# Hans Kronold

Hans Kronold (3 July 1872 – 10 January 1922) was a Polish-born Jewish cellist, composer, educator, and a member of symphony orchestras of New York and Boston. He was the first cellist to have his work recorded on audio, which he did for recording pioneer Gianni Bettini phonograph cylinders in the 1890s.

## Life and career

Kronold was born in Kraków to Adolph Kronold and Louise (Hirschberg) Kronold. His sister was the opera soprano Selma Kronold; a cousin of Polish pianist and composer Moritz Moszkowski. He had his first musical training in Leipzig, where he studied with Max Kiesling (1866–1930). He lived in Berlin for three years, where he extended his musical education with Professor Richard Vollrath, and piano and harmony with Hans Rasch. In 1886, he emigrated to New York, resuming his studies with cellist Anton Hekking, and S. Vreeman.
Kronold soon joined the Metropolitan Opera and shortly after the New York Symphony Orchestra, where he played for five consecutive seasons. In 1894, he married Rose Fischel and had two daughter, Nora and Sophie Kronold. From 1900, he toured the United States and Canada for five years under the direction of Walter Damrosch, accompanying not only singers and acclaimed violinists such as Maud Powell, but also other renowned instrumentalists of his time. On his return, he quit playing for orchestras and devoted himself to solo-playing and teaching at the New York College of Music. He died in New York on 10 January 1922.
Kronold made a number of 78 RPMs and phonograph cylinder recordings for Columbia Records, and the Thomas A. Edison, Inc., publishing his compositions for cello and piano, violin and piano, and other songs through leading publishing houses such as the Oliver Ditson Company, Carl Fischer Music, and M. Witmark & Sons.

## Recordings
### Cello solo with piano

Note: The grey cells in the tables indicate that there is no opus number, name or composer. The m-dashe cells indicate that there is an opus number, name or composer, but that they are currently missing.
| Title | Opus | Name | Key | Composer | Year |
| The Babbling Brook | — | — | — | Christiaan Kriens | 1895 |
| Coquettish Waltz | — | — | — | Christiaan Kriens | — |
| Epitaph Meditation | — | — | — | Christiaan Kriens | 1895 |
| A Sad Song | — | — | — | Christiaan Kriens | 1895 |
| Summer Evening | — | — | — | Christiaan Kriens | 1895 |
| Schwanengesang | D. 957 | Ständchen | — | Franz Schubert | 1905 |
| Kinderszenen | 15 | Träumerei | — | Robert Schumann | 1905 |
| The Swan | 93 | — | — | Camille Saint-Saëns | 1906 |
| Simple Aveu | 25 | — | — | François Thomé | 1906 |
| Ave Maria | CG 89a | — | — | Charles Gounod | 1907 |
| Nocturnes | 9 | No. 2 | E-flat major | Frédéric Chopin | 1907 |
| The Rosary | — | — | — | Ethelbert Nevin | 1907 |
| Handel's Largo | HWV 40 | Ombra mai fu | — | George Frideric Handel | 1908 |
| Humoreske | 101 | No. 7 | G-flat major | Antonín Dvořák | 1908 |
| Tre giorni son che Nina | — | Canzonetta | — | Attrib Giovanni Battista Pergolesi | 1909 |
| Adoration | — | — | D major | Felix Borowski | 1910 |
| Wiegenlied | — | — | — | Alice Verne-Bredt | 1913 |
| The Little Red Lark | — | — | — | — | 1913 |
| Believe Me, If All Those Endearing Young Charms | — | — | — | Thomas Moore | 1913 |
| Canzonetta | — | — | — | Alfredo D'Ambrosio | 1913 |
| Melody in F | 3 | No. 2 | F major | Anton Rubinstein | 1913 |
| The Valley Lay Smiling Before Me | — | — | — | Thomas Moore | 1913 |
| Eili Eili | — | — | — | — | 1913 |
| Kol Nidre | 47 | — | — | Max Bruch | 1913 |
| The Willow Tree | — | — | — | — | 1913 |
| My Heart At Thy Sweet Voice | 47 | — | — | Camille Saint-Saëns | 1913 |

