf Kündinger, for his son. There were lessons every Sunday morning and Kündinger then stayed for lunch. In the afternoon he accompanied the boy to concerts and during the evening young Peter was allowed to show his teacher his new compositions. But in fact Kündinger thought his pupil's talents only slightly above average.
Later Kündinger wrote: I must admit to my embarrassment, that at no time did the idea occur to me that Tchaikovsky had in him the stuff of a musician. Certainly he was gifted, he had a good ear and memory, an excellent touch, but apart from that there was nothing, absolutely nothing, that suggested a composer, even a fine composer. Nothing remarkable, nothing phenomenal.
This letter any way does Kündinger credit and fate settled its accounts - and including Tchaikovsky too in the book of Great Blunders. In Germany the great Russian attended a concert with some symphony by a German composer, and afterwards Tchaikovsky wrote a letter saying: The world is certainly not going to hear any more from him!. The German composer was - Johannes Brahms.
14 Klavierübungen für die linke Hand allein mit besonderer Berücksichtigung des dritten, vierten und fünften Finger (14 piano exercises with special emphasis on the third, fourth and fifth finger) c.1890 (Rahter)
Mélodie 1926 (Schubert & Co.)
Charles Kunzer German-American pianist and composer
Sipperfeld, Rheinpfalz, 1840 - St. Louis 1923
Kunkel came to America as a child of 8 years and with time became the founder of the St. Louis Conservatory as well as being a very influential and inspiring person in other aspects of the city's musical life - especially in the German-American community.
Grand Concert Pieces (mostly
arrangements): 1. The Sextet from Lucia di Lammermoor, 2. The
quartet from Verdi's Rigoletto, 3. Miserere from Verdi's Il Trovatore, 4.
Home, Sweet Home, 5. The Banjo, 6. Old Black Joe, 7.
Old Folks at Home.
The only original music in this selection is nr. 5; The Banjo, but it was at least inspired by Gottschalk with whom Kunkel used to play four-handed music in his early days. Kunkel in fact continued the Gottschalk tradition of flamboyance and his most successful piece was Alpine Storm.
György Kurtág Hungarian composer
Born: Lugos, Romania, 19.02.1926
In 1940 Kurtag started taking piano lessons
from Magda Kardos and at the same time studied composition with Max
Eisikovitz at Temesvár. In September 1945 he hoped to become a pupil of
Bartók but the great composer's death put an end to those plans leaving
Kurtag in a state of chock. It was during those days that he formed a
lasting friendship with György Ligeti.
At the Budapest Academy, Kurtág then studied the piano with Pál Kadosa, composition with Sándor Veress and Ferenc Farkas and chamber music with Leó Weiner graduating in piano and chamber music in 1951 and obtaining his degree in composition in 1955.
The years 1957 to 1958 proved very formative in Kutág's life when he worked with the Hungarian psychologist Marianne Stein in Paris and attended the courses of Olivier Messiaen and Darius Milhaud. Together with his encounter with the music of Anton Webern, Samuel Beckett's plays, French architecture and nature - all resulted in a profound change in his way of musical thinking.
This change resulted in the creation of his first string quartet which he composed after returning to Budapest in 1959.
In 1960 Kurtág was employed as répétiteur for the National Philharmonia (the state concert agency) and in 1967 he was appointed professor of piano and chamber music at the Budapest Academy - a post he retired from in 1986.
As a composer he has established an international reputation with works that have been performed by the leading orchestras and ensembles in Europe growing both in size and sophistication, and from the late 1980es he began to realize the idea of spatial music, where the public is enveloped by sound coming from various points in the concert hall. In 2003 he was awarded with the Danish Sonning Prize - formerly given to Messiaen, Bernstein, Segovia among others.
Elégia for the left hand from Studies for Piano ( vol. 3. page 15) (Editio Musica Budapest)
Photo of Kurtág: Andrea Felvegi