L
Transféré par
Mina BožanićL
Transféré par
Mina BožanićL.
La.
Laaber.
Laade, Wolfgang
Laban, Rudolf von
La Barbara [née Lotz; Subotnick], Joan
La Barre [Chabanceau de la Barre].
La Barre, Michel de
Labarre [Berry], Théodore(-François-Joseph)
Labarte Keyboard Manuscript.
La Bassée, Adam de.
Labaun [Laboun].
L’abbé [Saint-Sévin].
L’Abbé, Anthony
Labbette, Dora [Perli, Lisa]
La Beausse
Labèque.
Labey, Marcel
Labi [Larbi], Emmanuel Gyimah
Labia, Maria
Labinsky, Andrey
Labitzky, Joseph
Lablache, Luigi
Labor, Josef
La Borde [Delaborde], Jean-Baptiste (Thillaie) [Thillais, Thillaès] de
La Borde [Laborde], Jean-Benjamin(-François) de
Laborde Chansonnier
Laboun.
Labroca, Mario
La Bruère, Charles-Antoine Le Clerc de
Labrunie, Gérard.
Labunski, Felix [Łabuński, Feliks Roderyk]
La Campioli.
Lacassagne [La Cassagne; de La Cassagne], Joseph
Lacépède, Bernard Germain Etienne Médard de la Ville-sur-Illon, Comte de
Lacerda, Francisco (Inácio da Silveira de Sousa Pereira Forjaz) de
Lacerda, Osvaldo (Costa de)
Lacerna, Estacio de.
Lach, Robert
La Chappelle, Hugo de
La Chapelle, Jacques de.
Lachartre, Nicole
Lachenet, Didier.
Lachenmann, Helmut (Friedrich)
La Chevardière, Louis Balthazard de
Lachmann, Robert
Lachmund, Carl V(alentine)
Lachner.
Lachnith [Lachnitt], Ludwig Wenzel [Louis-Wenceslas]
La Clayette Manuscript
Lacombe [Trouillon-Lacombe], Louis
Lacombe, Paul
Lacome [Lacome d’Estalenx], Paul(-Jean-Jacques)
Lacorcia, Scipione
La Coste, Emanuel-Jean de.
Lacoste [De La Coste], Louis
La Court, Antoine de
La Court, Henri de
Lacroix [Croix], Antoine
La Croix [Delacroix], François de
La Crotte, Nicolas de.
La Cruz, Zulema de
Lacy, Michael Rophino
Lacy, William
Łada [Ładowski, Ładewski], Kazimierz
Ladegast, Friedrich
Laderman, Ezra
Ładewski [Ładowski], Kazimierz.
Lādhiqī [Muhammad], al-
Ladipo, Duro
Ladmirault, Paul (Emile)
La Douardière, Henri de.
Ladurner, Ignace Antoine (François Xavier) [Ignaz Anton Franz Xaver/Joseph]
Ladurner, Josef Alois
Lady Day.
Lady Mass.
Ladysmith Black Mambazo.
Laetrius, Petit Jean.
La Fage, (Juste-)Adrien(-Lenoir) de
La Fage, Jean de
La Farge, P. de
LaFaro, Scott
La Faya, Aurelio.
Lafayette Quartet.
La Feillée, François de
La Ferté, Denis-Pierre-Jean, Papillon de
L’Affilard [Laffilard, L’Affillard, La Filiade], Michel
Lafitte, José White.
Lafleur, Joseph René
La Florinda.
Lafont, Charles Philippe
La Font, de.
Lafont, Jean-Philippe
La Font, Joseph de
La Fontaine, Jean de
Lagacé, Bernard
Lagacé [née Begin], Mireille
Lagarde [La Garde], Mr.
La Garde [Lagarde, Garde], Pierre de
Lagarto, Pedro de
Lage (i)
Lage (ii)
Lagidze, Revaz
Lagkhner, Daniel
Lago, Giovanni del.
Lagoya, Alexandre
Lagrange, Joseph Louis, Comte
La Greca, Antonio [‘Il Fardiola’]
La Grille, Sieur de.
La Grotte [La Crotte], Nicolas de
Lagudio, Paolo
La Guerre, Elisabeth Jacquet de.
Laguerre [Lagarde, Legar, Legard, Le Garde, Legare, Leguar, Leguerre etc.], John
Laguerre, Marie-Joséphine
La Guerre, Michel de
Lah.
La Halle, Adam de.
Lahjī, Muhammad Fadl al-
La Harpe [Delaharpe], Jean François de
La Hèle [Hele], George de
La Hire, Philippe de
La Houssaye [Housset], Pierre(-Nicolas)
Le Hye [née Rousseau], Louise-Geneviève de
Lai
Lai, François.
Laibach
Lainati, Carlo Ambrogio.
Laine, Dame Cleo [Campbell, Clementina Dinah]
Laine, Frankie [Lo Vecchio, Frank Paul]
Laird, Michael
Laïs, François.
Lais, Johan Dominico
Laisse.
Laisser vibrer
Laitinen, Heikki
Lajarte, Théodore (Edouard Dufaure de)
Lajeunesse, Emma.
Lajovic, Anton
Lajtha, László
Lakatos, István [Ştefan]
Lake, Mayhew Lester [Brockton, Lester]
Lakes, Gary
Lakita [laquita].
Lakner, Yehoshua
Laks, Szymon [Simon]
Lal, Chatur
Lalande, Desiré Alfred
Lalande [La Lande, Delalande], Michel-Richard de
Lalauni, Lila [Julia]
La Laurencie, (Marie-Bertrand-)Lionel(-Jules) de
Lalli, (Benedetto) Domenico [Biancardi, (Nicolò) Sebastiano]
Lallouette [Lalouette], Jean (Baptiste) François
Lalo, Charles
Lalo, Edouard(-Victoire-Antoine)
Lalo, Pierre
Lalouette, Jean François.
Laloy, Louis
Lam.
Lam, Doming(os) [Lam Ngok-pui]
Lamalle, Pierre
Laman, Wim
Lamare [Lamarre], Jacques-Michel Hurel de
Lamarque-Pons, Jaurés
La Marre, de
Lamartine, Alphonse(-Marie-Louis Prat) de
La Martoretta [Martoretta, Il Martoretta], Giandominico
Lamas, José Angel
Lamb, Andrew (Martin)
Lamb, Benjamin
Lamb, Joseph F(rancis)
Lambach.
Lambardi, Camillo
Lambardi, Francesco
Lambardi [Lambardo], Girolamo
Lambe
Lambe, Walter
Lambeg drum.
Lambelet, Georgios
Lambert, (Leonard) Constant
Lambert, Herbert.
Lambert, Johann Heinrich
Lambert, John (Arthur Neill)
Lambert, Michel
Lambert, Pierre-Jean
Lambert Ferri.
Lambertini.
Lambertini, Giovan Tomaso
Lambertini, Marta
Lambertus, Magister [Pseudo-Aristoteles]
Lambeth Choirbook
Lambranzi, Gregorio
Lambuleti, Johannes
Lam Bun-ching
Lamellophone [lamellaphone].
Lame musicale
Lament.
Lamentations.
Lamento
Lamm, Pavel Aleksandrovich
Lam Manyee [Lin Minyi]
La Moeulle [La Mole, La Moulaz, La Mule], Guillaume de
La Moleère, Louis de.
Lamond, Frederic(k Archibald)
Lamoninary, Jacques-Philippe
La Monnaie, Théâtre Royal de.
La Montaine, John
Lamote de Grignon (i Bocquet), Joan
Lamothe, Ludovic
La Motta, Bill [Wilbur]
Lamotte [La Motte], Antoine Houdar [Houdart, Houdard] de
Lamotte, Franz
La Motte-Haber, Helga de.
La Moulaz, Guillaume de.
Lamoureux, Charles
Lampadarios, Joannes.
Lampadius [Lampe], Auctor
Lampe, Charles John Frederick
Lampe, Johann Friedrich
Lampe, John Frederick [Johann Friedrich]
Lampe, Mrs.
Lampens
Lampersberg, Gerhard
Lamperti, Francesco
Lampugnani, Giovanni Battista (i)
Lampugnani, Giovanni Battista (ii)
La Mule, Guillaume de.
Lamy, Alfred Joseph
Lamy, Bernard
Lanari, Alessandro
Lancashire sol-fa.
Lancers.
Lanchbery, John (Arthur)
Lanciani, Flavio Carlo
Lancie, John de
Lanclos, Henri de.
Lanctin, Charles-François-Honoré.
Landa (Calvet), Fabio
Landaeta, Juan José
Landauer, Erich.
Landeghem, Jan van
Landi, Giuseppe
Landi, Stefano
Landini, Francesco [Landino, Franciscus; Magister Franciscus de Florentia; Magister
Franciscus Coecus Horghanista de Florentia; Francesco degli orghani; Cechus de Florentia]
Landini, Giovanni Battista
Landini cadence [Landino 6th]
Landis, Clericus de
Ländler
Lando, Stefano
Landolfi, Carlo Ferdinando
Landon [née Fuhrmann], Christa
Landon, H(oward) C(handler) Robbins
Landormy, Paul (Charles René)
Landowska, Wanda
Landowski, Marcel
Landré, Guillaume
Landry, Richard [Dickie]
Landsberg, Ludwig
Landsbergis, Vytautas
Landshoff, Ludwig
Lane [Levy], Burton
Lane, (Sidney) Eastwood
Laneare [Laneer].
Lanetin, Charles-François-Honoré.
La Neuville, Martin Joseph.
Lanfranco, Giovanni Maria
Lang, Bernhard (Ingomar)
Lang, B(enjamin) J(ohnson)
Lang, David (Avery)
Lang, Eddie [Dunn, Blind Willie; Massaro, Salvatore]
Láng, István
Lang, Johann Georg
Lang, Josephine (Caroline)
Lang, K(athryn) D(awn) [lang, k d]
Lang, Margaret Ruthven
Lang, Paul Henry [Láng, Pál]
Lang, Philip (Emil) J(oseph)
Langa, Francisco Soto de.
Langdon, Michael [Birtles, Frank]
Langdon, Richard
Lange, Aloysia.
Lange, de.
Lange, Francisco [Franz] Curt [Kurt]
Lange, Gregor [Langius, Hieronymus Gregorius]
Langeleik.
Lange-Müller, Peter Erasmus
Langer [née Knauth], Susanne Katherina
Langford, Gordon (Maris Colman) [Colman, Gordon Maris]
Langgaard, Rued [Rud] (Immanuel)
Langhans, (Friedrich) Wilhelm
Langhedul.
Langhveldt [Langveld], Joris van.
Langius, Hieronymus Gregorius.
Langlais, Jean
Langlé, Honoré (François Marie)
Langreder, Martin
Langridge, Philip (Gordon)
Langsam
Langsflöte
Langspil.
Langue des durées.
Langueur
Languid [languet]
Langwill, Lyndesay G(raham)
Lanier [Laniere, Laneare, Laneer, Lanyer, Lenear etc.].
Lanier, Sidney (Clopton)
Lankveld, Joris van.
Lanner, Joseph (Franz Karl)
Lannis, Johannes de.
Lannoy [Lanoy, Lanoys, Lannoys], Colinet [Colin] de
Lansbury, Angela (Brigid)
Länsiö, Tapani
Lansky, Paul
Lantins, de.
Lantos.
Lanyer.
Lanyuk, Yury
Lanza.
Lanza, Alcides
Lanza, Mario [Cocozza, Alfred Arnold]
Lanzetti, Domenico.
Lanzetti, Salvatore
Laos [Lao People’s Democratic Republic] (Saathiaranarath Prachhathipatay Prachhachhon
Lao).
Laparra, Raoul
Lap dulcimer.
Lapicida [Steinschneider], Erasmus [Rasmo]
La Pierre, Louis-Maurice de
La Pierre, Paul de
Lapis [Lapi, Lappi], Santo [Sante]
La Popelinière, Alexandre-Jean-Joseph Le Riche de.
Laporte, André
Laporte, Joseph de
La Pouplinière [La Popelinière], Alexandre-Jean-Joseph Le Riche de
Lappi, Pietro
Lapp [Lappish] music.
Lap steel guitar.
Laquement, Jean.
Lara (Aguirre del Pino), Agustín
Lara, Kozma
Lara, Manuel Manrique de.
Larbi, Emmanuel Gyimah.
Larchet, John F(rancis)
Larchier, Federicus
Larchier [Larcier], Jean [Johannes]
Lardenois, Antoine
Laredo, Jaime (Eduardo)
Laredo [née Meckler], Ruth
Largamente
Large
Larghetto
Largo
La Riche [Le Riche], François
Larigot
Larin, Sergey
Larmanjat, Jacques
Larmore, Jennifer
Larner, Sam [Samuel James]
Laro, Kujtim
La Roche, François de
Laroche, Herman [Larosh, German Avgustovich]
La Rochelle.
La Rochois.
La Roque [La Rocque].
Larrauri, Antón
Larrivée, Henri
Larrocha (y de la Calle), Alicia de
Larsen, Jens Peter
Larsen [Reece], Libby [Elizabeth] (Brown)
Larsén-Todsen, Nanny
Larson brothers.
Larsson, Lars-Erik (Vilner)
LaRue, (Adrian) Jan (Pieters)
La Rue [de Platea, de Robore, de Vico, vander Straeten], Pierre [Perison, Peteren, Petrus,
Pierchon, Pieter, Pirson] de
La Rue, Robert de
Laruette [La Ruette], Jean-Louis
Larway, J.H.
LaSalle Quartet.
Lascarini, Francesco Maria.
Lascelles, George Henry Hubert.
Lasceux, Guillaume
Laschi [Mombelli], Luisa
Laserna, Blas de
Laserna, Estacio de.
La Serre.
Las Huelgas Manuscript.
La Sirène.
Laskine, Lily
Laskovsky, Ivan Fyodorovich
Lasoń, Aleksander
Lasos of Hermione.
Lassen, Eduard
Lasser, Johann Baptist
Lasserson, Sascha (Shlom Laybovich)
Lasson, Mathieu
Lassú [Lassan]
Lassus [Lasso].
Last, James [Hans]
Lasus [Lasos] of Hermione
László, Alexander [Sándor]
László, Ferenc [Francisc]
László [Singer], Zsigmond
Lateiner, Jacob
Latere, Petit Jean de.
Lates, James
Latham-Koenig, Jan
Latilla, Gaetano
Latin America.
Latin jazz.
Latin secular song, early.
Latio, Giovanni [Latius, Joannes].
La Tombelle, (Antoine Louis Joseph Gueyrand) Fernand (Fouant) de
La Torre, Jerónimo [Jerónimo de] (i)
La Torre, Jerónimo [Jerónimo de; ‘El Cojo’] (ii)
Latour, Francis Tatton.
Latre, Petit Jean de.
Latrobe [La Trobe], Christian Ignatius
Latry, Olivier
Lattuada, Felice
Latvia
Lau, Heinz
Laub, Ferdinand
Laub, Thomas (Linnemann)
Laube, Anton
Laubenthal, Rudolf
Lauber, Anne
Lauchery, Etienne
Lauclos, Henri de.
Laúd
Lauda
Lauda Sion
Lauder, Sir Harry (Maclennan)
Lauder, James
Laudes.
Laudes regiae.
Laudi, Victorino
Lauds
Lauermann, Herbert
Laufenberg [Loufenberg], Heinrich [Heinricus de Libero Castro]
Lauffensteiner, Wolff Jacob
Laugier, Abbé Marc-Antoine
Laukhuff.
Lauksmin [Lauxmin], Zygmunt
Laul, Reyn Genrikhovich
Launay, Denise
Launis [Lindberg], Armas (Emanuel)
Laurencie, Lionel de la.
Laurencinus Romanus.
Laurenti.
Laurentius de Florentia [Laurentius Masii].
Laurenzi [Laurenti, Lorenzi], Filiberto [Filibertus de Laurentiis]
Laurenzini.
Lauri-Volpi [Volpi], Giacomo
Lauro, Antonio
Lauro, Domenico [Laurus, Dominicus]
Lauro, Hieronymo del [Alauro, Hieronymo]
Lausanne.
Lausch, Laurenz
Lauska [Louska, Lausca], Franz [Franz Seraphicus; Franz Seraphinus; František Ignác]
Laute
Lautenklavier [Lautenklavecimbel, Lautenwerck]
Lautenzug
Lauterbach, Johann Christoph
Lauterbach & Kuhn.
Lauto
Lauverjat, Pierre
Laux, Karl
Lauxmin, Zygmunt.
Lavagnino, Angelo Francesco
Lavallée, Calixa [Calixte]
Laval University.
Lavaux, Nicolas [?Amable]
La Venture, Johannes à.
Lavenu.
Lavergne [La Vergne, Delavergne], Antoine-Barthélemy (de)
La Viéville, Jean Laurent le Cerf de.
La Vigne, Nicolas Martin de.
Lavigna, Vincenzo
Lavignac, (Alexandre Jean) Albert
Lavín, Carlos
La Violette, Wesley
Lavista, Mario
La Volée, Jean de
Lavolta.
Lavotta, János
La Voye-Mignot, de
Lavrangas, Dionyssios
Lavrovskaya [Lawrowska], Yelizaveta Andreyevna
Lavrovsky, Leonid Mikhailovich
Lavry [Lavri], Marc
Law, Andrew
Lawes, Henry
Lawes, William
Lawrence, Ashley (Macdonald)
Lawrence, Gertrude [Klasen, Gertrud Alexandra Dagmar Lawrence]
Lawrence, Marjorie (Florence)
Lawrowska, Yelizaveta Andreyevna.
Lawson, Colin (James)
Law Wing-fai
Lay, François.
Laye, Evelyn
Layer [level, structural level]
Layolle, Alamanne de [Aiolli, Alamanno]
Layolle, Francesco de [Francesco dell’Aiolle, dell’Aiolli, dell’Ajolle, dell’Aiuola]
Layriz [Layritz], Friedrich (Ludwig Christoph)
Lays [Lai, Laïs, Lay], François
Layton, Billy Jim
Layton, Robert
Lazăr, Filip
Lazare-Lévy.
Lazarev, Aleksandr
Lazari, Alberto
Lazari, Ferdinando Antonio.
Lazarini, Scipione.
Lázaro, Hipólito
Lazarof, Henri
Lazarus, Henry
Lazzari [Lazari], Ferdinando Antonio
Lazzari, (Joseph) Sylvio [Silvio; Lazzari, Josef Fortunat Sylvester]
Lazzari, Virgilio
Lazzarini [Lazarini], Scipione
Le.
Leach, James
Lead.
Leadbelly [Ledbetter, Huddie]
Leader [concertmaster]
Leading note
League of Composers.
Leal, Eleutério Franco
Leap [skip]
Lear [née Shulman], Evelyn
Leardini, Alessandro
Lebah, I Madé
Le Bailly, Henry [Bailly, Henry du; Bailly, Henry de]
Lebano, Felice
Lebanon.
LeBaron, (Alice) Anne
Le Bé, Guillaume
Lebègue [Le Bègue], Nicolas
Le Bel, Barthélemy
Lebel, Firmin
Lebendig
Lebertoul, Franchois [Le Bertoul, François; Franchois]
Lebeuf [Le Beuf], Jean
Lebhaft
Lebič, Lojze
Lébl, Vladimír
Le Blan, Pierre-Joseph
Leblanc [first name unknown]
Le Blanc, Didier
Leblanc, Georgette
Le Blanc [Leblanc], Hubert
Leblanc du Roullet, Marie François Louis Gand.
Lebloitte dit Des Prez, Jossequin.
Leborne, Aimé (Ambroise Simon)
Le Boscu d'Arras [Le Bossy], Adan.
Le Bouteiller [Boutillier], Jean
Le Bret
Le Breton.
Lebrun.
Lebrun [Le Brun, Brun, Braun], Jean
Lebrun, Louis-Sébastien
Le Brung [Le Brun, Lebrun], Jean
Le Caine, Hugh
Le Camus, Sébastien
Le Cène, Michel-Charles.
Le Cerf de la Viéville, Jean Laurent, Seigneur de Freneuse
Le Chevalier, Amédée
Lechler, Benedikt [Johannes]
Lechner, Leonhard [Lechnerus, Leonardus Athesinus]
Leclair.
Leclair, Louise Roussel
Le Clerc, Charles-Nicolas
Leclerc, Félix (Eugène)
Le Clerc [Leclercq], Jacques
Le Clerc, Jean-Pantaléon
Lecocq, (Alexandre) Charles
Le Cocq, François
Lecocq, Jean [Jehan]
Le Coincte, Louis.
Leçon de ténèbres
Le Conte [Comes, Cont, Conti, del Conte, El Conte, Il Conte], Bartholomeus [Bartolomeo]
Le Conte, Pierre-Michel
Lectionary
Lectionary notation.
Lecuna, Juan Vicente
Lecuona (Casado), Ernesto
Lecuona Casado, Ernestina
Leczinska [Leszczynska], Marie, Queen of France
Ledang, Ola Kai
Ledbetter, Huddie.
Ledenyov, Roman (Semyonovich)
Lederer, Joseph [Anton]
Lederman (Daniel), Minna
Ledesma (Hernández), Dámaso
Ledesma, Mariano Rodríguez de.
Ledesma, Nicolás
Ledger, Philip (Stevens)
Ledger line.
Lediard, Thomas
Ledoux, Claude
Leduc [Le Duc].
Leduc, Alphonse.
Leduc, Jacques (Pierre Edouard)
Le Duc, Philippe.
Led Zeppelin.
Lee, Dai-Keong
Lee, George Alexander
Lee, Louis.
Lee, Maurice.
Lee, Noël
Lee, Peggy [Egstrom, Norma Dolores]
Lee, Samuel
Lee, Sebastian
Lee, Vanessa [Moule, Ruby]
Lee Chan-Hae
Leeds.
Leedy, Douglas
Leedy Manufacturing Co.
Leef, Yinam
Leemans, Hébert [Aybert] Philippe Adrien
Leero [leerow] viol.
Lees, Benjamin
Leeuw, Cornelis (Janszoon) de
Leeuw, Reinbert de
Leeuw, Ton [Antonius Wilhemus Adrianus] de
Lee Young-ja
LeFanu, Nicola (Frances)
Lefébure.
Lefebure, Louis Antoine [André].
Lefébure, Yvonne
Lefébure-Wély, Louis (James Alfred)
Lefebvre.
Lefebvre, Charles Edouard
Lefebvre, Claude
Lefebvre, Denis
Lefebvre [Le Fevre], Jacques
Lefebvre [Lefebure, Lefevre], Louis Antoine [André]
Lefèbvre, Louise-Rosalie.
Lefebvre, Marie-Thérèse
Lefebvre, Philippe
Lefebvre, Xavier.
Lefèvre [Lefebvre, Fêvre, Lefeure, Lefébure].
Lefevre, André.
Le Fèvre, François
Le Fevre, Jacques.
Lefevre, Louis Antoine.
Lefèvre [Lefèbvre, Lefévre, Le Févre, Lefévre], (Jean) Xavier
Lefèvre d’Etaples, Jacques.
Leffloth, Johann Matthias [Löffeloth, J. Matthäus]
Lefkowitz, Murray
Le Flem, Paul
Le Franc, Martin.
Le Froid de Méreaux.
Le Gallienne, Dorian (Léon Marlois)
Legánÿ, Dezső
Legar [Legare, Legard], Mr.
Légat de Furcy [Furci, Fursy; Legal Defurcy], Antoine
Legato [ligato]
Legatura
Legendary [passionary]
Légende
Le Gendre, Jean
Léger
Leger [ledger] line
Legge, Walter
Leggero [leggiero]
Leggiadro
Leghorn
Legiensis, Johannes.
Leginska [Liggins], Ethel
Legley, Vic(tor)
Legnani, (Rinaldo) Luigi
Legni
Legnica
Legno
Legouix, (Isidore) Edouard
Le Grand.
Legrand, Michel
Le Grand, Nicolas Ferdinand
Le Grant, Denis [Dionysius Magni]
Legrant [Lemacherier], Guillaume
Legrant, Johannes
Legrense, Johannes.
Legrenzi, Giovanni
Legros [Le Gros], Joseph
Leguar [Leguerre], Mr.
Leguay, Jean-Pierre
Lehár, Franz (Christian)
Lehel, György
Le Héman.
Le Heurteur [Hurteur], Guillaume
Lehmann, Hans Ulrich
Lehmann, Lilli
Lehmann, Liza [Elizabeth] (Nina Mary Frederica)
Lehmann, Lotte
Lehms, Georg Christian
Lehotka, Gábor
Lehr, André
Lehrstück
Le Huray, Peter (Geoffrey)
Leiber and Stoller.
Leibfried, Christoph
Leibniz, Gottfried Wilhelm
Leibowitz, René
Leich.
Leichnamschneider [Leichamschneider, Leichnambschneider, Leicham Schneider].
Leichner, Eckhardt.
Leichtentritt, Hugo
Leiden.
Leider, Frida
Leidesdorf, Marcus (Maximilian Josef).
Leiding, Georg Dietrich.
Leidzén, Erik W(illiam) G(ustav)
Leier (i)
Leier (ii)
Leiferkus, Sergey (Petrovich)
Leifs [Thorleifsson], Jón
Leigh, Mitch [Mitchnik, Irwin]
Leigh, Walter
Leighton, Kenneth
Leighton, Sir William
Leimma.
Leinati, Giovanni Ambrogio.
Leinbach, Edward William
Leinsdorf [Landauer], Erich
Leinster School of Music.
Leiper, Joseph.
Leipzig.
Leise
Leisentrit, Johannes [Johann]
Leisner, David
Leisring [Leissringk, Leisringius], Volckmar
Leister, Karl
Leitão de Avilez, Manuel.
Leite, António (Joaquim) da Silva
Leite (Dias Batista), Clarisse
Leitgeb, Joseph [Ignaz].
Leith Hill Musical Festival.
Leitmotif
Leitner, Ferdinand
Leitton
Leittonwechselklang
Leiviskä, Helvi (Lemmikki)
Le Jeune, Claude [Claudin]
Lejeune, Jacques
Lekeu, Guillaume (Jean Joseph Nicolas)
Lelarge, Jacques-George
Lelei, Georg Simon.
Leleu, Jeanne
Leleu, Jehan [Jennot].
Lelio.
Lemacher, Heinrich
Lemacherier, Guillaume.
Le Maire, Jean
Lemaire (de Belges), Jean
Lemaire, Louis
Le Maistre [Meistre, Maystre], Matthaeus
Lemare, Edwin (Henry)
Lemaure, Catherine-Nicole
Lemberg
Lemene, Francesco de.
Le Menu.
Lemeshyov, Sergey (Yakovlevich)
Lemière [Le Mière, Le Mierre, Lemierre] de Corvey, Jean-Frédéric-Auguste
Lemlin [Lemblin, Lemlein], Lorenz
Lemmens, Jaak Nikolaas [Jacques Nicolas]
Lemmens Institute.
Lemmens-Sherrington [née Sherrington], Helen
Lemnitz, Tiana (Luise)
Lemoine.
Le Moine, Estienne
Lemoyne, Gabriel.
Lemoyne [Moyne], Jean-Baptiste
Lemper, Ute
Le Munerat, Jean
Lenaerts, René Bernard (Maria)
L’Enclos [Lenclos, Lanclos, Lauclos, la Douardière], Henri de
L’Enclos, Ninon de.
Lendvai, Ernő
Lendvay, Kamilló
Lenear.
Lenepveu, Charles Ferdinand
Léner Quartet.
Leng, Alfonso
Lengnick.
Leningrad.
Lenja, Lotte.
Lenners, Claude
Lennon, John (Winston) [John Winston Ono]
Lennon, John Anthony
Leno, Antonio [Antonius] de.
Le Noble.
Lenormand, René
Lenot, Jacques
Lenox.
Lentando
Lento
Lenton, John
Lentz, Daniel K(irkland)
Lentz, Johannes Nicolaas [Johann Nicolaus]
Lenya [Lenja], Lotte [Blamauer, Karoline Wilhelmine]
Lenz, Wilhelm von
Leo, Magister
Leo X, Pope.
Leo, Leonardo [Lionardo] (Ortensio Salvatore de [di])
Leo da Modena.
Leodiensis, Iacobus de.
Leo Hebraeus.
León, Argeliers
Leon, Bayani Mendoza de
Leon, Felipe Padilla de
Leon, J. [?Juan] de
León, Tania (Justina)
León (Ortega), Tomás
León Antiphoner
Léonard, Hubert
Leonarda, Isabella [Leonardi, Anna Isabella].
Leonardo, Luísa
Leonardo da Vinci
Leonardus Athesinus.
Leonardus Nervius.
Leonati, Carlo Ambrogio.
Leoncavallo, Ruggero
Leon de Bagnols, Magister.
Leonel [Leonelle, Leonellus] (Power).
Leonetti, Giovanni Battista
Leonhardt, Gustav (Maria)
Leoni, Franco
Leoni, Giovanni Antonio
Leoni, Leone [Leo]
Leoni, Michael [Lyon, Myer]
Leoninus [Magister Leoninus; Magister Leonius, Leo, Léonin]
Leonova, Dar'ya Mikhaylovna
Leontovych, Mykola Dmytrovych
Leopardi, Venanzio [Venantio]
Leopold I, Holy Roman Emperor
Leopold, Silke
Leopolita [Lwowczyk, ze Lwowa], Marcin [Leopolitanus, Martinus]
Leotsakos, George
Leoz, Jesús García
Lepescheur.
Le Petit, Johannes.
Le Picard [Le Picart].
Le Picq [Le Picque, Lepic, Le Pichi, Picq, Pick, Pich, Pik], Charles [Carlo]
L’Epine [Lépine, Lespine, Picart].
L’Epine, (Francesca) Margherita [Françoise Marguérite] de
Leppard, Raymond (John)
Le Prince, Louis
Le Quointe [Le Quoynte, Le Quoint, Le Coincte], Louis
Le Rat
Lerchenfels, Johann Sixt von [Lerchenfelsu, Jan Sixt z].
Lerdahl, Fred [Alfred] (Whitford)
Lerdo de Tejada, Miguel
Lerescu, Emil
Lerescu, Sorin
Lerethier, Isaac.
Le Riche, Antonius.
Lerman, Richard
Lermontov, Mikhail Yur'evich
Lerner, Alan Jay
Lerner, Edward R(obert)
Le Rochois, Marie [‘La Rochois’]
Lerolle, Jacques.
Le Rouge, G(uillaume) [Rouge, W(illelmus) de]
Le Roux, François
Le Roux, Gaspard
Le Roux, Maurice
Leroux, Philippe
Leroux, Xavier (Henry Napoléon)
Le Roy, Adrian
Le Roy [Roi], Bartolomeo.
Leroy, Jehan.
Le Sage de Richée, Philipp Franz
Lésbio, António Marques
Lesch, Albrecht
Leschenet [Lachenet], Didier
Leschetizky, Theodor [Leszetycki, Teodor]
Lescot, C. François
L'Escurel, Jehannot de.
Lesina
Leslie.
Leslie, Henry (David)
Les Musiciens du Louvre.
Lesne, Gérard
Lesotho,
Lespine.
Lespine, Charles de
Lessard, John (Ayres)
Lessel, Franciszek
Lessel, Wincenty Ferdynand [Lesselt/Lössel, Vinzenz Ferdinand]
Lesser, Wolfgang
Lessmann, Otto
Lesson (i)
Lesson (ii).
Lessoth, Troilus à.
L’Estocart, Paschal de
L'Estrange [Le Strange; Lestrange].
Le Sueur [Lesueur], Jean-François
Lesung
Lesur, Daniel Jean Yves.
Lesure, François(-Marie)
Leszczynska, Marie.
Leszetycki, Teodor.
Le Taintenier, Jehan.
Letania
Le Tansur, William.
Letelier(-Llona), Alfonso
Letelier (Valdés), Miguel
Létourneau, Fernand (Wilfred Joseph)
Letra
Leuckart.
Leutgeb [Leitgeb], Joseph [Ignaz]
Leuto
Leuven
Levant, Oscar
Levarie, Siegmund
Levashyov, Yevgeny Mikhaylovich
Levashyova, Ol'ga Yevgen'yevna
Levasseur, Jean-Henri
Levasseur, Nicholas (Prosper)
Levasseur [Le Vasseur], Rosalie [Marie-Rose-(Claude-)Josephe]
Levaya, Tamara Nikolayevna
Levé
Level.
Leveridge, Richard
Lévesque, Elisabeth de Hauteterre.
Levey [O’Shaughnessy].
Levi, Giuseppe.
Levi, Hermann
Levi, Jul [Levy, Jules]
Levi ben Gershom [Gershon, Gerson].
Levidis, Dimitrios
Levin, Robert (David)
Levina, Zara Aleksandrovna
Lévinas, Michaël
Levine, James
Le Vinier, Gilles
Le Vinier, Guillaume
Le Vinier, Jaques
Levinson, Jerrold
Levitin, Yury Abramovich
Levitzki, Mischa [Levitsky, Misha]
Levolto.
Levy, Alexandre
Lévy, Emile.
Lévy, Ernst
Levy, Jules.
Levy, Kenneth (Jay)
Lévy, Lazare [Lazare-Lévy]
Levy, Marvin David
Lévy, Roland Alexis Manuel.
Levy [née Itzig], Sara
Lewandowski, Leon Leopold
Lewandowski, Louis
Lewenthal, Raymond
Lewin, David
Lewin-Richter, Andrés
Lewis, Sir Anthony (Carey)
Lewis, Edward
Lewis, George [Zeno(n), George Joseph François Louis]
Lewis, George Emanuel
Lewis, Henry Jay
Lewis, Houston & Hyde.
Lewis, Jerry Lee
Lewis, John (Aaron)
Lewis, Meade (Anderson) ‘Lux’
Lewis, Richard [Thomas, Thomas]
Lewis, Robert Hall
Lewis, Thomas Christopher
Lewkovitch, Bernhard
Ley, Henry George
Ley, Salvador
Leybach, Ignace Xavier Joseph
Leyden, John
Leydi, Roberto
Leyding [Leiding], Georg Dietrich
L.H. Abbreviation for left hand
Lhéritier [Lerethier], Isaac
Lhéritier [Lheretier, Lhiretier, Lirithier], Jean [Johannes]
Lhévinne, Josef
Lhévinne [née Bessie], Rosina
L’homme armé.
L’Hoste da Reggio.
Lhotka, Fran
Lhotka-Kalinski, Ivo
Lhoyer [L'Hoyer], Antoine de
L’Huyllier [L’Huillier, Luillier]
Liadov, Anatoly Konstantinovich.
Liaison (i)
Liaison (ii).
Liang Tsai-ping
Liban, Jerzy [Libanus, Georgius]
Libani, Giuseppe
Liberace [Liberace, Wladziu Valentino; Liberace, Walter]
Liberali [Liberalli], Giuseppe.
Liberati, Antimo
Liberec
Liberia, Republic of.
Libero Castro, Heinricus de.
Libert, Gualterius [Liberti, Gualtero]
Libert, Reginaldus [Liebert]
Liberti, Gualtero.
Liberti [van Groeninghen], Henricus [Hendrik]
Liberti, Vincenzo
Liber usualis
Libin, Laurence (Elliot)
Libon, Philippe [Felipe]
Libraries.
Libretto
Libya [Great Socialist People's Libyan Arab Republic]
Licenza (i)
Licenza (ii)
Licette, Miriam
Lichfild [Lichfield], Henry
Lichnowsky.
Lichtenegger, Mathilde.
Lichtenfels, Hainrich.
Lichtenhahn, Ernst
Lichtenstein, Karl August, Freiherr von
Lichtenstein, Ulrich von.
Lichtenthal, Peter [Pietro]
Lichtenwanger, William (John)
Li Chunyi
Licino, Agostino
Lick.
Lickl.
Lidarti, Christian Joseph [Cristiano Giuseppe]
Lidel, Andreas.
Lidholm, Ingvar (Natanael)
Lidl [Lidel], Andreas
Lidón (Blázquez), José
Lié
Lie, Sigurd
Liebe [Lieben, Lieber], Christian
Liebermann, Lowell (Seth)
Liebermann, Rolf
Lieberson, Goddard
Lieberson, Lorraine Hunt.
Lieberson, Peter
Liebert [Lyebert, Hebert], Clement
Liebert, R.
Liebesflöte
Liebesfuss
Liebesgeige
Liebhold [Liebholdt]
Lieblich Gedackt
Liechtenstein, Ulrich von.
Lied
Liederbuch
Liederkreis (i) [Liederkranz, Liederzyklus]
Liederkreis (ii)
Liederspiel
Liedertafel
Liederzyklus.
Liedform
Liedhorn.
Liedmotette
Lied ohne Worte
Liège
Liégeois, Nicolas.
Liège Organbook
Liegnitz
Lienas, Juan de
Lienau.
Lienike.
Liepmannssohn, Leo
Lier, Bertus van
Liera viol.
Liess, Andreas
Lieto, Bartolomeo.
Lieto fine
Lieto Panhormitano [Panormitano, Palermitano], Bartolomeo
Lieurance, Thurlow (Weed)
Lifar, Serge
Ligabue, Ilva
Ligato.
Ligature (i).
Ligature (ii).
Ligeti, György (Sándor)
Light, Edward
Lightstone, Pauline.
Ligne, Charles-Joseph(-François-Lamoral-Alexis), Prince de
Ligne postiche [supplémentaire]
Ligniville, (Pierre) Eugène (François), Marquis of, Prince of Conca
Lilburn, Douglas (Gordon)
Lilien, Ignace
Liliencron, Rochus Freiherr (Wilhelm Traugott) von
Lili‘uokalani, Queen of Hawaii [Kamaka‘eha, Lydia Lili‘u Loloku Walania; Kamaka‘eha Pākī,
Lydia; Dominis, Mrs John O.; Dominis, Lydia K.; Dominis, Lili‘u K.]
Lilius [Gigli].
Liljefors, Ingemar (Kristian)
Liljefors, Ruben (Mattias)
Lill, John (Richard)
Lille.
Lillo, Giuseppe
Lilly [Lillie], John
Lilt.
Lim, Liza
Lima.
Lima, Braz Francisco de [Bras Francisco de, Biaggio Francesco]
Lima, Cândido de (Oliveira)
Lima, Jerónimo Francisco de
Lima, João de Souza.
Lima, Paulo Costa
Limbe.
Limbrick, Simon
Limenius
Limma [leimma]
Limonaire.
Lin, Cho-Liang
Linarol, Francesco [Francesco Lirer; Francesco de Machettis; Franciscus Bergomensis]
Linceo.
Lincer, William
Linck, Johannes
Lincke, Joseph
Lincke, (Carl Emil) Paul
Lincoln, Harry B(arnard)
Lincoln, Henry Cephas
Lincoln Center for the Performing Arts.
Lincolniensis.
Lincoln’s Inn.
Lincoln’s Inn Fields Theatre.
Lind [Lind-Goldschmidt], Jenny [Johanna Maria]
Lindberg, Armas.
Lindberg, Christian
Lindberg, (Johan) Jakob
Lindberg, Magnus
Lindberg, Oskar (Fredrik)
Lindblad, Adolf Fredrik
Lindblad, Otto Jonas
Linde, (Anders) Bo (Leif)
Linde, Hans-Martin
Lindegren, Johan
Lindelheim, Joanna Maria [‘The Baroness’]
Lindeman.
Lindeman, Osmo
Lindemann, Johannes
Linden, Albert vander.
Linden, Jaap ter
Linder, Alf
Lindgren, (Karl) Adolf
Lindgren, Pär (Jörgen)
Lindlar, Heinrich
Lindley, Robert
Lindner, Friedrich
Lindner Choirbooks.
Lindpaintner, Peter Josef von
Lindroth, Scott (Allen)
Lindsay, Alex
Lindsay Quartet.
Lindy [lindy hop].
Linea d’aiuto
Linear.
Linear progression.
Linecke.
Lineff, Eugenie.
Ling, Jan Nils
Linger, Carl
Lingke, Georg Friedrich
Linguaphone.
Liniensystem
Linike [Lienike, Linecke, Linicke, Linigke, Lünicke].
Lining out.
Linjama, Jouko (Sakari)
Linjama, Jyrki
Linke, Norbert
Linko, Ernst
Linkola, Jukka (Tapio)
Linley.
Linley, Francis
Linley, George
Lin Minyi.
Linnet, Anne
Lin Shicheng
Linterculus
Linus.
Linyova, Yevgeniya (Ėduardovna) [Lineff, Eugenie]
Linz.
Lioncourt, Guy de
Lionel (Power).
Lionnet, Jean
Lion's roar.
Lipatti, Dinu [Constantin]
Lipavský, Josef [Lipawsky, Joseph]
Lipiński, Karol Józef
Lipkin, Malcolm (Leyland)
Lipkin, Seymour
Lipkowska [née Marschner], Lydia (Yakovlevna) [Lipkovskaya, Lidiya]
Lipman, Samuel
Lipovšek, Marijan
Lipovšek, Marjana
Lipowsky, Felix Joseph
Lipowsky, Thaddäus Ferdinand
Lipp, Franz Ignaz
Lipp, Wilma
Lipparino [Lipparini], Guglielmo
Lipphardt, Walther
Lippius, Johannes
Lippman, Edward A(rthur)
Lippmann, Friedrich
Lipscomb, Mance
Lipsius, Marie [‘La Mara’]
Liquescent.
Liquidation.
Lira (i) [lyra].
Lira (ii).
Lira da braccio.
Lira da gamba [lira doppia; lira grande].
Lira organizzata
Lireggiare
Lirico spinto.
Lirithier, Johannes.
Lirone [lira da gamba, lira in gamba, lyra de gamba, gran lira, lira grande, lirone perfetto, lyra
perfecta, lira doppia, arciviolata, arciviolatalira, arcivioladaslyras, lyrone, lyra, lira]
Lisbon
Lïsenko, Nikolay Vital'yevich.
Lisinski, Vatroslav [Fuchs, Ignacije]
Lisitsian, Pavel [Pogos] Gerasim
L'isle, Alain de.
Lisle, Claude-Joseph Rouget de.
Lissa, Zofia
List [Fleissig], Emanuel
List, Eugene
List, Garrett
List, George (Harold)
Liste, Anton Heinrich
Listenius, Nikolaus
L'istesso tempo.
Liszt, Franz [Ferenc]
Liszt societies.
Li Taixiang [Li Tai-hsiung]
Litaize, Gaston (Gilbert)
Litaniae Lauretanae
Litany
Literati
Literes (y Carrión), Antonio (de)
Lithander, Carl Ludvig
Lithographisches Institut.
Lithophone
Lithuania.
Li Tingsong
Litofono
Litolff.
Litolff, Henry (Charles)
Littkeman, Paul.
Little, Tasmin
Little, William
Little Feat.
Little Hours.
Little Jazz.
Little Richard [Penniman, Richard Wayne]
Little Theatre in the Haymarket.
Littleton.
Little Walter [Jacobs, Marion Walter]
Litton, Andrew
Liturgical drama.
Liturgy, Divine.
Liturgy and liturgical books.
Liturgy of the Hours
Lituus.
Litvinne, Félia (Vasil'yevna) [Schütz, Françoise Jeanne]
Liu Baoquan
Liu Dehai
Liu Guanyue
Liutaio
Liu Tianhua
Liuto (i)
Liuto (ii)
Liuto attiorbato.
