Scan 115
A Dictionary of music and musicians : (A.D. 1450-1880), 1880
174 lines. Read by computer on 6 September 2026, twice; the two readings disagreed in places. Printed page 103. See the scan on archive.org.
1LATROBE.
3Glanbacher. Quid sum miser, C. Haydn, J. Non parmi, A. from Requiem.
4Gluck. De profundis, C.—De Profundis.
5Gonec. Lachrymosa, D.—Requiem.
6Do. Pie Jesu, C.—Do.
7Graun. Te Deum, C.—Te Deum.
8Do. Te gloriosus, C.—Do.
9Do. Tu Rex gloria, C.—Do.
10Do. Tu ad liberandum, A.—Do.
11Do. Tu ad dexteram, C.—Do.
12Do. Tu ergo quassamus, D.—Do.
13Do. Et rege, C.—Do.
14Do. Dignare Domine, A.—Do.
15Do. O Zion, mark, C.—Tod Jesu.
16Do. He was despised, C.—Do.
17Do. Thou hast brought me, C.—Do.
18Do. Sing to Jehovah, C.—Do.
19Du. Astonish'd Seraphim, B.—Da.
20Do. Weep, Israel, Oh.—Do.
21Do. Behold us here, C.—Do.
22Do. Behold the Lamb of God, C.—Passione.
23Do. He was despised, C.—Do.
24Do. God, my strength, D.—Do.
25Do. Bless the Lord, A.—Do.
26Do. Let us run, C.—Do.
27Do. In songs of joy, Ch.—Do.
28Do. Bow down, A.—Do.
29Hiller. Against thee only, C.—Miserere.
30Haase. Inspiro O Deus, C.—Augustino.
31Do. Laudate coeli Patrem, C.—Do.
32Do. Titi furentibus, A.—Do.
33Du. Jesu mea pax, D.—Magdalena.
34Do. O portenta, A.—Do.
35Du. Mea tormenta, A.—Do.
36Do. Ad te clamamus, A.—Salve.
37Do. O give thanks, C.—Caduta.
38Do. Finche solvo, A.—Do.
39Do. Blow the sacred trumpet, C.—Do.
40Do. Lauda. Qu. & C.—Pellegrini.
41Du. Viva fonte, A.—Do.
42Do. D'Aspri legati, A.—Do.
43Do. Sentì il mar, A.—Do.
44Du. Pellegrino e l'omo, C.—Do.
45Do. Defende populum, C.—Giuseppe ric.
46Do. Die queso, A.—Do.
47Do. Plebes inerte consilia, C.—Do.
48Do. Agnus Dei, D.—Litany.
49Do. O Lord, save thy people, A.—Depositione.
50Do. Rex tremendae, C. & A.—Requiem.
51Du. Miserere mei Deus, C.—Miserere. one of two readings
52Da. Miserere mei Deus, C.—Miserere. one of two readings
53Haydn. J. Tu di grazia, C.—Passione.
54Do. Padre celeste, C.—Do.
55Do. Kyrie, C.—Mass No. I, in Bb.
56Do. Gloria, C.—Do.
57Do. Et incarnatus, C.—Do.
58Do. Sanctus, C.—Do.
59Do. Qui tollis, A. & C.—Mass No. II, in C.
60Do. Gloria, C.—Mass No. III, in D.
61Do. Et incarnatus, A. & C.—Do.
62Do. Quoniam, A.—Mass No. V.
63Do. Cum sancto, C.—Do.
64Do. Et incarnatus, B. & D.—Do.
65Do. Agnus, A.—Do.
66Do. Kyrie, C.—Mass No. VII, in G.
67Do. Et incarnatus, B. & Qu.—Do.
68Do. Sanctus, C.—Do.
69Do. Benedictus, Q.—Do.
70Do. Sanctus, C.—Mass No. VIII, in Bb.
71Do. Benedictus, A.—Do.
72Do. Agnus Dei, C.—Do.
73Do. Kyrie, C.—Mass No. XII.
74Do. Statat Mater, C.—Statat. one of two readings
75Do. Stabat Mater, C.—Stabat. one of two readings
76Do. Vidi saum, A.—Do.
77Do. Qui est homo, C.—Do.
78Do. Pro peccata, A.—Do.
79Do. Flammis orci, A.—Do.
80Do. Fac me eruce, A.—Do.
81Do. Quando corpus, C.—Do.
82Do. Salve Redemptor, C.—Salve.
83Do. Pietà d'un infelice, C.—Tobia.
84Pergolesi. O Jesu Salvator, D.—Salvatore. Recestit Pastor, C. from Responsoria. one of two readings
85Pergolesi. O Jesu Salvator, D. Salvatore. Recestit Pastor, C. from Responsoria. one of two readings
86Do. O di le nostre, C.—Do.
87Do. My soul shall cry, Q.—Motetto.
88Haydn, M. Lord, grant us thy, Ch.—Service for Country Church.
89Do. O full of all, Ch.—Do.
90Do. While conscious, Ch.—Do.
91Do. Bless Jesus, gracious, Ch.—Do.
92Do. O Love, all love excelling, Ch.—Do.
93Do. While with her fragrant, Ch.—Do.
94Do. Worship, honour, Ch.—Do.
95Do. Tenebrae, C.—Tenebrae.
96Do. Sanctus, C.—Requiem.
