Scan 115
A Dictionary of music and musicians (A.D. 1450-1889): with …, Volume 2, 1880
188 lines. Read by computer on 8 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Glasbacher. Quid sum miser, C.—from Requiem.
2Glink. 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 quassumus, D.—Do.
11Do. Et regi, 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. one of two readings
28Häer. Against thee only, C.—Miserere. one of two readings
29Hasse. Inspiro O Deus, C.—Augustino.
30Do. Lendate coeli Patrem, C.—Do.
31Do. Utile furentibus, A.—Do.
32Do. Jesu mea pax, D.—Magdalen.
33Do. O portenta, A.—Do.
34Do. Mea tormenta, A.—Do.
35Do. Ad te clamaamus, A.—Salve.
36Do. O give thanks, C.—Caduta.
37Do. Finche solvo, A.—Do.
38Do. Blow the sacred trumpet, C.—Do.
39Do. Landa, Qu. & C.—Pellegrini.
40Do. Viva fonte, A.—Do.
41Do. D'Aspri legati, A.—Do.
42Do. Senti il mar, A.—Do.
43Do. Pellegrino e l'uomo, C.—Do.
44Do. Defende populum, C.—Giuseppe ric.
45Do. Die queso, A.—Do.
46Do. Plebes incepte consilia, C.—Do.
47Do. Agnus Del, D.—Litany.
48Do. O Lord, save thy people, A.—Depositione.
49Do. Rex tremendae, C. & A.—Requiem.
50Do. Miserere mei Deus, C.—Miserere.
51Haydn. J. Tu di grazia, C.—Passione.
52Do. Padre celeste, C.—Do.
53Do. Kyrie, C.—Mass No. I, in Bb.
54Do. Gloria, C.—Do.
55Do. Et incarnatus, C.—Do.
56Do. Sanctus, C.—Do.
57Do. Qui tollis, A. & C.—Mass No. II, in C.
58Do. Gloria, C.—Mass No. III, in D.
59Do. Et incarnatus, A. & C.—Do.
60Do. Quoniam, A.—Mass No. V.
61Do. Cum sancto, C.—Do.
62Do. Et incarnatus, S. & D.—Do.
63Do. Agnus, A.—Do.
64Do. Kyrie, C.—Mass No. VII, in G.
65Do. Et incarnatus, S. & Qu.—Do.
66Do. Sanctus, C.—Do.
67Do. Benedictus, Q.—Do.
68Do. Sanctus, C.—Mass No. VIII, in Bb.
69Do. Benedictus, A.—Do.
70Do. Agnus Del, C.—Do.
71Do. Kyrie, C.—Mass No. XII.
72Do. Stabat Mater, C.—Stabat.
73Do. Vidit suum, A.—Do.
74Do. Qui est homo, C.—Do.
75Do. Pro peccatis, A.—Do.
76Do. Flammis orci, A.—Do.
77Do. Fac me cruci, A.—Do.
78Do. Quando corpus, C.—Do.
79Do. Salve Redemptor, C.—Salve.
80Do. Pietas d'un infelice, C.—Tobia.
81Haydn, J. Non parmi, A. from Tobia.
82Do. O di le nostre, C.—Do.
83Do. My soul shall cry, Q.—Motetto.
84Haydn, M. Lord, grant us thy, Ch.—Service for Country Church. one of two readings
85Haydn. M. Lord, grant us thy, Ch.—Service for Country Church. one of two readings
86Do. O full of all, Ch.—Do.
87Do. White conscious, Ch.—Do.
88Do. Blest Jesus, gracious, Ch.—Do.
89Do. O Love, all love excelling, Ch.—Do.
90Do. While with her fragrant, Ch.—Do.
91Do. Worship, honour, Ch.—Do.
92Do. Tenebrae, C.—Tenebrae.
93Do. Sanctus, C.—Requiem.
94Do. Agnus, C.—Do.
95Do. Oro supplex, C.—Do.
96Do. Lauda Sion, Q.—Litany.
97Hummel. Holy, Holy, C.—Mass.
98Jomelli. Rex tremenda, D.—Requiem.
99Do. Kyrie, D.—Mass.
100Do. Agnus, D.—Do.