Liuzzi, Ferdinando [Fernando]
Livadić [Wiesner], Ferdo
Livanova, Tamara Nikolayevna
Liveralis, Iossif [Liberal(l)i, Giuseppe]
Liverati, Giovanni
Liverpool.
Liviabella, Lino
Liviana.
Living Colour.
Livius Andronicus, Lucius
Livorno
Livret
Lizogub, Aleksandr Ivanovich
Ljubljana
Ljungberg, Göta
Llanas (i Rich), Albert
Llandaff Festival.
Lleno
Lleó, (y Balbastre), Vicente
Llissa, Francisco.
Llobet Soles, Miguel
Lloyd, A(lbert) L(ancaster)
Lloyd, Charles Harford
Lloyd, Edward
Lloyd, George (Walter Selwyn)
Lloyd [Floyd, Flude], John
Lloyd, Jonathan
Lloyd, Norman
Lloyd, Robert
Lloyd-Jones, David (Mathias)
Lloyd Webber
Llull, Ramon [Ramón] [Lull, Raymond; Lullus, Raymondus]
Llussa, Francisco
Loaysa y Agurto, Joseph de.
Łobaczewska [Gérard de Festenburg], Stefania
Lobanov, Vasily Pavlovich
Lobback, G. Christian
Lobe, Johann Christian
Lobel', Solomon Moiseyevich
Lobetanz
Lobkowitz [Lobkowicz, Lobkovic].
Lobkowitz, Juan Caramuel y.
Lobo [Lobo de Borja], Alonso
Lobo, Duarte [Lupus, Eduardus]
Lobo, Elías Álvares
Lobo, Heitor
Lobo de Mesquita, José Joaquim Emerico
Lobwasser, Ambrosius
Locatelli, Giovanni Battista
Locatelli, Pietro Antonio
Locatello, Gasparo
Locatello [Loccatello, Lucatelli, Lucatello], Giovanni Battista
L’Occhialino.
Lochamer [Locheimer] Liederbuch
Lochemburgho, Johannes.
Lochon, Charles
Lochon, Jacques-François
Locke [Lock], Matthew
Lockenburg [Lochemburgho], Johannes [Jhänj]
Lockhart, Beatriz
Lockhart, James (Lawrence)
Lockspeiser, Edward
Lockwood, Annea [Anna] (Ferguson)
Lockwood, Lewis (Henry)
Lockwood, Normand
Loco
Locrian.
Loder.
Lodge, (Thomas) Henry
Lodge [Lodge Ellerton], John.
Lodi, Pietro da
Lodïzhensky, Nikolay Nikolayevich
Lodwick.
Łódź.
Łodzia z Kępy, Jan [de Kampa, de Kempa, de familia Łodza, Johannes]
Loeffler, Charles [Karl] Martin
Loeillet.
Loer, Adam.
Loeschhorn [Löschhorn], Carl Albert
Loesser, Frank (Henry)
Loetti, Gemignano.
Loevendie, Theo
Loewe, (Johann) Carl (Gottfried)
Loewe, Frederick
Loewe, Sophie (Johanna Christina)
Loewenberg, Alfred
Loewenstein, Herbert.
Löffeloth, Johann Matthäus.
Lofthouse, Charles Thornton
Logan, Wendell (Morris)
Logar, Mihovil
Logier, Johann Bernhard
Logische Form
Logothetis, Anestis
Logroscino, Nicola Bonifacio
Lohelius, Joannes.
Lohet [Loxhay], Simon
Löhlein [Lelei], Georg Simon
Lohman, Alwina Valleria.
Löhner, Johann
Löhr, Hermann (Frederic)
Lohr, Michael
Lohse, Otto
Lokshin, Aleksandr Lazarevich
Lolli, Antonio
Lomakin, Gavriil Yakimovich
Lomax.
Lomax, (Louisa) Emma [Emily]
Lomazzo, Filippo
Lombard, Alain
Lombardi, Luca
Lombardic rhythm.
Lombardini, Antonio
Lombardini, Maddalena Laura.
Lombardo, Bartolomeo
Lombardo, Guy [Gaetano] (Alberto)
Lomon, Ruth (Margaret)
Lomont [Lumon], Johannes [Zanin].
Lonati [Lunati, Lainati, Leonati], Carlo Ambrogio [Ambrosio]
Lonchampt, Jacques (Marie Léon)
Loncin, Jean de
Londariti, Francesco [Frankiskos Leontaritis, detto il Greco]
London (i).
London.
London, Edwin
London [Burnstein, Burnson], George
London Academy of Music.
London Classical Players.
London College of Music.
London Fellowship of Minstrels.
London Mozart Players.
London Music School.
London Opera Centre.
London Opera House.
London Philharmonic Orchestra (LPO).
London Sinfonietta.
London String Quartet.
London Symphony Orchestra (LSO).
Long
Long compass keyboard.
Long, Kathleen
Long, Marguerite [Marie-Charlotte]
Longa florata
L’Ongaretto.
Longaval [Longheval], Antoine de.
Longfellow, Henry Wadsworth
Longman & Broderip.
Longo, Alessandro
Longueval [Longaval, Longheval], Antoine de
Longy, (Gustave-)Georges(-Leopold)
Longyear, Rey M(organ)
Lonquich, Heinz Martin
Lonsdale, Christopher
Loomis, Harvey Worthington
Loosemore, George
Loosemore, Henry
Loosemore, John
Lootens, Willem
Lopardo, Frank
Lopatnikoff [Lopatnikov], Nikolai [Nikolay] (Lvovich)
Lope de Baena.
Lopes-Graça, Fernando.
Lopes Morago, Estêvão.
López, Félix Máximo
Lopez, Francis
Lopez, George [Jorge Enrique]
López (Gavilán), Guido
López, Miguel [Miquel]
López Buchardo, Carlos
López-Calo, José
López Capillas [López y Capillas], Francisco
López-Chavarri Marco, Eduardo
López-Cobos, Jesús
López de Velasco, Sebastián
López Jiménez, Melchor
López Marín, Jorge
López Mindreau, Ernesto
Loqueville, Richard
Lorano, Filippo de.
Lorber, Johann Christoph
Lorca, Federico García.
Lord’s Prayer.
Lorée.
Lorengar, Pilar [García, Pilar Lorenza]
Lorente, Andrés
Lorentz, Johann [Johan] (i)
Lorentz, Johann [Johan] (ii)
Lorentzen, Bent
Lorenz, Alfred (Ottokar)
Lorenz, Max
Lorenz, Ricardo
Lorenzani, Paolo
Lorenzi, Filiberto.
Lorenzi, Giorgio
Lorenzini, Raimondo
Lorenzino [Lorenzino dai Liuti, Laurenzini, Laurencinus Romanus, sometimes also identified
with Cavaliere del Liuto, ‘Eques Romanus’, ‘Eques Auratus Romanus’]
Lorenziti [Lorenzetti, Lorenzity], Bernard
Lorenzo da Firenze [Magister Laurentius de Florentia; Ser Lorenço da Firençe; Ser Laurentius
Masii, Masini]
Lorenzo da Pavia [Gusnaschi, Lorenzo; Gusnasco, Lorenzo]
Loret, Jean
Lori, Arcangelo [Arcangelo del Leuto, Arcangelo del Liuto]
Loriod, Yvonne
Loriti, Henricus.
Lo Roy.
Lortat-Jacob, Bernard
Lortie, Louis
Lortzing, (Gustav) Albert
Los Angeles.
Los Angeles, Victoria de
Löschenkohl, Hieronymus
Löschhorn, Carl Albert.
Lose.
Lösel, Johann Georg Ernst Cajetan
Los Reyes (y Mapamundi), Juan Mathías de
Los Ríos, Álvaro de.
Loss, Joe [Joshua] (Alexander)
Lössel [Lesselt], Vinzenz Ferdinand.
Lossius [Lotze], Lucas
Los Van Van.
Losy, Jan Antonín, Count of Losinthal [Logi, Loschi, Losymthal]
Lot.
Lotfi, Mohammad Rezā
Loth, Urban
Lothar, Mark [Hundertmark, Lothar]
Lotinis, Johannes de.
Lotosflöte
Lotring, I Wayan
Lott.
Lott, Dame Felicity
Lotter.
Lottermoser, Werner
Lotti, Antonio
Lottini, Antonio
Lotto, Izydor
Lotos flute.
Lotze, Lucas.
Loud.
Loud & Brothers.
Loudness.
Loudová, Ivana
Loud pedal.
Loudspeaker (Fr. hautparleur; Ger. Lautsprecher; It. altoparlante).
Louël, Jean (Hippolyte Oscar)
Loufenburg, Heinrich.
Loughran, James
Louie, Alexina (Diane)
Louis XIII, King of France
Louis XIV, King of France
Louis, Rudolf
Louis Ferdinand [Friedrich Christian Ludwig], Prince of Prussia
Louis of Toulouse.
Louisville.
Loulié, Etienne
Lourdault.
Lourdoys.
Loure [lur]
Louré
Lourer
Lourié, Arthur Vincent [Lur'ye, Artur Sergeyevich]
Louska [Lousca], František Ignác.
Louvain
Louvier, Alain
Louys, Jean [Louuys (Louwys), Joannes; Loys, Jan (Jhan de)]
Lovanio
Love.
Loveday, Alan (Raymond)
Loveless, Wendell Phillips
Lovelock, William
Lover, Samuel
Lo Verso, Antonio.
Lovetti, Gemignano.
Lovin’ Spoonful.
Low Countries.
Lowe, Edward
Löwe, Ferdinand
Lowe, Joseph
Lowe, Nick
Lowe, Thomas
Löwenbach, Jan
Löwengebrull
Lowens, Irving
Lower Rhine Festival
Löwe [Löw] von Eisenach, Johann Jakob
Lowinsky, Edward E(lias)
Low Mass.
Lownes, Humfrey
Lownes, Matthew
Lowrey organ.
Lowry, Robert
Löw von Eysenach, Johann Jakob.
Löwy, Heinrich.
Loxhay, Simon.
Loyola (Fernández), José
Loyola Guevara, Pedro de.
Loys
Loys, Jan [Jhan de].
Loyset (i).
Loyset (ii).
Lozhky
LP [long-player; long playing record].
Lu’ah zarqa.
Lualdi, Adriano
Luard-Selby, Bertram
Luart [Lawaert], Emma
Lübeck.
Lübeck, Vincent (i)
Lübeck, Vincent (ii)
Lubin, Germaine (Léontine Angélique)
Lubin, Steven
Lubotsky, Mark Davidovich
Luca, D.
Luca, Giuseppe de.
Luca, Sergiu
Lucacich [Lucacih], Ivan.
Lucario, Giovanni Giacomo
Lucas, Charles
Lucas, Clarence
Lucas, Leighton
Lucatello [Lucatelli], Giovanni Battista.
Lucca.
Lucca, Francesco
Lucca, Pauline
Luccacich, Ivan.
Lucchesi [Luchesi], Andrea
Lucchesina, La.
Lucchi, Francesca.
Luccio, Francesco.
Luccioni, José
Lucernarium
Lucerne
Luchanok, Ihar Mikhaylavich
Luchesi, Andrea.
Luchini, Paolo
Lu Chunling
Lucia, Fernando de.
Lucía, Paco de [Sánchez Gómez, Francisco]
Lucier, Alvin (Augustus)
Lucino, Francesco
Lucio [Luccio, Luzzo], Francesco
Łuciuk, Juliusz
Lucký, Štěpán
Ludecus [Lüdtke, Lüdeke], Matthäus
Luders, Gustav (Carl)
Ludewig, Wolfgang
Ludford [Ludforde, Ludforth], Nicholas
Ludovico, Luigi.
Ludovico Milanese [Ludovico de Mediolano; Zoppino]
Ludovicus Sanctus [Ludwig van Kempen]
Lüdtke [Lüdeke], Matthäus.
Ludus
Ludus Coventriae
Ludus Danielis
Ludvicus de Arimino
Ludvig-Pečar, Nada
Ludvová, Jitka
Ludwig.
Ludwig, Christa
Ludwig, Friedrich
Ludwig, Johann Adam Jakob
Ludwig, Joseph [Josef]
Ludwig, Leopold
Ludwig, (Heinrich) Max
Ludwig, (Heinrich) Otto
Ludwigsburg.
Luengo, Maria Teresa (Eduarda)
Luening, Otto (Clarence)
Luetkeman [Lütkemann, Lutkeman, Littkeman], Paul
Luetti, Gemignano.
Luftpause
Lugge, John
Lugge, Robert.
Luigi del Cornetto.
Luigini, Alexandre (Clément Léon Joseph)
Luik
Luillier.
Luiton [Luitton], Carl.
Lukačić [Lucacich, Luccacich, Lucacih], (Marko) Ivan [Ioannes]
Lukács, Pál
Lukas, Viktor
Lukáš, Zdeněk
Łukaszewicz, Maciej
Lulier, Giovanni Lorenzo [Giovannino del Violone]
Lulinus Venetus, Johannes
Lull [Lulio], Antonio
Lull, Raymond.
Lullaby.
Lully.
Lumbye.
Lumley [Levy, Levi], Benjamin
Lumsdaine, David
Lumsden, Sir David (James)
Lun.
Luna (y Carné), Pablo
Lunati, Carlo Ambrogio.
Lund.
Lund, Carsten
Lund, Gudrun
Lundquist, Torbjörn Iwan
Lundsdörffer, Albrecht Martin.
Lüneburg.
Lunelli, Renato
Lunga
Lungul, Semyon Vasil'yevich
Lünicke.
Lunn, (Louise) Kirkby
Lunssens, Martin
Luo Dayou [Lo Ta-yu]
Luo Jiuxiang
Luo Yusheng [Xiao Caiwu]
Luo Zhongrong
Lupacchino [Luppachino, Luppagnino, Carnefresca], Bernardino
Lupato, Pietro [Luppato]
Lupi, Johannes [Leleu, Jehan; Leleu, Jennot]
Lupi, Roberto
Lupino, Francesco
Lupi Second [Lupi], Didier
Lupo [de Milano, de Almaliach].
Lupo, Peter.
Lupo, Thomas.
Lupot, Nicolas
Luppachino [Luppagnino], Bernardino.
Luprano, Filippo de.
Lupu, Radu
Lupus
Lupus, Eduardus.
Lupus, Manfred Barbarini.
Lupus, Martin.
Lupus Hellinck.
Lupus Italus.
Lupus Press.
Lur.
Lurano [Luprano, Lorano], Filippo de
Luscinius [Nachtgall], Othmar
Lush, Ernest (Henry)
Lusheng.
Lushier [Lusher], Mr
Lusikian, Stepan
Lusingando
Lusitano, Manuel Leitão de Avilez.
Lusitano, Vicente [Lusitanus, Vincentius]
Lusse, Christophe de.
Lusse, (Charles) de [De-Lusse; Delusse; D.L.]
Lusse, Jacques.
Lussy, Mathis
Lustig, Jacob Wilhelm [Wohlgemuth, Conrad]
Lute
Lute-harpsichord
Lute societies.
Lute stop
Lutfullayev, Bakhrullo
Luth
Luthé
Luthéal [piano-luthéal].
Luther, Martin
Lutheran church music.
Luthier
Luthon, Carl.
Lutkeman, Paul.
Lutkin, Peter Christian
Lütolf, Max
Lutosławski, Witold (Roman)
Lutyens, (Agnes) Elisabeth
Lutz, (Johann Baptist Wilhelm) Meyer
Lü Wencheng [Ley Mensing]
Luxembourg.
Luxon, Benjamin
Luynes, Charles Philippe d'Albert, Duke of
Luyr, Adam.
Luython [Luiton, Luitton, Luthon, Luythonius, Luyton], Carl [Carolus, Charles, Karl]
Luzern
Luzzaschi, Luzzasco
Luzzi, Luigi
Luzzo, Francesco.
L'viv
L'vov (ii).
Lwów
Lwowa [Lwowczyk], Marcin z.
Lyadov [Liadov], Anatoly [Anatol] Konstantinovich
Lyapunov [Liapunov], Sergey Mikhaylovich
Lyatoshyns'ky, Borys Mykolayovych
Lybbert, Donald
Lyceum (i).
Lyceum (ii).
Lydian.
Lydian music.
Lykeios.
Lymburgia, Johannes de.
Lympany, Dame Moura
Lynn, Frank.
Lynn, [née Webb], Loretta
Lynn [Welch], Dame Vera
Lyon, Gustave
Lyon, James
Lyonel (Power).
Lyon & Healy.
Lyons
Lyra (i)
Lyra (ii) [lira].
Lyra bastarda.
Lyra de gamba [lyra perfecta].
Lyra-Glockenspiel.
Lyra tedesca
Lyra [leero, leerow, liera, lyro] viol.
L.
Abbreviation for Largamente, used particularly by Elgar.
La.
The sixth and final degree of the Guidonian Hexachord; see also Solmization, §I. In
Tonic Sol-fa, the flattened form of Lah. In French, Italian and Spanish usage, the
note A; see Pitch nomenclature.
Laaber.
German firm of publishers. It was founded in 1975 by Henning Mueller-Buscher (b
Leipzig, 8 Dec 1944) and later took over Arno Volk (1980) and Frits Knuf (1994).
The firm’s most important publications are the series Grosse Komponisten und ihre
Zeit (25 vols.), Neues Handbuch der Musikwissenschaft (13 vols.), edited by Carl
Dahlhaus, and Handbuch der musikalischen Gattungen (15 vols.), edited by
Siegfried Mauser. Among more recent projects are the series Spektrum der Musik,
Handbuch der Musik im 20. Jahrhundert and Das Neue Opus Musicum and
complete editions of the writings of Carl Dahlhaus and Arnold Schoenberg.
Important music publications include a critical edition of the works of Corelli and the
series Concertus Musicus, Polyphonia Sacra and Der Kammerchor. The firm also
publishes the periodicals Musiktheories and Analecta Musicologica.
THOMAS EMMERIG
Laade, Wolfgang
(b Zeitz, 13 Jan 1925). German ethnomusicologist. After studying composition with
Boris Blacher at the Musikhochschule in West Berlin (1947–53), he studied
ethnomusicology (with Kurt Reinhard) and anthropology (with Hans Nevermann
and Sigrid Westphal-Hellbusch) at the Freie Universität, Berlin. In 1960 he took the
doctorate with a dissertation on Corsican lament melodies. He was a research
fellow at the Australian Institute of Aboriginal Studies (1963–6) and the Deutsche
Forschungsgemeinschaft (1967–70) and from 1968 he taught ethnomusicology at
Heidelberg University. He was appointed professor of ethnomusicology at Zürich
University in 1971. He retired in 1990. He was awarded the Sigillo d'Oro from the
Istituto Internazionale de Etnostoria and was made an honorary life member of the
European Seminar in Ethnomusicology.
Laade's work has been concentrated on the regions Corsica and Tunisia as well as
Australia, Papua New Guinea, Melanesia, Sri Lanka, India and Taiwan. His writings
are concerned chiefly with myths, folk tales and legends along with their related
music in oral traditions and the interdisciplinary reading of ‘meaning’ in musical
structures and other art forms. He has also examined the local histories of diverse
ethnic groups in regard to their migration patterns.
WRITINGS
Die Struktur der korsischen Lamento-Melodik (diss., Free U. of Berlin, 1960;
Baden-Baden, 1962)
Die Situation von Musikleben und Musikforschung in den Ländern Afrikas und
Asiens und die neuen Aufgaben der Musikethnologie (Tutzing, 1969)
‘Globe Unity-Jazz Meets the World’, Jazzforschung/Jazz research, ii (1970),
138–46
Gegenwartsfragen der Musik in Afrika und Asien: eine grundlegende
Bibliographie (Baden-Baden, 1971)
‘Musik in Afrika’, Musik und Bildung, iii/10 (1971), 482–92
Neue Musik in Afrika, Asien und Ozeanien: Diskographie und historisch-
stilkritischer Überblick (Heidelberg, 1971)
Oral Traditions and Written Documents on the History and Ethnography of the
Northern Torres Strait Islands, i: Adi-Myths, Legends, Fairy Tales (Wiesbaden,
1971)
‘Notizen zum Problem der afrikanischen Schulmusik’, Musik und Bildung, v/10
(1973), 523–5
‘Anthropologie der Musik: ein neuer musikwissenschaftlicher Weg’, Musica,
xxviii/6 (1974), 529–30
‘Von Country und Western zum Hard Rock: eine Bibliographie der Pop-Musik
und ihres soziokulturellen Hintergrunds’, Musik und Bildung, vi/5 (1974), 322–
29
Musik der Götter, Geister und Menschen: die Musik in der mythischen,
fabulierenden und historischen Überlieferung der Völker Afrikas, Nordasiens,
Amerikas und Ozeaniens. Eine Quellensammlung (Baden-Baden, 1975)
‘“Musik der Welt” an amerikanischen Bildungsstätten: Amerikas Weg zu einer
neuen Humanität’, Musik und Bildung, vii/1 (1975), 11–14
Das korsische Volkslied: Ethnographie und Geschichte, Gattungen und Stil
(Wiesbaden, 1981–3)
Musik und Musiker in Märchen, Sagen und Anekdoten der Völker Europas:
eine Quellensammlung zum Problemkreis ‘Musik als Kultur’, i: Mitteleuropa,
(Baden-Baden, 1988)
‘In Search of the Roots: the Interpretation of Ancient and Tribal Southeast
Asian Musical Phenomena as Sources of East and Southeast Asian Music’,
Bulletin of the International Committee on Urgent Anthropological and
Ethnological Research, xxxiv-xxxv (1992–3), 49–78
‘The Influence of Buddhism on the Singhalese Music of Sri Lanka’, AsM,
xxv/1–2 (1994), 51–68
‘Documenting the Musical Traditions of the Adivasi: a Swiss–Indian
Cooperation Project for the United Nations International Decade of the World's
Indigenous People’, Bulletin of the International Committee on Urgent
Anthropological and Ethnological Research, xxxvii-xxxviii (1995), 33–42
Music and Culture in Southeast New Britain (forthcoming)
RÜDIGER SCHUMACHER
Laban, Rudolf von
(b Pozsony [now Bratislava], 15 Dec 1879; d Weybridge, 1 July 1958). Hungarian
dancer, choreographer and inventor of a system of dance notation. The son of a
general, he was intended for a military career but in 1900 went to study at the
Ecole des Beaux Arts in Paris. He became a dancer at the Moulin Rouge, toured
North Africa in a revue, and later danced in Leipzig, Dresden, Münster and, in
1907–10, Vienna. In 1910 he opened a school of modern dance in Munich. He
worked in Zürich during World War I and in 1919 went to Stuttgart; there he started
the Laban Dance Theatre at which Kurt Jooss joined him as a pupil, accompanying
him to Mannheim in 1921–3. Laban was ballet director in Hamburg from 1923 to
1925 and founded a Choreographic Institute in Wurzburg in 1926. From 1930 to
1934 he was ballet director of the Berlin Staatsoper. In 1928 he published the first
volume of Schifttanz, presenting his system of movement notation, Kinetography
Laban, which crystallized many years of thought on the anatomy of movement. For
the 1936 Berlin Olympics Laban prepared an open-air performance of 1000
dancers and singers, similar to one that he had produced in Vienna in 1929, but
Goebbels banned the performance. In 1937 Laban went to England, joining Jooss
and his company at Dartington; during World War II and until 1951 he worked in
Manchester, applying his analysis of movement to the uses of industry, and
presenting his findings in Effort (1947, with F.C. Lawrence). In 1953 Laban moved
to Addlestone, Surrey, where his former associate Lisa Ullmann had founded an
Art of Movement School, and he worked there until his death. He published his
Principles of Dance and Movement Notation in 1954, by which time his system of
dance notation was widely accepted; in 1953 it was renamed Labanotation by the
Dance Notation Bureau in New York. The music staves run vertically up the left of
the page, and a three-staff column with printed symbols for the choregraphy runs
alongside it; it is read from the bottom upwards (see illustration). Laban
choreographed many ballets danced in the free, plastic style of modern dance, but
none survives.
WRITINGS
Die Welt des Tänzers (Stuttgart, 1920)
Choreographie (Jena, 1926)
Des Kindes Gymnastik und Tanz (Oldenburg, 1926)
Schrifttanz (Vienna, 1928–30)
Ein Leben für den Tanz (Dresden, 1935; Eng. trans., 1975)
with F.C. Lawrence: Effort (London, 1947, 2/1974)
Principles of Dance and Movement Notation (London, 1954, rev. 2/1975 by R.
Lange as Laban’s Principles of Dance and Movement Notation)
BIBLIOGRAPHY
A. Hutchinson: Labanotation: the System for Recording Movement (London
and New York, 1954)
New Era in Home and School, xl/5 (1959) [entire issue]
R. von Laban: A Life of Dance: Reminiscences (New York, 1975)
J. Foster: The Influences of Rudolph Laban (London, 1977)
D. Steinbeck: ‘Die Geburt des Freien Tanzes aus der Spekulation: einige
Bemerkungen zur Rudolf-von-Laban-Rezeption’, Festschrift Arno Forchert
zum 60 Geburtstag (Kassel, 1986), 303–10
V. Maletic: Body – Space – Expression: the Development of Rudolf Laban’s
Movement and Dance Concepts (Berlin, 1987)
J.M. Jordan: ‘Laban Movement Theory and How it can be Used with Music
Learning Theory’, Readings in Music Learning Theory (Chicago, 1989), 316–
32
J. Hodgson and V. Preston Dunlop: Rudolf Laban: an Introduction to his
Work & Influence (Plymouth, 1990)
G.B.L. WILSON
La Barbara [née Lotz; Subotnick],
Joan
(b Philadelphia, 8 June 1947). American composer and vocal performer. She
studied singing at Syracuse University with Helen Boatwright (1965–8) and music
education at New York University (BS 1970), and received additional vocal
coaching from Curtin at the Berkshire Music Center and from Marion Szekely-
Freschl in New York. In 1971 she made her début as a vocalist at the Town Hall,
New York, with Steve Reich and Musicians, with whom she continued to perform
until 1974; from 1973 to 1976 she also worked with Philip Glass, perfecting the
extended vocal techniques by which she would become internationally known and
developing her own compositional style. In 1979 she was composer-in-residence in
West Berlin under the aegis of the Deutscher akademischer Austauschdienst.
From 1981 to 1986 she taught singing and composition at the California Institute of
the Arts, and in 1997 joined the staff of the College of Santa Fe. A champion of
contemporary music, La Barbara has been active also as a writer and as radio
commentator; from 1977 to 1987 she was contributing editor of High
Fidelity/Musical America. In 1979 she married the composer Morton Subotnick.
La Barbara has developed her performance skills to a high degree, mastering such
vocal techniques as multiphonics, circular breathing, ululation and glottal clicks, all
of which have become her signature sounds. Singularly influential, she has given
numerous first performances of works written especially for her by American
composers such as Ashley, Cage, Dodge, Feldman and Lentz. In 1993 she
appeared in the New York première of Subotnick’s opera Jacob’s Room, and in
1994 in the title role in the New York première of Ashley’s quartet of operas Now
Eleanor’s Idea, as well as in the Florida Grand Opera première of his Balseros. La
Barbara has been active also in film as both a composer and performer.
Her compositions, often incorporating electronics, effectively exploit her
extraordinary vocal abilities, and for this reason are rarely performed by others. Her
73 Poems (1993), originally a tape work for multi-track voices (and tape) but
revised as a performance piece, is a cornucopia of lush vocal effects which are
meticulously coupled with Kenneth Goldsmith’s nested, fragmented texts. In
addition to her own work, La Barbara has produced and recorded works by Cage
and Feldman and recorded with jazz artists Jim Hall, Hubert Laws and Enrico
Rava; she has collaborated on interdisciplinary projects with both literary and visual
artists, and in 1977 worked with Merce Cunningham’s Dance Company.
WORKS
(selective list)
voices amplified unless otherwise stated
Unacc. vocal (1v, unless otherwise stated): Performance Piece, 1974, rev. 1979;
Voice Piece: One-Note Internal Resonance Investigation, 1974; An Exploration in
Vocal Sound and Movt, 2 pfmrs, 1975, collab. D. Reitz; Circular Song, 1975; Des
accords pour Teeny, 1976; Chords, 1976; Les oiseaux qui chantent dans ma tête,
1976; Space Testing, unamp v, 1976; California Chant (Raicha Tria), amp/unamp v,
1979; Twelve for Five in Eight, 5 or more vv, 1979; Conversations, 1988
Vocal (with insts): Ides of March nos.1–7, 1v, insts, 1974–8; WARP-32375-1, 1v,
perc, 1975; Chords and Gongs, 1v, Chin. cymbal, large gong, finger cymbals, 1976;
Silent Scroll, 1v, fl, vc/db, perc, gong, zoomoozophone, 1982; Vlissingen Harbor, 1v,
fl + pic, cl + b cl, tpt, vc, hp, pf + cel, perc, 1982; The Solar Wind II, 16 solo vv, fl,
elec kbd, perc, 1983; A Rothko Study [no.1], 1v, chbr ens, 1985; Events in the
Elsewhere (op), 1990; Awakenings II, 1v, chbr ens, 1992; Calligraphy II/Shadows,
1v, Chin. insts, 1995; a trail of indeterminate light, singing cellist, 1997
Vocal (with el-ac): Thunder, 1v, 6 timps, elecs, 1975; An Exaltation of Larks, 1v,
elecs, 1976; As Is/Layers, 1v, acoustic and elec perc, elecs, 1977; Autumn Signal,
1v, Buchla synth, 1978; Chandra, 1v, 5 male vv, chbr orch, elecs, 1978, rev. 1983;
The Solar Wind I, 1v, chbr ens, perc, tape, 1982; Time(d) Trials and Unscheduled
Events, 8 solo vv, tape, 1984; Loose Tongues, 8 solo vv, tape, 1985; ROTHKO, 1v,
16 taped vv, 2 bowed pf, 1986; A Rothko Study no.2, 1v, vc, cptr, 1986; Anima (film
score), 1v, vc, gamelan, music box, perc, synths, cptr, 1991; Face to Face, vv, perc,
elecs, 1992, collab. D. Moss; 73 Poems, vv, elecs, 1993, collab. K. Goldsmith; de
profundis: out of the depths, a sign//a different train (M. Sumner Carnahan), 4vv,
bowed pf, perc, tape, 1996; works for 1v, tape; works for 1v, perc, tape
Multimedia: CYCLONE, 1v, tape, light-panning activating device, 1977, rev. as
CYCLONE CON(S)T(R)AINED, sound installation, 16-track tape, 1978; as
lightening comes, in flashes, 2–6 vv, dancers, video, 1982, collab. E. Emshwiller;
Voice Windows, 1v, interactive video systems, 1986, collab. Steina and W. Vasulka;
Prologue to the Book of Knowing … (and) of Overthrowing, solo performance aria,
1v, projections, movt, 1987–9, collab. J. Chicago; In the Dreamtime, sound collage,
1990; The Misfortune of the Immortals (interdisciplinary interactive media op),
actors, vv, dancers, video, MIDI insts, cptr, 1994–5, collab. M. Conglio, M. Subotnik;
works for video
recorded interviews in US-NHoh
BIBLIOGRAPHY
T. Johnson: ‘Research and Development’, Village Voice (27 Jan 1975)
J. Rockwell: ‘Joan La Barbara Sings Own Works’, New York Times (19 Jan
1975)
W. Zimmerman: ‘Joan La Barbara’, Desert Plants: Conversations with 23
American Musicians (Vancouver, 1976)
D. Sofer: ‘Joan La Barbara: Voice is the Original Instrument’, Synapse [San
Fernando], i/6 (1976–7), 22
K. Jensen: ‘Joan La Barbara’, Contact, no.22 (1981), 21–3
A.K. Nielsen: ‘Von den Pygmäen lernen: Joan La Barbara im Gespräch’,
MusikTexte: Zeitschrift fur Neue Musik, vii (1984), 5–8
M. Alburger: ‘Joan La Barbara’, 20th-Century Music, iii/6 (1996), 1–13
A. Ross: ‘Singing Beyond Words and Other Conventions’, New York Times
(11 March 1996)
LAURA KUHN
La Barre [Chabanceau de la Barre].
French family of musicians. They were active mainly at the French court from the
late 16th century to the early 18th. Many court records give their name as
Chabanceau de la Barre; it seems likely that their name was originally Chabanceau
but that they later adopted, and preferred to be known by, the name De La Barre.
The earliest recorded musician in the family is the organist Pierre (i), who is first
mentioned as an organist in Paris in 1567 and who died on 12 January 1600. Four
sons of his first marriage – Claude, Pierre (ii), Jehan and Germain – became
musicians. The only child of his second marriage to do so was (1) Pierre (iii).
Except for the son of Pierre (ii), Pierre (iv), and Germain’s eldest child, Sébastien,
all the musicians of the third generation of La Barres were children of (1) Pierre (iii):
Charles Henry, (2) Anne, Benjamin, (3) Joseph and (4) Pierre (v).
A ‘Monsr de la Barre organiste’, who cannot otherwise be identified, copied 11
manuscripts of French music (US-BEm), one containing two solo motets by him
(one dated 1718), and another an air à boire. Curtis speculated that this La Barre
composed some of the numerous airs printed in various 18th-century collections
that are generally attributed to Michel de La Barre.
According to Gustafson, there may have been yet another musician named La
Barre, possibly resident in England during the 17th century. Keyboard music
attributable to him – much of it perhaps transcribed from original lute versions –
appears in numerous manuscripts (D-Bsb, ed. in L'organiste liturgique, lviii–lix
(Paris, 1967); DK-Kk, ed. A. Dickinson, Keyboard Tablatures of the Mid-
Seventeenth Century in the Royal Library, Copenhagen (diss., North Texas State
U., 1973); E-Mn 1360; F-Pc Rés.1185; GB-Lbl, ed. in CEKM, xix (1971); Och, ed.
in L'organiste liturgique, xviii (Paris, 1957); I-Rvat, ed. in CEKM, xxxii (1968); NL-
Uim q-1; S-Uu Ihre 284; US-NYp Drexel 5609 and 5611; and in a private
collection), as well as in John Playford's Musicks Hand-Maide (RISM 16637) (for
full details see Gustafson). Gustafson has noted that ‘the La Barre puzzle remains
one of the greatest confusions in the study of 17th-century French harpsichord
music’. Finally, a ‘Minuet di Monsu Labarra’ for violin appears in an Italian
household manuscript dating from c1640–80 (I-Bc 360), but Gustafson thinks it is
not the work of the ‘English La Barre’ who is found in an Italian keyboard
manuscript of the period (I-Rvat).
(1) Pierre de la Barre (iii)
(2) Anne de la Barre
(3) Joseph de la Barre
(4) Pierre de la Barre (v)
JANE M. BOWERS
La Barre
(1) Pierre de la Barre (iii)
(b Paris, bap. 27 Jan 1592; d Paris, bur. 31 March 1656). Keyboard player and
composer, son of Pierre de la Barre (i). He had become established as an organist
by 1611 and was attached to the king’s chamber by 1614. By 1627 he had also
become organist of the royal chapel and maître joueur d’épinette to the king and by
1630 organist to the queen, whom he later served as spinet player too. Both
Mersenne and Gouy (see Prod’homme) praised his excellent spinet, harpsichord
and organ playing, and Mersenne printed portions of his diminutions on a chanson
by Louis XIII as an example of what the ‘cleverest and quickest hands are able to
execute’ on the organ. Highly knowledgeable about musical instruments as well, La
Barre wrote to Constantijn Huygens, with whom he conducted a sustained
correspondence, that he had invented a device ‘to make the keyboards [of the
harpsichord] move for playing in all sorts of tones and semitones’. Before 1650 he
established in his house concerts of sacred music, in which important musicians of
the time as well as three of his own children – Charles Henry, (2) Anne and (3)
Joseph – took part.
He was a composer of some merit, who according to Gouy excelled in writing for
both instruments and voices; most of his compositions, however, have either
disappeared or cannot be positively identified. His airs de violon written for several
ballets de cour (c1619) are no longer extant. A courante for lute (RISM 161726, ed.
in Corpus des luthistes français, xvii, Paris, 1974), sometimes ascribed to him,
might equally well be by one of his half-brothers, especially Pierre (ii), who was
known as a lutenist. Apel maintained that three keyboard courantes, early
examples of this genre, found in the Lynar tablature A1 (D-Bsb) probably originated
with him, but Gustafson has assigned them to the shadowy ‘English’ La Barre.
Previous attributions of other keyboard dances have also been questioned by
Gustafson. A keyboard tablature that according to Mersenne was going to be
published by Ballard seems never to have come out.
La Barre
(2) Anne de la Barre
(b Paris, bap. 3 July 1628; d before 7 March 1688). Singer, daughter of (1) Pierre
de la Barre (iii). One of the leading singers at the French court, she was praised as
early as 1646 by Luigi Rossi for her excellent interpretation of his music. In late
1652 or early 1653 she left for the Swedish court at the invitation of Queen
Christina, staying on the way with Huygens at The Hague. She remained in
Sweden, where she enjoyed enormous success, until well into 1654. She then
went to serve the Queen of Denmark at Copenhagen, returning to France through
Kassel in late 1655. Between 1656 and 1664 she sang frequently in court ballets,
Italian operas (including Cavalli’s Ercole amante) and church music on ceremonial
occasions. She also appeared privately before the king in his chamber. When in
January 1661 she was in fact appointed ordinaire of the king’s chamber music, the
announcement of her appointment praised her in terms scarcely equalled in other
such documents. By 1667, when she married a bourgeois named Antoine
Coquerel, her career seems to have slackened, but she remained in the royal
chamber music until she was pensioned in 1686.
La Barre
(3) Joseph de la Barre
(b Paris, bap. 21 May 1633; d before 6 May 1678). Organist and composer, son of
(1) Pierre de la Barre (iii). He accompanied his sister, (2) Anne de la Barre, on her
northern sojourn and on his father’s death succeeded him as organist of the royal
chapel. His order of appointment cited both ‘his capacity in the composition of
music’ and ‘his dexterity in touching the organ’. Two of the La Barre brothers were
active as instrumentalists in court ballets during the late 1650s, and the elder, who
seems to have played the harpsichord, was probably either Joseph or Charles
Henry. In 1674 Joseph was provided with a benefice, the Benedictine abbey of St
Hilaire in the diocese of Carcassonne, and as a result he became known as
‘L’abbé de la Barre’.
Most of his 18 two-part airs of 1669 are provided with elaborate doubles. According
to the Mercure galant his Dolorosi pensieri, a favourite of the king’s, had been
circulated by some as a composition of Luigi Rossi. The Bauyn Manuscript (F-Pn)
contains five harpsichord dances ascribed to a La Barre without a first name, as
well as a ‘gigue’ assigned to Joseph that is nearly identical with one of the five
dances, which is called an allemande. On the basis of stylistic similarity, a second
allemande and its twin ‘gigue’ among these pieces can also be attributed to
Joseph. The remaining dances, both courantes, are probably also by him. One of
the courantes can also be found in the Parville manuscript (US-BEm), along with
seven other dances and a prélude non mesuré signed ‘La Barre’; three are also in
an important collection copied by Charles Babell (GB-Lbl), while a variant version
of the prélude appears in a manuscript that belonged to Mlle de La Pierre.
WORKS
Airs à deux parties, avec les seconds couplets en diminution, 1/2vv (Paris, 1669/R)
Dolorosi pensieri, air, 3vv, b, in Mercure galant (Aug 1678), 247–9
Airs, ritornellos, 16654, 16955
4 other It. airs, now lost, 3–5vv, cited in Liste de plusieurs opéras italiens (MS, F-V
138), ff.24–5)
2 allemandes, 2 gigues, 2 courantes, hpd, Pn (facs. in Manuscrit Bauyn (Geneva,
1977)), US-BEm (1 courante only); ed. in L'organiste liturgique, xviii (Paris, 1957)
1 prelude, 3 allemandes [1 called ‘courante’], 2 courantes, 1 sarabande, 1 gigue,
hpd, F-Pn (prelude only; facs. (1983)) possibly by another La Barre; GB-Lbl (3
dances), all in US-BEm
La Barre
(4) Pierre de la Barre (v)
(b Paris, bap. 18 Oct 1634; d before 18 April 1710). Instrumentalist and composer,
youngest child of (1) Pierre de la Barre (iii). He succeeded to his cousin Pierre de
la Barre (iv)'s post as lutenist in the royal chamber music in 1658. A versatile
musician, he also served the queen as bass viol and spinet player. In 1692 he was
named one of nine theorbo masters in Du Pradel's Livre commode, and in July
1697 he was made a nobleman and awarded a coat of arms. He seems to have
remained active as a musician at court into 1709, although he became paralysed
before making his will on 27 March 1710.
A courante for lute in a manuscript compiled by Vaudry in 1699 (F-B, ed. in Corpus
des luthistes français, xvii, Paris, 1974) may be by him; a harpsichord setting also
exists (US-NH). Two Italian airs for three voices, now lost, ascribed to ‘La Barre C’
or ‘La Barre le cadet’ in Liste de plusieurs opéras italiens (F-V) are his only other
known pieces.
BIBLIOGRAPHY
AnthonyFB
ApelG
BenoitMC
BrenetC
LabordeMP
MersenneHU
W.J.A. Jonckbloet and J.P.N. Land, eds.: Correspondance et oeuvres
musicales de Constantin Huygens (Leiden, 1882), pp.cxlvi–cl, 17, 19–22, 55
J.G. Prod’homme, ed.: Ecrits de musiciens (XVe-XVIIIe siècles) (Paris,
1912/R) [incl. letters of (1) Pierre (iii) and (2) Anne de la Barre, 174–9, and
preface to J. de Gouy: Airs à quatre parties (Paris, 1650), 165–7]
T. Gérold: L’art du chant en France au XVIIe siècle (Strasbourg, 1921/R), 117,
126–8, 149–51
J. Tiersot: ‘Une famille de musiciens français au XVIIe siècle: les De La
Barre’, RdM, viii (1927), 185–202; ix (1928), 1–11, 68–74
P. Hardouin: ‘Notes sur quelques musiciens français du XVIIe siècle, II: Les
Chabanceau de la Barre’, RdM, xxxviii (1956), 62–4
M. Jurgens: Documents du minutier central concernant l’histoire de la
musique (1600–1650) (Paris, 1967–74)
A. Curtis: ‘Musique classique française à Berkeley’, RdM, lvi (1970), 123–64
M. Benoit: Versailles et les musiciens du roi, 1661–1733 (Paris, 1971)
C. Massip: La vie des musiciens de Paris au temps de Mazarin (1643–1661):
essai d'étude sociale (Paris, 1976)
B. Gustafson: French Harpsichord Music of the 17th Century: a Thematic
Catalog of the Sources with Commentary (Ann Arbor, 1979)
D. Ledbetter: Harpsichord and Lute Music in 17th-Century France (London,
1987)
B. Gustafson and D. Fuller: A Catalogue of French Harpsichord Music 1699–
1780 (Oxford, 1990), 353, 387, 392, 420
M. Benoit: Dictionnaire de la musique en France aux XVIIe et XVIIIe siècles
(Paris, 1992), 374–5
J. Saint-Arroman: Introduction to J. Chabanceau de la Barre: Airs à deux
parties avec les seconds couplets en diminution (Paris, 1992), 3–32 [facs. edn]
La Barre, Michel de
(b c1675; d 15 March 1745). French composer and flautist. As his first instrumental
work, a set of six trio suites for violins, flutes, oboes and continuo, was published in
1694, it seems likely that he was born by c1675. The first reference to him as a
musician dates from 1699, when the painter André Bouys presented to the Salon
nine portraits, one of which was entitled ‘M. Labarre, ordinaire de l’Académie de
Musique’. In 1700, during the course of a five-month tour of France organized in
honour of the dukes of Burgundy and Berry, La Barre travelled to Spain as a player
of the ‘flûte allemande’ for the Count of Ayen. During the same year his opéra-
ballet, Le triomphe des arts, was published, and its title-page reveals that he also
played at the Académie Royale de Musique. In 1702 La Barre brought out his first
book of solo suites for transverse flute and bass, the first solo pieces for flute to
appear in print in any country; the titles of several pieces (e.g. L’Espagnol, Le
Provençal) relate to the 1700 tour. In May 1704 he took over Antoine Piesche’s
position in the Musettes et Hautbois de Poitou, and in 1705 the privilege which he
received to publish his comédie-ballet La vénitienne shows that he was a flautist in
the royal chamber music as well. According to Claude Parfaict, he was regarded as
the best flautist of his time, and was particularly celebrated for his very expressive
playing.
