fragments to an appendix, and will prefix an asterisk to any Köchel number that no longer
bears chronological significance.
Samples of a few useful Köchel numbers for a pianist are:
K331 Piano sonata in A major
K333 Piano sonata in B flat major
K448 Sonata for two pianos in D major
K466 Piano concerto in D minor
K488 Piano concerto in A major
K491 Piano concerto in C minor
K576 Piano sonata in D major
KRAUSE
Martin Krause was born in Lobstadt, Germany, in 1853 and died in 1918 as a result of the
influenza epidemic. He studied with his father and later with Reinecke and Wenzel at the
Leipzig Conservatory. He had already commenced a successful career as a pianist and
teacher when he met Liszt in 1882. He played for Liszt in 1883 and for three years, until
Liszt’s death, was in constant communication with Liszt and his pupils. He was at
Liszt’s funeral at Bayreuth with Arthur Friedheim, Alfred Reisenauer, Alexander Siloti,
Walter Bache, William Dayas, Bernhard Stavenhagen, István Thomán and August
Göllerich.
Krause was one of the founders and became the mainstay of the Liszt Society in Leipzig.
He was also a highly respected music critic, and taught in Dresden and Munich before
joining the faculty of Berlin’s Stern Conservatory. His most celebrated pupil was
Claudio Arrau to whom he gave numerous Lisztian insights. Martin Krause did not make
any discs or rolls.
LACHMUND
Carl Lachmund was born in Boonville, Missouri, on 27 March 1853 and died in Yonkers,
New York, on 20 February 1928. He studied with Hiller and Gernsheim in Cologne, with
Moszkowski and the Scharwenka brothers in Berlin, and with Liszt in Weimar. He was a
pupil of Liszt for a period of three years, which was longer than that of any other
American pupil. He taught at the Scharwenka Conservatory in Berlin, in Minneapolis,
and in New York City from 1891 until his death. He founded the Women’s String
Orchestra Society in New York City in 1896 and was its conductor for twelve years. He
was a pianist and composer, and was the author of a substantial book ‘Living with Liszt’
which was based on diaries kept by him. It is an irreplaceable source of material about
Liszt’s activities at Weimar during the period 1882-84. Lachmund did not make any
discs or rolls.
LAMBERT