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Scan 558
Baker's biographical dictionary of musicians, 1919
8 lines. Read by computer on 8 September 2026. Printed page 522. See the scan on archive.org.
1perf., 1907), Der Mann mit den drei Frauen (1908), Das Fürstenkind (1909), Der Graf von Luxemburg (1909); Zigeunerliebe (1910), Eva (1911), Die ideale Gattin (1913), Endlich allein (1914), Der Sterngucker (1917). Besides these stage-works, L. has written Ungarische Fantasie f. vl. and small. orch. (op. 45); Huldigungsouvertüre; Ein Märchen aus 1001 Nacht; Il Guado, symph. poem for orch. and pf.; Eine Vision, overture; a symph. poem, Fieber (1916); songs; and numerous marches and dances for orch. (90 op.-numbers).
3Lehmann [lä'-], Friedrich J.; b. Cleveland, O., Sept. 17, 1866. Began to st. the piano at the age of 7; ent. Oberlin Cons., where he cont. the pf. and also st. voice and theory; later pupil of F. von Bose and G. Schreck in Leipzig. Since 1902 prof. of theory in Oberlin Cons. Has publ. Lessons in Harmony; Harmonizing at the Piano; Simple Counterpoint in Forty Lessons (1907).
5Lehmann, George, violinist; b. New York, July 31, 1865. Pupil at Leipzig Cons., 1880-3, of Schradieck and Hermann (vln.), Lammers (harm.), and Jadassohn (cpt. and fugue). Also one season with Joachim at Berlin. Won the Helbig prize for playing, at the Gewandhaus, 1883, Joachim's Hungarian concerto. Travelled till 1893 as a soloist and with his quartet-party, the 'Lehmann Quartet'; 1886-9, leader of the Cleveland, Ohio, Symphony Orch. (now disbanded); 1889-92 in Europe; 1893-1907 living in New York as a soloist, teacher, editorial writer, and critic on the staff of 'Musical America'; since then in Berlin.—Has publ. True Principles of the Art of Violin-playing (New York, 1899), valuable for students and teachers.
7Lehmann, Lilli, famous dramatic soprano; b. Würzburg, Nov. 24, 1848. Her mother, Marie Loew (1807-83), who had sung leading soprano rôles and had also appeared as a harp-virtuoso at the Kassel opera under Spohr, accepted in 1853 the position of harpist at the Natl. Th. in Prague, and there Lilli spent her girlhood. At the age of 6 she began the study of the piano with Cölestin Müller, an unsympathetic and mediocre teacher. After 6 years she had progressed so far that she was able to act as accompanist to her mother, who also was the only singing-teacher she ever had. She made her début on Oct. 20, 1865, in Prague as the First Page in Die Zauberflöte; she then sang in Danzig (1868), Leipzig (1869-70), and in 1870 became a member of the R. Opera in Berlin, where she soon established a reputation as a brilliant coloratura singer. The summer of 1875 she spent in Bayreuth, studying with Wagner the parts of Woglinde (Rheingold and Götterdämmerung), Helmwige and the Forest Bird, which rôles she created at the Festival of the following summer. She then returned to Berlin under a life-contract with the R. Opera, and was made 'Kammersängerin'; frequent leave of absence, although granted only for short periods at a time, enabled her to appear in star performances in the principal German cities, Stockholm (1878, '79) and London (1880, '84, '85). Illness prevented her from creating the part of the leader of the Flower-girls in Parsifal in 1882, after she had selected and trained the sixteen solo-singers. By that time she was recognized not only as a great coloratura-singer, but also as an artist of unusual versatility, having sung tragic and comic parts, from Wagner to Suppé. In 1884 she was obliged to refuse an offer for the first season of German opera at the M. O. H. because she could not obtain the necessary leave. When, with some difficulty, this had been granted the following year, she made her Amer. début at the M. O. H. on Nov. 25, 1885, as Carmen; five days later she made her first appearance as an interpreter of Wagner (Brünnhilde in Die Walküre) with overwhelming success; from that moment she was the idol of the public, and remained so throughout her engagement till 1889. In that time she sang all the Wagner rôles (excepting in Meistersinger and Rheingold), Norma, Sulamith, Aida, Valentine, Donna Anna, Fidelio, Euryanthe, etc., and created at the Amer. premières the rôles of Isolde (Dec. 1, 1886), and Brünnhilde (Siegfried, Nov. 9, 1887; Götterdämmerung, Jan. 25, 1888). During the season of 1891-2 she sang again at the M. O. H., under the management of Grau, appearing in Italian opera with the De Reszkés and Lassalle. When she returned to Berlin after her Amer. season of 1889, she found the doors of the German opera-houses closed to her because of breach of contract (she had overstayed her leave); it was then that she established her fame as an unsurpassed Lieder-singer. In 1891 the Emperor caused the ban to be lifted, and since then she has sung as star at the principal German opera-houses, and in Vienna and Paris. In 1896 she sang the three Brünnhildes at the Bayreuth Festival. Her great admiration for Mozart caused her to take an active part in the annual Mozart Festivals held at Salzburg, and since 1905 she has been the chief, and practically sole, manager. In 1909 she still sang Isolde in Vienna, the next year the First Lady in Die Zauberflöte and Donna Anna in Don Giovanni (Salzburg Fest.) and in 1914 appeared as soloist with the Berlin Philh. Soc.; while she has continued her Lieder-recitals without interruption to the present day (1916). Since 1890 she has been living in Grunewald, Berlin. Her operatic répertoire comprised 170 rôles in 114 operas (German,
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