By 1710, when La Barre brought out his second book of flute solos, he had already
published three books of trios, numerous songs, and two suites for two
unaccompanied flutes, a genre which he was the first in France to establish and
which was to occupy him almost exclusively for the rest of his career. In 1725,
when his last extant instrumental work appeared, he was still playing in the royal
chamber music, although he had retired from the Académie Royale de Musique by
1721. He resigned from the Musettes et Hautbois de Poitou towards the end of
1730; except for his making a will on 8 March 1741, nothing further is known about
his activities until the time of his death.
The preface to his epoch-making first book of solo flute suites describes La Barre’s
intention of bringing his instrument to perfection, following the model of Marin
Marais who had done so much for the perfection of the viol. It also contains the first
information in print about slurring and ornamentation on the transverse flute. Most
of the suites in this book have eight or nine movements, and each begins with a
prelude and allemande pair (fig.1). The other movements include dances of various
types, rondeaux, airs and pieces with only names or character titles; they are
arranged in no regular order. Most of the solo suites of La Barre’s later two books
(1710 and 1722) contain only four movements, a reduction that probably came
about in response to the Italian sonata style which was sweeping France during the
first decade of the 18th century.
La Barre’s later duet and trio suites are likewise shorter than the earlier ones. The
duets in his ninth book are called sonatas, but apart from the inclusion in one of
them of an italianate 3/2 Lentement, they resemble the four-movement suites. La
Barre’s trio suites are technically less advanced than either his solos or duets.
They contain an abundance of short, simple dance movements as well as some
slow, pathetic preludes and plaintes. In addition to suites, the third book of trios
also includes the first trio sonatas intended solely for transverse flutes and bass to
appear in France. They conform to the following plan: slow prelude, fast fugue or
gigue, moderate gavotte or rondeau, and fast fugue or gigue. Noteworthy for their
contrapuntal emphasis, they exhibit other italianate characteristics as well.
La Barre’s music for the flute helped make that instrument one of the most
fashionable of the time. It also established a flute style that persisted until the
middle of the 1720s, most notably in the works of Jacques Hotteterre le Romain.
But La Barre’s importance also rests upon the actual quality of his work. Though
sometimes marred by excessive simplicity, much of it is imaginative, sensitively
wrought and full of feeling and spirit. The influence of André Campra is evident in
his two opéras-ballets. Neither of them was repeated in its entirety after the year of
its initial performance, though Le triomphe des arts was praised by German critics,
and many of its melodies were copied into 18th-century manuscript collections.
Other airs attributed to ‘M. de la Barre’ appeared in numerous collections beginning
in 1694. Although Curtis has suggested that some of these may have been
composed by another La Barre, a 1724 collection devoted exclusively to the
flautist’s airs à boire definitely establishes his activity in this line of composition.
A group portrait attributed to Robert Tournières or François de Troy belonging to
the National Gallery in London is thought to depict the figure of La Barre (fig.2).
According to Ecorcheville, the portrait of La Barre by André Bouys, which has been
erroneously identified as a portrait of François Couperin, was at the Château de
Bussy-Rabute in 1907, and unsigned engravings of it are in the Bibliothèque
Nationale, Paris.
WORKS
all printed works first published in Paris
instrumental
Pièces en trio, 2 vn/fl/ob, bc (1694; 3/1707 as 1er livre des trio)
Pièces en trio, 2 vn/fl/ob, bc, livre second (1700)
Pièces, fl, bc, op.4 (1702; 2/1710 as 1er livre de pièces); ed. J.M. Bowers (Paris,
1978)
3e livre des trio, 2 vn/fl/ob, bc, mêléz de sonates, 2 fl, bc (1707/R; 2/1710 as Suittes
en trio)
1er livre contenant une suite, 2 fl (1709); also as 1ere suitte de pièces (1709)
2e suite de pièces, 2 fl (1710)
2e livre de pièces, fl, bc (1710/R)
3e suite, 2 fl (1711)
4e suite, 2 fl (1711); incl. also 5e suite
5e livre contenant la 6e, et la 7e suite, 2 fl (1713)
6e livre contenant la 8e, et la 9e suite, 2 fl (1714)
7e livre contenant la 10e et la 11e suitte, 2 fl (1721)
8e livre contenant 2 suites, fl, bc (1722/R)
9e livre contenant 2 sonates, 2 fl (1722)
10e livre contenant 2 suittes, 2 fl (1722)
11e livre contenant 2 suites, 2 fl (1724)
12e livre contenant 2 suites, 2 fl (1725)
stage
produced at the Académie royale de musique
Le triomphe des arts (opéra-ballet, A.H. de Lamotte), 16 May 1700, F-Pn; as op.3
(1700)
La vénitienne (comédie-ballet, Lamotte), 26 May 1705, B-Bc, F-Pc, Pn, S-Uu
vocal
Recueil d’airs à boire à deux parties (1724)
Original airs and arrangements in collections: 16942, 16943, Recueils d’airs sérieux
et à boire (16953, 16962, 16972, 16992, 17002, 1702–5, 1707–9, 1712), Recueil des
meilleurs airs italiens (1703, 1705, 1708), Recueils d’airs sérieux et à boire
(Amsterdam, 1707–9), Tendresses bacchiques, ou duo et trio mêléz de petits airs
tendres et à boire (1712, 1718), Nouveau recueil de chansons choisies, ii, iv (The
Hague, 1724, 1729), Meslanges de musique latine, françoise et italienne (1726–8),
Nouvelles poésies spirituelles et morales (1730–33), Les parodies nouvelles et les
vaudevilles inconnus, iii (1732), Recueil d’airs ajoutéz à différents opéra depuis
l’année 1698 (1734), Nouvelles poésies morales (1737) and other 18th-century
printed and MS collections
Chanson a sifler, pubd in Mercure galant, Sept–Oct 1910, pp.221–30
WRITINGS
Mémoire de M. de La Barre sur les musettes et hautbois (MS, Paris, Archives
Nationales 01 878 no.240); ed. in Prod’homme
BIBLIOGRAPHY
AnthonyFB
BenoitMC
La BordeE
MGG1(S. Wallon)
P.-L. d’Aquin: Lettres sur les hommes célèbres … sous le règne de Louis XV
(Paris, 1752), 149
C. Parfaict: Dictionnaire des théâtres de Paris (Paris, 1756), i, 382
T. de Lajarte: Bibliothèque musicale du Théâtre de l’opéra: catalogue
historique, chronologique, anecdotique (Paris, 1878/R), i, 89–90, 105
M. Brenet: ‘ La librairie musicale en France de 1653 à 1790, d’après les
registres de privilèges’, SIMG, viii (1906–7), 401–66, esp. 419, 422, 427
J. Ecorcheville: ‘Deux portraits de Couperin’, Bulletin de la Société de
l’histoire de l’art français (1907), 76–9
J.-G. Prod’homme: ‘Michel de la Barre (1680(?)–1744)’, Ecrits de musiciens
(XVe–XVIIIe siècles) (Paris, 1912/R), 241–5 [incl. ‘Mémoire de M. de la Barre’]
J. Gaudefroy-Demombynes: Les jugements allemands sur la musique
française au XVIIIe siècle (Paris, 1941/R), 48, 89–92
A. Curtis: ‘ Musique classique française à Berkeley’, RdM, lvi (1970), 123–64,
esp. 126
J. Bowers: The French Flute School from 1700 to 1760 (diss., U. of California,
Berkeley,1971)
J. Cailleux, ed.: ‘L’art du dix-huitième siècle, no.26: Some Family and Group
Portraits by François De Troy (1645–1730)’, Burlington Magazine, cxiii/April
(1971), pp.i–xviii, esp.xi
J. Huskinson: ‘Les ordinaires de la musique du roi: Michel de La Barre, Marin
Marais, and the Hotteterres, according to an early 18th-century painting’,
RMFC, xvii (1977), 15–30
J.M. Bowers: ‘ A Catalogue of French Works for the Transverse Flute, 1692–
1761’, RMFC, xviii (1978), 100, 108–9, 115
J.M. Bowers: Preface to Michel de La Barre: Pièces pour la flûte traversière
avec la basse continue, op.4 (Paris, 1978), pp.ii–xi
M.-H. Sillanoli: La vie et l’oeuvre de Michel de la Barre (–1675–15 mars
1745), flûtiste de la chambre et compositeur français (diss., U. of Paris, 1985)
JANE M. BOWERS
Labarre [Berry], Théodore(-François-
Joseph)
(b Paris, 24 March 1805; d Paris, 9 March 1870). French harpist and composer,
foster-brother of Napoleon III. He studied the harp with Bochsa, Cousineau and
Nadermann, harmony with Dourlens, counterpoint with Eler and Fétis and
composition with Boieldieu. In 1823 he won second prize in the Prix de Rome for
his cantata Pyramus et Thisbé and subsequently embarked on concert tours of
England, Italy and Switzerland. On his return to France in 1831 he turned his
attention to the theatre, writing operas, ballets and incidental music. The musical
style of his operas derives from the works of Boieldieu and Adam, and anticipates
those of Offenbach; although they never achieved the popularity of Meyerbeer or
Halévy, several of his works, such as Jovita, remained in the repertory throughout
the 1850s. He also wrote music for the harp as well as romances, some of which
became extremely popular (La pauvre négresse was one of Cornélie Falcon’s
great drawing-room successes). In 1837 Labarre married the singer Mlle Lambert,
and from then on spent about an equal amount of time in France and England. He
was a conductor at the Opéra-Comique from 1847 to 1849, and later was
appointed director of the imperial chapel. He succeeded Antoine Prumier as
professor of harp at the Paris Conservatoire (1867–70), where Léon Gatayes and
Félix Godefroid were among his pupils. During the last years of his life he was
music critic for Paris illustré. He was admitted to the Légion d'Honneur in 1862.
WORKS
(selective list)
all first performed in Paris; all printed works published in Paris
stage
PO Opéra
Les deux familles (incid music, 3, Planard, after T. Corneille: Le Cid), OC
(Ventadour), 11 Jan 1831
L’aspirant de marine (oc, 1, Rochefort and Decomberousse), OC (Bourse), 15 June
1833
La révolte des femmes au sérail (ballet, 3, Taglioni), PO, 4 Dec 1833
Le ménétrier, ou Les deux duchesses (op, 3, Scribe), OC (Favart), 9 Aug 1845
Jovita, ou Les boucaniers (ballet, 3 tableaux, Mazillier), PO, 11 Nov 1853
La Fonti (ballet, 6 tableaux, Mazillier), PO, 8 Jan 1855
Pantagruel (ob, 2, H. Trianon), PO, 24 Dec 1855
Graziosa (ballet, 1, Derley and L. Petipa), PO, 25 March 1861
Le roi d’Yvetot (ballet, 1, P. de Massa and Petipa), PO, 28 Dec 1865
other works
Fantaisie, hp, orch, op.101 (1841); Trios, hp, hn, bn, op.6; duos, hp, hn
Grand duo du couronnement, hp, pf, op.104 (1841); numerous salon pieces, hp, pf
Numerous concert works, hp solo
Fantaisies on operatic themes, hp, after Donizetti, Rossini and others
Romances, 1v, pf/hp
Méthode complète pour la harpe (1844)
BIBLIOGRAPHY
FétisB
A. Elwart: Obituary, RGMP, xxxvii (1870), 82–3
R. Rensch: The Harp: its History, Technique and Repertoire (London and New
York, 1969), 112ff
FRÉDÉRIC ROBERT/FIONA CLAMPIN
Labarte Keyboard Manuscript.
See Sources of keyboard music to 1660, §2(iii).
La Bassée, Adam de.
See Adam de la Bassée.
Labaun [Laboun].
Czech family of printers. Jiří Labaun had a printing works in Prague, from about
1686 to 1708 (or perhaps 1713); besides prayers, sermons, calendars, legal and
other documents he also printed music by such composers as Holan Rovenský
and Wentzely. After his death his son Jiří Ondřej took over the business and
continued to publish music, including a new edition of Holan Rovenský's Capella
regia musicalis and works by Brentner and Gunther Jakob. After Jiří Ondřej's death
his widow continued the business; she printed Černohorský's Laudetur Jesus
Christus and Vaňura’s Litaniae lauretanae. The printing works, which remained in
the Labaun family until about 1769, also produced a series of occasional songs.
BIBLIOGRAPHY
ČSHS
J. Volf: Dějiny českého knihtisku do roku 1848 [History of Czech book printing
to 1848] (Prague, 1926)
K. Chyba: Slovník knihtiskařů v Československu od nejstarších dob do roku
1860 [Dictionary of printers in Czechoslovakia from early times to 1860]
(Prague, 1966–)
ZDENĚK CULKA
L’abbé [Saint-Sévin].
French family of musicians.
(1) L'abbé l'aîné [Pierre-Philippe Saint-Sévin]
(2) L’abbé le cadet [Pierre Saint-Sévin]
(3) L'abbé le fils [Joseph-Barnabé Saint-Sévin]
NEAL ZASLAW
L’abbé
(1) L'abbé l'aîné [Pierre-Philippe Saint-Sévin]
(b ?Agen, ?c1700; d Paris, 15 May 1768). Cellist. While employed as maître de
musique at the church of St Caprais in Agen, he took minor orders, thus
bequeathing to his family its sobriquet ‘L'abbé’. He reached Paris by 1722, where
for some years he played cello and provided music for such plays as L'âne d'or
(Piron), Les amours déguisés (Fuzelier et al.), and presumably others at the Fair
theatres. In 1730 he joined the Opéra orchestra as cellist, soon promoted to the
first desk where he remained until pensioned in 1767. He was also a member of
the Concert Spirituel orchestra from the 1740s until 1762 and of the musique de la
chambre at the French court from about 1753 until his death. With Blavet (flute), J.-
B. Forqueray (viol) and Marella (violin) he performed Telemann's ‘Paris’ quartets at
four sessions of the Concert Spirituel in June 1745. He was considered in part
responsible for the demise of the bass viol, for Corrette, in his Méthode de
violoncelle (Paris, 1741), wrote of ‘the happy arrival of the violoncello in Paris
through Messrs Batistin Stuck and L'abbé, both virtuosos. At present in the King's
Music, at the Opéra, and in concerts, it is the violoncello which plays the basso
continuo’.
L’abbé
(2) L’abbé le cadet [Pierre Saint-Sévin]
(b ?Agen, ?c1710; d Paris, March 1777). Cellist, brother of (1) L'abbé l'aîné. Like
his brother, he took minor orders at St Caprais in Agen, and in 1727 joined the
cello section of the Paris Opéra, where he was a member of the basses du Petit
Choeur until 1767 and the leader of the basses du Grand Choeur from then until
pensioned in 1776. He also played at the Sainte-Chapelle from 1764 until 1777.
L’abbé
(3) L'abbé le fils [Joseph-Barnabé Saint-Sévin]
(b Agen, 11 June 1727; d Paris, 25 July 1803). Composer and violinist, son of (1)
L'abbé l'aîné. A child prodigy, he won a position in the orchestra of the Comédie-
Française at the age of 11 in competition with the outstanding violinists Mangean
and Branche. This feat brought him to the attention of Jean-Marie Leclair, who
gave him lessons between 1740 and 1742. In the latter year L'abbé joined the
Paris Opéra orchestra, in which he served for 20 years; he was then denied his
pension owing to his youth, even though he had served a full term. His solo début
was at the Concert Spirituel in 1741, when he performed a Leclair violin duo with
the 13-year-old Gaviniès. More than three dozen solo performances at those
concerts until 1754 established him as one of the finest violinists of the mid-18th
century. Until the Revolution he lived in semi-retirement, teaching, composing a
little, but not performing in public. During the Revolution he lost his fortune, and
was forced by necessity to play in the orchestra of the Théâtre de la République et
des Arts until feebleness caused his retirement on a tiny pension. He died alone,
poor and forgotten.
L'abbé was an accomplished composer. His sonatas, opp.1 and 8, are in the older
‘Baroque’ style of Leclair, and are among the few works of the period which bear
serious comparison with Leclair's sonatas. Two movements of the op.8 sonatas
offer relatively rare examples of fully written-out cadenzas. His symphonies, on the
contrary, are true symphonies in the modern sense, and among the earliest of the
genre to appear in Paris. His collections of airs illustrate the lightening of taste in
Paris after 1752 following the impact of the Querelle des Bouffons. The Principes
du violon is a treatise of major importance, ranking just behind those of Leopold
Mozart and Geminiani as a basic source of information on mid-18th-century violin
playing. According to Wirsta (1961), the Principes, among its other virtues, was the
earliest violin method to describe pronation, half-position, the modern fashion of
holding the violin, the technique of double stops and the application of sons filés
and arpeggios to the violin, and was the first publication since Mondonville's
prefatory essay to Les sons harmoniques (1738) to discuss the production of
harmonics.
WORKS
Orch: Premier simphonie en concert, str, bc (c1751); Seconde simphonie (c1752); 6
syms., str, bc, op.2 (1753); Menuet[s] de MM. Exaudet et Granier, mis en grand
symphonie avec des variations, 2 vn, obs/fls, va, 2 hn, vc/bn (1764)
Chbr: 6 sonates, vn, bc, op.1 (1748); Symphonie, 2 hn, 1750, lost; Suite d'airs, 2
obs, va d'amore, va, 1754, lost; Premier [– Troisième] recueil d'airs français et
italiens avec des variations (2 vn/tr viols)/(fl/ob, vn), op.3 (1756), op.4 (1757), op.5
(1758); Recueil d'airs, vn, op.6 (c1759), lost; Jolis airs ajustés et variés, vn, op.7
(1763); 6 sonates, vn, bc, op.8 (1763); Recueil quatrième de duos d'Opéra-
Comique, 2 vn (1772)
Doubtful: Ov. to Gilles, garçon peintre, l’amoureux et rival, orch, attrib. L'abbé in
BrookSF, probably by J.-B. de La Borde
WRITINGS
Principes du violon pour apprendre le doigté de cet instrument, et les
differends agrémens dont il est susceptible (Paris, 1761/R, 2/1772/R)
BIBLIOGRAPHY
BrookSF
La BordeE
La LaurencieEF
PierreH
A. Wirsta: Ecoles de violon au XVIIIème siècle (diss., U. of Paris, 1955)
A. Wirsta: Introduction to L'abbé le fils: Principes du violon (Paris, 1961)
[facs.]
B. Gérard: ‘Inventaire alphabétique des documents répertoiriés relatifs aux
musiciens parisiens conservé aux Archives de Paris’, RMFC, xiii (1973), 181–
213
G. Sadler: ‘Rameau's Singers and Players at the Paris Opéra: a Little-Known
Inventory of 1738’, EMc, xi (1983), 453–67
H. Brofsky: ‘Rameau and the Indians: the Popularity of Les sauvages’, Music
in the Classic Period: Essays in Honor of Barry S. Brook, ed. A.W. Atlas (New
York, 1985), 43–60
R. Stowell: Violin Technique and Performance Practice in the Late Eighteenth
and Early Nineteenth Centuries (Cambridge, 1985)
L’Abbé, Anthony
(b Paris, ?1667; d Paris, ?after 1756). French dancing-master and choreographer.
In 1698, about ten years after he began dancing at the Paris Opéra, he was
brought to London by Thomas Betterton to perform at Lincoln’s Inn Fields. He
performed and was active as choreographer at various London theatres until at
least 1714, and in 1719 he was involved in plans for the new Royal Academy of
Music. From 1715 to 1741 he was dancing-master to the grandchildren of George
I, with a salary higher than that of Handel, their music master. His extant
choreographies, preserved in Beauchamp-Feuillet notation, include a collection of
13 theatrical dances (A New Collection of Dances, London, c1725/R) composed
during the first two decades of the 18th century; many of them are set to music by
Lully and his successors, and are as demanding technically as those by Pécour
and other French choreographers.
BIBLIOGRAPHY
BDA
C.G. Marsh: Introduction to Anthony L’Abbé: ‘A New Collection of Dances’,
MLE, D2 (1991) [facs.]
M.E. Little and C.G. Marsh: La Danse Noble: an Inventory of Dances and
Sources (New York, 1992)
CAROL G. MARSH
Labbette, Dora [Perli, Lisa]
(b Purley, 4 March 1898; d Purley, 3 Sept 1984). English soprano. She studied at
the GSM, winning the gold medal, and with Lisa Lehmann on a Melba Scholarship.
Boosey’s Ballad Concerts and her Wigmore Hall début in 1917 led to a long recital
and oratorio career with Beecham, the Hallé, the Promenade Concerts, and the
Three Choirs and Delius festivals. She specialized in English songs, especially
those of Delius. Her involvement with opera, inspired by Dinh Gilly, began with
Mimì at Covent Garden (1935); for her operatic career she assumed the name of
Lisa Perli. Her voice was true, pure and youthful, and she was an outstanding
actress, ideal for Gounod’s heroines, Mélisande, Delius’s Vreli (A Village Romeo
and Juliet) and Verdi’s Desdemona. Her many records include the first complete
Messiah and Act 4 of La bohème, both under Beecham. The war cut short her
London career in 1939.
ALAN JEFFERSON
La Beausse
(fl early 15th century). Ascription at the head of a rhythmically interesting three-
voice rondeau, Or voist comme aler en porra, in GB-Ob, Can.misc.213 (ed. in
CMM, xi/2, 1959, p.39). The reference may be to a French composer otherwise
unknown in the extant musical sources. Two possible names may be suggested for
further inquiry: Julian de Boseux, a singer at the court of Charles III of Navarre in
about 1400 (Anglès), and, less likely, Johannes de la Bussiere, a young Parisian
cleric not qualified as a musician but associated in a 1404 document with two of
Benedict XIII's cardinals.
BIBLIOGRAPHY
H. Anglès: Historia de la música medieval en Navarra (Pamplona, 1970)
D. Fallows: Oxford, Bodleian Library, Ms. Canon. Misc. 213 (Chicago, 1995)
D. Fallows: A Catalogue of Polyphonic Songs, 1415–1480 (Oxford, 1999)
GIULIANO DI BACCO, JOHN NÁDAS
Labèque.
French two-piano duo formed by the sisters Katia Labèque (b Hendaye, 3 March
1950) and Marielle Labèque (b Hendaye, 6 March 1952). They received their early
training from their mother, Ada Cecchi, a former student of Marguerite Long. At the
Paris Conservatoire the two sisters received premiers prix in the class of Lucette
Descaves in 1968 and then studied the two-piano repertory in the cycle de
perfectionnement with Jean Hubeau. Their international career began after the
release of their remarkably colourful and vital recordings of Messiaen’s Visions de
l’Amen and Bartók’s Sonata for two pianos and percussion. They have appeared
with major orchestras throughout Europe and the USA and have recorded the
concertos for two pianos of Bruch, Mendelssohn, Mozart and Poulenc, as well as
much of the standard repertory for piano duet. They have also played a number of
new works, including François-Bernard Mâche’s Temes Nevinbür, and have given
the premières of concertos for two pianos by Luciano Berio and Philippe
Boesmans. They are active as ensemble musicians and have performed with
Augustin Dumay, Richard Stoltzman and Barbara Hendricks.
CHARLES TIMBRELL
Labey, Marcel
(b Le Vésinet, Yvelines, 6 Aug 1875; d Nancy, 25 Nov 1968). French composer
and conductor. It was only after studying law to doctorate level that he turned to
music, entering the Schola Cantorum to study with Delaborde (piano), Lenormand
(harmony) and d’Indy (composition). He was appointed as assistant to d’Indy’s
orchestral class there (1903–13), and on d’Indy’s death in 1931 he became
director. He also directed the César Franck School from 1935 and was elected
secretary of the Société Nationale de Musique in 1901. Active as a conductor, he
directed many orchestral concerts for the Société Nationale (1906–11) as well as
pioneering productions of Rameau’s Hippolyte et Aricie (1904) and Monteverdi’s
Orfeo (1911) and L’incoronazione di Poppea (1906). His own music is in a firmly
Romantic style, the most notable of his works being the opera Bérangère,
produced at Le Havre in 1925.
WORKS
Bérangère (op), 1912; 4 syms.; Ouverture pour un drame, orch, 1920; Str Qt, 1911;
other chbr pieces, pf works, songs
Principal publishers: Chapelier, Durand, Eschig, Sénart
BIBLIOGRAPHY
MGG1 (F. Raugel)
V. d’Indy: La Schola Cantorum en 1925 (Paris, 1927)
ANNE GIRARDOT/ANDREW THOMSON
Labi [Larbi], Emmanuel Gyimah
(b Accra, 27 Sept 1950). Ghanaian composer. Following musical studies at
Achimota School (1964–71) he became a member of the Ghana Broadcasting
Corporation Orchestra as a cellist and composer (1971–7). He read music and
philosophy at the University of Ghana, Legon (BA 1976), studying composition with
Turkson and traditional music as a compositional resource with Nketia, then
continued his studies at the University of Illinois (MMus 1979) and the University of
Cincinnati Conservatory of Music (DMA 1983). He was a music lecturer at the
University of Nigeria, Nsukka (1984–5), Mercy College, New York (1987–8), and
the University of Ghana (1988–97). Labi greatly increased and diversified the
repertory of the National SO and Chorus while he was its director (1988–97). He
has been commissioned by many organizations, including the West Virginia
University Center for Black Culture and Research (for Ancient Perspectives no.3,
1993) and the Royal Liverpool PO and Piano Circus (for Gya Nhyira, 1996); his
awards include a grant from Meet the Composer (1986). Labi has consistently
sought to incorporate indigenous musical materials in his works. His active support
of Akin Euba’s concept of ‘African pianism’, in which indigenous musical practices
shape the percussive, rhythmic and timbral elements, is clearly evident in Dialects
(1986–94). His works are characterized by cross-rhythms, agogic stresses and
quartal and extended tertial harmonies. He sometimes uses tonal and rhythmic
patterns to highlight the musical practices of a particular people such as the Anlo-
Ewe.
WORKS
(selective list)
Orch: Sym. no.1 ‘Essi-Ataa’, F, op.20, 1983–4, rev. 1990; Gya Nhyira [Baptism by
Fire], op.26, 6 pf, orch, 1996
Chbr and solo inst: Gentle Winds, A, op.5, vn, pf, 1973; Tunes of the Fisherfolks,
op.10, 8 insts, 1974; Aseda, F, op.6, 2 insts, 1975; From the Durbar, D, op.7, 2
insts, 1978; Str Qt no.1 ‘At the Immaculate Bee Hive’, 1982, rev. 1998; Visions of
Space, fl, b cl, pf, 1983; 6 Dialects in African Pianism, pf (1986–94); 2 Ancient
Perspectives, op.24, tuba, 1992; Ancient Perspectives no.3, op.26, solo timp, a sax,
db, perc, 1993
DANIEL AVORGBEDOR
Labia, Maria
(b Verona, 14 Feb 1880; d Malcesine, Lake Garda, 10 Feb 1953). Italian soprano.
She studied with her mother, Cecilia Labia, making her début in 1905 as Mimì in
Stockholm. In 1907 she appeared at the Komische Oper, Berlin, as Tosca,
returning subsequently as Carmen, Marta (Tiefland) and Salome, among other
roles. She sang at the Manhattan Opera House, New York (1908–9), La Scala
(1912) and the Paris Opéra (1913). In 1916 she was imprisoned for a year in
Ancona as a suspected German agent. Resuming her career after the war, she
sang Giorgetta in the first European performance of Il tabarro (1919, Rome),
repeating the role in that year in Buenos Aires. In the first Scala production of Wolf-
Ferrari’s I quattro rusteghi (1922) she played Felice, a role that became her
favourite and in which she continued to appear until 1936. Her performances in
verismo operas were said to be impulsive and, for their day, ‘shamelessly sensual’.
She used her warm, not especially large voice with particular reliance on the chest
register. Some early recordings remain of her Tosca and Carmen.
Her elder sister Fausta (b Verona, 3 April 1870; d Rome, 6 Oct 1935) had a
relatively short career (1892–1912), which included performances as Sieglinde
under Toscanini at La Scala. She retired shortly after her marriage to the tenor
Emilio Perea.
BIBLIOGRAPHY
R. Celletti: ‘Maria Labia’, Record News, iii (Toronto, 1958–9), 32–4 [with
discography]
HAROLD ROSENTHAL/R
Labinsky, Andrey
(b Kharkiv, 14/26 July 1871; d Moscow, 8 Aug 1941). Russian tenor. He studied
with Stanislaus Gabel at the St Petersburg Academy and sang in the chorus of the
Mariinsky Opera. There he made his début as a soloist in 1897, remaining until
1911 and singing in a wide repertory which included Lohengrin and Don José as
well as the Russian operatic roles. In 1907 he sang in the première of Rimsky-
Korsakov's The Invisible City of Kitezh and undertook a recital tour through eastern
Russia to Japan. From 1912 to 1924 he was a leading tenor at the Bol'shoy in
Moscow where he appeared in such diverse roles as Radames and Almaviva. In
1920 he was appointed professor at the Moscow Conservatory and at the time of
his death was principal vocal coach at the Bol'shoy. His recordings include some
brilliant performances and also show him to have been a creative stylist.
J.B. STEANE
Labitzky, Joseph
(b Schönfeld [now Krásno], 3 July 1802; d Karlsbad [now Karlovy Vary], 19 Aug
1881). Bohemian violinist, conductor and composer. He was the son of a weaver,
who in 1800 moved from Kampern in Prussian Silesia to Schönfeld and in 1802 to
Petschau (now Bečov nad Teplou). He studied with Karl Veit and at the age of 14
joined a travelling orchestra in Petschau. In 1820 he obtained a position as violinist
in the spa orchestra at Marienbad (now Mariánské Lázně), taking other jobs during
the winter months. He played in Munich (1823–4), where he took further violin
lessons, and undertook a concert tour of southern Germany, visiting Regensburg,
Augsburg, Ulm, Stuttgart, Würzburg and Nuremberg. In 1825 he founded his own
orchestra, visiting Vienna in the winter of 1825–6 and Warsaw in 1829–30. In 1835
he became conductor of the spa orchestra at Karlsbad, where he rapidly built up a
reputation for himself and his orchestra. His dance compositions began to have
widespread popularity, particularly the Paulinen-Walzer op.33 and the Aurora-
Walzer op.34. In 1838 he gave concerts in Pilsen (now Plzeň), and in 1839 in
Prague, Vienna, Warsaw and St Petersburg (Pavlovsk). He also visited England,
and several of his dances have titles with English connotations, including
Jubelklänge aus Albion op.70, on the birth of the Princess Royal (1840), and
Eduard-Walzer op.82, on the birth of the Prince of Wales (1841). He composed
over 300 dances, notable more for rhythmic than melodic appeal. In the latter part
of his career he was unable to challenge the supremacy of Gungl and the younger
Johann Strauss as a waltz composer.
Labitzky’s two sons, Wilhelm (b Petschau, 1829; d Toronto, 1871) and August (b
Petschau, 22 Oct 1832; d Reichenhall, Bavaria, 28 Aug 1903) were also violinists,
the latter joining his father’s orchestra at Karlsbad in 1853 and taking over from him
as conductor in 1868. August composed over 50 dances, of which only Der Traum
der Sennerin op.45 achieved any wide popularity.
BIBLIOGRAPHY
PazdírekH [incl. list of works]
E. Rychnovsky: ‘Josef Labitzky, der Walzerkönig Böhmens’, Keilberg-Jb 1909
(1909)
M. Kaufmann: Josef Labitzky (Reichenberg, 1930) [incl. list of works]
ANDREW LAMB
Lablache, Luigi
(b Naples, 6 Dec 1794; d Naples, 23 Jan 1858). Italian bass. The son of an
expatriate French merchant and an Irishwoman, he became the most famous bass
of his generation. He entered the Conservatorio della Pietà dei Turchini, Naples, at
the age of 12, and began his operatic career as a buffo napoletano at the Teatro S
Carlino in 1812, making his first appearance in Fioravanti’s La molinara. After
further study and an engagement as buffo at Messina, in 1813 he became first
basso cantante at Palermo, where he remained for several years. His reputation
grew, and in 1821 he made a triumphant début at La Scala as Dandini in Rossini’s
La Cenerentola. He sang at La Scala until 1828, creating Arnoldo in Mercadante's
Elisa e Claudio (1821) and Sulemano in Meyerbeer's L'esule di Granata (1822). He
also appeared at Rome, Turin, Venice and, in 1824, Vienna, where he was a
leading member of Barbaia’s company. Ferdinando I of Naples, then in Vienna,
appointed Lablache a singer in his royal chapel and had him engaged for the
Teatro S Carlo, where for several years he appeared in new operas by Bellini and
Donizetti, as well as distinguishing himself in such roles as Assur in Rossini’s
Semiramide.
On 30 March 1830, Lablache made a brilliant London début as Geronimo in
Cimarosa’s Il matrimonio segreto at the King’s (from 1837 Her Majesty's) Theatre,
where he subsequently appeared every season until 1852, except for 1833 and
1834. Lord Mount-Edgcumbe described him on his London début as ‘a bass of
uncommon force and power. His voice was not only of deeper compass than
almost any ever heard, but when he chose, absolutely stentorian, and he was also
gigantic in his person; yet when he moderated its extraordinary strength, he sang
pleasingly and well’. While his reputation rested chiefly on his interpretation of
comic roles, in which he excelled, he was equally impressive in serious roles such
as Elmiro in Rossini's Otello, Assur in Semiramide, Henry VIII in Anna Bolena and
Oroveso in Norma. In 1839 Wagner wrote an additional aria for this role for him,
but Lablache declined to sing it. His Paris début took place on 4 November 1830 at
the Théâtre Royal Italien, where he continued to appear regularly until 1851 and
created his most important roles, including Sir George Walton in Bellini’s I puritani
(25 January 1835) and the title role in Donizetti’s Marino Faliero (12 March 1835). I
puritani enjoyed such success that for the next six years this opera opened and
closed each season with its original cast of Giulia Grisi, Rubini, Tamburini and
Lablache. In England, Lablache appeared in opera and sang at provincial music
festivals and, in 1836 and 1837, was Princess Victoria’s singing teacher. He was
the first Don Pasquale in Donizetti’s opera (Théâtre Royal Italien, 3 January 1843),
and his interpretation of this role, in which he displayed ‘real comic genius’
(Chorley), became definitive (see illustration).
After the opening in 1847 of the Royal Italian Opera, Covent Garden, Lablache was
one of the few artists to remain faithful to Lumley’s management at Her Majesty’s
(where he created Massimiliano in I masnadieri in 1847). With his readiness to take
small roles without condescension he acquired a larger and more varied repertory
than any other singer of comparable standing; Lumley described him as ‘the
greatest dramatic singer of his time’. On the closure of Her Majesty’s in 1852
Lablache visited St Petersburg, and in 1854, after his return, he became a leading
member of Gye’s company at Covent Garden. In 1855, when he was over 60, he
was still singing some of his most famous roles, including Leporello, Don Pasquale,
Bartolo in Il barbiere and Balthazar in Donizetti’s La favorite. His health began to
deteriorate in 1856, and he retired from the stage.
Lablache wrote a Méthode de chant which was published in Paris but it added little
to his reputation. His eldest son, Federico Lablache, was an operatic bass, and his
daughter-in-law, Mme Demeric Lablache, sang for many years as a mezzo-
soprano with Mapleson’s company. One of his daughters, Cecchina, married the
pianist Thalberg.
BIBLIOGRAPHY
Castil-Blaze: Biographie de Lablache (Paris, n.d.)
J. d’Ortigue: Obituary, Le journal des débats (Paris, 24 Feb 1858)
G. Widén: Luigi Lablache (Göteborg, 1897)
PHILIP ROBINSON/ELIZABETH FORBES
Labor, Josef
(b Hořovice, 29 June 1842; d Vienna, 26 April 1924). Bohemian pianist, organist
and composer. He studied with Sechter at the Vienna Conservatory. Although
blind, he made the most of his considerable gifts and became chamber musician to
the King of Hanover in 1863, and teacher to the princesses. After performing in
London (1865), Paris and Russia, in 1868 he settled in Vienna, where he devoted
himself to teaching and composition. Among his pupils were Julius Bittner, Frank
La Forge, Francis Richter (a nephew of Hans Richter), Paul Wittgenstein and
Arnold Schoenberg. He edited Biber's violin sonatas for Denkmäler der Tonkunst in
Österreich. His compositions include church and vocal music, including a Pater
noster for choir and orchestra op.16 (1912), a Konzertstück for piano and
orchestra, a violin sonata op.5 (c1890), a piano quartet (1894), organ fantasies and
piano pieces.
BIBLIOGRAPHY
P. Kundi: Josef Labor: sein Leben und Wirken (Vienna, 1963) [with thematic
catalogue]
W. Lyle: A Dictionary of Pianists (London and New York, 1985), 160
ERIC BLOM/MALCOLM MILLER
La Borde [Delaborde], Jean-Baptiste
(Thillaie) [Thillais, Thillaès] de
(b Nevers, 9 June 1730; d Colancelle, late Jan 1777). French physical scientist and
mathematician. He invented the first known electric-powered musical instrument.
On 26 September 1745 he began his novitiate in the Society of Jesus. He taught
rhetoric in Amiens around 1755, and passed his third year of novitiate at Rouen in
1762, just at the time of the suppression of the Jesuit order in France. After
spending a few years in Poznań, Poland, he served as a priest in Colancelle until
his death.
A competent scientist, La Borde shared the intense interest of his times in
electricity. His most important publication, Le clavessin électrique, avec une
nouvelle théorie du méchanisme et des phénomènes de l’électricité (Paris, 1761),
was prompted by his invention of a keyboard instrument powered by a static
charge. The ‘electric harpsichord’ (sometimes confused with the clavecin
chromatique of Jean-Benjamin de La Borde) was based on a warning-bell device
used in many electrical test set-ups of the period. It had for each pitch two bells,
between which hung a clapper. Wires communicated a stored charge to the bells.
Depression of the appropriate key grounded one bell while cutting it off from the
charge source, so that the clapper struck the charged bell and the grounded bell in
rapid alternation until the key was released. By the inventor’s own report, the
instrument sounded like an organ’s tremolo stop, and was moreover a remarkable
sight in the dark on account of its production of sparks. Comment in the press was
favourable, even admiring, but the instrument never became more than a curiosity.
The model built by La Borde is in the Bibliothèque Nationale, Paris.
BIBLIOGRAPHY
Mémoires pour l’histoire des sciences et des beaux arts (July 1759), 1832
only; (Oct, 1759), 2378 only [two letters from La Borde; repr. as foreword to Le
clavessin électrique, lxi (1761/R1969), 264]
J.-B. de la Borde: ‘Le clavessin électrique’, Année littéraire, viii (1761/R),
169ff
J.-B. de la Borde: ‘Le clavecin électrique avec une nouvelle théorie du
méchanisme et des phénomènes de l’électricité’, Journal encyclopédique ou
universel, xi (1761/R), i/1, pp.43–58
Augustin and Aloys de Backer: Bibliothèque des écrivains de la Compagnie
de Jésus (Liège, 1853–61, 2/1869–76)
Augustin de Backer and others: Bibliothèque de la Compagnie de Jésus, ed.
C. Sommervogel (Brussels, 1890–1932)
FREDERIC S. MERRITT
La Borde [Laborde], Jean-Benjamin(-
François) de
(b Paris, 5 Sept 1734; d Paris, 22 July 1794). French composer and writer on
music. Born into an aristocratic family, he studied the violin with Dauvergne and
composition with Rameau and made a successful début as a stage composer at
the age of 14. He entered Louis XV’s service in 1762 and during the next 12 years
acquired the title of premier valet du chambre and worked primarily as a composer.
The majority of his stage works are opéras comiques, but he also wrote pastoral
operas, such as Annette et Lubin, La meunière de Gentilly and La cinquantaine.
Their short airs, hardly allowing the singers time to express any sentiment, are
mostly composed in regular periods, with a string and basso continuo
accompaniment, resembling the ariettes or chansons that La Borde published
separately in collections with great success. The pastorales convey less a sense of
drama than an agreeable lyrical atmosphere.
La Borde’s best work is possibly the concisely written, lively Gilles, garçon peintre,
z’amoureux-t-et-rival, a parody of Duni’s Le peintre amoureux de son modèle; it is
characterized by irregular rhythms, continuous dynamic changes, ensembles and
unaccompanied airs. He also composed tragédies lyriques that bear witness to his
close relationship with Rameau, and he revised operas by Lully and Collasse,
documenting his interest in updating the ‘classics’ of French opera. According to
Lajarte, Ismène and Amadis enjoyed 23 performances and La cinquantaine 26
(although the Mercure de France reports that the audience whistled at its
première). Some of his operas were performed only privately. Grimm was openly
hostile towards him: after the première of Les amours de Gonesse he called him a
‘barbouilleur de notes infatigable’ (see Tourneux, vi, 302); he frequently found La
Borde’s music lacking in ‘goût’ and ‘génie’ (viii, 200; ix, 237; xi, 162), and labelled
him an ‘amateur’ (vii, 457).
In 1773 La Borde’s relationship with the famous dancer Marie-Madeleine Guimard
came to an end. After the death of Louis XV in 1774 he lost his position at court. In
the same year he married Adelaide de Vismes, sister of the director of the Opéra.
During the following 18 years La Borde wrote, edited or translated, partly in
collaboration, some 20 books on musical, topographical, historical and literary
subjects. They have been severely criticized by 19th-century scholars for their
factual inaccuracies and structural shortcomings. Nevertheless, his four-volume
Essai sur la musique ancienne et moderne (1780) remains an extremely valuable
source of information on 18th-century music, as well as that of earlier periods and
its historiography. The Essai was apparently a side-product of La Borde’s extensive
travels through France, Switzerland and Italy collecting material for his other books,
and he was aware of its work-in-progress status at the time of publication. In the
Essai La Borde and his collaborators assembled information on the music of many
non-European countries, including Samoa and China, and sought to describe the
social context in which music was performed. Yet La Borde did not apply a strict
historical, systematic or alphabetical organization to the material. He inserted
complete compositions by Claude Le Jeune, Lassus, Ronsard and others. On the
subject of 18th-century theory and operatic criticism he took Rameau’s side against
Rousseau and favoured Piccinni at the expense of Gluck. During the Revolution he
escaped from Paris; meanwhile his palace, with its library of 25,000 volumes and
extensive collection of scores, was burnt down. He was eventually arrested in
Rouen, brought back to Paris and guillotined five days before Robespierre’s
downfall.
