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Scan 576
Baker's biographical dictionary of musicians, 1919
8 lines. Read by computer on 4 September 2026. Printed page 555. See the scan on archive.org.
1for Organists; was for some years vlnst. at the Ger. Landesth.; app. instr. of pf. and hist. at the Prague Cons., 1868; made inspector of all mus.-schools under state control in 1876; 'k. k. Inspektor' in 1905. He organized the orchl. schools at Petschkau and Pressnitz and the technical schools for the manufacture of mus. instrs. at Graslitz and Schönbach.—Works: Op. 10, Serenade for str.-orch. in A; op. 11, Suite for orch. in Bb; op. 14, Serenade in D for orch.; op. 15, In Memoriam, elegy for Engl. horn and orch.; op. 16, Symphony in E m.; a pf.-quartet; 3 str.-quartets; a pf.-trio; a sonata for vl. and pf.; pf.-pcs.—Writings: Musikalische Formenlehre, Anleitung zur Partiturenkenntnis, Praktischer Lehrgang der Instrumentation, Leitfaden der Musikgeschichte, Stufengang beim Klavierunterricht.
3Lührsz, Karl, b. Schwerin, Apr. 27, 1824; d. Berlin, Nov. 11, 1882. Pupil of his father, an organist, and of Mendelssohn at the Berlin Akademie; wrote orchestral and chamber-music.
5Luigini [-je'-], Alexandre (-Clemént-Léon-Joseph), b. Lyons, Mar. 9, 1850; d. Paris, July 29, 1906. Pupil at the Paris Cons. of Massart (vl.), Savard (harm.) and Massenet (comp.); ent. his father's orch. at Lyons in 1869 as vlnst., and the following year began his very successful career as a composer of stage-works with the ballet Le Rêve de Nicelle; 1877, chef d'orch. at the Grand Th. at Lyons, and prof. of harm. at the Cons. there; in 1897 he succ. Messager as chef d'orch. at the Op.-Comique in Paris, where he remained till his death, excepting the year 1903, when he cond. the orch. at the Th.-Lyrique.—Works: Les Caprices de Margot (op.-com., Lyons, 1877), La Reine des Fleurs (do., ib., 1878), Faublas (operetta, Paris, 1881); the ballets Anges et Démons (1876), Les Noces d'Ivanovna (1883), Ballet égyptien (1886, inserted, with Verdi's permission, in the 2d act of Aida at its perf. at Lyons), Le Bivouac (1889), Les Écharpes (1891), Rayon d'Or (1891), Rose et Papillon (1891), Le Meunier (1892), Arlequin Ecolier (1894), Dauritha (1894); also Romance symphonique for orch.; 3 str.-quartets (all won prizes); marches for orch.; numerous pf.-pieces.
7Lully (or Lulli) [lü-lē'], Jean-Baptiste de, the founder of French grand opera; b. Florence, Nov. 29, 1632; d. Paris, Mar. 22, 1687. He was taught the elements of music, and to play the violin and guitar, by a Franciscan monk. Though of noble family, his parents were poor, and made no difficulties when the Chevalier de Guise proposed to take their son, then 13, to France to amuse the leisure of Mlle. de Montpensier, 'la grande demoiselle.' Whether she tired of his music-making, and sent him down to the scullery, or whether he was put there at first, is uncertain; but one day, while he was edifying the kitchen with his violin, the Count de Nogent overheard him, and secured him the position due to his talents in the private band of Mlle. herself. But the mischievous boy set to music a satirical poem reflecting on the lady, who thereupon expelled him from her house. He contrived to obtain instruction on the harpsichord, and in composition, from Métru, Roberday, and Gigault, organists of St.-Nicolas-des-Champs; he also gained admission to the King's private orchestra, 'la grande bande,' rose fast in royal favor, and in 1652 was made head of this violin-corps of 24 violins; he soon organized a second corps, 'les petits violons,' of 16 instrs., which, under his leadership, became the finest orch. in France; L. himself had hardly a rival as a violinist. App. court composer in 1653, writing masques and ballets in which Louis XIV himself took part, Lully also, as 'M. Baptiste,' danced and acted in the court ballets and festival-plays, and made himself indispensable to the King, who preferred his music to all other. In 1672 he obtained letters patent for the establishment of an 'Académie royale de musique' (now the Grand Opéra), and a rival theatre was closed by the police by the King's express command [cf. art. Campra]. From this time dates L.'s real fame—that of creating French opera; writing to French texts a music which not only respected the genius of the language, but eschewed the purely musical redundancies (flowery ornamentation, undue extension and needless repetition of words and syllables, and the like, which delay the dramatic action) then in vogue in Italian opera. L. is, therefore, a reformer of tendencies similar to those of Gluck and Wagner, allowance being made for the period, and for the means at his disposal.—He now devoted himself heart and soul to his theatre, of which he became the director, stage-manager, conductor, composer, and even (when required) the machinist. A strong point in his favor was the genius of his librettist, Quinault, who followed the intentions of his imperious employer with rare understanding. His operas held the stage for nearly a century, until Gluck's grander creations overshadowed them. He developed the form of the overture; wrote recitatives of an easy and dramatically effective style, and arias distinguished for their fluent grace and beauty; his choruses were more dramatic, and he introduced the brasses into the orchestra; finally, his scenic arrangements eclipsed those of his predecessors. He was a man of vehement energy,
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