A Dictionary of Music and Musicians/Krebs

KREBS. A musical family of our own time. Karl August, the head, was the son of A. and Charlotte Miedcke, belonging to the company of the theatre at Nuremberg, where he was born Jan. 16, 1804. The name of Krebs he obtained from the singer of that name at Stuttgart, who adopted him. His early studies were made under Schelble, and in 1825 under Seyfried at Vienna. In March 1827 he settled in Hamburg as head of the theatre, and there passed 23 active and useful years, till called to Dresden in 1850 as Kapellmeister to the court, a post which he filled with honour and advantage till 1871. Since that date he has conducted the orchestra in the Catholic chapel. [App. p.693 "Add date of death of Karl August, May 16, 1880."] His compositions are numerous and varied in kind—masses, operas ('Silva,' 'Agnes'), a Te Deum, orchestral pieces, songs and pianoforte works, many of them much esteemed in Germany. In England, however, his name is known almost exclusively as the father of Miss Mary Krebs, the pianist, born Dec. 5, 1851, at Dresden. On the side of both father and mother (Aloysia Michaelsi [App. p.693 "for Michaelsi read Michalesi"], an operatic singer of eminence, who married Krebs July 20, 1850, and is still living) she inherited music, and like Mme. Schumann was happy in having a father who directed her studies with great judgment. Miss Krebs appeared in public at the early age of 11 (Meissen, 1862), and has since that date been almost continually before the world. Her tours have embraced not only the whole of Germany and England, but Italy, France, Holland, and America. She played at the Gewandhaus first, Nov. 30, 1865. To this country she came in the previous year, and made an engagement with Mr. Gye for four seasons, and her first appearance was at the Crystal Palace, April 30, 1864; at the Philharmonic April 20, 1874; and at the Monday Popular Concerts Jan. 13, 1875. At all these concerts Miss Krebs is often heard, though the 'Populars' enjoy more of her presence than any other. Her repertoire is large, and embraces all the acknowledged classical, orchestral, chamber, and solo pieces, and others of such exceptional difficulty as Schumann's Toccata (op. 7), of which she has more than once given a very fine rendering. She is liked by all who know her, and we trust that she may long continue her visits to this country.

[ G. ]