WORKS
printed works published in Paris, unless otherwise stated
stage
unless otherwise stated, opéras comiques performed in Paris; works without performance details
were performed privately; MSS in F-Pc and Po
PCI Comédie-Italienne (Hôtel de Bourgogne)
PO Opéra
La chercheuse d’oiseaux (parodie, Derozée), Mons, 1748 (Mons, 1748)
Le rossignol, ou Le mariage secret (1, C. Collé), Château de Berny, 18 Nov 1751,
Théâtre de Société, 1751 (The Hague, 1777)
Gilles, garçon peintre, z’amoureux-t-et-rival (parade, 1, A.H.H. Poinsinet, after E.
Duni: Le peintre amoureux de son modèle), 2 March 1758 (1758)
Les épreuves de l’amour (1, L. Anseaume), Foire St Germain, 1759
Les trois déesses rivalles, 1760, unperf.
Les bons amis (Les bons compères) (I, M.-J. Sedaine), Opéra-Comique (Foire), 5
March 1761 (1761); rev. as L’anneau perdu et retrouvé, PCI, 8 Aug 1764 (?1764)
Annette et Lubin (pastorale, 1, J.F. Marmontel), Théâtre du Maréchal de Richelieu,
30 March 1762 (1762)
Ismène et Isménias, ou La fête de Jupiter (tragédie lyrique, 3, P. Laujon), Choisy, 13
June 1763 (?1770)
Le dormeur éveillé (2, Ménilglaise and La Borde), Fontainebleau, 27 Oct 1764
(1764)
Les amours de Gonesse, ou Le boulanger (Le mitron et la mitronne) (opéra bouffon,
1, C.S. Favart and S.-R.-N. Chamfort), PCI, 18 May 1765 (?1765)
Fanny, 1765 (Chamfort), unperf.
Thétis et Pélée (tragédie lyrique, 3, B.B. de Fontenelle), Fontainebleau, 10 Oct 1765
(1765) [incl. 2 nos. from P. Collasse: Thétis et Pélée]
Zénis et Almasie (ballet-héröique, 1, Chamfort and the Duc de La Vallière),
Fontainebleau, 2 Nov 1765 (1765), collab. B. de Bury
Le coup de fusil, 1766
La mandragore, 1766
Le revenant (F.G. Desfontaines [Fouques]), 1766
Pandore (tragédie lyrique, 5, Voltaire and M.-P.-G. de Chabanon), Menus-Plaisirs,
14 Feb 1767
Amphion (ballet-pastorale-héröique, 1, Thomas), PO, 13 Oct 1767 (1767)
Colette et Mathurin (Desfontaines), 1767
La meunière de Gentilly (pastorale, 1, L.-A. Lemonnier), PCl, 13 Oct 1768 (1768)
Candide (Le prieur), 1768
Alix et Alexis (2, Poinsinet), Choisy, 6 July 1769 (1769)
Le chat perdu et retrouvé (1, L.C. Carmontelle), PCI, 1769 (1769)
Jeannot et Colin (Desfontaines), 1770
La cinquantaine (pastorale, 3, Desfontaines), PO, 13 Aug 1771 (?1771)
Amadis de Gaule (tragédie lyrique, 5, P. Quinault), PO, 26 Nov 1771, collab. P.-M.
Berton [rev. of Lully]
Le billet de mariage (Desfontaines), PCI, 31 Oct 1772
Adèle de Ponthieu (tragédie lyrique, 3, Raziens de Saint-Marc), PO, 1 Dec 1772
(1772), collab. Berton
Le projet (N.E. Framéry), 1772
L’amour quêteur (Beaunoir [Robineau]), Trianon, 1779
La chercheuse d’esprit (Favart)
other works
Recueil de chansons [in 6 pts], solo v, vn, bc (1757–60)
Recueil de chansons [in 2 pts], solo v, hp, vn, hpd (1763–4)
6 trios, 2 vn, bc (1765)
Choix de chansons mises en musique [in 4 pts], kbd (1772–5)
Privilège du roi, 1v, small orch (n.d.)
Many songs and arias in various contemporary collections
WRITINGS ON MUSIC
Essai sur la musique ancienne et moderne (Paris, 1780/R)
Mémoires historiques sur Raoul de Coucy (Paris, 1781) [pubd with Receuil de
ses chansons en vieux langage, avec la traduction & l’ancienne musique]
Mémoires sur les proportions musicales, le genre énarmonique … avec une
lettre de l’auteur de l’Essai à M. l’Abbé Roussier (Paris, 1781)
Letter to the Académie des Sciences in P.-J. Roussier: Mémoire sur le
nouveau clavecin chromatique de M. de Laborde (Paris, 1782/R)
Autobiography, in a letter to Champein (MS, 1793, B-Br) [bound in a copy of
Essai sur la musique]
BIBLIOGRAPHY
Mme Latour de Franqueville [?P. Gaviniès]: Errata de l’Essai … ou Lettre à
l’auteur de cet Essai (?Paris, 1780)
H. Chaussier: Obituary, Ami des arts (1796), 369ff
Léris: ‘Notice historique’, suppl. to La Borde: Pensées et maximes (Paris,
2/1802)
C. Mellinet: Notice sur J.-B. de La Borde (Nantes, 1839)
M. Tourneux, ed.: Correspondance littéraire, philosophique et critique par
Grimm, Diderot, Raynal, Meister, etc. (Paris, 1877–82)
T. de Lajarte: Bibliothèque musicale du Théâtre de l’Opéra (Paris, 1878)
R. Pichard du Page: ‘Un financier dilettante au XVIIIe siècle’, Revue de
l’histoire de Versailles, xxviii (1926), 106–27, 191–213
E. Haraszti: ‘Jean-Benjamin de Laborde’, ReM, no.157–60 (1935), 109–16
E. Haraszti: ‘J.-B. de La Borde et la musique hongroise’, RdM, xvi (1935),
100–08, 168–78
J. de Vismes: Un favori des dieux (Paris, 1935)
E. Closson: ‘Les notes marginales de Grétry dans “L’essay sur la musique” de
Laborde’, RBM, ii (1947–8), 106–24
J. Warmoes: L’exemplaire de l’‘Essai sur la musique ancienne et moderne’ de
J.-B. de Laborde annoté par Grétry (diss., U. of Leuven, 1956)
C.M. Gessele: ‘Base d'harmonie: a Scene from Eighteenth-Century French
Music Theory’, JRMA, cxix (1994), 60–90
MICHAEL FEND
Laborde Chansonnier
(US-Wc M2.1 L25 Case). See Sources, MS, §IX, 8.
Laboun.
See Labaun family.
Labroca, Mario
(b Rome, 22 Nov 1896; d Rome, 1 July 1973). Italian composer, music organizer
and critic. He studied with Respighi and G.F. Malipiero, graduating from the Parma
Conservatory in 1921, but in his work on behalf of modern music he came closer to
Casella. He actively participated in the affairs of the Corporazione delle Nuove
Musiche and the Italian section of the ISCM; and he showed the same zeal as
director of the music division of the Direzione Generale dello Spettacolo attached
to the Ministry of Popular Culture, as well as later in his post as manager of the
Teatro Comunale, Florence (Maggio Musicale Fiorentino), 1936–44. He was then
artistic director of the Teatro alla Scala, Milan (1947–9), and a director of the music
department of Italian radio (1949–58). In 1959 the centre of his activity shifted to
Venice, where he helped to organize, among other events, the Venice festivals. In
the 1960s he also taught music history at the Università Italiana per Stranieri in
Perugia.
Despite his copious activities as a critic, and as a music organizer (documented in
his invaluable, partly autobiographical L’usignolo di Boboli), Labroca wrote a fair
number of compositions, at least in the earlier part of his career. His style at first
followed that of his teacher Malipiero: the Ritmi di marcia and Suite for piano
contain unmistakably Malipierian acerbities and luminosities. Malipiero-like, too, is
the vivacious First String Quartet, although Labroca’s rhythmic and formal methods
are more orthodox, less wayward and improvisatory. During the 1920s Labroca
was briefly associated with Massarani and Rieti in a group calling itself I Tre, in
imitation of Les Six. Unlike Rieti, however, he never revealed obvious French
influences in his music. In the 1930s, rather, he showed signs in some works (e.g.
the sunny, ebullient Second String Quartet) of continuing to develop in parallel with
Malipiero; while in others, like the rather laboured Sonata for orchestra with piano,
he moved closer to Casella. These two influences fuse in the Stabat mater, a
restrainedly moving personal statement that is probably Labroca’s most important
composition. Among the few works he wrote after 1940, the Tre cantate sulla
Passione turn to a more sombre, chromatic manner; a certain sluggishness,
particularly in rhythmic invention, confirms that by 1950 Labroca’s creative urge
had lost its former compulsiveness.
WORKS
(selective list)
Dramatic: La principessa di Perepepé (children’s op, B. Bartolazzi), Rome, 1927; Le
3 figliole di Babbo Pallino (children’s op, M. Pompei), Rome, 1928; Lamento dei
mariti e delle mogli (canti carnascialeschi, L. Alamanni, A.F. Grazzini), 6 solo vv,
small orch, Rome, 1929; 2 ballets, unperf.; incid music; film scores
Orch: Sinfonietta, small orch, 1927; Sonata, orch, pf obbl, 1927–33
Vocal: Stabat mater, S, chorus, orch, 1933; 3 Liriche (G. Vigoli), 1v, pf, 1937; 3
cantate sulla Passione di Cristo, B, chorus, orch, 1950; 8 madrigali di Tomaso
Campanella, Bar, orch, 1958
Chbr and solo inst: Suite, pf, 1921; Ritmi di marcia, pf, 1922; Str Qt no.1, 1923;
Sonatina, vn, pf, 1923; Suite, va, pf, 1923; Pf Trio, 1925; Str Qt no.2, 1932; Str Qt
no.3, 1939, inc.
Principal publishers: Ricordi, Suvini Zerboni, Universal
WRITINGS
Parole sulla musica (Milan, 1954)
L’usignolo di Boboli: 50 anni di vita musicale italiana (Venice, 1959)
Other books, many articles etc
BIBLIOGRAPHY
G. Rossi-Doria: ‘Giovani musicisti italiani: Labroca, Massarani, Rieti’, Il
pianoforte, v (1924), 303–9
A. Casella: ‘Jeunes et indépendants’, ReM, viii/3 (1926–7), 62–70
G. Calandra: ‘Musicisti contemporanei: Mario Labroca’, Augustea [Rome],
xvi/3–4 (1940), 20
J.C.G. Waterhouse: The Emergence of Modern Italian Music (up to 1940)
(diss., U. of Oxford, 1968), 210, 215–17, 221, 670–76
F. d’Amico: ‘La parte di Gatti e quella di Labroca’, NRMI, vii (1973), 171–5
GUIDO M. GATTI/JOHN C.G. WATERHOUSE
La Bruère, Charles-Antoine Le Clerc
de
(b Crespy-en-Valois, 1714; d Rome, 18 Sept 1754). French librettist. An amateur of
noble birth, he began his literary career with the comedy Les mécontents (1734).
From 1744 to 1750 he held the privilege (jointly with Louis Fuzelier) of the Mercure
de France, to which he contributed. He was eventually appointed first secretary to
the Duke of Nivernois; when the duke became French Ambassador to the Papal
Court in 1749 La Bruère followed him to Rome, where he remained until his death.
La Bruère had a gift for writing elegant and memorable verse. Voltaire praised the
libretto of Les voyages de l’Amour as ‘plein de grâces & d’esprit’ (letter to Berger, 5
April 1736) and other contemporaries, including D’Alembert, quoted passages from
Dardanus with genuine admiration. La Bruère was less secure in his treatment of
the plot. The original libretto of Dardanus has been described, justly, as ‘without
contradiction the most inept’ in the history of the genre (Girdlestone, 1972). Even
by contemporary French standards it is overcharged with supernatural elements.
For the first revival, in 1744, La Bruère made extensive changes, so that Acts 3, 4
and 5 had an entirely new plot. In his lifetime this version excited remarkably little
comment; but when the work was revived in 1760 it had come to be regarded as
one of French opera’s chief glories.
Of La Bruère’s other librettos, only the one-act Bacchus et Erigone had any lasting
success. It was written for Mme de Pompadour’s Théâtre des Petits Cabinets (the
marquise herself played Erigone), and later incorporated into the opéra-ballet Les
fêtes de Paphos (1758).
BIBLIOGRAPHY
C. Malherbe: ‘Commentaire bibliographique’, Jean-Philippe Rameau: Oeuvres
complètes, x (Paris, 1905), xvii–cxxxiv
C. Girdlestone: Jean-Philippe Rameau: his Life and Work (London, 1957,
2/1969)
W.H. Kaehler: The Operatic Repertoire of Madame de Pompadour’s Théâtre
des petits cabinets (1747–1753) (diss., U. of Michigan, 1971)
C. Girdlestone: La tragédie en musique (1673–1750) considérée comme
genre littéraire (Geneva, 1972)
T. Green: Early Rameau Sources: Studies in the Origins and Dating of the
Operas and Other Musical Works (diss., Brandeis U., 1992)
C. Dill: Monstrous Opera: Rameau and the Tragic Tradition (Princeton, 1998)
GRAHAM SADLER
Labrunie, Gérard.
See Nerval, Gérard de.
Labunski, Felix [Łabuński, Feliks
Roderyk]
(b Ksawerynów, 23 Dec 1892; d Cincinnati, 28 April 1979). American composer
and teacher of Polish origin. At first, in St Petersburg, he was a student of
architecture. He then studied with Marczewski (theory) and Maliszewski
(composition) at the Warsaw Conservatory (1921–4) and with Migot (musicology),
Boulanger (composition) and Dukas (orchestration) at the Ecole Normale de
Musique, Paris (1924–30). In 1926 he was a founding member (later serving as
secretary, then chairman) of the Association of Young Polish Composers in Paris.
In 1934 he returned to Poland and became director of music at Polish Radio, a
post he held until 1936, when he moved to the USA (he took American citizenship
in 1941). In 1940–41 he lectured in counterpoint and composition at Marymount
College in Tarrytown (New York), and from 1945 to 1964 he was professor of
composition and orchestration at the Cincinnati College-Conservatory of Music. He
appeared as a pianist, mostly performing his own compositions, and was also
active as a writer and critic; he contributed to Modern Music and Musical America
and made about 100 programmes for CBC and NBC. He received an honorary
doctorate from the Chicago Music College in 1951 and an award from ASCAP in
1977.
In his compositions Labunski paid great attention to musical form, creating a
successful balance between unity and diversity. His music is characterized by
colourful instrumentation and intensity of feeling. He was influenced by Hindemith,
Falla and Stravinsky, and by Polish folk music when creating his own synthetic
scales. In Poland his works are little known.
WORKS
(selective list)
Ballet: God's Man, 1937
Orch: Triptyque champêtre, suite, 1931; In memoriam, sym. poem, 1941; Suite, str,
1941; Variations, 1951; Elegy, 1954; Sym., B, 1954; Xaveriana, fantasy, 2 pf, orch,
1956; Nocturne, sym. dialogues, 1960; Canto di Aspirazione, 1963; Polish
Renaissance Suite, 1967; Music for Pf, Orch, 1968; Salut à Paris, ballet suite, 1968;
Primavera, 1974
Vocal: Kantata polska (J. Kochanowski), 1932; Ptaki [The Birds] (K. Wierzyński), S,
orch, 1934; Song without Words, S, str, 1946; There is no Death (cant., J.
Auslander), S, chorus, orch, 1950; Images of Youth (cant., W. de la Mare, D.
McCord), 2 solo vv, children's chorus, orch, 1955; Mass, boys' chorus, mixed
chorus, org, 1957; songs, other choral works
Chbr and solo inst: Str Qt no.1, 1935; Divertimento, fl, pf, 1936; Divertimento, fl, ob,
cl, bn, 1956; Diptych, ob, pf, 1958; 2 Kujawiaks, pf, 1959; Str Qt no.2, 1962; Intrada
festiva, brass, perc, 1967; Salut à Nadia, brass, perc, 1967; additional chbr works;
pf and org pieces
MSS in NYp; smaller collection in PL-Wu
Principal publishers: PWM, World Library
BIBLIOGRAPHY
L. Erhardt: ‘Feliks Roderyk Łabuński w Ameryce’, RM, v/9 (1961), 5 only
T. Chylińska: ‘Ze Stanów Zjednoczonych do Polski’ [From the USA to
Poland], RM, xxxi/7 (1987), 3–6
ADAM MRYGOŃ
La Campioli.
See Gualandi, Margherita.
Lacassagne [La Cassagne; de La
Cassagne], Joseph
(b Ile d'Oléron, Charente-Maritime, c1720; d ?Paris, c1780). French theorist and
teacher. He studied at the cathedral school in Marseilles, and later taught music
there. He then entered the priesthood and lived in Paris, where his patrons
included the dauphin and his wife, Marie Antoinette. His Traité général des
élémens du chant (Paris, 1766/R), intended for beginners, is his most noteworthy
publication. In it he proposed to simplify the reading of music by using only one clef
(a movable G clef) and only three time signatures: 2, for simple duple metre; 3, for
simple triple metre; and 2/3 for compound metre with ternary subdivisions. His
supplementary L'uni-cléfier musical (Paris, 1768) was a response to Pascal Boyer's
publication attacking the Traité général. Though his proposals caused some
controversy they found little favour. He also wrote a Recueil de fables mises en
musique for unaccompanied voice (1754) and an Alphabet musical, ou Gamme de
la musique (1765), and contributed an air to the Mercure de France (1773).
BIBLIOGRAPHY
FétisB
P. Boyer: Lettre à Monsieur Diderot, sur le projet de l'unité de clef dans la
musique (Amsterdam and Paris, 1767)
A. Cohen: Music in the French Royal Academy of Sciences: a Study in the
Evolution of Musical Thought (Princeton, NJ, 1981), 105
P. Lescat: Méthodes et traités musicaux en France 1600–1800 (Paris, 1991),
106–7
ALBERT COHEN
Lacépède, Bernard Germain Etienne
Médard de la Ville-sur-Illon, Comte de
(b Agen, 26 Dec 1756; d Epinay-sur-Seine, 6 Oct 1825). French naturalist, theorist
and composer. He studied performance and composition at Agen and Bordeaux,
and from 1775 corresponded with D’Alembert on matters of theory. Having written
to Buffon and Gluck, he was cordially received by both in Paris in 1777. Gluck had
just composed Armide, and despite his encouragement Lacépède destroyed his
own setting of this text. For a short time he attempted parallel careers in science
and music, reaching eminence in the former as Buffon’s successor and as director
of the Jardin des Plantes; he published on the natural history of mammals,
including whales and humans. He took lessons from Gossec and in 1783 his
Omphale was accepted and rehearsed at the Opéra; the caprice of the leading
singer, St Huberty, caused it to be withdrawn, and Lacépède confined his
remaining dramatic and instrumental music to private performance. His Poétique
de la musique (1785) offered an unusually serious discussion of instrumental
music. He owed something to the Encyclopedist theory of imitation, and the
influence of Gluck is apparent in his emphasis on the dramatic, rather than
pleasurable, function of music in the theatre. His descriptive instrumental music to
Fénelon’s Télémaque was intended to illustrate his ideas.
WORKS
all lost
Operas: Armide (tragédie lyrique, 3, Quinault), 1777; Omphale (La Motte), 1783,
accepted by Opéra, not perf.; Scanderberg, before 1785; Cyrus (Paganel, after
Metastasio), before 1785; Alcine (Framery), 1786, accepted by Opéra, not perf.
Incidental music to Fénelon’s Télémaque, 1785
Requiem
At least 2 syms., 1 symphonie concertante, 2 fl, all lost, cited by Brook; 54 str
sextets, 5 sets of sonatas, cited by Fétis
WRITINGS
only those relating to music
Réflexions sur les progrès que la musique a encore à faire (MS, Archives du
Lot-et-Garonne) [ed. R.P. du Page, Le Figaro (19 Dec 1925)]
La poétique de la musique (Paris, 1785/R, 3/1797)
Oeuvres complètes (Paris, 1826–33)
BIBLIOGRAPHY
BrookSF
FétisB
Mahorault: Notice sur la vie et les ouvrages de M. Lacépède (Paris, 1825)
G. Desnoiresterres: La musique française au XVIIIe siècle: Gluck et Piccinni
(Paris, 1872/R, 2/1875)
E. Perrin: ‘Un livre de Lacépède sur la musique’, BSIM, iii (1907), 847–57
O.F. Saloman: ‘La Cépède’s “La poétique de la musique” and Le Sueur’, AcM,
xlvii (1975), 144–54
C. Chevrolet: ‘L’esthétique musicale de Lacépède’, L’esprit de la musique:
essais d’esthétique et de philosophie (Paris, 1992), 151–74
JULIAN RUSHTON
Lacerda, Francisco (Inácio da Silveira
de Sousa Pereira Forjaz) de
(b Ribeira Seca, S Jorge, Azores, 11 May 1869; d Lisbon, 18 July 1934).
Portuguese conductor, composer and musicologist. He studied under Vieira,
Gazul, Montinho de Almeida and Soromenho at the Lisbon Conservatory, where he
was made professor of piano in 1892. Three years later he went to Paris to study at
the Conservatoire under Pessard, Bourgault-Ducoudray, Libert and Widor, and at
the Schola Cantorum under d’Indy and Guilmant. Thereafter he established himself
as a conductor in Paris, in other French cities and throughout Europe. He founded
the Concerts Historiques in Nantes (1905) and the Filarmonia de Lisboa (1923). A
friend of Debussy and of Fauré, he numbered Ansermet among his pupils.
WORKS
(selective list)
Orch: Adamastor, sym. poem, 1902; Danse du voile (ballet), 1904; Almourol, sym.
poem, 1926; La peur (ballet); Le baiser (ballet)
Songs: Les morts (J. Richepin), 1902: 34 trovas, other pieces
Pf: Uma garrafa de cerveja, 1886; Papillons, 1896; Canção de Berço, 1896;
Lusitanas, 1896
Chbr and solo inst: 36 histoires pour amuser les enfants d’un artiste, 1922; Serenata
a una muerta, gui, 1924; Petite suite, str
Incid music, org pieces
Edn.: Cancioneiro musical português (Lisbon, 1935–6)
BIBLIOGRAPHY
V. Nemésio: ‘Cronologia biográfica de Francisco de Lacerda’, Francisco de
Lacerda: exposição comemorativa do primeiro centenário do nascimento
(Lisbon, 1969)
Y. David-Peyre: ‘Francisco de Lacerda à Nantes’, Actes du cinquantenaire de
la création en Bretagne de l’enseignement du portugais, ii (Rennes, 1975)
GUY BOURLIGUEUX
Lacerda, Osvaldo (Costa de)
(b São Paulo, 23 March 1927). Brazilian composer and teacher. In his native city
he studied piano with José Kliass and harmony with Ernesto Kierski (1945–7). He
received his training in composition under Camargo Guarnieri (1952–62). A
Guggenheim Foundation Fellowship took him in 1963 to the USA, where he
studied for a year with Vittorio Giannini in New York and Copland in Tanglewood.
In 1965 he participated in the Inter-American Composers Seminar held at Indiana
University, and in the Third Inter-American Music Festival in Washington, DC.
Actively engaged in teaching, he became a professor at the Escola Municipal de
Música (São Paulo) in 1969; he has served as president of the Sociedade Pró
Música Brasileira (1961–6), the Comissão Estadual de Música de São Paulo
(1967), and from 1985 the Centre for Brazilian Music in São Paulo. He was an
active participant in the National Commission for Sacred Music (1966–70); in 1972
he was elected a member of the Academia Brasileira de Música. In 1996 he was
one of about 20 composers selected to participate in Sonidos de las Américas, a
festival in New York sponsored by the American Composers Orchestra.
Lacerda's music incorporates a subtle national idiom into a modern harmonic
context. His intimate knowledge of Brazilian popular and folk music is best shown
in the ten Ponteios for piano solo and the twelve suites under the title Brasiliana in
which features of folksong and dance (such as modinha, lundu, desafio, marcha-
de-rancho) are used. His Variations and Fugue (1962) is based on the three main
motifs of a Brazilian nursery rhyme. However, the original theme undergoes such
drastic modifications as to become unrecognizable. Lacerda's best known
orchestral piece is the clearly nationalist suite Piratininga (1962), which won him
first prize in the Brazilian National Composition Competition of the same year. In
the 1970s and 80s Lacerda applied an increasingly sophisticated technique to his
early nationalist aesthetic; during this prolific phase he composed numerous solo
songs, piano works and chamber music.
WORKS
(selective list)
Orch: Piratininga, suite, 1962; Conc., str, 1964; Guanabara, suite, band, 1965;
Invocação e ponto, tpt, str, 1965; Abertura no.1, 1972; 4 peças modais, str, 1975; 4
movimentos, str, 1976; Conc., pic, str, 1980; Andante, str, 1980
Chbr and solo inst: Str Qt no.1, 1952; 8 variações sôbre um tema folclorico, vn, pf,
1954; Sonata, va, pf, 1962; Variations and Fugue, wind qnt, 1962; 3 estudos, perc
ens, 1966; Trilogia, wind ens, 1968; Pf Trio, 1969; 3 dansas brasileiras antigas, vn,
pf, 1972; Suite, xyl, pf, 1974; Sonata, hpd, 1975; Fantasia e rondó, brass qnt, 1976;
Apassionato, cantilena e toccata, va, pf, 1978
Pf: 15 variações sôbre ‘Mulher rendeira’, 1953; 5 invenções, 1957; Suite miniatura,
1958, Suite no.1, 1959; other works, incl. 10 ponteios, 12 estudos, 12 brasilianas
Songs (1v, pf, unless otherwise stated): Cantiga, 1950; Menina, minha menina,
1952–3; Trovas de amigo, 1952–3; 4 miniaturas de Adelmar Tavares, 1955;
Mandaste a sombra de um beijo, 1960; Poema tirado de uma noticia de jornal,
1964; Murmúrio, 1965; Uma nota, uma só mão, 1967; A um passarinho, 1968;
Hiroshima, meu amor, 1v, perc, 1968; Queixa da moça arrependida, 1968;
Ladainha, 1970; Quando ouvires o pássaro, 1970; Retrato, 1970; Rotação, 1970;
Cantiga de ninar escrava, 1970; Festa chinesa, 1v, fl, pf, 1972; Cantiga do viúvo,
1975
Choral: Ofulú lorêrê, perc ad lib, 1958; Poema da necessidade, 1967; Pequena
suite coral, 1969; 3 pontos de caboclo, 1969; Fuga proverbial, 1969; Proverbios, S,
B, chorus, str orch, pf, perc, 1970; 4 estudos para coro, 1971; masses, other sacred
pieces
Principal publishers: Irmãos Vitale, Ricordi Brasileira
WRITINGS
‘Constancias harmônicas e polifônicas da música popular brasileira e seu
aproveitamento na música sacra’, Música brasileira na liturgia (Petrópolis,
1969), 61–2
‘A criação do recitativo brasileiro’, Música brasileira na liturgia (Petrópolis,
1969), 115–16
Regras de grafia musical (São Paulo, 1974)
BIBLIOGRAPHY
Ministério das Relações Exteriores, Divisão de Difusão Cultural: Catálogo das
obras de Osvaldo Lacerda (Brasília, 1976)
G. Béhague: Music in Latin America: an Introduction (Englewood Cliffs, NJ,
1979)
V. Mariz: História da música no Brasil (Rio de Janeiro, 1981, 4/1994)
J.M. Neves: Música brasileira contemporânea (São Paulo, 1981)
V. Mariz: A canção brasileira (Rio de Janeiro, 5/1985)
GERARD BÉHAGUE
Lacerna, Estacio de.
See Serna, Estacio de la.
Lach, Robert
(b Vienna, 29 Jan 1874; d Salzburg, 11 Sept 1958). Austrian musicologist and
composer. He read law at the University of Vienna but worked in Austrian
provincial administration from 1894 to 1904 before completing his degree. At the
same time he studied composition with Robert Fuchs at the Conservatory of the
Gesellschaft der Musikfreunde in Vienna (1893–9) and musicology with
Wallaschek, Rietsch and Adler (1896–9).
He obtained the doctorate in 1902 from the German University in Prague with a
dissertation on the development of ornamented melody. He lived for the next few
years in the south in Istria, Dalmatia and Italy owing to ill health and was pensioned
from government service in 1904, at which point he dedicated himself to
musicological writings and opera composition. He returned to Vienna and in 1911
began working in the Hofbibliothek, succeeding Ferdinand Scherber as director of
the music collection (1912–20). He was awarded the Habilitation at the University
of Vienna in 1915 by virtue of the publication of his doctoral dissertation and
received a commission from the Akademie der Wissenschaften to record the songs
of Russian prisoners of war (1916–17). He became a reader at the University of
Vienna in 1920, succeeding Wallaschek, and was professor from 1927 until his
retirement in 1939. From 1924 he was also professor of music history, philosophy
and music aesthetics at the Vienna State Academy. In 1954 he became general
editor of the new Denkmäler der Tonkunst in Österreich.
Lach’s importance was as an ethnomusicologist who, with a broad, systematic
approach, attempted to explain the genesis of man’s music in biological,
physiological and psychological terms, an approach exemplified in his doctoral
thesis. Despite his strong German nationalism and early entry into the Nazi party,
he was a harsh critic of the attempted application of racial theory to musicology.
His ethnomusicological studies spilt over into general music history, where he had
wide interests and a sound background as a music librarian (he carried on
Mantuani’s work in cataloguing the collection of music manuscripts in the Vienna
National Library). Active as an orientologist, philosopher and aesthetician, he was
also a poet and a very prolific composer. Many of his songs have been published
but the majority of his works, including eight masses, ten symphonies, eight string
sextets, 14 string quintets, 25 string quartets and other chamber and stage music,
remain unpublished.
WRITINGS
Studien zur Entwickelungsgeschichte der ornamentalen Melopöie (diss.,
German U. of Prague, 1902; Leipzig, 1913)
‘Alte Weihnachts- und Ostergesänge auf Lussin’, SIMG, iv (1902–3), 535–57
‘Über einem interessanten Spezialfall von “Audition colorée”’, SIMG, iv (1902–
3), 589–607
‘Volkslieder in Lussingrande’, SIMG, iv (1902–3), 608–42
‘Alte Kirchengesänge der ehemaligen Diözese Ossero’, SIMG, vi (1904–5),
315–45
‘Orientalistik und vergleichende Musikwissenschaft’, Wiener Zeitschrift für die
Kunde des Morgenlandes, xxix (1915), 463–501
Sebastian Sailers ‘Schöpfung’ in der Musik (Vienna, 1916)
‘Das Kadenz- und Klauselproblem in der vergleichenden Musikwissenschaft’,
Zeitschrift für die österreichischen Gymnasien, lxvii (1916), 601–42
Vorläufiger Bericht über die im Auftrage der kaiserlichen Akademie der
Wissenschaften erfolgte Aufnahme der Gesänge russischer Kriegsgefangener
(Vienna, 1917–18)
W.A. Mozart als Theoretiker (Vienna, 1918)
‘Drei musikalische Einblattdrucke aus der Zeit des Dreissigjährigen Krieges’,
AMw, i (1918–19), 235–43
‘Das Rassenproblem in der vergleichenden Musikwissenschaft’, Berichte des
Forschungsinstitutes für Osten und Orient, iii (1919–21), 107–22
Zur Geschichte des Gesellschaftstanzes im 18. Jahrhundert (Vienna, 1920)
‘Zur Geschichte der Beethovenschen “Prometheus”-Ballettmusik’, ZMw, iii
(1920–21), 223–37
‘Gestaltunbestimmtheit und Gestaltmehrdeutigkeit in der Musik’,
Sitzungsberichte der philosophisch-historischen Klasse der Akademie der
Wissenschaften in Wien, cxcvi/1 (1921), 95–149
Eine Tiroler Liederhandschrift aus dem 18. Jahrhundert (Vienna, 1923)
Zur Geschichte des musikalischen Zunftwesens (Vienna, 1923)
‘Die Musik der Natur- und orientalischen Kulturvölker’, AdlerHM
Die vergleichende Musikwissenschaft: ihre Methoden und Probleme (Vienna,
1924)
‘Zur Frage der Rhythmik des altfranzösischen und altprovenzalischen
Liedverses’, Zeitschrift für französische Sprache und Literatur, xlvii (1924–5),
35–59
Das Konstruktionsprinzip der Wiederholung in Musik, Sprache und Literatur
(Vienna, 1925)
‘Sprach- und Gesangsmelos im Englischen’, Neusprachliche Studien:
Festgabe Karl Luick, ed. F. Wild (Marburg, 1925), 23–31
Vergleichende Kunst- und Musikwissenschaft (Vienna, 1925)
‘Die Vogelstimmenmotive in Beethovens Werken’, NBeJb 1925, 7–22
Die Bruckner-Akten des Wiener Universitäts-Archivs (Vienna, 1926)
‘Aus dem Handschriftenschätze der Musikaliensammlung der Wiener
Nationalbibliothek’, Festschrift der Nationalbibliothek in Wien (Vienna, 1926),
553–74
Geschichte der Staatsakademie und Hochschule für Musik und darstellende
Kunst in Wien (Vienna, 1927)
Das Ethos in der Musik Schuberts (Vienna, 1928)
‘Die Tonkunst in den Alpen’, Die österreichischen Alpen, ed. H. Leitmeier
(Leipzig, 1928), 332–80
‘Die grossdeutsche Kultureinheit’, Anschlussfrage in ihrer kulturellen,
politischen und wirtschaftlichen Bedeutung als europäisches Problem, ed.
F.F.G. Kleinwaechter and H. von Paller (Vienna, 1930); repr. in Deutsche
Welt, viii (1931), 27–31
‘Das Ethos in der Musik von Johannes Brahms’, Simrock-Jb, iii (1930–34),
48–84
‘Das Österreichertum in der Musik’, AMz, lxv (1938), 529–31
folksong editions
Gesänge russischer Kriegsgefangener, i/1–4: Finnisch-ugrische Völker
(Vienna, 1925–40); ii/1–3: Turktatarische Völker (1930–52) [ii/3 pubd with ser.
title Volksgesänge von Völkern Russlands]; iii/1–2: Kaukasusvölker (1928–30)
BIBLIOGRAPHY
L. Nowak: ‘Robert Lach und die Volksliedforschung’, ‘Verzeichnis der Arbeiten
von Robert Lach zur Volkmusik und Folklore’, Jb des österreichischen
Volksliedwerkes, iii (1954), 155–6, 156–7
W. Graf, ed.: Robert Lach: Persönlichkeit und Werk (Vienna, 1954) [incl.
complete list of writings]
W. Graf: ‘Robert Lach’, ÖMz, xiii (1958), 25–7
W. Graf: ‘Memorial to Robert Lach’, EthM, iii (1959), 130–31
E. Schenk: ‘Robert Lach zum Gedächtnis’, Mf, xii (1959), 129–31
W. Graf: ‘Die vergleichende Musikwissenschaft in Österreich seit 1896’,
YIFMC, vi (1974), 15–43
PAMELA M. POTTER
La Chappelle, Hugo de
(fl 1539–42). French composer, possibly identifiable with Decapella.
La Chapelle, Jacques de.
See Champion family, (4).
Lachartre, Nicole
(b Paris, 27 Feb 1934; d Versailles, 25 Jan 1992). French composer. She studied
composition with Milhaud, Rivier and Jolivet at the Paris Conservatoire, where she
received premiers prix in fugue and counterpoint. From 1966 to 1967 she
undertook electro-acoustic research at the Groupe de Recherches Musicales in
Paris, work which she later continued at studios in Stockholm, Utrecht, Ghent and
Bourges. In 1974 she founded the Association pour la Collaboration des
Interprètes et des Compositeurs to encourage the commissioning of new
compositions and a closer working relationship between performers and
composers. Towards the end of her life she became interested in Japanese
culture. Her music is conceived as a spiritual experience and seeks to
communicate an inner intensity, calling variously upon traditional methods, electro-
acoustics and mathematical techniques. Some of Lachartre's works involve what
she terms ‘musivision’, an interaction of musical and visual worlds.
WORKS
(selective list)
Music theatre and other stage: Couteau de clarté, 3vv, 6 insts, 2 actors, 1977; Joë
Bousquet: galant de neige, vn, vc, kbd, actor, 1980; Babylone malade, ou La nuit du
thermomètre (mini-opéra comique, F. Meunier, other texts), vocal ens, 1981; Ogives
désirs, 9 insts, 2 actors, 1982; Noce avec la folie (H.A. Müller), 6 insts, actor, 1983;
Les grenouilles n'ont pas de dents (children's mini-op, 1, J. Rosenmann), 5 male
actors, vocal ens, mixed chorus, 4 tapes, 1984
Chbr: Sonata, va, pf, 1964; Cl Qnt, 1965; Essai II, hp, hpd, gui, zarb, 1968;
Résonance et paradoxe, ondes martenot, pf, perc, 1971; En sa mémoire
l'hommesprit, 8 insts, 1975; Il y a mille et mille soleils, fl, hp, perc, 1975; Le jardin
des tortues, 4 perc, 1984
Solo inst: Pf Sonata, 1965; Que le jour soit le jour et la nuit soit la nuit, pour toi,
satellite de ton propre soleil, zheng, 1974; 10 présentations musicales du nom
d'Hermann Sabbe, a fl, 1978; Requiem pour une compositrice, amp hpd, 1984
Inst with nar: La musique des musiciens interrompues par les paroles-répétitions de
Qohèlèt-Ecclésiaste (1972); Nidââ, B-nar, triple str qt, 1975; Papouil Tchatcharett,
nar, 6 insts, 1982; Un dragon tombé à cheval (A. Wölfli), pf-nar, 1985; Une robe
tombée en poussière (B. Cendrars), hpd-nar, 1986
Inst with tape: Ultimes, ondes martenot, tape, 1970; Hommage à Amiel, fl, tape,
1974; Le cri de cigogne peut même atteindre le ciel, pf, tape, 1978
Tape: Mundus imaginabilis, 1970; Suicide cosmique, 1970; Mundus sensibilis,
1972; Mundus intellectualis, 1973; Les champs de cinabre, 1977; Hommage à
Ruysbroeck, 1979; Les coqs sont égorgés, 1984
Also pieces for 1v, insts
WRITINGS
‘Les musiques artificielles’, Diagrammes du Monde, no.146 (1969), 1–96, esp.
5–84
FRANÇOISE ANDRIEUX/JAMES R. BRISCOE
Lachenet, Didier.
See Leschenet, Didier.
Lachenmann, Helmut (Friedrich)
(b Stuttgart, 27 Nov 1935). German composer. From 1955 to 1958 he attended the
Stuttgart Musikhochschule, where he studied theory and counterpoint with Johann
Nepomuk David and the piano with Jürgen Uhde. From 1958 to 1960 he studied
composition in Venice with Nono, whom he had met in 1957 at the Darmstadt
Ferienkurse für Neue Musik. Lachenmann lived in Munich from 1960, and later
moved to Stuttgart. Besides his activities as a composer and pianist, he also taught
at various institutions during this period. In 1972 he taught composition for a year at
the Basle Musikakademie, and from then on his teaching duties frequently took him
abroad. In 1976 he was appointed professor of music theory and aural training at
the Staatliche Hochschule für Musik und Theater, Hanover, a post he held until
1981, when he took a chair in composition (and, until 1988, music theory) at the
Stuttgart Musikhochschule. He was awarded the Ernst von Siemens music prize in
1997.
Only two pieces written during Lachenmann's period of study at the Stuttgart
Musikhochschule have found their way into his catalogue of works: the piano cycle
Fünf Variationen über ein Thema von Franz Schubert (1956–7) and the Rondo
(1957) for two pianos, dedicated to his teacher David. In the Schubert variations
Lachenmann does not adopt a Schubertian mode of expression but points up
structural aspects of the theme in a way that emphasizes the historical distance
between himself and his model and shows the theme in an entirely new light.
The composers of the postwar avant garde whom he met at Darmstadt, Nono
especially, exercised a crucial influence on Lachenmann's subsequent
development. His study of the works and aesthetics of the serial composers, and
the Second Viennese School in particular, left clear traces on his compositions of
this period. For instance both the point-like texture of Souvenir (1959) for 41
instruments and the orchestral studies Due Giri (1960) are based on a
comprehensive serial organization of the different parameters. Up to the
Wiegenmusik (1963) for piano and the String Trio (1965) Lachenmann's work was
governed by this concept of sound as the outcome and expression of abstract
ideas of order.
In the 1960s two tendencies of fundamental importance to his later work began to
emerge: first, as he commented in 1962 in his introductory text to the piano piece
Echo Andante, he developed a kind of ‘musical thinking in which structure was not
the means to expressive ends, but instead expressivity, as a pre-existing factor
already inherent in the means, became the point of departure for structural
adventures’. Second, and linked to this approach, was his increasing interest in the
‘anatomy’ of sound, which went further than the purely acoustical considerations
central to serial thinking (pitch, duration, dynamics and timbre). Lachenmann now
integrated the mechanical and physical conditions of instrumental and vocal sound
production into his compositions, and developed the concept of what he has called
musique concrète instrumentale, music ‘in which the sound events are chosen and
organized so that the manner in which they are generated is at least as important
as the resultant acoustic qualities themselves. Consequently those qualities, such
as timbre, volume, etc., do not produce sounds for their own sake, but describe or
denote the concrete situation: listening, you hear the conditions under which a
sound- or noise-action is carried out, you hear what materials and energies are
involved and what resistance is encountered’.
As a result, after temA (1968) for flute, mezzo-soprano and cello, the overall sound
of Lachenmann's works fundamentally changed. Its defining characteristic now, as
in almost all the composer's subsequent output, was the exploitation of loud and
unconventional sounds more in the nature of noise, of the kind generally
suppressed in traditional instrumental performance. For instance in Pression
(1969–70) for solo cello, the familiar sound of the instrument is presented as the
result of just one of many ways to draw sound from the instrument, ways which
also include such techniques as bowing the body and tailpiece of the instrument, or
exerting extreme pressure with the bow. Guero (1970) for solo piano entirely
avoids the ‘normal’ sound of the piano achieved by striking the keys. Lachenmann
developed a special way of notating these works, which combines elements of
traditional notation with a special tablature.
Lachenmann's principal aim in his development of musique concrète instrumentale
was not merely to extend the repertory of available sounds along the lines of the
discussions of the 1950s and 60s on the concept of musical material, or to shock
the listener by the ‘alienation’ of the familiar sound of the instrument. Instead, the
composer's intention was to explore a new sound world and to create compelling
and logical musical works based predominantly on sonorities which had remained
unused and hence uncontaminated in the past. The musical instrument, as the
quintessence of its many sound-generating possibilities, is effectively reinvented in
the process. Lachenmann has spoken of composition as equivalent to ‘building an
instrument’, and this is as true of his attitude to solo instruments as it is to his
approach to ensembles or orchestras. Serial ideas of order now become available
for the musical exploitation of this newly discovered sound world. Lachenmann
continued to work with abstract ‘structural networks’ and ‘temporal networks’, but
they now had only a regulatory rather than a generative function.