101Leo. Dal nuvoloso monte, A.—S. Elena.
102Do. Dal tuo soglio, D.—Do.
103Do. Christus factus est, &—Verse.
104Do. O Jesu, A.—Salve.
105Lotti. Qui tollis, C.—Mass.
106Do. Gloria, C.—Do.
107Do. Et in terra, Qu.—Do.
108Do. Miserere mei, C.—Miserere.
109Marcello. Save, O save, D.—Psalms.
110Morari. Agnus Del, T.—Mass.
111Morari. Cum sancto, C.—Do.
112Mozart. Recordare, Q.—Requiem.
113Do. Sanctus, C.—Mass No. I.
114Do. Benedictus, Q.—Do.
115Do. Agnus, A.—Do.
116Do. Gloria, C.—Mass No. II.
117Do. Benedictus, Q.—Mass No. III.
118Do. Agnus, C.—Do.
119Do. Agnus, D.—Mass No. VI.
120Do. Bless the Lord (Kyrie), D.—Mass No. X.
121Do. Benedictus, A. & C.—Do.
122Do. Agnus, C.—Do.
123Do. Benedictus, Q.—Mass No. XI.
124Do. O God, when thou appearest, C.—Motetto I. II.
125Do. Ne pulvis, C.—Do.
126Do. Kyrie, D.—Litany I.
127Do. Jesu Domine, A.—Do.
128Do. Jesu Christe, D.—Litany II.
129Do. Verbum caro, C.—Do.
130Do. Enter into his gates, A.—Do.
131Do. Kyrie, C.—Do.
132Do. Agnus, D.—Do.
133Do. Tho' by threatening storms, A.—Davidde.
134Naumann. Christe, T.—Mass No. I.
135Do. Kyrie, C.—Do.
136Do. Et incarnatus, D.—Do.
137Do. Agnus, D.—Do.
138Do. Quoniam, D.—Mass No. II.
139Do. Cum sancto, C.—Do.
140Do. Benedictus, D. & C.—Do.
141Do. Agnus, C.—Do.
142Do. Qui tollis, C.—Mass No. III.
143Do. Et incarnatus, A.—Do.
144Do. Sanctus, C.—Do.
145Do. Et incarnatus, A.—Mass No. IV.
146Do. Agnus, D. & C.—Do.
147Do. Lauda Sion, C.—Offertorium.
148Do. Le porte a noi, Q.—Pellegrini.
149Do. O ye kindreds, C.—Psalm xcvii.
150Negri. Qui sedes, A.—Mass.
151Neukomm. Rex tremendae, C.—Requiem.
152Do. Sanctus, D.—Do.
153Pergolese. Kyrie, D.—Grand Mass
154Do. Gloria, D.—Do.
155Do. Laudamus, D.—Do.
156Do. Gratias, C.—Do.
157Do. Domine, D.—Do.
158Do. Qui tollis, C.—Do.
159Do. Quoniam, A.—Do.
160Do. Cum Sancto, C.—Do.
161Do. Hear my prayer, D.—Salve.
162Do. Ad te suspiramus, C.—Do.
163Pergolese. O Jesu Salvator, D.—Salvatore. Recedit Pastor, C. from Responsorio.
164Do. In monte Oliveto, C.—Do.
165Sarti. Miserere, D.—Miserere.
166Do. Amplius, T.—Do.
167Serini. O fallaces, A.—Motetto.
168Do. Sum in medio, A.—Do.
169Siroli. Praise the Lord, D.—Miserere.
170Sudell. Crucifixus, D.—Mass.
171Telemann. Mercy, Judgment, A.—Orat. Passion.
172Türck. Heavenly Branch, D.—Christm. Oratorio.
173Vogler. Agnus Del, C.—Requiem.
174Winter. O quam tristis, C. & Q.—Stabat Mater.
175Do. Quando corpus, C.—Do.
176Do. Quid sum miser, A.—Requiem.
177Wolf. Saints and Angels, C.—Funeral Anthem.
178Do. The Prince of Life, D.—Easter Anthem.
179N. N. Tantum ergo, D.—Chorale.
180[W.H.H.]
182LAUB, 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 Kammervirtuose 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.
183[P.D.]
185LAUDA 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.]
187The 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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