### Violin solo with piano

| Title | Opus | Name | Key | Composer | Year | Note | Ref |
| Douce Rencontre | — | — | — | Jean Gabriel-Marie | 1913 | | |
| Andante Religioso | — | — | — | Joseph Hollman | 1913 | | |

### Cello solo with orchestra

| Title | Opus | Name | Key | Composer | Year | Note | Ref |
| To The Evening Star | WWV 70 | — | — | Richard Wagner | 1907 | | |
| Libeslied | — | — | — | Fritz Kreisler | 1913 | | |

## Compositions

| Title | Opus | Name | Key | Genre | Year | Ref |
| Lègende | 1 | — | — | — | 1895 | |
| The Soldier's Bride | — | — | — | March | 1905 | |
| Turn Thee Unto Me | 16 | (Sacred song) | — | Psalm | 1913 | |
| A Vision of my Mother | 17 | — | — | — | 1909 | |
| Air Religieuse | 18 | — | — | Air | 1909 | |
| Romance | 19 | — | — | Romance | 1909 | |
| Spinning Wheel | 20 | — | — | — | 1909 | |
| Witches' Dance | 21 | — | — | — | 1909 | |
| Scène Élégiaque | 22 | — | — | — | 1909 | |
| The Soul of Love | 24 | — | — | — | 1909 | |
| Roses and Cypresses | 25 | Roses | — | Lieder | 1910 | |
| Roses and Cypresses | 25 | Thine | — | Lieder | 1910 | |
| Roses and Cypresses | 25 | Night | — | Lieder | 1910 | |
| Roses and Cypresses | 25 | A Song You Sang! | — | Lieder | 1910 | |
| Roses and Cypresses | 25 | A Vision | — | Lieder | 1910 | |
| Roses and Cypresses | 25 | May Eternal! | — | Lieder | 1910 | |
| Roses and Cypresses | 25 | Lost Love | — | Lieder | 1910 | |
| Roses and Cypresses | 25 | Sphinx | — | Lieder | 1910 | |
| At the Shrine of Venus | 26 | — | — | — | 1912 | |
| Caprice Espagnole | 28 | — | — | Capriccio | 1912 | |
| Liebeszauber | 30 | — | — | — | 1912 | |
| In Olden Days | 31 | — | — | Minuet | 1912 | |
| Trois Pièces | 32 | Meditation Religieuse | — | — | 1913 | |
| Trois Pièces | 32 | Melodie Romantique | — | — | 1913 | |
| Trois Pièces | 32 | Serenade Espagnole | — | Serenade | 1913 | |
| In Springtime | 38 | — | — | — | 1913 | |
| Deux Pièces | 39 | Evening Song | — | — | 1913 | |
| Deux Pièces | 39 | Autumn Song | — | — | 1913 | |
| The Bride of Death | 40 | — | — | — | 1913 | |
| Sweetheart's Eyes | 43 | — | — | — | 1913 | |
| Five Pieces for Cello and Piano | 57 | Longing | — | Romanza | 1914 | [38] [39] [40] [41] [42] |
| Five Pieces for Cello and Piano | 57 | Mother's Darling | — | Cradle Song | 1914 | [38] [39] [40] [41] [42] |
| Five Pieces for Cello and Piano | 57 | The Lonely Shepherd | — | Pastorale | 1914 | [38] [39] [40] [41] [42] |
| Five Pieces for Cello and Piano | 57 | The Mill | — | Etude | 1914 | [38] [39] [40] [41] [42] |
| Five Pieces for Cello and Piano | 57 | The Bumblebee | — | Moto perpetuo | 1914 | [38] [39] [40] [41] [42] |
| Five Pieces for Cello and Piano | 58 | Autumn Leaves | — | Idyll | 1913 | [43] [44] [45] [46] [47] |
| Five Pieces for Cello and Piano | 58 | On the Lake | — | Cavatina | 1914 | [43] [44] [45] [46] [47] |
| Five Pieces for Cello and Piano | 58 | The Clown | — | Humoreske | 1913 | [43] [44] [45] [46] [47] |
| Five Pieces for Cello and Piano | 58 | Declaration of Love | — | Reverie | 1913 | [43] [44] [45] [46] [47] |
| Five Pieces for Cello and Piano | 58 | In Italy | — | Tarantelle | 1913 | [43] [44] [45] [46] [47] |