Lachenmann's analysis of hitherto unexploited aspects of the ‘anatomy of sound’
was at first largely confined to the mechanical and physical conditions of its
production. A new, uncharted tonal world is now opened up, one in which the
expressive qualities seemingly inherent in different sounds do not derive from their
use in past music but seem to the listener to be carried over from other, non-
musical domains of experience. This notion of musical expressivity as socially
mediated did not become central to Lachenmann's work until the mid-1970s, since
when, in what has turned out to be the longest phase of his creative development,
his interest has focussed on what he calls the ‘aesthetic apparatus’. The object of
composition is no longer the sound material alone. Instead, the composer's thinking
must also include the social contingency of his means of expression and
construction. He now no longer has to prove himself by working solely with ‘virgin’
material, in other words sounds not yet devalued by excessive use, but also
(indeed especially) by using the all too familiar sounds of the traditional repertory.
Lachenmann seeks to create a new experience out of the worn and outmoded. His
direct references back to tradition, increasingly frequent since the mid-1970s,
should be seen in this context, for instance in Accanto: Musik für einen
Klarinettisten mit Orchester (1975–6), where he refers to Mozart's Clarinet
Concerto, and in the orchestral work Staub (1985–7), where the reference is to
Beethoven's Ninth Symphony. The culmination of this most recent phase in the
composer's output came with the 1997 première of his ‘music with images’, Das
Mädchen mit den Schwefelhölzern (1990–96). In this, his first stage work, the
subject is not merely the projection of the plot of Hans Christian Andersen's fairy
tale ‘The Little Match Girl’ onto the social conditions of our time, but also the
institution of opera itself as part of the ‘aesthetic apparatus’.
In response to the stereotyped perception of his music as the expression of protest
or denial, a cliché that became established at quite an early date, Lachenmann has
repeatedly emphasized the novelty and uncontaminated aspect of his sound
worlds. His work may indeed strike its listeners initially as a denial of the familiar; in
other words, they perceive only what they find lacking from it. However, once they
open up to his new and strange world of sound, his work offers the chance of an
aesthetic experience largely undistorted by habit: an immediate and thus a
liberating experience. This ‘existential’ dimension of artistic creativity has been at
the heart of Lachenmann's poetics of composition since the 1960s. Composition in
the here and now is understood in relation to the mechanism of hearing, itself
viewed as a network of experiences, expectations and habits. This network is
determined by its own historical dynamic. Seen in this way, composing is a social
activity, that is to say it intervenes in those social conditions that determine our
perception. Some of the force of such a ‘social activity’ can be felt in the resistance
to Lachenmann's music, and the often vehement reactions it has elicited from
musicians and the public: the music itself ends up demonstrating the force of habit.
The uproar in 1986 over the refusal of the SWF SO to give the première of Staub, a
work it commissioned, should be seen against this background.
It is only in this most recent phase of his work that Lachenmann has truly
succeeded in establishing the social and ultimately political dimensions of his work,
which, while not flouted openly, are genuinely subversive in their aesthetic
implications. An approach to composition that is closely connected to a concrete
historical situation often ends up locked between the dialectical poles of habituation
on the one hand and the disruption of habit on the other. Such would also be the
fate of Lachenmann's music if his new sound world did not result in such
aesthetically convincing works. Transcending easy and short-lived shock effects,
these works construct a world with a beauty of its own, one that reveals itself only
after several hearings, and is still not exhausted after many more.
Since the 1960s, in parallel to his development as a composer, Lachenmann has
given many lectures, and has written essays and introductions to his works which
may be regarded as attempts to make himself understood on unknown and
uncertain ground. While the analysis of sound was the focal point of his thinking in
the 1960s (‘Klangtypen der Neuen Musik’, 1966), the changes in Lachenmann's
work from the mid-1970s onwards brought the historical aspects of his musical
material to the centre of his attention (for instance in ‘Vier Grundbestimmungen des
Musikhörens’, 1979). The majority of his writings since 1966 are published in the
volume Musik als existentielle Erfahrung (Wiesbaden, 1996). Lachenmann's
growing reputation as one of the major exponents of the postwar avant garde in
Germany has also stimulated an increased academic interest in his work, aided by
the availability of most of his sketches, scores and working materials in the Paul
Sacher Foundation, Basle.
WORKS
WRITINGS
BIBLIOGRAPHY
ULRICH MOSCH
Lachenmann, Helmut
WORKS
list excludes juvenilia and student works, mostly unavailable or lost
Stage: Das Mädchen mit den Schwefelhölzern (‘Musik mit Bildern’, H.C. Andersen,
L. da Vinci, G. Ensslin), 2 S, 16vv, tape, 1990–96, Hamburg, Staatsoper, 26 Jan
1997
Orch: Souvenir: Musik für 41 Instrumenten, 1959; Study, 1959, inc.; 2 Giri, 2
studies, 1960; Notturno: Musik für Julia, vc, small orch, 1966–8; Air: Musik für
grosses Orchester und Schlagzeug-solo, 1968–9; Kontrakadenz, 1970–71;
Klangschatten: mein Saitenspiel, 3 pf, 48 str, 1972; Fassade, 1973; Schwankungen
am Rand: Musik für Blech und Saiten, brass, 2 elec gui, 2 pf, perc, 34 str, 1974–5;
Accanto: Musik für einen Klarinettisten mit Orchester, 1975–6; Stück für das Basler
Ensemble, 1978–9, inc.; Tanzsuite mit Deutschlandlied: Musik für Orchester mit
Streichquartett, 1979–80; Harmonica: Musik für grosses Orchester mit Tuba-Solo,
1981–3; Ausklang: Musik für Klavier mit Orchester, 1984–5; Staub, 1985–7;
Tableau, 1988–9; 6 Regler, 1990–96; Nun: Musik für Flöte, Posaune und Orchester,
1998–9
6–18 insts: Tripelsextett, 18 insts, 1960–61; 5 Strophen, 9 insts, 1961; Angelion, 14
brass, 2 pf, 1962–3; Introversion I, 5 insts, perc, 1963; Introversion II, cl, tpt,
hmn/elec org, hp, db, 3 perc, 1964; Mouvement ( – vor der Erstarrung), 15 insts,
1982–4
2–5 insts: Rondo, 2 pf, 1957, unpubd; Str Trio I, 1965, rev. 1993; Trio fluido, cl, va,
perc, 1966–7, rev. 1968; Gran Torso: Musik für Streichquartett, 1971–2, rev. 1976,
1988; Salut für Caudwell: Musik für 2 Gitarristen (C. Caudwell, F. Nietzsche), 1977
[texts spoken by players]; Dritte Stimme zu J.S. Bachs zweistimmiger Invention d-
moll bwv775, variable insts, 1985; Allegro sostenuto: Musik für
Klarinette/Bassklarinette, Violoncello und Klavier, 1987–8, rev. 1989, 1990, 1991;
Str Qt no.2 ‘Reigen seliger Geister’, 1989
Solo inst: 5 Variationen über ein Thema von Franz Schubert, pf, 1956–7 (1973);
Echo Andante, pf, 1961–2; Wiegenmusik, pf, 1963; Intérieur I, perc, 1965–6;
Montage: Pression, vc, 1969–70, Dal niente (Intérieur III), cl, 1970; Guero, study, pf,
1970, rev. 1988 [incl. in Montage]; 2 Studien, vn, 1973–4, withdrawn; Ein
Kinderspiel, pf, 1980; Toccatina, study, vn, 1986; Syrenade, pf, 1997–8
Vocal: Consolation I (E. Toller), 12 solo vv, perc, 1967 [incl. in Les Consolations];
Consolation II (W. Gebet), 16 solo vv, 1968 [incl. in Les Consolations]; temA, Mez,
fl, vc, 1968; Les consolations (Andersen, Toller, Gebet), 16 solo vv, orch, 6 tapes,
1967–8, rev. 1976–8; ‘… Zwei Gefühle …’: Musik mit Leonardo (da Vinci), spkr, ens,
1991–2
Tape: Scenario, 1965
MSS in CH-Bps
Publishers: Breitkopf & Härtel, Gerig, Modern
Lachenmann, Helmut
WRITINGS
‘Klangtypen der neuen Musik’, Zeitschrift für Musiktheorie, i (1970), 21–30
ed. J. Häusler: Musik als existentielle Erfahrung: Schriften 1966–1995
(Wiesbaden, 1996)
‘Die Musik ist tot … aber die Kreativität lebt: zum Festakt 75 Jahre
Donaueschinger Musiktage am 18. Oktober 1996’, MusikTexte, nos.67–8
(1997), 61–2
Das Mädchen mit den Schwefelhölzern, Hamburg, Staatsoper, 26 Jan 1997,
pp.2–3 [programme notes]
‘“Fortschritt”? (Irrtum ausgeschlossen – nicht “Foxtrott”??)’, Was heisst
Fortschritt?, Musik-Konzepte, no.100 (1998), 56
Lachenmann, Helmut
BIBLIOGRAPHY
KdG (E. Hüppe, E. Hockings)
SMz, cxxiii/6 (1983) [Lachenmann issue, incl. essays by C.-H. Bachmann, H.
Danuser, W. Konold, H. Lachenmann, L. Nono, M. Spahlinger]
L. Baucke: ‘“Mensch, erkenn dich doch … !” Anmerkungen zu Helmut
Lachenmanns “Harmonica”’, MusikTexte, no.3 (1984), 6–9
R. Febel: ‘Zu “Ein Kinderspiel” und “Les consolations” von Helmut
Lachenmann’, Melos, xlvi/2 (1984), 84–111
Y. Shaked: ‘Helmut Lachenmanns “Salut für Caudwell”: eine Analyse’, Nova
giulianidad, ii/6 (1984–5), 97–109
Y. Shaked: ‘“Wie ein Käfer auf dem Rücken zappelnd”: zu “Mouvement (– vor
der Erstarrung)” (1982–84) von Helmut Lachenmann’, MusikTexte, no.8
(1985), 9–16
M. Kaltenecker: ‘Le rêve instrumental: à propos de Helmut Lachenmann’,
Entretemps, no.1 (1986), 71–8
Helmut Lachenmann, Musik-Konzepte, nos.61–2 (1988) [incl. articles by P.
Böttinger, C. Gottwald, H.-P. Jahn, H. Lachenmann, R. Piencikowski, M.
Spahlinger, H.R. Zeller]
T. Kabisch: ‘Dialektisches Komponieren, dialektisches Hören: zu Helmut
Lachenmanns Klavierkompositionen’, MusikTexte, no.38 (1991), 25–32
J. Noller: ‘Sulla poetica di Helmut Lachenmann’, Sonus [Potenza], iii/2 (1991),
30–42
B. Ramaut: ‘“Accanto” de Helmut Lachenmann’, Entretemps, no.10 (1992),
23–30
E. Hüppe: Ästhetische Technologie in der Musik (Essen, 1994)
J.-P. Hiekel: ‘Momente der Irritation: Adriana Hölszkys und Helmut
Lachenmanns Umgang mit musikalischen Darstellungsformen des
Anästhetischen’, ‘Lass singen, Gesell, lass rauschen …’: Graz 1995, 111–40
E. Hockings: ‘Helmut Lachenmann's Concept of Rejection’, Tempo, no.193
(1995), 4–14
J. Warnaby: ‘A New Left-Wing Radicalism in Contemporary German Music’,
ibid., 18–26
F. Spangemacher: ‘“Es muss ans Eingemachte gehen in der Kunst!” Helmut
Lachenmann bei den Darmstädter Ferienkursen’, Von Kranichstein zur
Gegenwart: 50 Jahre Darmstädter Ferienkurse, ed. R. Stephan and others
(Stuttgart, 1996), 477–84
MusikTexte, nos.67–8 (1997) [incl. articles by K. Häcker, K.-M. Hinz, E.
Hüppe, K.R. Nonnenmann, R. Oehlschlägel, M. Stawowy]
F. Hilberg: ‘Die erste Oper des 21. Jahrhunderts? Helmut Lachenmanns Oper
“Das Mädchen mit den Schwefelhölzern”’, NZM, Jg.157, no.4 (1997), 14–23
M. Kaltenecker: ‘Manches geht in Nacht verloren: Fragmente zu
Lachenmanns Reigen seliger Geister’, Nähe und Distanz: nachgedachte
Musik der Gegenwart, ii, ed. W. Gratzer (Hofheim, 1997), 33–49
S. Mösch: ‘Die verborgene Schönheit’, Oper 1997, 46–50 [interview]
R. Nonnenmann: ‘Melancholie in Franz Schuberts Walzer in cis-Moll d643
und Helmut Lachenmanns Schubertvariationen (1956)’, AMw, liv (1997), 247–
68
W. Rihm: ‘Laudatio auf Helmut Lachenmann anlässlich der Verleihung des
Ernst von Siemens-Musikpreises 1997’, Ausgesprochen, Schriften und
Gespräche, ed. U. Mosch, i (Winterthur, 1997), 340–48
P. Ruzicka: ‘Asche ist fruchtbar’, Süddeutsche Zeitung (4 June 1997)
I. Pace: ‘Positive or Negative’, MT, cxxxix (1998), Jan, 9–17, Feb, 4–15
P. Ruzicka: ‘Wege zu einer neuen ästhetischen Qualität: zu Helmut
Lachenmanns Materialästhetik’, Erfundene und gefundene Musik: Analysen,
Portraits und Reflexionen, ed. T. Schäfer (Hofheim, 1998), 71–7
La Chevardière, Louis Balthazard de
(b Volx, Feb 1730; d Verrières-le-Buisson, 8 April 1812). French music publisher.
Advertisements for musical works in various periodicals in October 1758 mark the
start of his activities as a music publisher. He took over the business which Jean-
Pantaléon Le Clerc had passed on to his daughter Mme Vernadé. By December
1758 La Chevardière referred to himself as the ‘successeur de M. Le Clerc’.
Huberty seems to have been briefly associated with him in 1759 for both their
names appear on the title-page of Philidor’s Blaise le savetier (‘Paris, de La
Chevardière et Huberti, successeurs de M. Leclerc’). Thereafter La Chevardière
worked alone until 1780. On 5 February he handed over the management of the
shop to his daughter Elisabeth-Eléonore and his son-in-law Jean-Pierre Deroullède
for three years; he finally sold the business to Pierre Leduc on 1 December 1784.
He then retired to Verrières, where he became mayor of the municipality.
La Chevardière showed great eclecticism in the works he published: both
‘fashionable’ music (quadrilles, minuets, vaudevilles, rondos, ariettes, songs, and
airs from opéras comiques) and more ‘serious’ compositions (chamber music,
symphonies, sacred music) and treatises. Haydn, J.C. Bach, Carl and Anton
Stamitz, Toeschi, Cannabich, Locatelli, Boccherini (see illustration), Jommelli,
Pergolesi, Gossec, Grétry, Philidor, Duni, Monsigny and La Borde are among the
composers represented in his catalogues. La Chevardière was one of the first
French publishers to bring out weekly music magazines and most of the
symphonies he published were presented in the form of periodical publications.
BIBLIOGRAPHY
DEMF
HopkinsonD
JohanssonFMP
MGG1 (V. Fédorov)
M. Brenet: ‘Les débuts de l’abonnement musical’, Mercure musical, ii (1906),
256–73
ANIK DEVRIÈS
Lachmann, Robert
(b Berlin, 28 Nov 1892; d Jerusalem, 8 May 1939). German ethnomusicologist. He
studied English, French and Arabic at the universities of Berlin and London. His
first contact with non-Western (especially Arab) music took place during World War
I when he was sent to the Wünsdorf POW camp to collect folklore and traditional
music from prisoners; there he met Arab soldiers and made his first attempts at
transcribing their songs. This work was encouraged by Erich von Hornbostel and
Curt Sachs, then members of the Berlin Phonogrammarchiv. After 1918 he studied
musicology under Johannes Wolf and Carl Stumpf and Semitic languages under
Eugen Mittwoch at Berlin University, taking the doctorate in 1922 with a
dissertation on urban music in Tunisia based on his own field recordings. In 1924
he joined the Berlin Staatsbibliothek and studied librarianship. After a year in Kiel
(1926) he returned to the Berlin Staatsbibliothek in 1927 to take up a post in the
music department under Wolf. Meanwhile he continued to study Near Eastern
music, mainly during several recording expeditions in North Africa. In 1925 he
visited Tripoli, and in 1926 and 1929 was again in Tunisia recording fellahin and
Bedouin music, as well as the song of the Jewish community on the Isle of Djerba.
This experience led to his appointment as head of the Phonogram Commission
recording music at the Congress of Arab Music (Cairo, 1932). He selected and
recorded performances of the best Arab musicians from Morocco to Iraq. At his
instigation the Gesellschaft zur Erforschung der Musik des Orients was founded in
1930, and he edited its quarterly journal, Zeitschrift für vergleichende
Musikwissenschaft, throughout the three years of its lifetime (1933–5).
Lachmann, who was Jewish, lost his job at the Berlin Staatsbibliothek under the
Nazi government. In 1935, the Hebrew University of Jerusalem invited him to open
a Phonogram Archive for Oriental Music. His research during his last four years in
Jerusalem (1935–9) marked the start of modern ethnomusicology in Israel. He
brought with him his earlier recordings of Arab music (about 500 items recorded in
North Africa) and made 1000 more recordings, which brought to light a number of
oral liturgies preserved by Middle Eastern Jewish communities in Jerusalem but
originating elsewhere. His new recordings also helped to perpetuate the exclusively
oral music tradition of some Jewish communities (e.g. the Samaritans) and of some
eastern churches. In addition a series of recordings represents the classical art
forms of Arab music as known in Iraq and Syria.
In Jerusalem Lachmann tried a new approach to the complexities of Jewish music,
and in Jewish Cantillation and Song in the Isle of Djerba (1940) finally evolved a
way of describing a community comprehensively through a detailed structural
analysis of the recorded materials. His aim was to set the picture of North African
Jewish music against the larger background of Islamic music civilizations, thus
demonstrating that the music of an independent religious community could be
influenced by neighbouring cultures.
Lachmann was one of the finest exponents of the early European school of
comparative musicology, stressing comparative analysis of musical forms and their
morphological qualities as well as the variants and parallels of one single type (e.g.
women's laments, folk epics, ritual songs) around the world. He deepened insight
into the worldwide relationships of such basic forms. Another of his achievements
was to enlarge the understanding of the intricate forms of ornamental variation and
improvisation in Arab music.
WRITINGS
Die Musik in den tunesischen Städten (diss., U. of Berlin, 1922; AMw, v
(1923), 136–71)
‘Musik und Tonschrift des Nō’, Deutsche Musikgesellschaft: Kongress I:
Leipzig 1925, 80–93
‘Die Schubert-autographen der Staatsbibliothek zu Berlin’, ZMw, xi (1928–9),
109–28
Die Musik der aussereuropäischen Natur- und Kulturvölker (Potsdam, 1929)
Musik des Orients (Breslau, 1929/R)
‘Die Weise vom Löwen und der pythische Nomos’, Musikwissenschaftliche
Beiträge: Festschrift für Johannes Wolf, ed. W. Lott, H. Osthoff and W.
Wolffheim (Berlin, 1929/R), 97–106
with M. el Hefni: Ja'qūb ibn Ishāq al-Kindī: Risālā fi hubr tā'līf al-alhān/Über die
Komposition der Melodien (Leipzig, 1931)
‘Die Haydn-Autographen der Staatsbibliothek zu Berlin’, ZMw, xiv (1931–2),
289–97
with E.M. von Hornbostel: ‘Asiatische Parallelen zur Berbermusik’, Zeitschrift
für vergleichende Musikwissenschaft, i (1933), 4–11
with E.M. von Hornbostel: ‘Das indische Tonsystem bei Bharata und sein
Ursprung’, Zeitschrift für vergleichende Musikwissenschaft, i (1933), 73–91
‘Musiksysteme und Musikauffassung’, Zeitschrift für vergleichende
Musikwissenschaft, iii (1935), 1–23
‘Mustaqbal al mūsiqa l-'arabīya’ [The future of Arab music], Al-kullīyat al-
arabīyya, xvi (1935–6), 17–24
Jewish Cantillation and Song in the Isle of Djerba (Jerusalem, 1940; Ger. orig.,
Jerusalem and Kassel, 1978, as vol.ii of Posthumous Works)
ed. E. Gerson-Kiwi: Robert Lachmann: Posthumous Works, i (Jerusalem,
1974) [‘Die Musik im Volksleben Nordafrikas’; ‘Orientalische Musik und Antike’]
Unpubd articles, recordings and transcriptions in IL-J
BIBLIOGRAPHY
E. Gerson-Kiwi: ‘Lachmann, Robert’, Encyclopaedia judaica, ed. C. Roth
(Jerusalem, 1971–2/R, 2/1982)
E. Gerson-Kiwi: ‘Two Anniversaries: Two Pioneers in Jewish
Ethnomusicology’, Orbis musicae, ii (1973–4), 17–28 [A.Z. Idelsohn, R.
Lachmann]
E. Gerson-Kiwi: ‘Robert Lachmann: his Achievement and his Legacy’, Yuval,
iii (1974), 100–08 [incl. inventory of the Lachmann Archive and complete list of
pubd writings]
EDITH GERSON-KIWI
Lachmund, Carl V(alentine)
(b Booneville, MO, 27 March 1853; d New York, 20 Feb 1928). American pianist
and teacher. He was a disciple of Liszt. His childhood was spent in Iowa, and when
he was 14 his German-born parents sent him to the Cologne Conservatory where
he studied with Hiller. Later he went to Berlin where his teachers were Moszkowski
and Xaver Scharwenka. By 1880 he was in demand as a chamber player and
toured America with the violinist August Wilhelmj.
In spring 1882 he joined Liszt’s masterclass in Weimar and studied with the
Hungarian master for the next three summers. Lachmund left a detailed account of
these classes in a series of personal diaries which identify his fellow students
(among them Rosenthal, Friedheim and d’Albert), describe their repertory, and
record Liszt’s comments on interpretation and piano playing in general. An
invaluable source of Lisztiana, these diaries later formed the basis of Lachmund’s
important book Living with Liszt, completed in the 1920s, but unpublished during
his lifetime.
After returning to America, Lachmund settled in New York and opened the
Lachmund Piano Conservatory on West 85th Street. The school prospered and
remained in existence for 60 years, being directed after his death by his youngest
daughter, Marjorie. He also founded and conducted the Women’s String Orchestra
(possibly one of the first ensembles of its kind), which gave regular concerts in New
York. Lachmund was active as a composer, writing piano, chamber and orchestral
works. His extensive archive of Liszt-related materials is held at the New York
Public Library for the Performing Arts.
BIBLIOGRAPHY
A. Walker, ed.: Living with Liszt: from the Diary of Carl Lachmund, an
American Pupil of Liszt, 1882–1884 (Stuyvesant, NY, 1995, 2/1998)
ALAN WALKER
Lachner.
German family of musicians.
(1) Theodor Lachner
(2) Franz Paul Lachner
(3) Ignaz Lachner
(4) Vinzenz [Vincenz] Lachner
HORST LEUCHTMANN
Lachner
(1) Theodor Lachner
(b Rain am Lech, Upper Bavaria, 1788; d Munich, 23 May 1877). Composer and
organist. He was court organist in Munich, a position he held until his death. He
enjoyed a reputation as a composer of lieder and choral works, his quartets for
men’s voices being especially popular.
Lachner
(2) Franz Paul Lachner
(b Rain am Lech, 2 April 1803; d Munich, 20 Jan 1890). Composer and conductor,
brother of (1) Theodor Lachner. He was the most celebrated member of the family.
He received his first lessons in the piano and organ from his father, Anton Lachner,
the city’s organist. On his father’s death in 1822, he went to Munich, where he
scraped a living as an organist, music teacher and instrumentalist in the Isartor
theatre orchestra. In 1823 he competed successfully for the post of organist at the
Lutheran church in Vienna, where he was able to complete his musical education
with Simon Sechter and the Abbé Stadler. He moved in the circle that included
Schubert and Moritz von Schwind, and also came to know Beethoven. In 1827 he
became assistant conductor at the Kärntnertortheater, and in 1829 was appointed
its chief conductor. After an unsuccessful attempt to establish himself in Berlin,
Lachner returned to Munich in 1836, where he quickly won a position of
prominence in musical life. He was appointed conductor of the Munich Hofoper,
directed the concerts of the Musikalische Akademie and also conducted the
Königliche Vokalkapelle. He directed the music festivals of Munich in 1855 and
1863, and shared in directing the Salzburg Festival in 1855 and the Aachen
festivals in 1861 and 1870. In 1852 he was appointed Generalmusikdirektor and in
1862 was awarded an honorary PhD at the University of Munich. His manifold
activities came to an abrupt end in 1864 with Wagner’s arrival in the city. His
retirement, for which he applied in 1865, was accepted at first in the form of a
holiday and became effective only in 1868, when Wagner’s immediate influence in
Munich had long since declined; the grateful city made Lachner an honorary citizen
in 1883.
Lachner was prominent in the intellectual life of his time, being a friend of David L.
Strauss, Eduard Mörike and Felix Dahn. Among his most important pupils were
Joseph Rheinberger and Franz Wüllner. A prolific composer, he took Beethoven
and Schubert as his models but was also influenced by Spohr, Mendelssohn and
Meyerbeer. He wrote many craftsmanlike works, of which the opera Catarina
Cornaro (1841), the seventh orchestral suite op.190 and the Requiem op.146
(revised 1872) in particular had great and lasting success. His other contributions
to the musical life in Munich were as conductor of the Munich Opera orchestra,
which he successfully prepared for the technical demands of Wagner’s operas, and
in raising the standards of the public’s musical taste. His performances of opera
and of works by Beethoven were considered exemplary. It was impossible for
Lachner to warm to Wagner’s music, and personal confrontations with Wagner and
his circle did not improve the relationship between the two men. Despite this
antagonism, which finally deprived him of the fruits of his work in Munich, Lachner
showed his magnanimity in 1873 by repeating a suggestion he had made nine
years earlier, that Wagner be awarded the Royal Maximilian Order – this time
successfully.
WORKS
(selective list)
for complete list, see Stetter; MSS in D-Mbs
stage
Die Bürgschaft (op, 3, K. von Biedenfeld, after F. von Schiller), Budapest, Városí
Színház, 30 Oct 1828
Lanassa (incid music), Vienna, Hofburg, c1830
Alidia (op, 3, O. Prechtler, after E. Bulwer-Lytton: The Last Days of Pompeii),
Munich, Hofoper, 12 April 1839
Catarina Cornaro, Königin von Cypern (tragische Oper, 4, J.-H. Vernoy de Saint-
Georges), Munich, Hofoper, 3 Dec 1841, vs (Mainz, 1842)
Benvenuto Cellini (op, 4, H.A. Barbier and A.F.L. de Wailly), Munich, Hofoper, 7 Oct
1849
König Ödipus (incid music, Sophocles, trans. Donner and Minkwitz), Munich,
Hofoper, 18 Nov 1852
Addns to ops by Spohr, Auber, Cherubini, Lindpaintner; festival music
other vocal
Die vier Menschenalter (cant., J.G. Seidel), solo vv, chorus, orch, op.31 (Vienna,
1829); 2 other cants.
Moses (orat, E. von Bauernfeld), solo vv, chorus, orch, op.45, 1833
8 masses; Requiem; Stabat mater; numerous smaller sacred works
Numerous partsongs, male, female and mixed choruses; numerous songs, 2–3vv,
pf; songs, 1v, hn/vc, pf; c200 songs, 1v, pf
orchestral
8 syms.: no.1, E , op.32 (Vienna, 1828); no.2, F, 1833; no.3, d, op.41 (Vienna,
1834); no.4, E, 1834; no.5 ‘Preis-Symphonie’, c, op.52 (Vienna, 1835); no.6, D,
op.56 (Vienna, 1837); no.7, d, op.58, 1839; no.8, g, op.100 (Mainz, 1851)
7 suites: no.1, d, op.113 (Mainz, 1861); no.2, e, op.115 (Mainz, 1862); no.3, f,
op.122 (Mainz, 1864); no.4, E , op.129 (Mainz, 1865); no.5, c, op.135 (Mainz,
1868); no.6, C, op.150 (Mainz, 1871); no.7, d, op.190 (Mainz, 1881)
2 hp concs.: no.1, c, 1828, no.2, d, 1833; fl conc., d, 1832
Ball-Suite, D, op.170 (Leipzig, 1874); other works
chamber music without piano
Nonet, F, fl, ob, cl, hn, bn, vn, va, vc, db, 1875
Andante, A , 4 hn, 2 tpt, 3 trbn, 1833
Octet, B , fl, ob, 2 cl, 2 hn, 2 bn, op.156 (Leipzig, 1850)
Septet, E , fl, cl, hn, vn, va, vc, db, 1824
2 qnts, fl, ob, cl, hn, bn: no.1, F, 1823; no.2, E , 1829
String Quintet, c, op.121, 1834 (Mainz, 1864)
6 str qts: no.1, b, op.75 (Mainz, 1843); no.2, A, op.76 (Mainz, 1843); no.3, E , op.77
(Mainz, 1843); no.4, d, op.120 (Mainz, 1849); no.5, G, op.169, 1849 (Mainz, 1875);
no.6, e, op.173, 1850 (Mainz, 1875)
Serenade, G, 4 vc (Vienna, 1829); Elegie, f , 5 vc, op.160, 1834 (Leipzig, c1870),
op.29
chamber music with piano
2 pf qnts: no.1, a, op.139 (Mainz, 1868), no.2, c, op.145 (Mainz, 1869)
2 pf trios: no.1, E, 1828, no.2, c, 1829; trio, pf, cl, hn, B , 1830
Other works for vn/vc, pf; vc, pf; hn, pf
other works
Pf 4 hands: 2 sonatas, fantasia, variations, Momento capriccioso, Nocturne (after
Weber: Oberon)
Pf solo: 3 sonatas, 3 rondos, 3 scherzos, suite, fantasia, variations, short pieces
Org: 3 sonatas (Munich, 1876): f, op.175, c, op.176, a, op.177; preludes and fugues
Hp: 3 Lieder ohne Worte, 1856
Lachner
(3) Ignaz Lachner
(b Rain am Lech, 11 Sept 1807; d Hanover, 24 Feb 1895). Composer and
conductor, brother of (1) Theodor Lachner. He received his earliest musical training
in Augsburg and Munich, and then went to Vienna to study with his brother (2)
Franz Lachner, whom he succeeded as organist of the Lutheran church there. In
1828 he became assistant Kapellmeister of the Vienna Hofoper, moving to
Stuttgart three years later to become court musical director. He moved to Munich in
1836, becoming assistant Kapellmeister of the Hofoper in 1842. He became
principal Kapellmeister of the Hamburg theatre in 1853, but accepted an
appointment as court Kapellmeister in Stockholm five years later. From 1861 until
his retirement in 1875 he was chief conductor in Frankfurt. His most significant
compositions are his chamber music and dramatic works, of which the
Alpenszenen enjoyed considerable success in their day; a complete list of his
works is not yet available.
WORKS
(selective list)
Der Geisterturm (op), Stuttgart, 1837
Die Regenbrüder (op, E. Mörike and H. Kurz), Stuttgart, 1839
Loreley (op), Munich, Hofoper, 1846, vs (Heidelberg, c1846)
Alpenszenen (all performed Munich, Hofoper, c1850): ’s letzti Fensterln (J.G. Seidel
and W. von Kobell); Drei Jahrln nach’m letzten Fensterln (Seidl); Die beiden Freier;
Der Freiherr als Wildschütz; Der Ju-Schroa
Deutsche Vesper, chorus, orch, org; songs, 1v, pf
7 str qts [2 for 3 vn, va; 1 for 4 vn]; 6 pf trios; 3 sonatinas, 2/3 vn; Sonata, vn, pf
7 pf sonatas; Sonata, pf 4 hands; Kindersinfonie, pf, 9 children’s insts
Lachner
(4) Vinzenz [Vincenz] Lachner
(b Rain am Lech, 19 July 1811; d Karlsruhe, 22 Jan 1893). Conductor, brother of
(1) Theodor Lachner. He first worked as music tutor to a Polish count in Poznań
and then went to Vienna at the invitation of his brother (2) Franz Lachner. In 1834
he succeeded Franz as Kapellmeister at the Kärntnertortheater, and took up the
post of Kapellmeister in Mannheim two years later. In 1842 he directed a season of
the Deutsche Operngesellschaft in London. He retired to Karlsruhe in 1872 and
taught music at the conservatory there after 1884.
BIBLIOGRAPHY
PEM (S. Döhring)
F. Stetter: ‘Verzeichnis der Werke von Franz Lachner’, in M. Chop:
Zeitgenössische Tondichter, ii (Leipzig, 1890)
L.K. Mayer: Franz Lachner als Instrumental-Komponist (diss., U. of Munich,
1922)
A. Würz: Franz Lachner als dramatischer Komponist (diss., U. of Munich,
1927)
F. Walter, ed.: Briefe von Vincenz Lachner an Hermann Levi (Mannheim,
1931)
G. Wagner: Franz Lachner als Liederkomponist, nebst einem biographischen
Teil und dem thematischen Verzeichnis sämtlicher Lieder (Giebing, 1970)
H. Federhofer: ‘Briefe von Franz und Vincenz Lachner an Franz und Betty
Schott’, Festschrift für einen Verleger: Ludwig Strecker, ed. C. Dahlhaus
(Mainz, 1973), 149–66
H. Müller: Ignaz Lachner: Versuch einer Würdigung, mit Werkverzeichnis
(Celle, 1974)
Lachnith [Lachnitt], Ludwig Wenzel
[Louis-Wenceslas]
(b Prague, 7 July 1746; d Paris, 3 Oct 1820). Bohemian composer and horn player.
He was probably the son of Franz Lachnith, a church musician in Prague, and in
his youth learnt the violin, harpsichord and horn. From 1768 he was in the service
of the Duke of Zweibrücken and in 1773 he received permission to travel to Paris,
where he performed one of his own horn concertos at the Concert Spirituel on 28
March. Apparently he settled in Paris soon after 1780 (though remaining on the
salary lists at Zweibrücken until 1786) studying the horn with Rodolphe (until
obliged by ill health to discontinue) and composition with F.-A.D. Philidor. From
1781 to 1783 he appeared in the Concerts de la reine. After being exiled during the
Revolution, he returned to Paris in 1801 and was appointed instructeur at the
Opéra, holding this post for ten months and again from 1806 to 1816.
Lachnith wrote a number of orchestral and choral works but is remembered
primarily for his stage works. His first, L'heureuse réconciliation (1785), offered
evidence of a sound technique but was marred by a weak libretto: ‘The result is
sometimes laborious and painful, but one notices in it the ideas, appropriate
intentions and intelligence of a good composer’ (Mercure de France, 26 June
1785). It was performed only twice. Several elaborate pasticcio arrangements
enjoyed greater publicity, the most infamous of which was his adaptation of
Mozart's Die Zauberflöte entitled Les mystères d'Isis. Lachnith not only cut and
rearranged the score, adding recitative to replace the spoken dialogue, but also
incorporated music from other Mozart operas and a Haydn symphony. The work
acquired the nickname ‘Les misères d'ici’ and was criticized by Berlioz as a
‘wretched hotchpotch’ (Mémoires, Paris, 1870/R), although Lachnith's intentions –
‘to make a foreign comic opera worthy of the first theatre of Europe’ (see
Mongrédien) – were sincere. Les mystères was certainly popular, receiving regular
performances in Paris for more than 25 years, and helped familiarize French
audiences with Mozart's operatic style.
In collaboration with Christian Kalkbrenner, Lachnith based other pasticcios on
religious subjects which were presented at the Opéra during Holy Week as
oratorios en action in place of orchestral concerts. His original instrumental works
include symphonies, concertos, accompanied keyboard sonatas (in a severely
Classical style) and string quartets. He also arranged chamber works by Haydn
and Pleyel for keyboard (sometimes with accompanying instruments) and
published pedagogical essays on piano technique with J.L. Adam.
WORKS
printed works published in Paris unless otherwise stated
stage
first performed in Paris
L'heureuse réconciliation (oc, l, A.M.D. Devismes, after J.F. Marmontel), Comédie-
Italienne (Favart), 25 June 1785
Eugénie et Linval, ou Le mauvais fils (oc, 2, Devismes), Montansier, 1798
Les fêtes lacédémoniennes, 1808 (opéra, 3, J.-B. Lourdet de Santerre), unperf.
Pasticcios: Les mystères d'Isis (opéra, 4, E. Morel de Chédeville, after E.
Schikaneder: Die Zauberflöte), Opéra, 20 Aug 1801, F-Po [music by Mozart,
Haydn]; Saul (oratorio mis en action, 3 pts, Morel de Chédeville, E. Deschamps and
J.B.D. Desprès), Opéra, 6 April 1803, collab. C. Kalkbrenner, Pc*, Po [music by
Cimarosa, Gossec, Haydn, Mozart, Naumann, Paisiello, Philidor and Sacchini]; La
prise de Jéricho (orat, 3 pts, Morel de Chédeville, Deschamps and Desprès), Opéra,
11 April 1805, collab. Kalkbrenner, Po* [music by Mozart and others]; Le laboureur
chinois (opéra, l, Morel de Chédeville, Deschamps and Desprès), Opéra, 5 Feb
1813, collab. M. Berton, Po [music by Haydn, Mozart and others]
Addns to or arrs. of works by others: ov., airs in Paris [?(P.P. Baignoux), 1784], arr.
pf (c1799), arr. 2 vn (c1799); 7 airs in Sacchini: Oedipe à Colone, 1786, acc. hpd
(n.d.); ov., airs in Salieri: Tarare, 1787, arr. hpd, vn (n.d.); ov., airs, duos in Sacchini
and Rey: Arvire et Evelina, 1788, acc. hpd (c1788); ov. in Propiac: La fausse
paysanne, 1789, arr. hpd (n.d.); ballets in Fontenelle: Hécube, 1800, Po; ov., airs,
duos in Deux prétendus, acc. hpd (c1790)
Doubtful: L'antiquaire (parodie), Monsieur, 9 March 1789 [? by Anfossi]
instrumental
extant works only; some possibly by Anton Lachnith
Orch: 6 Syms., op.1 (c1779); 3 Syms., op.6 (c1781); 3 Syms., op.4 (c1783); 3
Syms., op.3 (Berlin and Amsterdam, 1784); [6] Syms., opp.11–12 (c1785); [6]
Hpd/pf Concs., opp.9–10 (c1785)
Chbr: 6 sonates, hpd/pf, vn obbl, op.2 (c1777); 6 quatuors concertants, 2 vn, va, vc,
op.7 (c1780); 3 sonates, hpd, acc. vn, op.3 (before 1782); 6 trios, 2 vn, vc, op.5
(c1782); 3 sonates, hpd/pf, acc. vn, op.8 (c1785); 6 sonates concertantes, hpd/pf,
vn, op.14 (c1788); 3 sonates, harp, acc. vn, op.18 (n.d.); 3 sonates, pf, vn obbl,
op.20 (n.d.); 5 str qts, I-Mc; 6 sonatas, kbd, vn obbl, D-Mbs
Other works: Pasticcio ou mélange d’airs, pf, acc. vn (n.d.); Recueil de walzes, pf
(n.d.)
pedagogical
Méthode ou principe général du doigté pour le forte-piano (1798), with J.L. Adam,
incl. arrs. of works by Cherubini, Haydn and others; Exercices préparatoires pour le
piano (c1800), with J.L. Adam
BIBLIOGRAPHY
EitnerQ
FétisB
PierreH
L. Petit de Bachaumont: Mémoires secrets (London, 1780–89)
M. Tourneux, ed.: Correspondance littéraire, philosophique et critique par
Grimm, Diderot, Raynal, Meister, etc. (Paris, 1877–82)
A. Jullien: Paris dilettante au commencement du siècle (Paris, 1884), 114–23
G. Servières: Episodes d'histoire musicale (Paris, 1914), 147–70
H. Gougelot: La romance française sous la Révolution et l'Empire, i (Melun,
1938)
W. Gruhn: ‘Ergänzungen zur Zweibrücker Musikgeschichte’, Mf, xxiii (1970),
173–5
R. Angermüller: ‘“Les mystères d'Isis” (1801) und “Don Juan” (1805, 1834)
auf der Bühner der Pariser Oper’, MJb 1980–83, 32–97
J. Mongrédien: ‘Les Mystères d'Isis (1801) and Reflections on Mozart from
the Parisian Press at the Beginning of the Nineteenth Century’, Music in the
Classic Period: Essays in Honor of Barry S. Brook, ed. A.W. Atlas (New York,
1985), 195–211
H. Vanhulst: ‘Une traduction française inachevée de Die Zauberflöte (B-Br
Fétis 2817)’, D'un opéra l'autre: hommage à Jean Mongrédien, ed. J.
Gribenski (Paris, 1996), 273–81
ETHYL L. WILL/ELISABETH COOK
La Clayette Manuscript
(F-Pn n.a.fr.13521). See Sources, MS, §V, 2.
Lacombe [Trouillon-Lacombe], Louis
(b Bourges, 26 Nov 1818; d Saint Vaast-la-Hougue, Manche, 30 Sept 1884).
French composer, pianist and writer on music. He first studied the piano with his
mother and at 11 entered the Paris Conservatoire for lessons with P.-J.
Zimmermann; he won the premier prix within two years although he still had
difficulty reaching the pedals. In 1832 he undertook a European concert tour and in
1834 he spent several months in Vienna studying the piano with Czerny, learning
theory and orchestration from Sechter and Seyfried and learning some works of
Beethoven. By 1840 he was back in Paris and, having decided to abandon a
virtuoso’s career in favour of composition, he soon published some piano pieces
and chamber music. Marriage to a woman of some wealth enabled him to spend
much of his time composing. In the 1850s he began writing stage works but most
were performed only after his death. His best-known work, the dramatic symphony
Sapho, was selected in a competition to be performed at the Paris Exposition
Universelle in 1878. He contributed reviews and thoughtful, unpretentious articles
to the Chronique musicale and other journals. His posthumously published, aptly
titled Philosophie et musique is a series of essays discussing aesthetics, religion
and a wide range of musical topics.
Lacombe wrote hundreds of works encompassing nearly all genres. He appears to
have been most at ease in light, small-scale works; his songs are sensitive and
witty and few of his many piano works reflect his own virtuoso technique. His
unpretentious style is appropriate to the folk-orientated plots of certain of his
operas, most of which, however, lapse occasionally into exaggerated grandiosity.
The large symphonic works include experimental descriptive effects in the manner
of Berlioz and David. His music is characterized by inventive melodies and
effective use of syncopation and hemiola, but the harmonies rarely surpass in
complexity the diminished 7th (which he evidently liked) and the simple, unvaried
textures become tiresome in the longer works. His formal structures, however, are
quite striking. The fantasia-like fourth-movement finale of the Piano Trio No.2 has
14 major tempo changes and several metre changes; it begins with the theme of
the second-movement Scherzo, and later resurrects a transformed version of a
prominent theme from the first movement, thereby establishing Lacombe as an
early French explorer of cyclical structure.