97Do. Agnus, C.—Do.
98Do. Oro supplex, C.—Do.
99Do. Lauda Sion, Q.—Litaney.
100Hummel. Holy, Holy, C.—Mass.
101Jomelli. Rex tremendas, D.—Requiem.
102Do. Kyrie, D.—Mass.
103Do. Agnus, D.—Do.
104Leo. Dal nuvoloso monte, A.—S. Elena.
105Do. Dal tuo soglio, D.—Do.
106Do. Christus factus est, S.—Verse.
107Do. O Jesu, A.—Salve.
108Lotti. Qui tollis, C.—Mass.
109Do. Gloria, C.—Do.
110Do. Et in terra, Qu.—Do.
111Do. Miserere mei, C.—Miserere.
112Marcello. Save, O save, D.—Psalms.
113Morari. Agnus Dei, T.—Mass.
114Morari. Cum sancto, C.—Do.
115Mozart. Recordare, Q.—Requiem.
116Do. Sanctus, C.—Mass No. I.
117Do. Benedictus, Q.—Do.
118Do. Agnus, A.—Do.
119Do. Gloria, C.—Mass No. II.
120Do. Benedictus, Q.—Mass No. III.
121Do. Agnus, C.—Do.
122Do. Agnus, D.—Mass No. VI.
123Do. Bless the Lord (Kyrie), D.—Mass No. X.
124Do. Benedictus, A. & C.—Do.
125Do. Agnus, C.—Do.
126Do. Benedictus, Q.—Mass No. XI.
127Do. O God, when thou appearest, C.—Motetto I. II.
128Do. Ne pulvis, C.—Do.
129Do. Kyrie, D.—Litaney I.
130Do. Jesu Domine, A.—Do.
131Do. Jesu Christe, D.—Litaney II.
132Do. Verbum caro, C.—Do.
133Do. Enter into his gates, A.—Do.
134Do. Kyrie, C.—Do.
135Do. Agnus, D.—Do.
136Do. Tho' by threatening storms, A.—Davidde.
137Naumann. Christe, T.—Mass No. I.
138Do. Kyrie, C.—Do.
139Do. Et incarnatus, D.—Do.
140Do. Agnus, D.—Do.
141Do. Quoniam, D.—Mass No. II.
142Do. Cum sancto, C.—Do.
143Do. Benedictus, D. & C.—Do.
144Do. Agnus, C.—Do.
145Do. Qui tollis, C.—Mass No. III.
146Do. Et incarnatus, A.—Do.
147Do. Sanctus, C.—Do.
148Do. Et incarnatus, A.—Mass No. IV.
149Do. Agnus, D. & C.—Do.
150Do. Lauda Sion, C.—Offertorium.
151Do. Le porte a noi, Q.—Pellegrini.
152Do. O ye kindreds, C.—Psalm xcv.
153Negri. Qui sedes, A.—Mass.
154Neukomm. Rex tremendas, C.—Requiem.
155Do. Sanctus, D.—Do.
156Pergolesi. Kyrie, D.—Grand Mass
157Do. Gloria, D.—Do.
158Do. Laudamus, D.—Do.
159Do. Gratias, C.—Do.
160Do. Domine, D.—Do.
161Do. Qui tollis, C.—Do.
162Do. Quoniam, A.—Do.
163Do. Cum Sancto, C.—Do.
164Do. Hear my prayer, D.—Salve.
165Do. Ad te suspiramus, C.—Do.
167LAUDA SION.
169LAUB, FERDINAND, one of the most remarkable violin-players of our day, was born Jan. 19, 1832, at Prague, where his father was a musician. His talent shewed itself very early; at six he mastered Variations by De Beriot, and at nine performed regularly in public. At eleven he attracted the notice of Berlioz and Ernst, and shortly after was taken up by the Grand Duke Stephen, and by him sent to Vienna in 1847. After this he visited Paris, and, in 1851, London, where he played at the Musical Union, and, in 1853 succeeded Joachim at Weimar. Two years later we find him at Berlin as Kammervirtuos and Concertmeister of the Court band, and leader of quartet-concerts of his own. At length, after considerable wandering, he settled at Moscow in 1866 as head Professor of the Violin in the Conservatorium, and first violin at the Musikgesellschaft, with great liberty of action. But Russia did not agree with him, and the state of his health compelled him in 1874 to take the baths at Karlsbad. The benefit however was but temporary, and on March 17, 1875, he died of a disordered liver, at Gries, near Botzen, in the Tyrol. Laub was certainly one of the greatest violin-virtuosos of recent times. He had a fine and very powerful tone and a brilliant technique, and played with much feeling and passion. His répertoire was very large, comprising all the important classical works and a great many modern compositions. His frequent performances of Joachim's Hungarian Concerto deserve special mention. He had also much success as a quartet-player, but his style, especially in latter years, has not unjustly been reproached with mannerism and a tendency to exaggeration.
171LAUDA SION. The name of a Sequence, sung, at High Mass, on the Feast of Corpus Christi, between the Gradual—Oculi omnium—and the Gospel for the Day. [See SEQUENTIA.]
173The text of the Lauda Sion, written, about the year 1261, by S. Thomas Aquinas, has always been regarded as a masterpiece of mediæval scholarship; and differs, in at least one very important point, from the four other Sequences still retained in use by the Roman Church. Not only does the rhythmic swing of its rhymed
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