A Dictionary of Music and Musicians/Krumpholz, Johann Baptist

by Carl Ferdinand Pohl

KRUMPHOLZ, Johann Baptist, celebrated harpist and composer, born about 1745 at Zlonitz near Prague; son of a bandmaster in a French regiment, lived in Paris from his childhood, learning music from his father. The first public mention of him is in the 'Wiener Diarium' for 1772; he had played at a concert in the Burgtheater, and advertised for pupils on the pedal-harp. From Oct. 1773 to March 1776 he was a member of Prince Esterhazy's chapel at Esterhaz, taking lessons from Haydn in composition, and already seeking after improvements in his instrument. He next started on a concert-tour, playing at Leipzig on an 'organisirten Harfe.' He then settled in Paris, where he was highly esteemed as a teacher and virtuoso. Nadermann built a harp from his specifications, to which attention was drawn by an article in the 'Journal de Paris' (Feb. 8, 1786), and which Krumpholz described in a preface to his sonata, op. 14. His wife played some pieces on it before the Académie, Krumpholz accompanying her on the violin, and on the 'Pianoforte contrebasse' or 'Clavichord à marteau,' another instrument made by Erard from his specifications. The Académie expressed their approval of the new harp in a letter to Krumpholz (Nov. 21, 1787). He drowned himself in the Seine in 1790 from grief at the infidelity and ingratitude of his wife.

Gerber gives a list of his compositions, which are still of value. They comprise 6 grand concertos, 32 sonatas with violin accompaniment, preludes, variations, duets for 2 harps, a quartet for harp and strings, and symphonies for harp and small orchestra, published in Paris and London.

His wife, née Meyer, from ^[1]Metz, eloped with a young man to London. She was even a finer player than her husband, making the instrument sound almost like an Eolian harp. In London she gave her first concert at Hanover Square Rooms, June 2, 1788,^[2] and for many years appeared with great success at her own and Salomon's concerts, at the oratorios in Drury Lane, and at Haydn's benefit. She frequently played Dussek's duos concertantes for harp and pianoforte with the composer. She is mentioned in 1802, but after that appears to have retired into private life.

Wenzel Krumpholz, brother of the former, born in 1750, became one of the first violins at the court-opera in Vienna in 1796. His name is immortalised by his intimacy with Beethoven, who was very fond of him, though he used to call him in joke 'mein Narr,' my fool. According to Ries^[3] he gave Beethoven some instruction on the violin in Vienna. Krumpholz was one of the first to recognise Beethoven's genius, and he inspired others with his own enthusiasm. Czerny mentions this in his Autobiography,^[4] and also that he introduced him to Beethoven, who offered of his own accord to give him lessons. Krumpholz also played the mandoline, and Beethoven seems to have intended writing a sonata for P.F. and mandoline for him [App. p.693 "wrote a sonata in one movement, given under Mandoline, vol. ii. p. 205"].^[5] He died May 2, 1817, aged 67, and Beethoven must have felt his death deeply, since he composed on the following day the 'Gesang der Mönche' (from Schiller's 'Wilhelm Tell'), for 3 men's voices, 'in commemoration of the sudden and unexpected death of our ^[6]Krumpholz.' Only two of his compositions have been printed—an 'Abendunterhaltung' for a single violin^[7] (dances, variations, a short andante, etc.; Vienna and Pesth, Kunst & Tndustrie-Comptoir); and 'Ein Viertelstunde für eine Violine,' dedicated to Schuppanzigh (Joh. Traeg).

[ C. F. P. ]

1. Or Liége, according to Gerber and Reichardt.
2. Not 1790, as commonly stated.
3. 'Biographische Notizen.' p. 119.
4. He calls Krumpholz 'an old man.' He was then about 60.
5. 'Autographische Skizze,' by Artaroa. On Wenzel Krumpholz see also Thayer's 'Beethoven,' vol. ii. p. 48; the confusion between the two brothers is rectified vol. iii. p. 510.
6. Compare Nottebohm's Thematic Catalogue, p. 161.
7. Czerny took No. 1, a contredanse, as the theme of his XX concert variations for P.F. and violin. This, his op. 1 (Steiner. 2nd edit.), is dedicated to Krumpholz—fine trait of gratitude.