Lacombe’s second wife, Claudine Duclairfait (b Voisinlieu, Oise, 17 Jan 1831; d
Saint Vaast-la-Hougue, 18 Sept 1902), was a celebrated singer at the Opéra-
Comique under the name Andrée Favel. Later a highly esteemed teacher, she
wrote, under the name Andrée Lacombe, La science du mécanisme vocal et l’art
du chant (Paris, 1876) for which Lacombe provided the musical exercises and
which was awarded a gold medal by the Société pour le Développement de
l'Instruction Publique the following year.
WORKS
most printed works published in Paris
stage
L'Amour (drame lyrique, P. Niboyet), Paris, St Marcel, ?1855
La madone (oc, 1, P.F. de Caramouche), Paris, Lyrique, 16 Jan 1861
Winkelried (op, 4, L. Bonnemère and Moreau-Sainti), Geneva, Grand, 17 Feb 1892,
vs (1892)
Le tonnelier de Nuremburg (oc, 2, C. Nuitter, after E.T.A. Hoffmann), perf. in Ger. as
Meister Martin und seine Gesellen, Koblenz, 7 March 1897
La reine des eaux (op, 3, Nuitter, or Lacombe and F. Barrillot), perf. in Ger. as Die
Korrigane, Sondershausen, 12/14 March 1901
Der Kreuzritter (comic opera, 1, Clairville), Sondershausen, 21 March 1902 [?
originally Le festin de fer]
5 or more other works, incl. incid music
other works
Sacred: 16 or more works, incl. Mass, Petite messe, hymns, few pubd
Dramatic syms. (with solo vv, chorus, orch): Manfred (J. Barbier, de Chateau-
Renaud, A. Queyroy, after Byron), 1847 (1888); Arva, ou Les hongroises (Chateau-
Renaud), 1850 (1900); Sapho (A. de Lamartine, choruses by Barrillot), 1878 (1888)
Other choral: Cimbres et teutons (Barrillot), male vv, military band, c1855; many
works with orch; cants.; works for male vv; choruses, org acc.; choruses, unacc.
Other vocal: over 100 songs, 1v, pf, incl. 80 in 3 sets, ?15 fables de La Fontaine, 8
sonnets (Barrillot); works for 1v, orch, incl. L’ondine et le pêcheur, ballade;
vocalises; others
Orch: Lassan et Friss, Hung. fantasia (1890); Au tombeau d’un héros, vn, orch; ?2
concert ovs.; 4 works with speaker; others, incl. works for military band
Chbr: Grand quintette, pf, vn, ob/vn, vc, B cl/bn/vc (?c1860); Le château, str qt
(n.d.); Str Qt, unpubd; 2 pf trios (n.d.); 9 or more works, vn, pf; many works for 1
inst, pf, incl. arrs.
Pf: 55 or more, incl. sets of nocturnes, études, valses, mélodies, fantasias, arrs.;
works for pf 4 hands; works for 2 pf
BIBLIOGRAPHY
FétisB
A. Bitard: Dictionnaire de biographie contemporaine (Paris, 1878)
E. Bourdin: La musique et les musiciens: Louis Lacombe (Paris, 1882)
H. Moreno: Obituary, Le ménestrel (5 Oct 1884)
H. Boyer: Louis Lacombe et son oeuvre (Paris, 1888)
L. Gallet: Conférence sur Louis Lacombe et son oeuvre (Bourges, 1891)
L. Lacombe: Philosophie et musique, ed. A. Lacombe [C. Duclairfait
Lacombe] (Paris, 1896) [incl. detailed list of works]
E. Jongleux: Un grand musicien méconnu, Louis Lacombe (Bourges, 1935)
[mentioned in RiemannL12]
J.-M. Fauquet: Les sociétés de musique de chambre à Paris de la
Restauration à 1870 (Paris, 1986)
J.-M. Fauquet, ed.: Edouard Lalo: correspondance (Paris, 1989)
JEFFREY COOPER
Lacombe, Paul
(b Carcassonne, 11 July 1837; d Carcassonne, 5 June 1927). French composer.
Although he travelled widely in Europe, he resided in his native town until his
death. His only formal education was acquired from a local organist and former
Paris Conservatoire pupil, François Teysserre, but he attentively studied the works
of established masters. He was an admirer of Bizet, with whom he corresponded
from 1866, and a personal friend of Saint-Saëns. In 1901 he was elected a
corresponding member of the Institut and the following year he was made a
Chevalier of the Légion d’Honneur.
Lacombe belonged to a generation of French composers who, inspired by the
achievements of Mendelssohn and Schumann, wished to see symphonic and
chamber music placed on a sound footing in France after the Franco-Prussian war.
Many of his works were first performed by the Société Nationale de Musique, an
organization he helped found in 1871 for the promotion of new French music.
Although his compositions are technically assured, most of them lack the originality
and spontaneity necessary to escape the powerful influence of contemporary
German composers. Theatrical works are notably absent from his more than 150
opus numbers. He continued to compose until after his 80th birthday, and his
output consists mainly of small piano pieces, chamber music, orchestral works and
approximately 120 songs. His first violin sonata was performed by Sarasate in
1869 and his Third Symphony was awarded the prize of the Société des
Compositeurs de Musique in 1886. Numerous works were left in manuscript.
WORKS
published in Paris unless otherwise stated
Chorus, orch: Mass; Requiem
Other vocal: c60 songs; 4 duets, incl. Nuit d’été (M. de Baure) (1902); 5 trios; c60
unpubd songs
Orch: c25 works, incl. 3 syms.; Ov. symphonique, op.22 (n.d.); Suite pastorale,
op.31 (1875); Aubade printanière, op.37 (1884); Sous les étoiles, marche-nocturne,
op.78 (Hamburg, 1896); Ov. dramatique; Légende symphonique; other MS works
Chbr: c15 works, incl. Pf Qt, op.101 (n.d.); 4 pf trios; 3 vn sonatas, opp.8 (1868), 17,
98; Vc Sonata, op.100 (n.d.); 3 morceaux de fantasie, op.10, vc, pf (n.d.); 4
morceaux, op.14, vn, pf (n.d.); Sérénade humoristique, pf, vn, vc, op.93 (1898)
Solo inst, orch: Divertissement, pf, op.40 (1885); Rapsodie, vn, op.51; Suite, pf,
op.52; Sérénade d’automne, fl, ob, hp ad lib, str orch (n.d.); other MS works
Pf: c85 works, incl. 5 morceaux caractéristiques, op.7 (Leipzig, n.d.); 4 pièces, 4
hands, op.9 (1869); 2 idylles, op.11 (n.d.); Etude en forme de variations, op.18
(n.d.); Intermède de concert, op.38 (1887); Petits préludes, op.140 (1911); Marche
dernière, op.150 (1917), also arr. orch (1918); Dialogue sentimental, op.151 (1917),
also arr. orch (1917), vn/fl/bn/vc, pf (1917); Petite suite (New York, 1921); 2 pièces
(1922); 2 berceuses; 3 suites; 7 impromptus; studies; waltzes; other MS pieces
BIBLIOGRAPHY
MGG1 (G. Ferchault) [with detailed list of works]
C.E. Curinier: Dictionnaire national des contemporains (Paris, 1889–1906)
L. Moulin: Le romantisme musical allemand et l’âme française: un classique
français du piano: Paul Lacombe (Montauban, 1915–17)
L. Moulin: Paul Lacombe et son oeuvre (Paris, 1924)
J.-M. Fauquet, ed.: Edouard Lalo: correspondance (Paris, 1989)
JOHN TREVITT
Lacome [Lacome d’Estalenx], Paul(-
Jean-Jacques)
(b Le Houga, Gers, 4 March 1838; d Le Houga, 12 Dec 1920). French composer.
He studied with José Puig y Absubide, organist in Aire-sur-Adour, 1857–60. He
won a prize in a magazine competition, with an operetta, Le dernier des paladins,
and settled in Paris, where he wrote music criticism and had over 20 operettas
performed between 1870 and the end of the century, when he returned to his
native Gascony. The most successful of them in France was Jeanne, Jeannette et
Jeanneton (1876), the libretto of which had been turned down by Offenbach, but
Ma mie Rosette (1890) achieved greater popularity in Britain. His most widely
familiar composition is probably the ‘Spanish Duet’ Estudiantina (no.4 of Duos à
deux voix égales) which was published in 1882 and around which Waldteufel wrote
a waltz of the same name. Besides operettas and songs, Lacome composed
orchestral and chamber music and piano pieces. Lacome was a close friend of
Chabrier, whose high opinion of him is evident from his letters. He has been
criticized for a certain affected and showy quality to his invention, and it may be this
that prevented his music from achieving still greater success.
WORKS
(selective list)
opérettes, in order of first Paris performance; for more detailed list see GroveO
L’épicier par amour (1), 1870; J’veux mon peignoir (1, G. Mancel), 1872; En
Espagne (1, Mancel), 1872; La dot mal placée (3, Mancel), 1873; Le mouton enragé
(1, Jaime and Noriac), 1873; Amphytrion (oc, 1, C. Nuitter and Beaumont), 1875;
Jeanne, Jeannette et Jeanneton (3, C. Clairville and M. Delacour), 1876
Pâques fleuries (3, Clairville and Delacour), 1879; Le beau Nicolas (3, A. Vanloo
and E. Letterier), 1880; La nuit de Saint Jean (oc, 1, M. de Lua-Lusignan and
Delacour, after Erckmann-Chatrian), 1882; Madame Boniface (3, Clairville and E.
Depré), 1883; Myrtille (oc, 4, Erckmann-Chatrian and M. Drack), 1885
Les saturnales (3, A. Valabrègue), 1887; La gardeuse d’oies (3, Letterier and
Vanloo), 1888; Ma mie Rosette (3, J. Préval and A. Liorat), 1890; La fille de l’air
(féerie, 3, Coignard brothers, after Liorat), 1890; Mademoiselle Asmodée (3, P.
Ferrier and Clairville), 1891, collab. V. Roger; Le cadeau de noces (4, Liorat, Stop
and A. Hue), 1893
Le baiser de Monsieur (1, J. Pradels and Mancel), 1895; La fiancée en loterie (3, A.
Douane and C. de Roddaz) 1896, collab. Messager; Le maréchal Chadrou (oc, 3, H.
Chivot, J. Gascogne and de Roddaz), 1898; Les quatre filles Aymon (3, Liorat and
M.A. Fontenay), 1898, collab. Roger
ANDREW LAMB
Lacorcia, Scipione
(b ?Naples, ?c1585–95; d Naples, after 1620). Italian composer. On 15 March
1616 he dedicated his Secondo libro de madrigali for five voices (Naples, 161614)
to Alessandro Miroballo, the Marchese of Bracigliano, for whom the madrigals had
already been performed. On 1 October 1620 he dedicated his Terzo libro de
madrigali (Naples, 162018) to Francesco Filomarino, Count of Castello Abbate. He
was a successful imitator of Gesualdo in that he avoided the obvious in order to
produce the unexpected. He treated the texts in great detail and often used a literal
repetition of the opening and closing phrases – features which resulted in some of
the lengthiest 17th-century Neapolitan madrigals. Contrasting passages of
dissonances and suspensions, fast-moving diatonic counterpoint, and chordal
writing are all features of his style. He used harsh dissonances more frequently
than did Gesualdo, employing augmented triads, minor triads on sharp notes and
juxtapositions involving false relations. He sometimes seemed purposely to have
avoided tonal coherence; for example, a group of four phrases may be repeated
exactly, but for one phrase transposed down a degree and bearing no apparent
tonal relation to the other three.
KEITH A. LARSON
La Coste, Emanuel-Jean de.
Dutch music seller who acquired the firm of Estienne Roger.
Lacoste [De La Coste], Louis
(b c1675; d c1750). French composer. The two versions of his name are found in
anthologies and on title-pages of his opera scores, but exemplars of the printed
editions of Télégone, Orion and Biblis at Toulouse bear the autograph signature
‘Lacoste’. He was a chorus member at the Opéra and is included in the register of
musicians employed there in 1704 (see La Gorce). He introduced himself in the
preface to his ballet Aricie (1697) as ‘a man who writes only songs’ (alluding to his
airs sérieux et à boire published in the Ballard anthologies), not yet capable of
more ambitious compositions. A document published by Campardon in 1701
reveals that he was involved in an adulterous affair with the wife of a watch maker
who, on the indictment of her husband, was confined in a hospice. Lacoste is
described in the document as a ‘musicien de l’opéra’.
Lacoste found fame with the success of his tragedy Philomèle on 20 October 1705
(it was revived in 1709, 1723 and 1734), but this success was overshadowed two
years later by the bruising failure of Bradamante. A new tragedy, Créuse
l’Athénienne (April 1712) does not seem to have been well received, a failure
confirmed by the absence of a revival. The following year Lacoste was named
batteur de mesure (orchestral conductor) at the Opéra, and a year later maître de
musique. In 1715 a new document published by Campardon shows him seeking to
marry a singer at the Opéra, Madeleine Pasquier, ‘with her mother’s agreement’,
but an argument with the singer’s father put an end to it. On 8 July 1717 he was
dismissed from his post of maître de musique for some unknown reason and
replaced by François Blouquier. Another document, dated 6 July 1720, is a ‘three-
year concession for the exclusive privilege of staging operas in the town of Lille …
to Louis De La Coste, merchant, and Marie Catherine Robert his wife residing in
Lille’, but the title of merchant attributed to Lacoste makes the interpretation of this
text uncertain. The title-page of the score of Télégone (1725) reads ‘by M. Lacoste
of the Académie Royale de Musique’, and the Mercure de France of March 1728
(in a review of Orion) describes the composer as maître de chant at the same
institution. He seems to have retained this position at least until the première of his
last opera, Biblis, in 1732. After that we lose all trace of Lacoste. Antoine de Léris,
in his Dictionnaire portatif (Paris, 1754, but completed, according to the author, in
1749) spoke of him as a ‘musician who died some years ago’.
The career of Lacoste shows many similarities to that of Destouches. Like him,
Lacoste began by writing airs sérieux et à boire; his first dramatic work was a kind
of pastorale, Aricie, performed the same year (1697) as Destouches’s pastorale-
héroïque Issé; and, like Destouches, Lacoste gave priority to tragedy over ballet,
rejected italianisms and appeared as a strict defender of the Lullyist tradition. But
the parallel stops there: while Destouches’s career was punctuated with brilliant
successes which earned him important positions, that of Lacoste was much less
glorious. Only Philomèle was accorded three revivals (in 1709, 1723 and 1734) and
a parody (1723). Moreover, this work marks a turning-point in the history of
tragédie en musique, moving away from the rather flavourless galantry of recent
pieces to return to a more tragic conception which Lacoste upheld to the end, even
in the years 1720–30 during which the ballet aesthetic predominated. Lacoste’s
tragédies all have a sombre and violent character which manifests itself in
Philomèle (rape and murder) and continues up to Biblis (incest and suicide). The
composer proved to be more inspired in the depiction of criminal characters (Térée,
Télégone) than in the traditional musical depiction of love, and he thus occupies an
original and even unique position among composers of the period. However
(perhaps for this reason), apart from Philomèle none of his pieces enjoyed a
genuine success except perhaps Télégone, which was performed for about a
month and a half (from 6 November to 16 December 1725) but was never revived.
Prince Antoine I of Monaco severely criticized Télégone, the music of which he
found ‘plagaristic and trivial’ – a criticism which might seem to apply more to the
libretto. In the Mercure de France contemporaries appreciated the quality of the
recitative, the beauty of certain duets and the successful divertissements in
Lacoste’s works. There are also some highly expressive choruses and pretty
dances, but overall the composer’s inspiration seems to have been uneven.
Lacoste’s work is indicative of the crisis in tragédie en musique at this time. ‘Of all
composers since Lully’, wrote Antoine I, ‘I find only Destouches to have been
creative; the others merely re-use songs like old garments from a second-hand
clothes shop and give them that faint sheen of novelty that vanishes in a moment’
(1725). The judgment is harsh and not altogether impartial, but one cannot help
agreeing with it, at least in part, as far as Lacoste is concerned.
WORKS
all published in Paris
operas
tragédies en musique unless otherwise stated; performed at Paris Opéra and published the same
year
Aricie (opéra-ballet, prol, 5, Abbé Pic), 9 June 1697
Philomèle (prol, 5, P.-C. Roy), 20 Oct 1705, F-Po
Bradamante (prol, 5, Roy, after L. Ariosto), 2 May 1707
Créuse l’Athénienne (prol, 5, Roy), 5 April 1712
Télégone (prol, 5, S.-J. Pellegrin), 6 Nov 1725, Po
Orion (prol, 5, Pellegrin and J. de La Font), 17 Feb 1728
Biblis (prol, 5, Fleury), 6 Nov 1732
other works
Recueil d’airs sérieux et à boire (1695, 1696, 1699, 1700, 1703, 1704 [incl. Iris et
Silvandre, idylle en musique], 1708, 1716, 1718)
BIBLIOGRAPHY
T. Raimond: Lettre critique sur Philomèle, tragédie nouvelle mise en musique
(Paris, 1705)
A. de Léris: Dictionnaire portatif des théâtres … de Paris (Paris, 1754)
C. and F. Parfaict: Dictionnaire des théâtres de Paris (Paris, 1756)
E. Campardon: L’Académie royale de musique au XVIIIe siècle (Paris,
1884/R)
M. Benoit et N. Dufourcq: ‘Documents du minutier central’, RMFC, ix (1969),
216–38
G. Favre: ‘La musique dans la correspondance d’Antoine I prince de Monaco’,
RdM, lix (1973), 248–9
J. de La Gorce: ‘L’Académie royale de musique en 1704, d’après des
documents inédits conservés dans les archives notariales’, RdM, ixv (1979),
160–91
R. Fajon: L’Opéra à Paris du Roi Soleil à Louis le Bien-Aimé (Geneva, 1984)
ROBERT FAJON
La Court, Antoine de
(b Dordrecht, c1530–35; d Prague, 15 Sept 1600). Dutch singer and composer,
active mainly in Austria. He was employed as a singer, first at the church of Ste
Gudule and from 1550 in the imperial court chapel at Brussels. From 1559 to 1568
he served as an alto in the imperial Hofkapelle at Vienna, and from 1574 to 1590
as a tenor at the court of Archduke Ferdinand Innsbruck. During his time at
Innsbruck he applied at least twice to return to the Hofkapelle at Vienna, but neither
petitions nor the dedication of two masses to the Emperors Maximilian II and
Rudolph II achieved the desired result. He was also refused an appointment at
Munich. In 1581 he travelled to the Netherlands to recruit singers for the Innsbruck
choir. He sought leave to give up his post in 1588 and petitioned for a pension
which was granted two years later. He then joined the imperial chapel at Prague
where he remained until his death. In 1593 his son Martin joined him at Prague
after serving for 11 years as a chorister at Innsbruck. It is not known whether
Antoine and Henri de La Court were related.
La Court’s only extant works are two motets for five and six voices (in RISM 15686,
161018). The earlier of these, Carole caesareo princeps (ed. in MAM, xxi–xxii,
1971), includes passages of effective declamation and makes imaginative use of
harmonic sequences. The only surviving references to the two lost masses with
which he attempted to secure his return to Vienna are in the imperial accounts
which record payments of 25 florins made to him in 1574 and 1588.
BIBLIOGRAPHY
EitnerQ
FétisB
KöchelKHM
MGG1 (H. Federhofer)
SennMT
Vander StraetenMPB iii, v
A. Sandberger: Beiträge zur Geschichte der bayerischen Hofkapelle unter
Orlando di Lasso, iii (Leipzig, 1895/R)
A. Smijers: ‘Die kaiserliche Hofmusik-Kapelle von 1543–1619: II’, SMw, vii
(1920), 102–42; parts I to IV pubd separately (Vienna, 1922)
G. van Doorslaer: ‘La chapelle musicale de l’empereur Rudolphe II en 1594’,
AcM, v (1933), 148–61
W. Pass: Musik und Musiker am Hof Maximilians II (Tutzing, 1980)
ALBERT DUNNING
La Court, Henri de
(b 1st half of 16th century; d ? Vienna or Prague, 13 March 1577). Dutch composer
and singer, active mainly in Austria. According to Fétis he was a singer at Soissons
Cathedral in 1547. From 23 August 1563 he was employed as an alto in the
imperial Hofkapelle of Ferdinand I, Maximilian II and Rudolph II at Vienna and
Prague; he also taught the choristers music, for which in 1570 he received 6
guilders monthly and a bonus of 18 guilders. He seems to have run into financial
difficulties since the account books for 1574 and 1576 record payments to him of
considerable sums of money in addition to his salary, and after his death his widow
received help with their children’s maintenance. It is not known whether he was
related to Antoine de La Court. All eight of La Court’s printed motets appeared in
Pietro Giovanelli’s Novus thesaurus musicus (RISM 15682-6); one of those in the
fifth book of the anthology (ed. in CMM, lxvi, 1974) is in honour of Giovanelli with
whom he may have been on friendly terms. Six more motets for five, six, eight and
ten voices survive in manuscript sources (A-Wn, D-Mbs including one in organ
tablature). La Court’s motets are representative of the style of works then favoured
at the Habsburg courts; the settings are predominantly syllabic and homophonic
though the texture is varied by pseudo-polychoral writing for different groups of
voices.
BIBLIOGRAPHY
EitnerQ
FétisB
KöchelKHM
MGG1 (‘La Court, Antoine de’; H. Federhofer)
SennMT
Vander StraetenMPB, v
A. Sandberger: Beiträge zur Geschichte der bayerischen Hofkapelle unter
Orlando di Lasso, iii (Leipzig, 1895/R)
A. Smijers: ‘Die kaiserliche Hofmusik-Kapelle von 1543–1619: II’, SMw, vii
(1920), 102–42; parts I to IV pubd separately (Vienna, 1922)
W. Pass: Musik und Musiker am Hof Maximilians II. (Tutzing, 1980)
ALBERT DUNNING
Lacroix [Croix], Antoine
(b Rambouillers, nr Nancy, 1756; d Lübeck, 18 June 1806). French violinist,
composer and music dealer, active in Germany. He first studied the violin and
composition with Joseph-Antoine Lorenziti, maître de chapelle at Nancy Cathedral.
From 1780 to 1792 Lacroix lived in Paris where he achieved considerable fame as
a violin virtuoso and published his Six Sonates pour piano et violon, op.1 (1784).
He left Paris in 1792 because of the Revolution, travelling via Bruges to Bremen,
where he evidently remained until 1794. He made several concert tours in
Denmark and Germany, served for a short time as a chamber musician to the King
of Prussia in Berlin, then from 22 January 1796 was a municipal musician in
Lübeck. There he was also active in private concerts with the organist J.W.C. von
Königslöw. From 1799 he built up a music trade, offering the most important
current works by Haydn, Zumsteeg and Pleyel, as well as his own sonatas, duos
and variations for the violin. His works were praised by his contemporaries for their
brilliant and effective passages for the instrument, their pleasing melodies and their
straightforward structures. (J. Hennings and W. Stahl: Musikgeschichte Lübecks,
Kassel, 1951–2)
WORKS
Duos: 6 sonatas, pf, vn, op.1 (Paris, 1784), lost; 3 Duos concertants, 2 vn, op.2
(Hamburg, n.d.); 3 sonatas, vn, vc, op.3 (Hamburg, n.d.); 3 for 2 vn, op.12
(Paris, 1801); 3 for 2 vn, op.14 (Paris, n.d.), lost; 3 for 2 vn, op.15 (Leipzig,
n.d.), no.1 arr. as Sonate, pf, vn, op.17b (Leipzig, n.d.); 3 [12] for 2 vn, opp.16,
18, 20, 21 (Leipzig, n.d.); Air varié, Ah vous dirai-je, maman, 2 vn, op.19
(Leipzig, n.d.); VII variations, on O mein lieber Augustin, vn, vc (Leipzig, 1801);
Air varié, vn, vc (Brunswick and Hamburg, n.d.); 12 pièces, 2 vn, mentioned in
AMZ, v (1806); 3 Sonate, 2 vn, 1798, lost
Other works: IV Angloisen, II Walzer, orch (Brunswick, n.d.); 3 str qts, op.17a
(Brunswick, n.d.); V walzes, pf (Hamburg, c1805); Divertissement, 1797, lost; ?
3[?6] str qts, opp.5, 13 (Hamburg, n.d), lost; Thèmes variés, vn, op.6 (Hamburg,
n.d.), lost; Thèmes variés, vn, op.19 (Vienna, n.d.), lost; Thème varié, pf,
mentioned in FétisB; Romanze mit 4 Variationen, vn, 1795, lost; dances
(Hamburg and Brunswick, n.d.), mentioned in GerberNL
GEORG KARSTÄDT
La Croix [Delacroix], François de
(b Senlis, 6 Jan 1683; d Paris, 8 April 1759). French composer. After initial musical
training at Senlis Cathedral, he probably studied under Nicolas Bernier in Paris. He
was maître de chapelle of the royal church of St Paul from 8 September 1714 to 12
September 1726, and succeeded Bernier in the same post at the Ste Chapelle
from 18 September 1726. A priest, he was appointed permanent chaplain of the
Ste Chapelle on 2 December 1744, succeeding P. Warnier, and on 30 January
1745 he was replaced as maître de chapelle by Abel-François Fanton, former
maître de chapelle of Blois Cathedral. He composed a large number of motets,
several of which were performed at the Concert Spirituel, and masses for the
reopening of the Paris parliament. His surviving works consist of several airs
published in Ballard’s collections and one book of Motets à une, deux et trois voix
avec symphonie et sans symphonie op.1 (Paris, 1741), which contains 14 of his
motets and four posthumous motets by Bernier. La Croix’s motets are
distinguished by their sobriety of expression and clarity of part-writing.
Other musicians with the same name who may have been related include Abbé de
La Croix, a singer at the Concert Spirituel from 1750 to 1759; Adrien de La Croix, a
member of the 24 Violons in 1664 who composed an Allemande à 4 (D-Kl); and
Pierre La Croix, a ‘Maître Joueur d’Instruments’ in Paris in 1724.
BIBLIOGRAPHY
BrenetC; BrenetM; EitnerQ; MGG1 (D. Launay); PierreH
P. Nelson: ‘Nicolas Bernier: a Resume of his Work’, RMFC, i (1960), 93–8
M. Benoît, ed.: Dictionnaire de la musique en France aux XVIIe et XVIIIe
siècles (Paris, 1992)
GUY BOURLIGUEUX
La Crotte, Nicolas de.
See La Grotte, Nicolas de.
La Cruz, Zulema de
(b Madrid, 9 March 1958). Spanish composer. She took higher degrees in piano
and composition at the Madrid Conservatory (1986–8) and the MA at the Center for
Computer Research in Music and Acoustics of the University of Stanford, California
(1986–7). In 1988 she was appointed professor of electro-acoustic composition at
the Madrid Conservatory and founded the Laboratorio de Informática Musical
there. Her apprenticeship with John Chowning and Leland Smith at Stanford led to
her specialization in electro-acoustic music, but she continued to compose for
traditional groups of instruments. In these her interest in numerical structures and
their combinations is evident, as can be seen in Kinesis-2 (1987) and in Seis para
seis (1990). She has become increasingly interested in basing the structure of her
works on mathematical relations of natural phenomena, such as volcanos in Chío
(1989), or the cosmos in Púlsares (1990) and Erídano (1994). Her style is
increasingly characterized by relatively simple forms effectively reinforced by a
vigorous and striking use of dense textures.
WORKS
(selective list)
Orch: Pieza, 1985
Vocal: Seis para seis, S, pf, vn, va, db, bn, 1990; Canto a Europa, S, tape, 1992
Chbr: Nucleofonía, s sax, b cl, hn, pf, vib, vn, va, vc, 1980; Kinesis-2, 2 vn, va, vc,
1987; Géminis, fl, cl, perc, pf, vn, va, vc, 1988; Soluna, pf, perc, sax qt, tape, 1993;
Phoenix, brass qnt, tape, 1996
Solo inst: Quasar, pf, 1979–89; Púlsar, pf, 1989; Chío, b sax, tape, 1989; Púlsares,
pf, tape, 1990; Erídano, sax, tape, 1994
Tape: So far, so near, 1987; Fugaz, 1990
BIBLIOGRAPHY
J.R. Encinar, ed.: Música en Madrid (Madrid, 1992)
Zulema de la Cruz (Madrid, 1994) [contains catalogue]
JOSÉ IGES
Lacy, Michael Rophino
(b Bilbao, 19 July 1795; d London, 20 Sept 1867). English violinist, composer, actor
and playwright. According to Sainsbury (the source from which all other
biographies derive), Lacy was a child prodigy who performed in public at the age of
six a concerto by Giornovichi. He was educated at Bordeaux (1802) and Paris
(1803), where he studied with Kreutzer. About the end of 1804 he performed for
Napoleon. He played in the Netherlands on his way to London, which he reached
in October 1805. His musical and linguistic skills earned him much success there:
his first concert at the Hanover Square Rooms was given under the patronage of
the Prince of Wales. In 1807 Lacy was in Dublin, performing with Catalini; he then
moved on to Edinburgh, where he was engaged for Corri's concerts. Some time
after that he left music for the theatre, acting in Dublin, Edinburgh and Glasgow. In
1818 he returned to music, succeeding Janiewicz as leader of the Liverpool
concerts, and at the end of 1820 he returned to London where he led the ballet
orchestra at the King's Theatre.
From 1827 to 1833 Lacy produced a series of skilful adaptations of French and
Italian operas for the Drury Lane and Covent Garden theatres. He spent the
season of 1830–31 in Paris, where he heard Paganini's first Parisian performance
and urged (unsuccessfully, as it turned out) the Covent Garden management to
engage him. Lacy's oratorio The Israelites in Egypt, a mixture of music by Rossini
and Handel, was staged with great success in 1833; however, a second dramatic
oratorio, Jephtha, was suppressed because of the perceived impropriety of having
sacred characters acting in costume. Plays submitted to the Lord Chamberlain in
1836 listed him as a manager at Covent Garden. In September 1845 Lacy
conducted Bellini's La sonnambula and other works at the Park Theatre in New
York, where his daughter, Miss Delcy, sang. He directed a series of ‘Handelian
Operatic Concerts’ at London in 1847, and during the 1850s he did much of the
research for Schoelcher's biography of Handel and unpublished catalogue of
Handel's music. Copies of Handel's music in Lacy's hand (GB-Lbl and F-Pc) show
a wealth of annotations that are notable for their explorations of borrowings and of
the compositional process.
A portrait of Lacy aged 12 was painted by the noted English miniaturist J. Smart;
an engraving of that portrait by Anthony Cardon survives at the British Museum
and the Harvard Theatre Collection. Lacy published numerous arrangements of
arias by Handel, Rossini and others, and no doubt arranged more operas than are
known at present. His greatest theatrical success was his adaptation of Rossini's
La Cenerentola, which held the stage in both England and America for a
considerable time.
WORKS
MS librettos, all by Lacy, in GB-Lbl
LDL Drury Lane Theatre
LCG Covent Garden Theatre
Stage: The Turkish Lovers (comic op, after Rossini: Il turco in Italia), LDL, 1 May
1827; Love in Wrinkles, or The Russian Stratagem (comic op, after Fétis: La vieille),
LDL, 4 Dec 1828; The Maid of Judah, or The Knights Templar (op, after A. Pacini:
Ivanhoé), LCG, 7 March 1829; The Casket (comic op, after E. Scribe: Les
premières amours), LDL, 10 March 1829 (music after Mozart: Idomeneo);
Cinderella, or The Fairy Queen and the Glass Slipper (comic op, after Rossini: La
Cenerentola, incl. music from Armida, Maometto II and Guillaume Tell), LCG, 13
April 1830; Napoleon Buonaparte, Captain of Artillery, General and First Consul,
Emperor and Exile (dramatic spectacle), LCG, 16 May 1831; Fra Diavolo, or The Inn
of Terracina (op, after Auber), LCG, 3 Nov 1831; The Fiend Father, or Robert of
Normandy (op, after Meyerbeer: Robert le diable), LCG, 21 Feb 1832; The Coiners,
or The Soldier's Oath (op, after Auber: Le serment), LCG, 23 March 1833; The
Israelites in Egypt, or The Passage of the Red Sea (staged orat, after Rossini: Mosè
in Egitto and Handel: Israel in Egypt), LCG, 22 Feb 1833; Jephtha (pasticcio orat,
after Handel), 1834; The Blind Sister, or The Mountain Farm (op, story written and
music adapted from Auber by Lacy), London, Princess's, May 1849; The Route of
the Overland Mail to India, from Southampton to Calcutta (diorama, J.H. Siddons,
scenery by T. Grieve, W. Telbin), London, Gallery of Illustration, 1851; Ginevra of
Sicily (pasticcio, after Handel: Ariodante), n.d.
Other works: ‘A popular Hungarian air composed by Kreutzer, arranged as a rondo
for the pianoforte, with accompaniments, ad libitum, for the flute and violoncello’
(1824); Contributions to The Juvenile Band (1826); numerous song and aria
arrangements; 3 rondos (pf), qnt (2 vn, va, fl, vc, with pf acc.), 6 songs with guitar
acc. (SainsburyD)
BIBLIOGRAPHY
DNB
NicollH
SainsburyD
A. Bunn: The Stage: both Before and Behind the Curtain, i (London, 1840),
176–80
V. Schoelcher: The Life of Handel (London, 1857), preface, 111–14
V. Schoelcher: Catalogue de l'oeuvre de Handel (MS, F-Pc)
J.N. Ireland: Records of the New York Stage from 1750–1860, ii (New York,
1866/R), 447
H.S. Wyndham: The Annals of Covent Garden Theatre: from 1732 to 1897, ii
(London, 1906), 76–9, 83–4, 121
T.J. Walsh: Opera in Dublin 1798–1820: Frederick Jones and the Crow Street
Theatre (Oxford, 1993), 54
J. Graziano: Introduction to M.R. Lacy: Cinderella, in Nineteenth-Century
American Musical Theater, ed. D.L. Root, iii (New York, 1994)
B. Trowell: ‘Michael Rophino Lacy and Ginevra of Sicily: a 19th-Century
Adaptation of Handel's Ariodante’, Handel Institute Newsletter, vi (1995), 1–3
RICHARD G. KING
Lacy, William
(b 1788; d Devon, 1871). English bass. He is erroneously listed in many
dictionaries as ‘John Lacy’. He was a pupil of Rauzzini’s at Bath. After singing in
London he went to Italy for further study, mastering both the Italian language and
style of singing. On his return he sang at concerts and the Lenten Oratorios; but
though he had an exceptionally fine voice and execution, and offers from opera
companies at Florence, Milan and later London, weak health prevented him from
taking any prominent position. In 1817 he and his wife helped secure early
subscribers and intelligence for the new journal planned by Richard Mackenzie
Bacon, the Quarterly Musical Magazine and Review. The following year they
accepted an engagement in Calcutta, returning to England about 1826. They
retired into private life and resided at Florence and other continental cities before
finally settling in England.
Lacy’s wife, the soprano Jane Jackson (b London, 1776; d Ealing, 19 March 1858),
first appeared at a London concert on 25 April 1798, and sang as Miss Jackson at
the Concert of Ancient Music in 1800. That same year she married the composer
Francesco Bianchi; while Mrs Bianchi she often sang at Windsor in the presence of
George III and Queen Charlotte. She and Bianchi soon separated, he died in 1810,
and she married Lacy in 1812, singing as Mrs Bianchi Lacy until 1815. Considered
one of the finest interpreters of Handel as well as a good pianist and painter, she
was noted for her grand, simple style and perfect delivery of Italian. Through her
friendship with R.M. Bacon, portions of Bianchi’s celebrated manuscript theory
treatise were published in early volumes of the Quarterly Musical Magazine.
BIBLIOGRAPHY
DNB (‘Lacy, John William or William’; R.H. Legge; see also Errata vol.)
SainsburyD
[R.M. Bacon]: ‘Preliminary Remarks on Bass Singing’, Quarterly Musical
Magazine and Review, i (1818), 333–40
L. Langley: The English Musical Journal in the Early Nineteenth Century
(diss., U. of North Carolina, 1983)
LEANNE LANGLEY
Łada [Ładowski, Ładewski], Kazimierz
(b Blizno, nr Kalisz, 1824; d Włocławek, 5 Sept 1871). Polish violinist and
composer. He had his first music lessons from his elder brother Maciej in
Włocławek. In 1837 he moved to Warsaw where, with his brothers, he formed the
Ładowskis Quintet, in which Kazimierz was first violin. He also gave solo
performances in Poland and Russia. From 1854 to 1857 he was in Paris, where he
studied composition with E. Collet and the violin with Delphin Alard. His playing
was described as melodious, lilting and of great feeling, though technically
imperfect; his programmes consisted mainly of his own compositions and salon
pieces. In 1861 paralysis compelled him to give up concert performance. He
composed more than 40 small pieces for violin in dance and other light forms. The
best known were the Kujawiak in D (1850), Cygan, the Fantasy (1860) and the
Caprice poétique (1862). His writings included ‘Historia muzyki’ (1860) and
‘Materiały do historii muzyki w Polsce’, published in Gazeta muzyczna i teatralna
(1866).
BIBLIOGRAPHY
SMP
J.W. Reiss: Polskie skrzypce i polscy skrzypkowie [Polish violins and
violinists] (Łódź, 1946), 11
JERZY MORAWSKI
Ladegast, Friedrich
(b Hochhermsdorf, 30 Aug 1818; d Weissenfels, 30 June 1905). German organ
builder. He trained under his brother Christlieb in Geringswalde and with Urban
Kreutzbach in Borna, Mende in Leipzig and Zuberbier in Dessau. He set up in
business on his own in Weissenfels in 1846. The excellence of his organ at
Hohenmölsen led to a contract to repair and enlarge the organ in Merseburg
Cathedral. When completed in 1855, this was the largest organ in Germany (four
manuals, 81 stops); among those who played it was Liszt, whom it inspired to
compose his Prelude and Fugue on B–A–C–H. Other major works by Ladegast
include the organs of the Nikolaikirche, Leipzig (1858–62; four manuals, 86 stops),
Schwerin Cathedral (1866–71; four manuals, 84 stops; extant, unaltered), and the
Gesellschaft der Musikfreunde in Vienna (1872; three manuals, 55 stops; the case
and pipes standing in the front survive). Ladegast was in the forefront of German
organ builders of the 19th century. Unlike such master craftsmen as Walcker and
Steinmeyer, he built slider-chests, but he also built cone-chests as early as c1875.
He introduced pneumatic action in 1890. Ladegast followed the trends of German
Romantic organ building (see Schulze) both in tone and in the relatively small
proportion (by comparison with Cavaillé-Coll, for instance) of reeds in the
specification. In the scale of his pipes he followed older methods in his early
instruments, employing a basic ratio of 1:2 for the diameters of pipes an octave
apart (also used by Bédos de Celles), but he later adopted J.G. Töpfer’s ratio (see
Organ, §III, 1), at first for the Principal chorus only, eventually for all stops.
Ladegast was known in professional circles as the ‘Nestor of German organ
building’.
BIBLIOGRAPHY
H.-G. Wauer: ‘Friedrich Ladegast, ein bedeutender Orgelbauer des 19.
Jahrhunderts’, Musik und Kirche, xxv (1955), 293–4
H.J. Busch: ‘The Organ Music of Franz Liszt and the Organ of the Cathedral
of Merseburg’, Organ Yearbook, xxi (1991), 79–94
H.J. Busch: ‘Friedrich Ladegast: ein Weissenfelser Orgelbauer von Weltrang
und seine Orgeln in Sachsen-Anhalt’, Denkmalpflege in Sachsen-Anhalt, i
(1994), 28–37
H.J. Busch: ‘Die Orgel der Nikolaikirche zu Leipzig: Vergangenheit,
Gegenwart, Zukunft’, Die Orgel der Nikolaikirche in Leipzig, ed. J. Wolf
(Leipzig, 1996), 2–8
HANS KLOTZ/HERMANN J. BUSCH
Laderman, Ezra
(b Brooklyn, NY, 29 June 1924). American composer. He attended the High School
of Music and Art in New York, where he was the soloist in the first performance of
his Piano Concerto (1939), given by the school orchestra. During World War II,
while serving in the US Army, he composed the Leipzig Symphony, which was
given its première in Wiesbaden in 1945. After the war he began composition study
with Stefan Wolpe (1946–9) and entered Brooklyn College, CUNY (BA 1949),
where he studied with Miriam Gideon. He continued his studies at Columbia
University (MA 1952), where his teachers included Otto Luening and Douglas S.
Moore. During the periods 1960–61 and 1965–6 he taught at Sarah Lawrence
College. Other appointments included positions as composer-in-residence at
SUNY, Binghamton (1971–82), visiting composer at Yale University (1988) and
dean of the Yale School of Music (1989–95). In 1996 he was appointed professor
of composition at Yale. Among his many honours are three Guggenheim
fellowships (1955, 1958, 1964), the Prix de Rome (1963) and residencies at the
Bennington Composers Conference (1967, 1968) and the American Academy in
Rome (1982–3). He has also served as chair of the NEA’s composer-librettist
programme (1972), president of the AMC (1973–6) and director of the NEA music
programme (1979–82). In 1985 he was elected president of the National Music
Council. He has received commissions from the Philadelphia Orchestra, the
Chicago SO, the New York PO, the American Recorder Society, Jean-Pierre
Rampal, Yo-Yo Ma and Emanuel Ax, among others.
During his study with Wolpe, Laderman was introduced to the techniques of atonal
and 12-note composition. Luening and Moore, however, challenged the young
composer to free himself from the rigidity of these techniques and develop the long
lyrical lines that became a hallmark of his style. Laderman’s use of tonal materials
in combination with atonal and aleatory elements, as in Priorities (1969), is
particularly striking; also characteristic is his development of unusual formal
structures, often arising from the transformation of unexpected ideas into musical
shapes. In Double Helix (1968), for example, the oboe and flute repeatedly return
at the same time to the tonic pitch and then move away in independent melodic
and harmonic lines, musically duplicating the structure of DNA. Some of
Laderman's most interesting compositional experiments appear in his string
quartets. In the Fourth String Quartet (1974) a juxtaposition of dynamics, gesture,
harmonic language and metre is explored, while in the Seventh Quartet (1983) the
elaboration of separate ideas suggests a functional combination of development
and recapitulation.
Laderman’s ten operas, on a variety of biblical, historical and fantastic subjects,
form a large part of his output. Perhaps the best known of these is Galileo Galilei
(1978), a revision of his oratorio The Trials of Galileo (1967). Strongly rhythmic,
dissonant and highly contrapuntal, lyricism does not prevail in this work. The drama
is static, but purposeful in a Brechtian manner. With the commission and première
of Marilyn by New York City Opera (1993), Laderman turned to American pop
culture. Taking the actress Marilyn Monroe as its subject, the opera portrays her at
the end of her life – drugged, depressed, unloved and ultimately betrayed. The
music incorporates pop and jazz styles prevalent in the 1960s as well as
maintaining Laderman's own musical aesthetic.
