Scan 117
A dictionary of music and musicians (A.D. 1450-1880) Volume 2, 1880
106 lines. Read by computer on 11 September 2026. Printed page 103. See the scan on archive.org.
1Gänsbacher. Quid sum miser, C. Haydn, J. Non parmi, A. from Requiem.
2Gluck. De profundis, C.—De Profundis.
3Gossec. Lachrymosa, D.—Requiem.
4Do. Pie Jesu, C.—Do.
5Graun. Te Deum, C.—Te Deum.
6Do. Te gloriosus, C.—Do.
7Do. Tu Rex gloriae, C.—Do.
8Do. Tu ad liberandum, A.—Do.
9Do. Tu ad dexteram, C.—Do.
10Do. Te ergo quæsumus, D.—Do.
11Do. Et rege, C.—Do.
12Do. Dignare Domine, A.—Do.
13Do. O Zion, mark, C.—Tod Jesu.
14Do. He was despised, C.—Do.
15Do. Thou hast brought me, C.—Do.
16Do. Sing to Jehovah, C.—Do.
17Do. Astonish'd Seraphim, R.—Do.
18Do. Weep, Israel, Ch.—Do.
19Do. Behold us here, C.—Do.
20Do. Behold the Lamb of God, C.—Passione.
21Do. He was despised, C.—Do.
22Do. God, my strength, D.—Do.
23Do. Bless the Lord, A.—Do.
24Do. Let us run, C.—Do.
25Do. In songs of joy, Ch.—Do.
26Do. Bow down, A.—Do.
27Häser. Against thee only, C.—Miserere.
28Hasse. Inspiro O Deus, C.—Augustino.
29Do. Laudate cœli Patrem, C.—Do.
30Do. Ut furentibus, A.—Do.
31Do. Jesu mea pax, D.—Magdalena.
32Do. O portenta, A.—Do.
33Do. Mea tormenta, A.—Do.
34Do. Ad te clamamus, A.—Salve.
35Do. O give thanks, C.—Caduta.
36Do. Finche solvo, A.—Do.
37Do. Blow the sacred trumpet, C.—Do.
38Do. Lauda, Qu. & C.—Pellegrini.
39Do. Viva fonte, A.—Do.
40Do. D'Aspri legati, A.—Do.
41Do. Senti il mar, A.—Do.
42Do. Pellegrino e l'uomo, C.—Do.
43Do. Defende populum, C.—Giuseppe ric.
44Do. Dic quæso, A.—Do.
45Do. Plebes inepite consilia, C.—Do.
46Do. Agnus Dei, D.—Litany.
47Do. O Lord, save thy people, A.—Depositione.
48Do. Rex tremendæ, C. & A.—Requiem.
49Do. Miserere mei Deus, C.—Miserere.
50Haydn, J. Tu di grazia, C.—Passione.
51Do. Padre celeste, C.—Do.
52Do. Kyrie, C.—Mass No. I, in B♭.
53Do. Gloria, C.—Do.
54Do. Et incarnatus, C.—Do.
55Do. Sanctus, C.—Do.
56Do. Qui tollis, A. & C.—Mass No. II, in C.
57Do. Gloria, C.—Mass No. III, in D.
58Do. Et incarnatus, A. & C.—Do.
59Do. Quoniam, A.—Mass No. V.
60Do. Cum sancto, C.—Do.
61Do. Et incarnatus, S. & D.—Do.
62Do. Agnus, A.—Do.
63Do. Kyrie, C.—Mass No. VII, in G.
64Do. Et incarnatus, S. & Qu.—Do.
65Do. Sanctus, C.—Do.
66Do. Benedictus, Q.—Do.
67Do. Sanctus, C.—Mass No. VIII, in B♭.
68Do. Benedictus, A.—Do.
69Do. Agnus Dei, C.—Do.
70Do. Kyrie, C.—Mass No. XII.
71Do. Stabat Mater, C.—Stabat.
72Do. Vidiit suum, A.—Do.
73Do. Qui est homo, C.—Do.
74Do. Pro peccatis, A.—Do.
75Do. Flammis orci, A.—Do.
76Do. Fac me crucie, A.—Do.
77Do. Quando corpus, C.—Do.
78Do. Salve Redemptor, C.—Salve.
79Do. Pietà d'un infelice, C.—Tobia.
80Tobia.
81Pergolesi. O Jesu Salvator, D.—Salvatore. Recessit Pastor, C. from Responsorio.
82Do. In monte Oliveto, C.—Do.
83Sarti. Miserere, D.—Miserere.
84Do. Amplius, T.—Do.
85Serini. O fallaces, A.—Motetto.
86Do. Sum in medio, A.—Do.
87Sirol. Praise the Lord, D.—Miserere.
88Suidell. Crucifixus, D.—Mass.
89Telemann, Mercy, Judgment, A.—Orat. Passion.
90Türck. Heavenly Branch, D.—Christm. Oratorio.
91Vogler. Agnus Dei, C.—Requiem.
92Winter. O quam tristis, C. & Q.—Stabat Mater.
93Do. Quando corpus, C.—Do.
94Do. Quid sum miser, A.—Requiem.
95Wolf. Saints and Angels, C.—Funeral Anthem.
96Do. The Prince of Life, D.—Easter Anthem.
97N. N. Tantum ergo, D.—Chorale.
98[W.H.H.]
100LAUB, 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.
101[P.D.]
103LAUDA 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.]
105The 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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