constant engagement of the most eminent performers, he elicited at first the unconscious attention, and then the enthusiastic appreciation, of the vast multitudes that besieged his concerts, and that not merely in London but all over the provinces of Great Britain and Ireland. This will probably tend to preserve his memory among us even more than his unrivalled energy and talent, or his unprecedented zeal and liberality as a public entertainer. To Jullien moreover is attributable in a large measure the immense improvement which our orchestras have made during the last 20 years, he having been the means not only of bringing over some of the greatest foreign instrumentalists, but of discovering and nurturing the promise of many English performers, who through the publicity he placed at their disposal, no less than through their own industry and ability, have since attained acknowledged [1]eminence.'
[ G. ]
JULLIEN'S MILITARY JOURNAL, a periodical répertoire of music arranged for a military band, consisting of dances, marches, selections from operas, oratorios, symphonies, etc. It was started by Jullien in the year 1847, but in 1857 came into the hands of Messrs. Boosey & Co., by whom it is published every alternate month as 'Boosé's Supplementary Journal,' to distinguish it from 'Boosé's Military Journal,' a monthly répertoire of a similar kind started by Charles Boosé the eminent bandmaster in 1846, and published by Messrs. Boosey since 1850. [See Military Journals.] [App. p.687 omits this reference]
[ G. ]
JÜNGSTE GERICHT DAS, i.e. the Last Judgment. Spohr's first oratorio. Written for and produced at the Festival at Erfurt Aug. 15, 1812, in honour of Napoleon I. It was not successful; but Spohr's naïf account of the performance, and of his own predilection for it,[2] is highly amusing. It is an entirely different work from 'Die letzten Dinge,' known in England as The Last Judgment.
[ G. ]
JUPITER. A sobriquet bestowed—whether by J. B. Cramer or not is uncertain—on Mozart's 49th and last Symphony in C major (Köchel, 551), and now to some extent classical, since even the conservative Mendelssohn uses it in his letter of March 7, 1845. The symphony is quoted in Mozart's autograph catalogue, with the date Aug. 10, 1788. The autograph is on oblong paper, 91 pages of 12 staves each, and belongs to Julius André, Frankfort. Mendelssohn was the first to notice the fact that a favourite passage near the close of the Andante was an afterthought. (See the letter above quoted.) The symphony was published as a P.F. duet by Breitkopf & Härtel, with the Finale of the Quintet in C (composed 1787) substituted for its own last movement.
[ G. ]
K.
KALKBRENNER, Friedrich Wilhelm Michael, pianist and prolific composer for his instrument, was born 1788 [App. p.688 "1784"] near Berlin. His father, Christian Kalkbrenner, of Hebrew extraction and a [3]musician of great ability, began his training early. In 1798 he entered the Conservatoire at Paris, and left it, after four years of assiduous study, with a prize for pianoforte playing and composition. In 1813 he played in public at Berlin and Vienna, heard Clementi, made Hummel's acquaintance, and was introduced by Haydn to Albrechtsberger, from whom he had lessons in counterpoint. From 1814 to 1823 he resided in London, much sought after as a player and fashionable teacher. In 1824 he settled in Paris as a member of the pianofortemaking firm of Pleyel & Co. In Paris too his success as a performer and teacher was very great; he was a shrewd man of business and managed to amass quite a fortune. Madame Camilla Pleyel was his best pupil. When Chopin came to Paris in 1831, Kalkbrenner's reputation was at its height: his compositions, mostly written for the market and now forgotten, were upon the desks of all dilletanti, and his playing was upheld as a model. Chopin, who was then only twenty-two years of age but had already written his two Concertos, the Etudes, op. 10, the first Scherzo and Ballade, etc., called on him and played his Concerto in E minor, whereupon Kalkbrenner came forward with the astounding proposal that Chopin should bind himself to be his pupil for three years and thus under his guidance become a good artist! Chopin took no lessons, but soothed Kalkbrenner by dedicating the Concerto to him. In a letter dated Dec. 16, 1831, Chopin speaks in high terms of Kalkbrenner's technique, praises his charming equable touch and quiet self-possession, and says that Herz was a zero compared with him. Still Chopin seems from the first to have been of Mendelssohn's opinion, who said to him soon after, 'You had nothing to learn from Kalkbrenner; you play better than he does.'
Kalkbrenner was a man of great vanity, and far from scrupulous as to the means by which he strove to enhance his reputation. The late Professor Marx used to tell a story how Kalkbrenner called on him in 1834 at Berlin, anxious to make a good impression, as the Professor was then editor of the new 'Berliner Musikzeitung' and an influential personage. The visitor in moving terms deplored the decay of the good old art of improvisation, saying that since Hummel
- ↑ 'The Musical World.' March 24, 1860.
- ↑ Selbstbiographie, i. 169.
- ↑ Beethoven includes 'Kalkbrenner (Vater)' with Sterkel and others of the 'old, dead composers of the Empire' in his denunciation of Gottfried Weber's mistakes in regard to Mozart's Requiem. 'Requiescat in pace,' says he (Letter, Feb. 6, 1826). He would hardly have been content with so mild a sneer if he had known that Kalkbrenner had 'arranged' Don Giovanni (that is, had altered the music ml Interpolated fresh pieces) for its appearance on the Paris stage, Sept. 17, 1805 (see Lajarte, ii. 38). [See Lachnith.]