WORKS
dramatic
Ops: Jacob and the Indians (3, E. Kinoy, after S.V. Benét), 1954, Woodstock, NY,
24 July 1957; Goodbye to the Clowns (1, Kinoy), 1956; The Hunting of the Snark
(op-cant., 1, L. Carroll), 1958, concert perf., New York, 25 March 1961, staged, New
York, 13 April 1978; Sarah (1, C. Roskam), 1959, CBS TV, 29 Nov 1959; Air Raid
(1, A. MacLeish), 1965; Shadows Among Us (2, N. Rosten), 1967, Philadelphia, 14
Dec 1979; And David Wept (op-cant., 1, J. Darion), 1970, CBS TV, 11 April 1971,
staged, New York, 31 May 1980; The Questions of Abraham (op-cant., 1, Darion),
1973, CBS TV, 30 Sept 1973; Galileo Galilei (3, Darion, after The Trials of Galileo),
1978, Binghamton, NY, 3 Feb 1979; Marilyn (1, Rosten), New York, Oct 1993
Other stage: Duet for Flute and Dancer (J. Erdman), 1956; Dance Quartet
(Erdman), fl, cl, vc, dancer, 1957; Ester (dance score, Erdman), nar, ob, str orch,
1960; Machinal (incid music, S. Treadwell), 1960; Solos and Chorale (dance score,
Erdman), 4 mixed vv, 1960; Song of Songs (dance score, Bible, choreog. A.
Sokolow), S, pf, 1960; Dominique (musical comedy, 2, J. Darion, after E. Kinoy),
1962; The Lincoln Mask (incid music, V.J. Longhi), 1972
12 Film scores; 12 TV scores
orchestral
With solo inst(s): Pf Conc., 1939; Pf Conc. no.1, 1978; Vc Conc., 1984; Fl Conc.,
1986; Pf Conc. no.2, 1989; 11 other concertos
Other orch: Leipzig Sym., 1945; Sym. no.1, 1964; Magic Prison (E. Dickinson, T.W.
Higginson, arr. A. MacLeish), 2 nar, orch, 1967 [based on film score]; Priorities, jazz
band, rock band, str qt, 1969; Sym. no.2 ‘Luther’, 1969; Sym. no.3 ‘Jerusalem’,
1973; Sym. no.4, 1980; Sym. no.5 ‘Isaiah’, S, orch, 1982; Sym. no.6, 1983; Sym.
no.7, 1984; Sanctuary, 1986; Conc. for Double Orch (A Play Within a Play), 1989;
Citadel, 1990; Sym. no.8, 1994; Yisreal, 1998; 9 other works
vocal
Songs for Eve (A. MacLeish), S, pf, 1966; The Trials of Galileo (orat, J. Darion), solo
vv, chorus, orch, 1967; Songs from Michelangelo, Bar, pf, 1968; A Handful of Souls
(cant., Darion), solo vv, chorus, org, 1975; Columbus (cant., N. Kazantsakis), B-Bar,
orch, 1975; Song of Songs (chbr cant.), S, fl, cl, vn, vc, pf, 1977 [based on dance
score]; A Mass for Cain (orat, Darion), solo vv, chorus, orch, 1983; 4 other works
chamber
2 or more insts: Pf Qnt, 1951; Str Qt, 1953; Wind Qnt, 1954; Pf Trio, 1955, rev.
1959; Theme, Variations and Finale, 4 wind, 2 str, 1957; Wind Octet, 1957; Sextet,
wind qnt, db, 1959; Str Qt no.1, 1959; Str Qt no.2, 1962; Str Qt no.3, 1966; Double
Helix, fl, ob, str qt, 1968; Str Qt no.4, 1974; Str Qt no.5, 1976; Str Qt no.6 ‘The
Audubon’, 1980; Remembrances, cl, vn, vc, pf, 1982; Double Str Qt, 1983; Str Qt
no.7, 1983; Str Qt no.8, 1985; Cl Qnt, 1988; MBL Suite, 2 fl, str qt, 1988; Epigrams
and Canons, 2 Baroque fl, 1990; Pf Qnt, 1990; Talkin’-Lovin’-Leavin’, rec, str qt,
1990; Aldo, 8 vc, 1991; A Single Voice, fl, str qt, 1991; Pf Qt, 1996; 20 other works
Solo inst: Prelude in the Form of a Passacaglia, pf, late 1940s; Pf Sonata no.1,
1952; Pf Sonata no.2, 1955; Partita (Meditations on Isaiah), vc, 1972; Elegy, va,
1973; 25 Preludes for Org in Different Forms, 1975; Partita, vn, 1982; June 29, fl,
1986; A Moment in Time, fl, 1989; Partita, vn, 1990; Michael's Suite, fl, 1994; 7
other works
El-ac: Other Voices, va, tape, 1976
recorded interviews in US-NHoh
Principal publishers: OUP, G. Schirmer
BIBLIOGRAPHY
Anderson2
Baker7
EwenD
GroveA (P. Friedheim)
GroveO (J.P. Cassaro)
S. Fleming: ‘Musician of the Month: Ezra Laderman’, High Fidelity/Musical
America, xxx/3 (1980), 4 only
R.H. Kornick: Recent American Opera: a Production Guide (New York, 1991),
163–7
T. Page: ‘Opera in 3-D’, ON, lviii/4 (1993–4), 12–17, 52 [on Marilyn]
JAMES P. CASSARO
Ładewski [Ładowski], Kazimierz.
See Łada, Kazimierz.
Lādhiqī [Muhammad], al-
(fl late 15th century). Arab theorist. His two treatises, one of which, al-Risāla al-
fathiyya (‘The victory treatise’), is dedicated to the Ottoman Sultan Bāyazīd II
(1481–1512), are among the last significant additions to the Systematist school of
theoretical writing derived from Safī al-Dīn. They treat mainly of intervallic
relationships, tetrachord, pentachord and octave species, and rhythm; however, in
common with several of the later Systematist treatises they make no significant
theoretical contributions in these areas. Al-Lādhiqī is important, rather, for the
information he provides on musical practice; while reproducing the definitions of the
modes and rhythms given by earlier theorists, he also includes extensive lists
relating to contemporary usage which give some insight into the various changes
and developments taking place during the 15th century.
WRITINGS
Al-risāla al-fathiyya fī al-mūsīqī [The victory treatise concerning the theory of
music] (MS, GB-Lbl Oriental 6629; National Library, Cairo, f.j.7); Fr. trans. in
La musique arabe, ed. R. d'Erlanger, iv (Paris, 1939), 257–498
Zayn al-alhān fī ‘ilm ta’līf al-awzān [The adorning of melodies in the
composition of the measures] (MS, National Library, Cairo, f.j.350)
BIBLIOGRAPHY
H.G. Farmer: The Sources of Arabian Music (Bearsden, 1940, 2/1965), 57
OWEN WRIGHT
Ladipo, Duro
(b Oshogbo, 18 Dec 1931; d Ibadan, 11 March 1978). Nigerian playwright. Ladipo
was an internationally famous author of Yoruba popular plays. For the Duro Ladipo
Theatre Group he served as director, actor, composer, choreographer and
manager. He was the grandson of a drummer and the son of an Anglican catechist.
He was a member of his school's choir from the age of nine, and wrote his first play
while still in school. At the same time he began composing and adapting European
hymns to the tonality of the Yoruba language. The performance of his Easter
Cantata (1961) in Oshogbo sparked a controversy concerning the use of drums in
churches. Ladipo thereafter began performing outside the church, changing his
topics to historical themes that integrated Yoruba singing and drumming. He
‘Yoruba-ized’ popular theatre, and his new directions were highly successful. He
produced 36 plays, not including his television scripts.
His play Oba Koso, which depicted the deified Alafin Shango of Oyo, became one
of the most impressive theatrical productions of Ladipo's time. It was presented at
the Berliner Festspiele (1964) and the Commonwealth Arts Festival in Liverpool
(1965), and in Bahia (1969). His music fused elements of church music, highlife
and traditional Yoruba drumming. Throughout his career Ladipo presented Yoruba
history and culture in a positive way, and he is thus considered instrumental in the
strengthening of the waning Yoruba identity.
WORKS
Eda (op), Ibadan, 1970
Oba Koso [The king did not hang] (dance-drama), Ibadan, 1972, S1975
Kaleidophone
BIBLIOGRAPHY
J. Jahn: Who's Who in African Literature (Tübingen, 1972)
B. Jeyifo: The Yoruba Popular Travelling Theatre of Nigeria (Lagos, 1984)
G. Kubik: Musikgeschichte in Bildern: Westafrika (Leipzig, 1989)
U. Beier, ed.: The Return of Shango: the Theatre of Duro Ladipo (Bayreuth,
1994)
WOLFGANG BENDER
Ladmirault, Paul (Emile)
(b Nantes, 8 Dec 1877; d Camoël, nr La Roche-Bernard, Morbihan, 30 Oct 1944).
French composer. He wrote music from childhood, and when he was eleven one of
his works attracted the attention of Bourgault-Ducoudray. His first opera, Gilles de
Retz, was written when he was fifteen and produced in Nantes in 1893. He studied
at the Paris Conservatoire from 1897 to 1904, mainly as a pupil of Fauré, and
became professor of harmony, counterpoint and fugue at the Nantes Conservatoire
in 1920. He wrote music criticism for a number of journals, including the Revue
Musicale.
The range and diversity of Ladmirault's music reflect his precocious talent and
wealth of cultural interests. He was deeply attached to his native Brittany and to
Celtic culture, and his output contains refined examples of regionalist composition
as well as significant works in standard genres. Ladmirault was conscious of his
music's indebtedness to Fauré and Ravel. His works embrace pure modality on the
one hand and, on the other, a highly personal chromaticism with an appetite for
strong dissonance. His harmonizations of traditional themes show an obvious
desire to preserve their essential rhythmic character (in the barring especially),
while the works inspired by folklore show great imagination in their treatment and
development of motives.
WORKS
(selective list)
Stage: Myrdhin (op, 4, L. Ladmirault and A. Fleury), 1899–1902 [incl., orch extracts:
Suite bretonne, 1903; Brocéliande au matin, ov., 1905]; Le roman de Tristan (incid
music, J. Bédier and L. Artus), 1913–18; La prêtresse de Korydwen (ballet), 1917;
Inst: Variations sur des airs de biniou trégorois, orch, 1908; Rhapsodie gaélique,
orch, 1909; En forêt, sym. poem, orch, 1913; La Brière, orch, 1926; Sym., C, orch,
1926; Sonata, vn, pf, 1931; Pf Qnt [from Sym.], 1993; Str Qt, 1933; Sonata, vc, pf,
1939; Sonata, cl, pf, 1942; Trio; pf works for 2 and 4 hands
Vocal: Choeur des âmes de la forêt, chorus, orch; Messe brève, chorus, org, 1937;
Dominical (M. Elskamp), S, A, T, B, pf, 1911; many songs for 1v, pf; choral works for
2–4vv
Principal publishers: Leduc, Jobert, Eschig, Salabert
BIBLIOGRAPHY
MGG1 (G. Ferchault)
C. Debussy: ‘De l’opéra et de ses rapports avec la musique’, Gil Blas (9
March 1903)
O. Séré [J. Poueigh]: Musiciens français d'aujourd'hui (Paris, 1911, 8/1921)
M. Courtonne: Un siècle de musique à Nantes et dans la région nantaise,
1850–1950 (Nantes, 1953)
L. Legeard: ‘Paul Ladmirault’, Résonances, no.18 (1991), 1–4
YVES KRIER
La Douardière, Henri de.
See L’Enclos, Henri de.
Ladurner, Ignace Antoine (François
Xavier) [Ignaz Anton Franz
Xaver/Joseph]
(b Aldein, nr Bolzano, 1 Aug 1766; d Villain, nr Massy, 4 March 1839). French
composer, pianist and teacher of Austrian descent, elder brother of Josef Alois
Ladurner. His father, Franz Xaver (1735–82), was an organist and teacher at
Aldein and later at Algund (now Lagundo). Ignace studied music with his uncle
Innozenz Ladurner (1745–1807) at the nearby monastery of Benediktbeuren and
became the organist at Algund on his father's death. In 1784 he went to Munich to
study at the Lyceum Gregorianum, leaving the organ position to Josef Alois. He
soon completed his studies and moved to Longeville, near Bar-le-Duc, with
Countess Heimhausen, a distinguished pianist, who apparently employed him to
play music with her. He arrived in Paris in 1788 and soon developed a reputation
as an outstanding teacher. From 1797 until 1802 he taught the piano at the
Conservatoire, during which time his pupils won several prizes. However, his most
famous pupils, Auber and Boëly, were taught privately. When the Conservatoire
was re-formed as the Ecole Royale in 1816 he was appointed to the faculty but
apparently never fulfilled this role. He married Mlle Magnier de Gondreville, a
talented violinist; their son, Adolphe Ladurner, became known as a painter. In
1836, disabled by paralysis, he moved to his country home in Villain.
Ladurner wrote two operas and some chamber music, but most of his compositions
were for the piano. According to Saint-Foix, Ladurner was more interested in solid
construction than in the flashy style of his contemporary Steibelt, and his music,
characterized by good counterpoint and unusual modulations, reveals thorough
knowledge of Clementi's works, but is not reactionary. In his sonatas the opening
movements are melodically less attractive than the later movements; there is often
a disparity between the first subjects, which are pre-Romantic in inflection, and the
more galant second subjects. Popular airs are used in the Mélanges harmoniques,
and his opéra comique Les vieux fous is notable for the ingenuity of the
orchestration. Ladurner influenced his pupils, particularly Boëly, both through his
interest in new ideas and his continual study of established masters.
WORKS
all printed works published in Paris
operas
Wenzel, ou Le magistrat du peuple (drame lyrique 3, F. Pillet), Paris, National, 10
April 1794, ov., airs, acc. pf (1795–1800)
Les vieux fous, ou Plus de peur que de mal (oc, 1, J.A. de Ségur), Paris, OC
(Feydeau), 16 Jan 1796, score, F-Pc
piano
12 sonatas, opp.1–2, lost, 8, 11; 3 grandes sonates avec la charge de cavalerie,
op.4 (1797); 4 caprices, 3 as op.8, 1 as op.11; 3 divertissements, op.13; 3 thèmes
variés, op.14; 6 airs variés, op.16, lost; Airs irlandais variés, op.17, lost; Airs des
Trembleurs variés, op.18, lost; Mélange harmonique, op.3; Second mélange
harmonique, op.10; Fantaisie, op.12; Gai, gai, rondo fantaisie, Pc*; pieces in Etude
ou Exercice de différents auteurs (1798)
Pf 4 hands: 3 sonatas, op.2 (1793), op.6 (c1804), op.12 [with Une larme sur la
tombe de la plus tendre mère]
other works
Chbr: Sonata, pf, vn acc. in Journal de pièces de clavecin par différents auteurs
(1792); 3 Sonatas, pf, vn, vc, op.1 (?1793); 9 Sonatas, pf, vn acc., 3 as op.5 (1798),
3 as op.7 (after 1804), 3 others, ?op.9; Introduction pour la sonate de Steibelt, vn,
pf, Pc
Vocal: Amant cher autant qu'infidèle, romance, in Journal hebdomadaire composé
d'airs d'opéras, xxiv/42 (1789); Orgie militaire, ou Gaité militaire (Pillet) (?1795)
BIBLIOGRAPHY
EitnerQ
FétisB
G. de Saint-Foix: ‘Les premiers pianistes parisiens: Ignace-Antoine Ladurner
(1766–1839)’, ReM, viii/1–2 (1926–7), 13–20
B. François-Sappey: Alexandre Pierre François Boëly (1785–1858): ses
ancêtres, savie, son oeuvre, son temps (Paris, 1989)
FRÉDÉRIC ROBERT
Ladurner, Josef Alois
(b Algund, nr Merano, 7 March 1769; d Brixen [Bressanone], 20 Feb 1851).
Austrian composer, brother of Ignace Antoine Ladurner. He studied with his uncle
at the monastery of Benediktbeuern, became organist at Algund in 1784, and
attended the Lyceum Gregorianum at Munich where he studied theology and
philosophy until 1798. He also had piano lessons and received instruction in
composition and counterpoint from the Hofclaviermeister Josef Graetz. He became
a priest in 1799, and held various positions at the prince-bishop’s consistory at
Brixen, including those of court chaplain from 1802 and councillor from 1816.
Although he was not a professional musician, he directed choirs, gave piano
lessons and participated in the activities of music societies at Innsbruck and
Salzburg. His compositions, which were highly regarded by his contemporaries,
include variations and fantasias for the piano, considerable church music and some
pedagogical works; many of his works remain in manuscript.
WORKS
published in Munich after 1826 unless otherwise stated
Sacred vocal, 4vv: Tantum ergo, op.2; Ecce sacerdos, op.3, pf. acc.; Ave Maria,
op.4; O salutaris hostia, op.5; other works, unpubd incl. MSS, A–Wgm, D–LEm
Pf: Fantaisie, ?op.1 (Mainz, before 1811); Fantasie, op.6 (c1835); 52 kurze
Cadenzen mit variirter Modulation, op.7; Rondo all’anglaise, op.8; 16 Variationen
über ein Pastoral-Thema, op.9; 16 Variationen über einen beliebten Wiener Walzer,
op.10; Fantasie, Fuge und Sonata über das Thema einer Fuge von Handel, op.11;
Fugue, op.12; Fantasie über ein Thema aus Don Juan [Mozart’s Don Giovanni],
op.13; 56 moderne Orgel- und Clavier-Praeludien, op.14; other works, unpubd
Pedagogical works, incl. Grundliches Lehrbuch [piano teaching method]
BIBLIOGRAPHY
FétisB
G.W. Fink: ‘Joseph Aloys Ladurner’, AMZ, xxxvii (1835), 759–61
Lady Day.
See Holiday, Billie.
Lady Mass.
One of the votive masses. See Votive ritual.
Ladysmith Black Mambazo.
South African a cappella vocal group. See Isicathamiya and South africa, §III.
Laetrius, Petit Jean.
See De Latre, Petit Jean.
La Fage, (Juste-)Adrien(-Lenoir) de
(b Paris, 30 March 1805; d Charenton, 8 March 1862). French composer and writer
on music. He was a grandson of the celebrated architect Lenoir. Educated for the
church and the army, he decided instead on a career in music, and as a harmony
and counterpoint pupil of Perne made a particular study of plainsong; he was then
a pupil, and later assistant, of Choron. In 1828, sent by the government to Rome,
he studied for a year under Baini, and while in Italy produced a farce, I creditori, but
he never gained any distinction in this genre. On his return to Paris (December
1829) he was appointed maître de chapelle of St Etienne-du-Mont, where he
substituted an organ (built by John Abbey) for the harsh out-of-tune serpent
previously used with the chant. At the same time he held a similar post at the
church of St François-Xavier, where he restored much ancient plainchant and
introduced antiphonal singing for men’s and boys' choirs.
La Fage spent the years 1833–6 in Italy and while he was there his wife and son
both died. On returning to Paris he published the Manuel complet de musique
vocale et instrumentale (1836–8), of which the first chapters had been prepared by
Choron, some critical works and collections of biographical and critical articles. He
visited Italy again after the 1848 revolution and made copies of previously
unstudied manuscripts; he also visited Germany and Spain, and England during
the 1851 Great Exhibition. He finally settled in Paris and published the works on
which his reputation rests. Overwork as an author and as general editor of Le
plainchant, a periodical which he founded in 1859, brought on a nervous illness
that ultimately led to his removal to the insane asylum at Charenton.
La Fage was a prolific composer of sacred music and also wrote some chamber
music for flute, but is remembered as a historian and didactic writer. His Cours
complet de plain-chant (1855–6) fully justifies its title. It was succeeded in 1859 by
an equally valuable supplement, the Nouveau traité de plain-chant romain (with
questions). His Histoire générale de la musique et de la danse, though dealing only
with Chinese, Indian, Egyptian and Hebrew music, is a careful and conscientious
work. His learning and method appear conspicuously in his Extraits du catalogue
critique et raisonné d’une petite bibliothèque musicale and in his Essais de
dipthérographie musicale, works of particular importance in that they refer to
manuscripts and documents now lost. His substantial library was catalogued
(Paris, 1862) and afterwards dispersed by auction. His unpublished works and
materials including his compositions are in the Bibliothèque Nationale, to which he
bequeathed all his papers, with the manuscripts of Choron and Baini in his
possession.
WRITINGS
Manuel complet de musique vocale et instrumentale, ou Encyclopédie
musicale (Paris, 1836–8) [begun by A. Choron]
Séméiologie musicale (Paris, 1837)
De la chanson considérée sous le rapport musical (Paris, 1840)
Eloge de Choron (Paris, 1843)
Miscellanées musicales (Paris, 1844/R)
Histoire générale de la musique et de la danse (Paris, 1844/R)
Nicolai Capuani presbyteri compendium musicale (Paris, 1853)
De la reproduction des livres de plain-chant romain (Paris, 1853)
Lettre écrite à l’occasion d’un mémoire pour servir à la restauration du chant
romain en France, par l’abbé Céleste Alix (Paris, 1853)
Cours complet de plain-chant (Paris, 1855)
Quinze visites musicales à l'Exposition Universelle de 1855 (Paris, 1856)
Extraits du catalogue critique et raisonné d’une petite bibliothèque musicale
(Rennes, ?1857)
Nouveau traité de plain-chant romain (Paris, 1859) [suppl. to Cours complet
de plain-chant]
De l’unité tonique et de la fixation d’un diapason universel (Paris, 1859)
Essais de dipthérographie musicale (Paris, 1864/R)
BIBLIOGRAPHY
R.D. Denne-Baron: Adrien de La Fage (Paris, 1863)
M. Cole: ‘Sonata-Rondo, the Formulation of a Theoretical Concept in the 18th
and 19th Centuries’, MQ, lv (1969), 180–92
GUSTAVE CHOUQUET/ARTHUR HUTCHINGS
La Fage, Jean de
(fl c1518–30). Composer, probably of French birth. On stylistic grounds, La Fage
was probably trained before the turn of the 15th century. He is cited in lists of
musicians in Rabelais’ prologue to book 4 of Pantagruel and in a noël by Jean
Daniel written about 1525–30. The Ferrarese singer Turleron described La Fage as
‘a contrabass, the best in Italy’, according to a letter of June 1516 from the
Ferrarese agent Enea Pio to Cardinal Ippolito I d’Este. Pio noted that La Fage was
highly esteemed by Pope Leo X, and he indicated that the composer and several
choirboys had recently arrived in Rome among the retinue of the Cardinal of Auch,
François Guillaume de Clermont. La Fage has been proposed as a conduit for the
transmission of music and musical influence between southern France and Italy
during the early decades of the 16th century.
La Fage left thirteen motets (one of which is fragmentary) and two chansons. His
works, chiefly preserved in Italian and French sources between 1518 and 1535, are
notable for their expressive intensity, powerful rhythmic pull and tendency towards
pervasive melodic imitation. La Fage’s motets are similar to those of his greater
contemporary Jean Mouton in scope and frequent use of voice-pairing, but may be
distinguished by their more continuous rhythmic motion, colourful yet euphonious
harmonies and often expressive use of dissonance. The motets based on
plainchant exhibit both migrant cantus firmus techniques and melodic paraphrase.
His one chanson employs short points of imitation, homorhythmic voice pairing,
animated rhythms, short phrases, and syllabic text setting.
WORKS
Edition: Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, ed. A. Smijers
and A.T. Merritt (Paris and Monaco, 1934–63) [S]
Aspice Domine quia facta es, 4vv, 15282; Ave domina mea Sancta Maria, 4vv, S iv;
Ave mundi spes, 4vv, ed. in MRM, viii (1987); Elisabeth Zachariae, 4vv, ed. in MRM,
iv (1968) (also attrib. Mouton); O Sancte Seraphice, GB-Lbl Add.19583 (A only);
Partus et integritas, 5vv, ed. in MRM, viii (1987); Quae est ista quae processit, 3vv,
15412; Quam pulchra es, 3vv, 15412; Rex autem David, 4vv, S xi (also attrib.
Gascongne, Lupus); Super flumina Babylonis, 5vv, S iii; Verbum caro factum est,
6vv, 15584 (also attrib. Mouton); Vide Domine afflictionem nostram, 4vv, ed. in
MRM, viii (1987); Videns Dominus civitatem desolatam, 4vv, ed. in MRM, iv (1968)
L’amour de moy, 3vv, D-HRD 9821; M’y levay par ung matin, 4vv, I-Fn
Magl.XIX.117, excerpt ed. in Bernstein
misattributed works
Aspice Domine de sede sancta tua, 4vv, S xi (by Claudin de Sermisy; also attrib.
Jacquet); Verbum bonum et suave, 4vv, ed. in MRM, iv (1968) (by Therache;
also attrib. Févin)
BIBLIOGRAPHY
L. Lockwood: ‘Jean Mouton and Jean Michel: New Evidence on French Music
and Musicians in Italy, 1505–1520’, JAMS, xxxiii (1979), 191–246, esp. 222–4
L. Bernstein: ‘A Florentine Chansonnier of the Early Sixteenth Century’, EMH,
vi (1986), 1–107, esp. 76–88
J. Brobeck: ‘Style and Authenticity in the Motets of Claudin de Sermisy’, JM,
xvi (1998), 26–90, esp. 63–6
JOHN T. BROBECK
La Farge, P. de
(fl 1539–46). French or Franco-Flemish composer. Although Eitner (EitnerS and
EitnerQ) considered La Farge and Jean de La Fage to be the same person, they
were in fact two different composers. Between 1539 and 1547 eight Latin motets
and two French chansons were published by Jacques Moderne of Lyons with
attribution to ‘P. de la Farge’. The composer may be identifiable with Pierre de La
Farge, a canon at the collegiate church of St Just, Lyons, whose will was attested
on 18 August 1559.
WORKS
A solis ortu, 5vv, 15425; Ave regina caelorum, 4vv, 153911; Clamabat autem mulier
cananea, 5vv, 15472; Cum sero factum esset, 5vv, 15425; Regina celi letare, 4vv,
153911; Sanctificamini hodie, 5vv, 15425; Suscipiens Jesum, 4vv, 153911; Virgo
Maria non est tibi similis, 6vv, 15472
Las que te sert, 4vv, 154314, ed. in SCC, xxviii (1993); Robin avoit de la souppe,
4vv, 15449
SAMUEL F. POGUE
LaFaro, Scott
(b Newark, NJ, 3 April 1936; d Geneva, NY, 6 July 1961). American jazz double
bass player. His family moved to Geneva, New York, when he was five years old.
He started playing the clarinet at the age of 14; later, in high school, he took up the
tenor saxophone, and finally studied the double bass at Ithaca Conservatory and in
Syracuse. In 1955–6 he travelled with Buddy Morrow's band to Los Angeles, where
he began his career as a jazz musician as a member of Chet Baker's group (1956–
7). After playing briefly in Chicago with Ira Sullivan, he accompanied Sonny Rollins
and Harold Land in San Francisco (1958) and worked with Barney Kessel and
played in a group at the Lighthouse Cafe in Hermosa Beach, California. In 1959 he
moved to New York and toured briefly with Benny Goodman, then joined a trio led
by Bill Evans (with Paul Motian). He remained with Evans until his early death in a
road accident, though he also led his own trio and worked with Stan Getz. His
recordings with Evans (notably Sunday at the Village Vanguard, 1961, Riv.) and
Ornette Coleman (1960–61) set the standard for a new generation of jazz bass
players who varied their accompaniments by mixing traditional time-keeping bass
lines with far-ranging countermelodies in free rhythm.
BIBLIOGRAPHY
M. Williams: ‘Introducing Scott LaFaro’, JR, iii/7 (1960), 16–17
‘A Light Gone Out’, Down Beat, xxviii/17 (1961), 13 [obituary]
BARRY KERNFELD
La Faya, Aurelio.
See Della Faya, Aurelio.
Lafayette Quartet.
Canadian-based string quartet. It was formed in Detroit in 1984 by members of the
Renaissance City Chamber Players, the Canadian violinist Ann Elliott-Goldschmid
and three US musicians – Sharon Stanis, Joanna Hood and Pamela Highbaugh –
who had previously played in a quartet led by their tutor at Indiana University,
Rostislav Dubinsky, formerly of the Borodin Quartet. Coached by Dubinsky, the
four won the 1988 Fischoff National Chamber Music Competition, taking prizes in
addition at competitions in Portsmouth (1988) and Chicago (1989). They were also
helped by the Cleveland Quartet, whose competition they won in 1986, and by
members of the Alban Berg and Amadeus Quartets. Since 1991 they have been
artists-in-residence at the University of Victoria School of Music, British Columbia,
but they have been encouraged to tour regularly. They play a wide repertory with
perceptive musicianship and refinement and beauty of tone. Their recordings
include the Dvořák piano quintets (with the Czech-born Canadian pianist Antonín
Kubálek) and the quartets of Murray Adaskin. For a time they played on the Amatis
belonging to the University of Saskatchewan but now all except Hood use modern
instruments. In the 1999–2000 season they gave their first Beethoven cycle, in
Victoria.
BIBLIOGRAPHY
B. McDougall: ‘Four Women for Four Amatis’, The Strad, civ (1993), 1024–9
D. Rounds: The Four and the One (Fort Bragg, CA, 1999)
TULLY POTTER
La Feillée, François de
(d c1780). French theorist. He probably lived in or near Poitiers around 1750. His
reputation stands on his Méthode nouvelle pour apprendre parfaitement les règles
du plainchant et de la psalmodie (Poitiers, 1748), which appeared nine times in
four editions up to 1784. It advocates the ‘expressive’ performance of chant in
accord with the doctrine of the Affections as it was then understood. La Feillée
wrote: ‘Expression is an image which sensitively renders the character of all that
one utters in singing, and which depicts it realistically’. The use of trills and other
ornamentation is recommended, and relative speeds of delivery are prescribed.
The same text should be sung more slowly on a solemn feast-day than on normal
days, but otherwise the immediate contents of the text should determine the
manner of singing: prayers are to be sung ‘devoutly and sadly’, narrative texts
‘without any passion but with good pronunciation’. The treatise provides a valuable
sidelight on the history of chant performance, and may reflect the kinds of
expressive effect that 18th-century composers of religious music may have
intended. La Feillée also published Epitome gradualis romani (Poitiers, n.d.) and
Epitome antiphonarii romani (Poitiers, 1746).
BIBLIOGRAPHY
D. Launay: La musique religieuse en France du Concile de Trente à 1804
(Paris, 1993)
J. Duron, ed.: Plain-chant et liturgie en France au XVIIe siècle (Paris, 1997)
See also Plain-chant musical.
MARY HUNTER
La Ferté, Denis-Pierre-Jean, Papillon
de
(b Châlons-sur-Marne, 18 Feb 1725; d Paris, 7 July 1794). French courtier and
administrator. Having moved to Paris in the mid-1740s, he completed his law
studies and subsequently bought three official positions: intendant-contrôler de
l’argenterie (1756), menus-plaisirs (1762) and affaires de la chambre du roi (1762).
He also obtained management of the Comédie-Italienne in 1760, of the Comédie-
Française two years later, and organized, amid a web of intrigue, the
amalgamation of the Comédie-Italienne with the Opéra-Comique in February
1762). At the king’s request La Ferté assisted in the reorganization of the Opéra in
1776, and although this occupied him only until the following year, he later took
over the administration of the Opéra for ten years, from 1780 to 1790. A related
responsibility, from 1784, was the direction of the Ecole Royale de Chant (the
forerunner of the Paris Conservatoire).
La Ferté emerges, through documentary evidence and through his own journal
(which offers valuable insights into life at court) as a clever, at times unscrupulous,
figurehead who wielded considerable power. Dealing predominantly with matters
relating to personnel and finance, he handled discontented artists from the
institutions under his control adroitly, if not always sympathetically. As intendant
des menus-plaisirs, La Ferté was responsible for all royal ceremonies including the
coronation of Louis XVI. Having enjoyed an amicable friendship with Mme de
Pompadour, he later found himself in frequent conflict with Marie Antoinette over
the cost of meeting her extravagant tastes, and in particular her generous
payments to singers and musicians, which he felt encouraged an over-familiarity.
She, in turn, rebuked him on one occasion for his manners towards the librettist
Sedaine. During the Revolution La Ferté was guillotined; his autobiographical note
written in prison on the eve of his death is reproduced in Jullien (1876).
BIBLIOGRAPHY
A. Jullien: Un potentat musical: Papillon de la Ferté: son règne à l’Opéra de
1780 à 1790 (Paris, 1876)
A. Jullien: La cour et l’opéra sous Louis XVI (Paris, 1878)
E. Boysse: Les abonnés de l’Opéra, 1783–1786 (Paris, 1881), 38–40
J.G. Prod’homme and E.de Crauzat: Les menus plaisirs du roi (Paris, 1929)
M. Barthélemy: ‘Les règlements de 1776 et l’Académie royale de musique’,
RMFC, iv (1964), 239–48
R. Isherwood: Farce and Fantasy: Popular Entertainment in 18th-Century
Paris (New York, 1986)
ETHYL L. WILL/ELISABETH COOK
L’Affilard [Laffilard, L’Affillard, La
Filiade], Michel
(b c1656; d Versailles, April 1708). French composer, theorist and singer. On 24
March 1679 he was appointed chantre clerc at the Ste Chapelle, Paris, where he
may have studied with René Ouvrard. He joined the royal chapel at Versailles in
1683 and remained there until his death. He married Anne Typhaine in 1685. In
1696 he became an officer of the king’s music and bought a coat-of-arms.
L’Affilard was the first composer to supply metronomic indications for his own
music, and he was scrupulous in editing it, indicating breathing places, ornaments
and notes inégales. His surviving music amounts to about three dozen elegant airs
de mouvement or dance-songs, which are found in manuscript (in F-V and CDN-
Mn), in Recueils published by Ballard (RISM 16953 and 16972, and two others of
1701 and 1705) and especially in what might be termed his ‘complete works’: the
Principes très-faciles pour bien apprendre la musique (Paris, 1694), which was
reprinted many times up to 1747. The Principes is a treatise on sight-singing which
he seems to have used as a laboratory, for he reworked and recomposed the
songs in each fresh edition up to the fifth (a secular version printed twice in 1705)
and sixth (a sacred version also printed in 1705). When he replaced tempo words
with metronome indications in 1705, the ‘complete works’ reached its final form,
and all subsequent editions are based on either the fifth or sixth edition.
The Principes would be a rather ordinary self-tutor were it not for the high quality of
L’Affilard’s dance-songs, which are regular and can be danced to. The anthology is
important for the insights it provides on questions of the tempo, articulation,
phrasing, ornamentation and quality of movement of early 18th-century dance
music. However, scholars are not in agreement over the interpretation of the tempo
indications. L’Affilard based these on the pendulum of Joseph Sauveur, which is
divided logarithmically into 60th parts of a second, but he seems to have
understood Sauveur’s system imperfectly. It could be that L’Affilard employed a
quarter-length pendulum, where a complete vibration equals the musical beat, but
he recorded his pendulum lengths using Sauveur’s scale of tierces du temps,
which is calculated for half vibrations. This would give metronome indications as
shown in Table 1. An asterisk indicates that no contemporary choreography exists,
and question marks indicate tempos that are unreasonably slow.
BIBLIOGRAPHY
BenoitMC
BrenetM
E. Schwandt: ‘L’Affilard on the French Court Dances’, MQ, lx (1974), 389–400
E. Schwandt: ‘L’Affilard’s Published Sketchbooks’, MQ, lxiii (1977), 99–113
W. Hilton: Dance of Court and Theater: the French Noble Style (1690–1725)
(Princeton, NJ, 1981/R)
É. Gallat-Morin: ‘Un manuscrit de cantiques à Montréal (XVIIIe siècle)’,
Canadian University Music Review, xi/2 (1991), 68–93
ERICH SCHWANDT
Lafitte, José White.
See White Lafitte, José.
Lafleur, Joseph René
(b Paris, 9 June 1812; d Maisons-Laffitte, nr Paris, 18 Feb 1874). French
bowmaker. His father Jacques Lafleur was also a violin maker and bowmaker.
Joseph René appears to have worked initially as a violinist. Details concerning his
apprenticeship as a maker do not survive, though he did not learn from his father,
whose work he far surpassed. It is reasonable to assume that his earlier career as
a violinist afforded him many opportunities to examine and consider a wide range
of transitional and post-transitional bows. This would explain his early tendencies
towards experimentation with shaft resistance and flexibility and the use of a ‘pikes-
head’ tip. His later association with Nicolas Maire, probably resulted in a further
apprenticeship of sorts. Following this period the ‘pikes-head’ tips were modified,
although a certain elongation remained. His mature work possesses playing
qualities of the highest order. His bows are occasionally branded lafleur; it is also
possible that a certain amount of his work bears the brand of Nicolas Maire.
BIBLIOGRAPHY
J. Roda: Bows for Musical Instruments of the Violin Family (Chicago, 1959)
E. Vatelot: Les archets français (Paris, 1976, 2/1977) [in Fr., Ger. and Eng.]
J. Liivoja: ‘The Bows of Lafleur, Maire and Pajeot’, The Strad, xcii (1981–2),
646–8
JAAK LIIVOJA-LORIUS
La Florinda.
See Andreini, Virginia.
Lafont, Charles Philippe
(b Paris, 1 Dec 1781; d nr Tarbes, 14 Aug/10 Jan 1839). French violinist and
composer. His mother, a sister of the violinist Bertheaume, gave him his first violin
lessons, which were continued under his uncle’s guidance. At the age of 11 he was
ready to accompany Bertheaume on a concert tour to Germany, where his
precocious talent was much admired. On his return to Paris, Lafont resumed his
studies, first under Kreutzer (with whom he worked for two years), then for a brief
period with Rode. He also developed an attractive voice and appeared occasionally
as a singer of French ballads. In 1801 he gave concerts in Belgium, and in 1802
was acclaimed at the Concert Français in Paris. Soon he was recognized as one of
France’s leading violinists, and his pre-eminence was firmly established when
Rode left for Russia in 1803. There followed successful tours in Germany, the
Netherlands and England. In 1808 he was appointed solo violinist to the Tsar,
succeeding Rode, and he remained in St Petersburg for six years. In 1815 he was
named solo violinist to Louis XVIII.
Resuming his travels, Lafont had a memorable encounter with Paganini in Milan in
1816. They agreed, on Lafont’s suggestion, to give a joint concert at La Scala; the
programme consisted of a double concerto by Kreutzer as well as solo works by
the two artists. This event is often described as a ‘contest’ in which Lafont was
allegedly humiliated by Paganini’s wizardry. In fact, in a letter, Paganini praised
Lafont’s artistry and even conceded his ‘greater beauty of tone’, but concluded, ‘He
plays well but he does not surprise’ (de Courcy, p.147). Lafont, angered by the
persistent story of his ‘defeat’, published his own belated version of the encounter
in The Harmonicon in 1830, saying: ‘I was not beaten by Paganini, nor he by me’
and defending the French school as ‘the first in the world for the violin’. This
statement was made when Paganini was at the height of his fame. Whatever the
outcome of the encounter, Lafont’s supreme self-assurance remained unshaken,
and he continued his career for more than 20 years. Spohr, who heard him in Paris
in 1821, ranked him first among French violinists and admired his ‘beauty of tone,
the greatest purity, power, and grace’, but criticized the lack of ‘deeper feeling’. In
the course of his career, Lafont often collaborated with prominent pianists, among
them Kalkbrenner, Herz, Osborne and Moscheles; these partnerships produced
joint compositions for violin and piano in which both instruments were treated with
equal brilliance. Lafont died in a carriage accident while on a concert tour in the
south of France.
Lafont represented French violin playing at its best. He inherited the classical
technique of the Viotti school through his teachers Kreutzer and Rode, but
modernized it by making it more brilliant and idiomatic. Thus he stands midway
between Rode and Bériot. His encounter with Paganini came too late to influence
his style and he was gradually overshadowed by the rising generation of Paganini-
inspired virtuosos. As a composer, Lafont was of little importance: his seven violin
concertos lack musical distinction, and his numerous fantasias and airs variés on
operatic themes do not rise above the mediocre level of fashionable virtuoso
music. Thanks to his pianist-collaborators, particularly Moscheles, higher musical
standards are displayed in his duos concertants. He also composed more than 200
French ballads (romances), which for a time were very popular, and an opera, La
rivalité villageoise (1799). Other operas mentioned by Fétis cannot be traced.
BIBLIOGRAPHY
FétisB
Obituary, Revue et gazette musicale de Paris, vi (1839), 359
L. Spohr: Selbstbiographie (Kassel, 1860–61; Eng. trans., 1865/R, 2/1878/R);
ed. E. Schmitz (1954–5)
E. Van der Straeten: The History of the Violin, i (London, 1933/R), 290–92
G.I.C. de Courcy: Paganini the Genoese, i (Norman, OK, 1957/R), 146–50
BORIS SCHWARZ
La Font, de.
See Delafont.
Lafont, Jean-Philippe
(b Toulouse, 4 Feb 1951). French baritone. He studied in Toulouse and then at the
Opéra-Studio in Paris, where he made his début as Papageno in 1974 and in 1977
sang Nick Shadow in The Rake’s Progress. He subsequently sang regularly in
Toulouse (where he took part in the première of Landowski’s Montségur in 1985)
and in 1987 in the title role of Falstaff. At the Opéra-Comique in Paris he has taken
part in the revivals of Gounod’s Le médecin malgré lui, Philidor’s Tom Jones and
the Offenbach triple bill, Vive Offenbach!, and in 1982 sang all four sinister roles in
Les contes d’Hoffmann. In 1983 he made his American début at Carnegie Hall in a
concert performance of Benvenuto Cellini; his Metropolitan début was as Escamillo
in 1988, and in 1991 he sang Jack Rance in La fanciulla del West at La Scala,
Milan. One of the most versatile French baritones of his generation, Lafont also
includes in his repertory roles such as Rigoletto, Amonasro, Barak (Die Frau ohne
Schatten), Leporello, Sancho Panza, William Tell, Golaud and Nabucco. In 1996
he created the role of the villain, Scarpiof, in Landowski’s Galina in Lyons. His
many recordings include Debussy’s La chute de la maison Usher with Prêtre, Les
mamelles de Tirésias with Ozawa, Falstaff with Gardiner and La belle Hélène with
Plasson. He has also appeared as an actor in the films Parole de Flic and
Babette’s Feast.
PATRICK O’CONNOR
La Font, Joseph de
(b Paris, 1686; d Passy, 30 March 1725). French librettist and playwright. His
masterpiece is the opéra-ballet Les fêtes, ou Le triomphe de Thalie (music by
Mouret, 1714). Although not the work in which the ‘comic element was first
introduced into the sphere of French opera’ (compare for example Les Muses of
1703 and Les fêtes vénitiennes of 1710), Les fêtes de Thalie deals with flesh-and-
blood characters, soubrettes, petits maîtres and coquettish widows. La Font stated
that this was the ‘first Opéra where one sees the women dressed à la Françoise’.
The frequently mentioned scandale arose from La Font’s bold stroke, in the
prologue, of having Thalia (muse of Comedy) triumph over Melpomene (muse of
Tragedy) in a setting representing the stage of the Paris Opéra. La Font and
Mouret lost no time in composing another entrée, La critique des fêtes de Thalie,
and in changing the name of the opéra-ballet to Les fêtes de Thalie, all of which
appeared to placate the aestheticians. In 1722 a new entrée, ‘La provençale’, was
added, proving the most popular of all, and holding the stage until 1778. La Font’s
other works for the lyric stage include two tragédies en musique, Hypermnèstre
(1716) and Orion (1728, completed by S.-J. Pellegrin), and the ballet Les amours
de Protée (1720). In addition, he collaborated with Lesage and d’Orneval for the
Opéra-Comique.
BIBLIOGRAPHY
GroveO (J.R. Anthony) [incl. work-list]
Jullien-Desboulmiers: Histoire de la théâtre de l’Opéra-comique (Paris,
1769)
J. Carmody: Le répertoire de l’Opéra-Comique en vaudevilles de 1708 à 1764
(Berkeley, 1933)
JAMES R. ANTHONY
La Fontaine, Jean de
(b Château-Thierry, Aisne, 8 July 1621; d Paris, 13 April 1695). French poet,
fabulist, dramatist and librettist. He was educated at Château-Thierry and in Paris,
where he finally settled in 1661, having spent months at a time there from 1658. He
quickly established links with leading writers and musicians (Molière, Jean Racine
and Boileau-Despréaux; Michel Lambert and Lully) and with their patrons (Nicolas
Fouquet, Henri Loménie, count of Brienne and Madeleine de Scudéry).
Frequenting salons such as the Hôtel de Nevers he met Mme de Sévigné, Mme de
la Fayette, La Rochefoucauld and other prominent arbiters of taste. When his first
patron, the Duchess of Orléans, died in 1672, he sought refuge with Mme de la
Sablière, who protected him until her death in 1693. He was faithful to friends such
as Fouquet and the Duchess of Bouillon even when they were disgraced. He
received few formal honours and little financial reward, and not until 1684 was he
elected to the Académie Française.
La Fontaine is principally renowned for his gently ironic stories (Contes et
nouvelles en vers, 1665–6) and for the finely drawn portrait of man that emerges
from his fables (Fables choisies mises en vers, 1668, 1679). Many composers
since his day have taken tales from both volumes as the basis of both stage and
concert works. But La Fontaine's love of variety and his taste for novelty led him to
experiment with many other literary forms, including drama. His first published work
(1654) was a translation of Terence's Eunuchus, and his second dramatic effort
was a ballet, Les rieurs du Beau-Richard (the music for which is lost), performed at
Château-Thierry in 1659 or 1660, about the time that he composed his comedy
Clymène. These early works show that he was aware of the need to adapt material
to prevailing tastes and that he could exploit the dramatic and comic elements
latent in a situation; they also show how he found it difficult to sustain a tone for
long or to keep personal interjections out of the drama.
Diversity was essential to La Fontaine's view of art, and music played an equally
important role in creating those effects of charm and grace by which he judged
good style. As a spectator he found such effects in the ballet Les fâcheux, given at
Vaux in 1661. In 1671 his Les amours de Psyché et de Cupidon (1659) inspired
Psyché, the tragédie-ballet created by Molière and Lully with the aid of Quinault
and Corneille. Lully's collaboration with Quinault, which began after Molière's death
in 1673, was temporarily interrupted early in 1674, and he asked La Fontaine for a
libretto. He produced the pastoral Daphne, light in tone, lyrical and graceful. It did
not please: Lully required something more heroic, more dramatically consistent. La
Fontaine's characteristic lyricism and irony were indeed unsuitable for opera
librettos, where drama and simplicity are demanded; furthermore his self-
conscious, independent character was incompatible with Lully's taxing,
temperamental demands. Despite his consequent criticism of Lully (in the comedy
Le florentin, 1674) and of opera as a form (in a verse letter to Pierre de Niert,
1677), he wrote the unfinished libretto Galatée (1682), dedicatory verses for Lully
(Amadis, 1684, and Roland, 1685), and Astrée (1691). This last work, set to music
by Pascal Collasse, received only six performances: La Fontaine had persisted in
seeing Louis XIV as a lyrical Apollo rather than as a heroic Jupiter, and he had also
indulged his private taste for make-believe and enchantment, showing that his gifts
were more appropriate to armchair theatre than to tragédie lyrique.
BIBLIOGRAPHY
P. Clarac: La Fontaine: l’homme et l’oeuvre (Paris, 1947)
O. de Mourgues: O muse, fuyante proie (Paris, 1962)
M.M. McGowan: ‘Le Papillon du Parnasse: a Reappraisal of La Fontaine's
Experiments in Drama’, Australian Journal of French Studies, iv (1967), 204–
24
J.P. Collinet: Le monde littéraire de La Fontaine (Paris, 1970)
J. Metz: The Fables of Fontaine: a Critical Edition of the Eighteenth-Century
Vocal Settings (New York, 1986)
D.L. Rubin: A Pact with Silence (New York, 1991)
M. Benoît: Dictionnaire de la musique en France au 17e et au 18e siècles
(Paris, 1992)
MARGARET M. McGOWAN
Lagacé, Bernard
(b St Hyacinthe, Quebec, 21 Nov 1930). Canadian organist. He studied in St
Hyacinthe and Montreal with Conrad Letendre (organ), Yvonne Hubert (piano) and
Gabriel Cusson (music theory). A scholarship from the Quebec government
enabled him to perfect his organ technique in Paris from 1954 to 1956 under the
aegis of André Marchal, whose assistant he became at St Eustache; he gave his
first official recital there in June 1956. He then spent a year working with Heiller at
the Vienna Music Academy. In 1957 he was appointed organ professor at the
Quebec Conservatoire in Montreal and returned to Canada; he continued to give
numerous concerts and recitals in Europe as well as in Canada and the USA. He
was a prizewinner in the international competitions at Ghent and Munich and in the
USA. Lagacé has exerted considerable influence both through his masterclasses
and lectures, and through his important part in the organ revival in Canada. He has
also frequently served as a jury member at international organ competitions. He
has twice performed the complete organ works of Bach in Montreal (1975–7 and
1987–9), and has made several recordings, including Couperin’s Messe pour les
convents, The Art of Fugue and a Frescobaldi programme, all of which combine a
classical purity of style with a rigorous approach to interpretation.
JACQUES THÉRIAULT/GILES BRYANT
Lagacé [née Begin], Mireille
(b St Jérôme, PQ, 8 June 1935). Canadian organist, harpsichordist and teacher.
After studying in Montreal and Vienna (with Anton Heiller), she embarked on a
career as an organist, harpsichordist and (from 1988) fortepianist, performing in
North America and western Europe and winning various prizes. She has taught the
harpsichord in Montreal and New England and Baroque performance in North
America and France, and teaches both subjects at the Conservatoire de Musique
du Québec in Montréal. She also plays and teaches at organists’ conventions in
North America. Although a champion of the Baroque repertory, Lagacé also plays
20th-century music and has had several works written for her. She has recorded
organ works by Buxtehude and other Baroque composers, an anthology of French
organ music and the complete harpsichord works of Bach. She is known for her
colourful and imaginative interpretations of Baroque music and as a sensitive
performer of the French Romantic repertory.
GILES BRYANT
Lagarde [La Garde], Mr.
See Laguerre, John.
La Garde [Lagarde, Garde], Pierre de
(b nr Crécy-en-Brie, Seine-et-Marne, 10 Feb 1717; d c1792). French composer and
baritone. As an ordinaire de la chambre du roi he was highly regarded by Louis XV,
who made him responsible for the musical training of the royal children. In 1755 he
shared this duty with Mion, Maître de musique des enfants de France, and gained
the title himself two years later. He was an assistant conductor at the Opéra from
1750 to 1755 and on the resignation of François Francoeur in 1756 he became
compositeur de la chambre du roi. Some time later he was placed in charge of the
concerts given for the Count of Artois. He is also reported to have taught the harp
to Marie Antoinette. La Borde described him as having a baritone voice of wide
compass and great facility.
La Garde’s reputation as a composer was firmly established when his Aeglé, a
pastorale héroïque in one act, was performed at Madame de Pompadour’s Théâtre
des Petits Cabinets in 1748; it is indebted to Rameau, particularly in its orchestral
style. Two years later it was incorporated into La journée galante as the second act
of that opéra-ballet; the first and last acts, of which no scores are extant, were La
toilette de Vénus and Léandre et Héro. While there is no record of La journée
galante being performed outside court circles, Aeglé was performed at the Opéra in
1751 and continued to be played there until 1777. Other works commissioned by
Madame de Pompadour were Silvie, a full-length pastorale héroïque performed at
Versailles in 1749, and L’impromptu de la cour de marbre, a divertissement
comique performed in her country house at Bellevue in 1751 after the Théâtre des
Petits Cabinets at Versailles had been dismantled.
La Garde’s lyrical gifts were often charmingly displayed in his airs, cantatas and
cantatilles. Among his collections of airs were three volumes of brunettes (1764)
with harp or guitar (both much in vogue at the time) and sometimes harpsichord or
violin accompaniment. The guitar was also used to accompany some of the
cantatilles in his Journal de musique (1758); although such works represent a
decline in the French cantata, La Garde also composed cantatas and cantatilles of
a high artistic level: for a long time his La musette was attributed to Rameau. His
last published works were contained in two volumes entitled Les soirées de l’Ille
Adam, dedicated to the Prince of Conti. They contained airs (and a cantatille,
L’amant malheureux) for one and two voices accompanied by violin, oboe,
bassoon, horn and bass. As in the works of a number of French composers at this
time the music, in both thematic and instrumental writing, was greatly influenced by
the nascent Classical style. While La Garde seems to have written no compositions
during the last 25 years of his life, his airs remained popular for many years. In
1780 La Borde stated that the composer’s ‘charming duets and melodious songs
will always be sung with pleasure by music lovers. He is, without doubt, the finest
composer in this genre’.
WORKS
Edition:Oeuvres de Pierre Lagarde (Béziers, 1989–90)
all printed works published in Paris
Aeglé (pastorale-héroïque, 1, P. Laujon), Versailles, 13 Jan 1748, vs (1751)
Silvie (pastorale-héroïque, 3, Laujon), Versailles, 26 Feb 1749, F-Pn, Po
La journée galante (opéra-ballet, 3, Laujon), Versailles, 25 Feb 1750, lib pubd in
Divertissemens du Théâtre des petits appartemens pendant l’hiver de 1749 à 1750
[incl. Aeglé as Act 2]
L’impromptu de la cour de marbre (divertissement comique, 1, C.-S. Favart),
Bellevue, 28 Nov 1751, lost
Cants. (1v, insts): Enée et Didon (c1751); La sonate (?1757); Le triomphe de
l’Amour (?1757); Vénus retrouvée (?1757)
Cantatilles: La musette (before 1758); 12 in Journal de musique (1758); 1 in Les
soirées de l’Ille Adam, ii (1766)
Airs, etc.: 1re–6me recueils d’airs, 1 or more vv (c1742–64); 1re–3me recueils de
brunettes (1764); Les soirées de l’Ille Adam, i (1764), ii (1766)
Many works, arrs. in l8th-century anthologies
Other works, Pc, Pn
BIBLIOGRAPHY
La BordeE
T. L’Huillier: ‘Note sur quelques artistes musiciens dans La Brie’, Bulletin de
la Société d’archéologie, sciences, lettres et arts du département de Seine-et-
Marne, v (1868), 317–40
N. Dufourcq, ed.: La musique à la cour de Louis XIV et de Louis XV d’après
les mémoires de Sourches et Luynes, 1681–1758 (Paris, 1970)
W.H. Kaehler: The Operatic Repertoire of Madame de Pompadour’s Théâtre
des petits cabinets (1747–1753) (diss., U. of Michigan, 1971)
R. Machard: ‘Les musiciens en France au temps de Jean-Philippe Rameau
d’après les actes du Secrétariat de la Maison du roi’, RMFC, xi (1971), 5–177
D. Tunley: The Eighteenth-Century French Cantata (London, 1974, 2/1997)
DAVID TUNLEY
Lagarto, Pedro de
(b c1465; d Toledo, 1543). Iberian composer. In a document dated 1537 he is said
to have been in the service of Toledo Cathedral for 62 years. If he entered the
cathedral in 1475 it was probably as a choirboy. From June 1490 he was master of
the choirboys (claustrero). In 1495 he succeeded in obtaining a prebend as a
singer in open contest: the winner was to be the ‘most accomplished and fluent
singer’ and highly trained in polyphonic composition. In 1507 he was seriously ill
and does not seem to have resumed his duties as claustrero after this time. He
held at least two chaplaincies at the cathedral and between 1530 and 1534 was
‘maestro de ceremonias’. By 1537, being deaf and blind, he asked to be relieved of
his duties as chaplain; he died towards the end of 1543.
No Latin-texted work is attributed to Lagarto although the copying of a book of
polyphonic villancicos for Christmas and Epiphany undertaken in 1507 by the
cathedral scribe Alonso Fernández de Roa was apparently executed under
Lagarto's supervision. One of Lagarto's songs Andad, pasiones, andad was copied
in the Cancionero Musical de La Colombina and is a villancico in form, as are two
of his other songs included in the original layer of the Cancionero Musical de
Palacio. All three villancicos draw on different themes: Andad, pasiones, andad is
an intensely emotional love song, Callen todas las galanas compares the ladies of
Seville and Toledo, and D'aquel fraire flaco is an anticlerical satire. His one
surviving romance, Quéxome de ti, ventura, is a lament against the vicissitudes of
Fortune.
WORKS
Editions: La música en la corte de los reyes católicos: Cancionero musical de palacio, ed. H.
Anglès, MME v, x (1947–51) [A i–ii]
Andad, pasiones, andad, 3vv, A ii, no.279; Callen todas las galanas, 3vv, A ii,
no.226; D'aquel fraire flaco, 4vv, A ii, no.255; Quéxome de ti, ventura, 3vv, A i,
no.90
BIBLIOGRAPHY
StevensonSM, 235–7
F. Asenjo Barbiero, ed.: Cancionero musical de los siglos XV y XVI (Madrid,
1890/R), 22, 36–7
M. Schneider: ‘Gestaltimitation als Komposition-Prinzip im Cancionero de
Palacio’, Mf, xi (1958), 415–22
G. Haberkamp: Die weltliche Vokalmusik in Spanien um 1500 (Tutzing, 1968),
186
T. Knighton: Music and Musicians at the Court of Fernando of Aragon, 1474–
1516 (diss., U. of Cambridge, 1984), i, 274
E. Casares, ed.: Francisco Asenjo Barbieri: Biografías y documentos sobre
música y músicos españoles, Legado Barbieri, i (Madrid, 1986), 275
F. Reynaud: La polyphonie tolédane et son milieu: des premiers témoignages
aux environs de 1600 (Paris, 1996), 102–6
ISABEL POPE/TESS KNIGHTON
Lage (i)
(Ger.).
In string playing, position playing or position fingering. (The equivalent term in the
18th century was Applicatur.) See Application.
Lage (ii)
(Ger.). See Register.
Lagidze, Revaz
(b Bagdadi, western Georgia, 10 July 1921; d Tbilisi, 16 Oct 1981). Georgian
composer. A student of Balanchivadze at the Tbilisi State Conservatory (graduating
in 1948, postgraduate studies until 1950), he worked as a violinist in the Georgian
Radio SO, as a music editor for documentary films (1960–62) and then was head
of the music faculty of the Pushkin State Institute in Tbilisi until his death. He was
awarded the Rustaveli Prize (1975), the USSR State Prize (1977) and the
Paliashvili Prize (1991). A composer of Romantic and nationalist inclinations, his
opera Lela represents the peak of his output and is replete with eloquent cantilena,
lyrical imagination and an artistic sense of drama. As a whole, his works are
regarded as a national treasure in Georgia as well as having won recognition
outside that country. His language is inflected by the richness of Georgian musical
dialects, many of which – such as those of ancient sacred songs, peasant songs
and urban folk music – are originally reinterpreted in a style marked by nobility,
emotion and poeticism. The changes which occurred in Georgian song writing in
favour of a more professional approach are generally attributed to Lagidze, whose
own songs, whether solo, ensemble or choral in scope, are characterized by a
patriotic and ethical sensibility. His aesthetic outlook was democratic and so he
sought to associate with a wide audience and win its recognition.
WORKS
(selective list)
Stage: Megobrebi [Friends] (musical comedy), 1950; Komble (musical comedy),
1957; Lela (op), completed 1973, Tbilisi, 1975
Cants.: Simghera Tbilisze (Song about Tbilisi) 1958; Sakartvelo [Georgia], 1961;
Simghera samshobloze [Song about our Motherland], 1967; Balada vazze [Ballad of
the Vine], 1969; Simghera Tkeebze (Song of the Woods), 1970; Melis Vardzia
[Vardzia is Waiting for me], 1973
Unacc. chorus: Chemo Kargo Kvekana (My Lovely Land), 1962; Akvavilda Nushi
(Almond Trees in Blossom), 1960; Hymni Deda Enas (Hymn to the Mother Tongue),
1977
Orch: Samshoblosatvis [For the Motherland], sym. poem, 1949; Sachidao, sym.
picture, 1952
Other works: songs, chbr pieces, incid music, over 30 film scores
Principal publishers: Muzfond Gruzii (Tbilisi), Muzgiz, Muzïka, Sovetskiy Kompozitor
(Moscow and Leningrad)
BIBLIOGRAPHY
G. Orjonikidze: ‘Revaz Lagidze’, Sovetskaya muzïka (Moscow, 1956), 284
E. Balanchivadze: ‘Sakutari gzit’ [By his own path], Sabchota khelovneba
(1966), no.7, pp.27–30
M. Akhmeteli: ‘Lela: akali kartuli opera’ (Lela: the new Georgian opera],
Sabchota khelovneba (1975), no.7, pp.9–22
G. Orjonikidze: ‘R. Lagidze da misi opera “Lela”’ [R. Lagidze and his opera
‘Lela’], Agmavlobis gzis problemebi [Problems on the path of development]
(Tbilisi, 1978), 319–348
MANANA AKHMETELI
Lagkhner, Daniel
(b Marburg, Lower Styria [now Maribor, Slovenia], after c1550; d after 1607).
Austrian composer. A minor master of early Protestant music, he was among the
first composers born in Styria. On the title-page of his major publication, Soboles
musica, he described himself as citizen and organist of Loosdorf in Lower Austria;
in his publications of 1606 and 1607 he called himself ‘symphonista’ and
‘musurgus’ of the barons of Losenstein, founders of a notable Protestant grammar
school at Loosdorf (1574–1619) in which Lagkhner probably taught. Evidence of
his connection with the school is to be found in his three-part Flores Jessaei for
boys' voices, and in his four-part Florum Jessaeorum semina, also set mainly for
equal voices. After 1607 he may well have gone into exile on account of his
Protestant sympathies. Fétis maintained that he became Kapellmeister of St
Sebaldus, Nuremberg; this, however, is based on inferences wrongly drawn from
the place of publication of Lagkhner's works.
The 28 motets in the Soboles musica, for four to eight voices, are characterized by
an abundant use of contrary motion, quasi-polyphony, block harmony and by both
simulated and actual double-choir textures, all suggesting strong Venetian
influences. His Neuer teutscher Lieder I. Theil contains 23 songs for four voices,
nearly all secular, with dedications to various members of the Austrian nobility who
had joined together in singing them. Lagkhner's choice of texts, taken from the
Ambras songbook (settings by composers such as Forster, H.L. Hassler, Regnart
and Eccard), links him to the German songwriting tradition of Hassler's time.
WORKS
Melodia funebris, 6vv (Vienna, 1601); cited in FétisB
Soboles musica, 4–8vv (Nuremberg, 1602), ed. in Monumenta artis musicae
Slovenia, ii (Ljubljana, 1983)
Flores Jessaei, 3vv (Nuremberg, 1606)
Neuer teutscher Lieder I. Theil, 4vv (Nuremberg, 1606)
Florum Jessaeorum semina (Nuremberg, 1607)
1 galliard, D-Rp
BIBLIOGRAPHY
FétisB
H.J. Moser: Die Musik im frühevangelischen Österreich (Kassel, 1954), 44–7
J. Sivec: ‘The Oeuvre of a Renaissance Composer from Maribor’, Glazbena
baština noraoda i norodnasti Jugoslavije od 16. 19 stoljeća (Zagreb, 1980),
111–26, 129–46 [also in Serbo-Croat]
J. Sivec: Kompozicijski stave Danela Laghnerja [The compositional style of
Daniel Lagkhner] (Ljubljana, 1982) [with Ger. summary]
HELLMUT FEDERHOFER
Lago, Giovanni del.
See Del Lago, Giovanni.
Lagoya, Alexandre
(b Alexandria, 21 June 1929). French guitarist of Greek-Italian parentage. He
began studying guitar at the age of eight in the Alexandria Conservatory. He gave
his first public recital at 13 and five years later moved to Paris, where he continued
his studies at the Ecole Normale de Musique and met several important
composers. In 1950 he met Ida Presti at Segovia’s summer course in Siena; they
married in 1952. Thereafter they abandoned their successful solo careers and
devoted themselves to establishing a duo that set new standards for the medium.
After Ida Presti’s premature death in 1967, Lagoya resumed his solo career,
continued to direct the annual summer school in Nice (a task previously shared
with Presti) and in 1969 became professor of guitar at the Paris Conservatoire,
retiring in the mid-1990s. He continues to perform and make recordings.
JOHN W. DUARTE
Lagrange, Joseph Louis, Comte
(b Turin, 25 Jan 1736; d Paris, 10 April 1813). French mathematician and physicist.
He was largely self-trained and was encouraged by Euler and d'Alembert, whose
protégé he became. He held positions in Berlin (from 1766) and Paris (from 1787).
He is remembered as an acoustician for his work in 1759 on the transverse
vibrations of the taut, massless cord loaded by n weights, equally spaced. He is
credited with being the first to represent the string in this way and to calculate its
normal mode patterns and frequencies, and for having established Euler's solution
for the continuous monochord as being the result of taking the limit as n tends to
infinity. In fact the discrete model was a very old one, and Lagrange's work on it is
a straightforward extension of Euler's; further, as d'Alembert pointed out,
Lagrange's passage to the limit is fallacious. In 1788 Lagrange showed how to
determine in principle the normal modes of any discrete system in small oscillation
about a stable position of equilibrium. In acoustics, as in many other domains,
Lagrange's work closely follows Euler. It is Lagrange's chief merit to have been the
only man of his day to master Euler's discoveries and methods as soon as they
appeared, so that he was often able to extend Euler's results.
See also Physics of music, §3.
BIBLIOGRAPHY
J.-A. Serret, ed.: Oeuvres de Lagrange (Paris, 1867–92)
J. Itard: ‘Lagrange, Joseph Louis’, Dictionary of Scientific Biography, ed. C.C.
Gillispie (New York, 1970–80)
CLIVE GREATED
La Greca, Antonio [‘Il Fardiola’]
(b Palermo, 1631; d Palermo, 8 May 1668). Italian composer. His nickname was
derived from his teacher, Filippo Fardiola, an incumbent of the Church at Palermo.
In December 1653 La Greca is listed among the members of the Unione dei musici
of Palermo. His Armonia sacra di vari motetti … libro primo op.1 (Palermo, 1657),
discovered in the archives of St Paul’s Cathedral of Malta, Mdina, in 1979, is for
two to five voices with organ continuo. It contains settings of 21 Latin sacred texts,
most of them extra-liturgical. Exultate, gaudete (for two sopranos and bass voice)
and Lauda Sion (for five voices) include two violins, though in the latter they are
optional. The music is sensitive to the meaning of the texts, with contrasts of metre
(triple and duple), tempo (presto, allegro and largo) and style (arias, ariosos and
recitatives). The harmony is rich, full of bold dissonances and modulations, and the
melody is constantly enchanting, with unusual and surprising figurations.
BIBLIOGRAPHY
PitoniN
D. Ficola: ‘Stampe musicali siciliane a Malta’, Musica sacra in Sicilia tra
Rinascimento e Barocco: Caltagironi 1985, 69–86, esp. 77–8
U. D'Arpa: ‘Notizie e documenti sull'Unione dei musici e sulla musica sacra a
Palermo’, I quaderni del conservatorio, i (Palermo, 1988), 19–36, esp. 29ff
A. Tedesco: Il Teatro Santa Cecilia e il Seicento musicale palermitano
(Palermo, 1992), 10, 243
PAOLO EMILIO CARAPEZZA, GIUSEPPE COLLISANI
La Grille, Sieur de.
See Normandin, Dominique.
La Grotte [La Crotte], Nicolas de
(b 1530; d c1600). French keyboard player and composer. In 1557 he was organist
and spinet player at Pau to Antoine de Bourbon, King of Navarre. In October 1558
he married and, though still attached to the court of Navarre, resided at Paris. After
Antoine's death in 1562 he joined Costeley and Jean Dugué in the service of Henri
de Valois, Duke of Anjou, and was appointed ‘vallet de chambre et organiste
ordinaire’ in 1574 when the duke succeeded his brother Charles IX to become
Henri III of France. He and Claude Le Jeune were paid 600 gold crowns for serving
during the festivities for the wedding of the Duke of Joyeuse in September and
October 1581. In 1584 he tested a new organ at St Germain-l'Auxerrois and his
playing was praised by La Croix du Maine for its ‘sweetness of execution, manual
delicacy’ and ‘musical profundity’; the poet laureate Jean Dorat expressed similar
sentiments in a Latin anagram, Tu solus organicus. In 1587 La Grotte petitioned
the king for a sinecure, and between 1586 and 1589 made several applications to
purchase land in the Corbeil district, near Paris.
The chansons in his 1569 collection reflect the contemporary preference of poets
and humanists for monody; although the publication, in four partbooks, follows the
standard format, the music was clearly conceived as melody and accompaniment –
the three lower voices providing harmonic support – and seems more naturally
suited to the arrangement for voice and lute issued under Le Roy’s own name as
airs de cour in 1571 (this includes all but the final piece of La Grotte's 1569
collection). Several of the melodies were also used in Jehan Chardavoine's
monophonic Recueil des plus excellents chansons en forme de voix de ville (Paris,
1576). The declamatory rhythm of some of these pieces foreshadows the work of
musicians in Baïf's circle and La Grotte demonstrated his interest in musique
mesurée à l'antique by including four chansons mesurées (Il a menty, La belle
Aronde, Lesse-moy osu (Baïf) and Ma gente bergère) in a second collection,
published in Paris in 1583. The distinction between air and chanson in the title of
this collection refers only to strophic and non-strophic texts, among which are
verses by Baïf and Belleau, religious texts by Desportes, du Bellay and Guéroult,
two Italian poems and a long opening piece in five sections entitled Mascarades de
Pionniers. La Grotte's own literary talent is evident in that he translated from
Dorat's original Latin the prefatory verses addressed to Henri III in the 1583
volume. In view of the chronology, La Grotte seems more likely than Gombert,
Millot or Guillaume Nicolas to have written the chansons ascribed to ‘Nicolas’ in
anthologies published between 1559 and 1578; these are generally more old-
fashioned in style than La Grotte's collections of 1569 and 1583, but they include a
few settings of the Pléiade poets (Ronsard, Du Bellay and Belleau) as well as older
verse by Marot, Guéroult and others. In spite of his fame as an organist, only one
of La Grotte's keyboard works survives – a four-part polyphonic fantasia on Rore's
madrigal Ancor che col partire.
WORKS
chansons
[16] Chansons de P. de Ronsard, Ph. Desportes et autres mises en musique par
Nicolas de la Grotte, 4vv (Paris, 1569, 3/1572 with 2 added chansons), ed. in SCC,
xv (1992); 15 arr. in Livre d'airs de cour miz sur le luth par Adrian le Roy (Paris,
1571); ed. in PSFM, iv–v [iii–iv] (1934/R)
Premier livre d'airs et chansons (28 chansons), 3–6vv (Paris, 1583)
1 chanson, 4vv, 156917 (attrib. ‘N. la Grotte’)
55 chansons, 1 canon, 3–6vv, 15598, 155911, 155912, Livre de meslanges (Paris,
1560), 15616, 15648, 156411, 15655, 15722, 157814: all attrib. ‘Nicolas’, possibly by
La Grotte; 40 ed. in SCC, xx (1991)
instrumental
Courante, lute, 161726
Fantasia a 4 sopra ‘Ancor che col partire’, kbd, A-Wn; ed. F. Dobbins, Le concert
des voix et des instruments à la Renaissance: Tours 1991, pp.573–4
BIBLIOGRAPHY
R. de Juvigny, ed.: Les bibliothèques françoises de La Croix du Maine et de
Du Verdier (Paris, 1772–3), ii, 163ff
E. Droz: ‘Les chansons de Nicolas de la Grotte’, RdM, viii (1927), 133–41
L. de La Laurencie: ‘Nicolas de la Grotte, musicista di Ronsard’, RaM, v
(1932), 117–28
L. de La Laurencie: Introduction to Chansons au luth et airs de cour français
du XVIe siècle, PSFM, iv–v [recte iii–iv] (1934/R)
R. Lebègue: ‘Ronsard corrigé par un de ses musiciens’, RdM, xxxix (1957),
71–2
FRANK DOBBINS
Lagudio, Paolo
(fl 1563). Italian composer. His Primo libro di madrigali a cinque voci (Venice,
156310, incomplete) is dedicated from Naples. In addition to his own three madrigal
pairs and a 21-stanza cycle, the book contains one madrigal by Ferrante Bucca.
Such extended cycles as Lagudio’s Quel antico mio were uncommon even in
Rome, Venice and Verona where settings of entire canzoni were popular.
PATRICIA ANN MYERS
La Guerre, Elisabeth Jacquet de.
See Jacquet de La Guerre, Elisabeth.
Laguerre [Lagarde, Legar, Legard, Le
Garde, Legare, Leguar, Leguerre etc.],
John
(b c1700; d London, 28 March 1748). English baritone and painter. The various
spellings of his name in playbills, advertisements and cast-lists have caused much
confusion, with some writers asserting that more than one person is involved.
Laguerre first appeared in Italian opera, having a minor role in Handel's Radamisto
(1720). He then joined John Rich's company, where between 1721 and 1740 he
sang in pantomimes, afterpieces, ballad operas and burlesques. He sang again for
Handel, as Curio in Giulio Cesare (1724), his English theatre roles being taken by
other singers on Italian opera nights. His most popular roles were Hob in Flora and
Gaffer Gubbins in The Dragon of Wantley. He sang Corydon in the first public
performance of Handel's Acis and Galatea in March 1731. In 1724 he married the
dancer and actress Mary Rogeir; they always worked together and after her death
in 1739 his career declined. In 1741 he was imprisoned for debt, but was allowed
to sing in his benefit performance on 23 April. In 1746 he was taken on by Rich as
a scene painter. He had published engravings of theatrical subjects, having been
trained by his father, the French-born mural painter Louis Laguerre, who died at the
theatre on John's first benefit night in 1721. ‘Honest Jack Laguerre’ had a
reputation as a wit, a mimic and an amusing companion.
BIBLIOGRAPHY
BDA; DNB (L.H. Cust); LS
Vertue Note Books, v, ed. Walpole Society (Oxford, 1938)
OLIVE BALDWIN, THELMA WILSON
Laguerre, Marie-Joséphine
(b Paris, 1755; d Paris, 14 Feb 1783). French soprano. She joined the Opéra as a
chorister in 1771–2 and in 1776 took the title roles in La Borde's Adèle de Ponthieu
and Gluck's Alceste. A pure-voiced and expressive singer, she shared leading
roles with Rosalie Levasseur from 1778, and created the title role in Floquet's Hellé
(1779), Sangaride in Piccinni's Atys (1780), Iphigenia in Piccinni's Iphigénie en
Tauride (1781) and the Countess in Grétry's La double épreuve (1782). Her early
death was apparently the result of loose living; at the second performance of
Piccinni's Iphigénie, she was incoherent through drink and was imprisoned until the
following performance.
BIBLIOGRAPHY
FétisB
H. Audiffret: ‘Laguerre (Marie-Joséphine)’, Biographie universelle ancienne et
moderne, ed. L.G. Michaud and E.E. Desplaces (Paris, 2/1843–65/R)
D. Denne-Baron: ‘Laguerre (Marie-Sophie)’, Nouvelle biographie générale,
ed. J.C.F. Hoefer (Paris, 1852–66/R)
C. Davillier: Une vente d'actrice sous Louis XVI: Mlle Laguerre (Paris, 1870)
G. Desnoiresterres: La musique française au XVIIIe siècle: Gluck et Piccinni
(Paris, 1872/R, 2/1875)
JULIAN RUSHTON
La Guerre, Michel de
(b Paris, c1606; d Paris, 12 Nov 1679). French organist, lutenist and composer. At
the age of 14 he succeeded Charles Racquet, organist at Notre Dame, Paris, and
on 1 January 1633 was appointed organist of the Ste Chapelle, where he remained
until his death. According to the Ste Chapelle records, he was also treasurer from
1661. He married Marguerite Trépagne and had ten children: Jérôme succeeded
him as organist of the Ste Chapelle, holding the post until about 1739; Marin, who
was married to Elisabeth Jacquet, acted as substitute for his brother between 1698
and 1704. Michel de La Guerre was considered by Jean Loret (La muze historique,
19 December 1654) to be ‘a very excellent master of the lute’; he performed at
musical gatherings arranged by the organist Pierre de la Barre and accompanied
the famous singer Anne de la Barre. He is regarded as the creator of the French
pastorale: Le triomphe de l'Amour, a setting of a poem by Charles de Beys, was
performed at the Louvre on 22 January 1655 and then at the Théâtre du Palais-
Royal on 26 March 1657; the music is lost. In about 1661 La Guerre dedicated to
Louis XIV a collection of his settings of Oeuvres en vers de divers autheurs, mis en
musique, among them a Dialogue sur l'alliance de la France et de l'Espagne in
which each allegorical figure sings in his or her own language. The music of these,
too, is lost.
BIBLIOGRAPHY
BrenetC
BrenetM
MGG1 (S. Wallon)
H. Quittard: ‘La première comédie française en musique’, BSIM, iv (1908),
377–96, 497–537
L. de La Laurencie: Les créateurs de l'opéra français (Paris, 1930)
Y. de Brossard: ‘La vie musicale en France d'après Loret et ses
continuateurs’, RMFC, x (1970), 132, 186–7
C. Cessac: ‘Les La Guerre: une dynastie d'organistes à la Sainte-Chapelle de
1633 à 1739’, Histoire, humanisme et hymnologie: mélanges offerts au
professeur Edith Weber, ed. P. Guillot and L. Jambou (Paris, 1997), 77–90
CATHERINE CESSAC
Lah.
The submediant of a major scale or keynote of a minor scale in Tonic Sol-fa.
La Halle, Adam de.
See Adam de la Halle.
Lahjī, Muhammad Fadl al-
(b 1922, al-Hawta, British Protectorate of South Arabia [now Yemen]; d 1967). Arab
singer and ‘ūd player. His life was closely linked to that of his patron, Prince Ahmad
Fadl al-‘Abdalī, known as ‘the Commandant’ (al-Komandān). Before the
Komandān, the music of the Lahij region near Aden was confined to popular songs
and instruments (the double clarinet, the lyre and percussion). In the 1930s, young
artists influenced by Egyptian song discovered the ‘ūd (short-necked lute). As an
alternative to the other urban musical genres of the Yemen, which derived from
Sana’a and Hadramawt, the Komandān invented a new style known as lahjī by
adapting his poetry to traditional melodies; he later composed new melodies and
provided patronage for young composers. The lahjī style was the first ‘urban’
musical genre of the Yemen in the contemporary sense, making its mark
throughout the Yemen together with the polyrhythmic sharh dance. Many lahjī
recordings were released in Aden during the 1940s by the al-Tāj al-Adanī
company, and the lahjī became particularly well known in the Persian Gulf under
the name of ‘adanī. Al-Lahjī added to this repertory new songs such as Yā ward yā
kādhī (‘O rose, O kādhī, pears and apricots’). In many of his melodies it is difficult
to tell the traditional from the new elements and to distinguish the contributions of
al-Lahjī from those of the Komandān; al-Lahjī's work retains the pentatonic scale of
popular origin which later became blurred in the work of artists such as Faysal
‘Alawī. Al-Lahjī pursued a traditional career, providing music for weddings; he
joined the Musical Club of Lahij in 1955 and the Musical Club of the South in 1957,
both of which associations played a part in the revival of Yemeni nationalism. He
died prematurely, assassinated in 1967.
BIBLIOGRAPHY
T. Fari': Lamahāt fī tā'rīkh al-ughniyya al-yamaniyya al-mu‘āsira [Aspects of
the history of contemporary Yemeni song] (Aden, 1985)
J.A. Ahmad: ‘Fadl b. Muhammad al-Lahjī’, Al-mawsū‘a al-yamaniyya [Yemeni
encyclopaedia] (Sana'a, 1992)
A. Qa'id: ‘Le chant de la rose et du coton: musique citadine de Lahej’,
Musicales instituts du monde arabe, ix (1998), 10 only
JEAN LAMBERT
La Harpe [Delaharpe], Jean François
de
(b Paris, 20 Nov 1739; d Paris, 11 Feb 1803). French man of letters. He wrote
several tragedies, of which Le comte de Warwick (1763) was the most successful,
but he is chiefly remembered for his didactic and critical works. These include the
Cours de littérature in 16 volumes (1799–1805), in which he holds a special place
for French librettists of the 17th and 18th centuries, and an Eloge de Racine
(1772). A dogmatic critic with little understanding of music, he joined with
Marmontel to support the Italians against Gluck, and particularly favoured Sacchini;
his virulent attack on Armide in the Journal de politique et de littérature (5 October
1777) was ridiculed by Gluck himself in the Journal de Paris (12 October 1777) and
by La Harpe’s colleague J.B.A. Suard using the pseudonym ‘L’anonyme de
Vaugirard’. His Correspondance littéraire (1774–91, published 1801–7), a
manuscript periodical similar to Grimm’s, though less extensive, is a valuable
informal record of the period. His Chant des triomphes de la République française
was set to music by Le Sueur in 1794.
BIBLIOGRAPHY
ES (A. Tissier)
G.M. Leblond, ed.: Mémoires pour servir à l’histoire de la révolution opérée
dans la musique par … Gluck (Paris, 1781/R)
G. Peignot: Recherches … sur la vie et les ouvrages de M. de La Harpe
(Dijon, 1820)
C. Pierre: Les hymnes et chansons de la Révolution (Paris, 1904)
JULIAN RUSHTON/MANUEL COUVREUR
La Hèle [Hele], George de
(b Antwerp, 1547; d Madrid, 27 Aug 1586). Flemish composer, active in Spain. He
received his early musical training under Antoine Barbé (i) at the church of Our
Lady in Antwerp. It is also possible that he spent some time as a choirboy at the
collegiate church at Soignies. In 1560 he was among a group of choirboys who
went from the Low Countries to Madrid to serve in the chapel of Philip II, then
under the direction of Pierre de Manchicourt. From the preface to his Octo missae,
we know that La Hèle remained in the service of the king for ten years at this time.
Towards the end of this period, possibly for three or four years, he was enrolled in
the University of Alcalá, while continuing to have his name inscribed in the roster of
the choir in order to receive its benefits. In 1570 La Hèle returned to the Low
Countries to study at the University of Leuven, probably reading theology. While
never fully ordained a priest, there is evidence that he received minor orders before
discontinuing his theological studies.
La Hèle became choirmaster at St Rombouts in Mechelen in 1572, and about 1574
went to the cathedral at Tournai in a similar capacity. In 1576 he won two prizes for
his compositions at a contest in honour of St Cecilia at Évreux. He was awarded
second prize, a golden ring adorned with a silver harp, for the motet Nonne Deo
subiecta erit anima mea; and also gained third prize, a golden ring ornamented
with a silver lute, for his chanson Mais voyez mon cher esmoy. In 1578 Christopher
Plantin of Antwerp printed the composer's most important work, his Octo missae.
Philip II designated La Hèle master of the royal chapel on 15 September 1580.
However, despite numerous efforts by the king to hasten his journey to Madrid, La
Hèle does not seem to have arrived there until over a year and a half after this
appointment. He was much concerned with the condition of the musical repertory
he found at the chapel, and greatly enlarged it with music by Clemens non Papa,
Palestrina, Guerrero, Morales and Manchicourt, as well as with some of his own
works. In 1585 Philip II travelled to Zaragoza for the marriage of his daughter
Catherine with Charles Emmanuel, Duke of Savoy. La Hèle wrote a highly
successful motet for this occasion. On this same journey, while at Monzón, he
conducted a festival performance in which the choir of his own chapel and those
from Castile, Aragon and Portugal sang.
Because he had received minor orders, La Hèle was eligible to hold ecclesiastical
benefices. Philip II liberally provided him with several throughout his life. However,
La Hèle lost all of these through his marriage, which seems to have taken place
shortly before he died, probably during his final illness. On 16 June 1586 he made
a will which contains the only mention of his wife, formerly Madelena
Guabaelaraoen, who was appointed an executor. He died on 27 August 1586 in
the parish of St Nicholas in Madrid.
George de La Hèle's Octo missae was the first of Christopher Plantin's few music
printings. For its publication Plantin had an elaborate frontispiece specially
engraved, which later served for his other music publications (see Low Countries,
fig.3). The music fount used was also specially prepared. For the first letter of the
text at the beginning of each part of each mass, majuscules were employed which
had originally been intended for an antiphoner, commissioned by Philip II but never
printed. The high-quality paper on which these eight masses were printed had also
been purchased for this antiphoner. The beautiful workmanship of the Plantin press
on the Octo missae makes it a model of printing artistry for the period. The work
was published in choirbook format, its actual size being 54 cm by 38 cm. The retail
selling price of the volume was an expensive 18 florins, and by the terms of the
printing contract La Hèle was required to purchase 40 copies at a reduced price.
The account books of Plantin show that the publication sold well, and many copies
survive today. La Hèle's Octo missae comprises the masses on Benedicta es
coelorum regina (7vv), Fremuit spiritus Jesu (6vv), Gustate et videte (5vv), In
convertendo Dominus (5vv), Nigra sum sed formosa (5vv), Oculi omnium in te
sperant Domine (5vv), Praeter rerum seriem (7vv) and Quare tristis es (6vv). The
first and seventh are based on motets by Josquin; the second, third, sixth and
eighth on motets by Lassus; the fourth on the motet by Rore and the fifth on the
motet by Crecquillon. La Hèle's motet Asperges me precedes the masses in this
collection.
La Hèle's skill as a composer is best demonstrated through the parody technique of
his masses. Melodic, harmonic and rhythmic elements from the polyphonic model
are ingeniously reworked, in both easily recognizable and cleverly disguised
variations, in such a way as to elevate the contrapuntal level of the original. La
Hèle drew only on motets, avoiding secular models as inappropriate to the divine
service. All his models were composed by established composers.
The Octo missae and the one motet and one chanson previously mentioned are
the only extant works of George de La Hèle. That he did write others is verified by
the lists of music copied into the repertory of the royal chapel of Philip II. The lists
for 1585 contain a Credo (8vv); a motet In illo tempore (8vv); a Kyrie for Paschal
time (5vv); a Kyrie for Paschal time (6vv); two Passion settings (both 4vv); a
Lamentatio Jeremie (5vv); another for eight voices; the motet Domine tu mihi lavas
pedes (8vv); and Egredientum (4vv); all by La Hèle. Presumably these, and
probably more of his works, were lost when the library of the royal chapel was
burnt in 1734.
WORKS
Edition:Collected Works of George de la Hele, ed. L.J. Wagner, CMM, lvi (1972)
Octo missae quinque, sex et septem v