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Scan 666
Biographical dictionary of musicians, 1940
12 lines. Read by computer on 8 September 2026. Printed page 646. See the scan on archive.org.
1member of the Opéra orch.; 1795–1825, prof. at the Cons.; 1807, joined the Imp. Orch. Chev. of the Légion d’Honneur. Wrote the Clar.-method adopted (1802) at the Cons., also concertos (6), trios, duos, sonatas, etc., for his instr. He added a sixth key to the clarinet.
3Leffler-Burckard, Martha, dram. soprano; b. Berlin, June 16, 1865. Pupil of Anna von Meichsner in Dresden; début as coloratura soprano, Strassburg, 1890; then at Breslau and Cologne; 1894–8 at Bremen, where she appeared with much succ. in the great dram. rôles; 1898–1900, at the court th. in Weimar; 1900–2, at Wiesbaden; after that sang as star at the principal German opera-houses; 1906 at Bayreuth as Kundry; 1908 at the M. O. H. in the Wagner rôles; 1912–19, member of the Berlin R. Opera; now (1940) living in retirement in Vienna. She was made ‘Kgl. Preuss. Kammersängerin’, and was decorated with many orders by the Emperor and several German princes. Her favorite rôles were Rezia, Selika, Armide, Fidelio, Isolde and the three Brünnhildes.
5Le Flem, Paul, French composer; b. Lézardieux, Côtes-du-Nord, Mar. 18, 1881. Pupil of Lavignac at the Paris Cons. and of d’Indy and Roussel at the Schola Cantorum; also st. philos. and literature; from 1924, chorus-master at the Op.-Com.; now cond. of the famous choir Les Chanteurs de St. Gervais, prof. of cpt. at the Schola Cantorum and mus. critic for ‘Comoedia’.—His works include the ‘song-play’ Aucassin et Nicolette (1908), orchl. and choral comps., chamber-music, pf.-pcs. and songs.
7Leginska (recte Leggins), Ethel, concert-pianist; b. Hull, England, Apr. 13, 1883. St. 4 years at the Hoch Cons. in Frankfort, and 3 years with Leschetizky in Vienna; début in London, followed by tours of Europe; Amer. début at New York, Jan. 20, 1913, in recital. She became well known after her recital of Nov. 16, 1914, when she played a program consisting of Chopin’s Sonata (op. 35) and all the études (op. 10 and 25). She later st. in N. Y. with Rubin Goldmark (harm.) and Ernest Bloch (comp.); has conducted the Boston and Chicago Women’s Symph. Orchs.; also guest-cond. of the Boston Symph. Orch., N. Y. Philh., London Symph., Berlin Philh., and other leading orcs. of Europe and America. Married Emerson Whithorne in London, 1907 (divorced 1909).—Comps.: Gale, opera (Chicago Civic Op. Co., comp. cond., Nov. 3, 1935); Beyond the Fields We Know, symph. poem; Quatre Sujets Barbares (after Gauguin), for orch.; From a Life, fantasy for chamber-orch.; [address hidden] for sop. and chamber-orch.; [address hidden] for str.-quartet; songs; pf.-pieces.
9Legren’zi, Giovanni, celebrated comp. of sacred and secular music; b. Clusone, n. Bergamo, Aug. 12, 1626; d. Venice, May 21, 1690. Pupil of Pallavicino; organist at Bergamo; maestro di cappella to the Duke of Ferrara, and prod. his first opera, Achille in Sciro, at Ferrara in 1663; from 1664 in Venice, becoming director of the Cons. de’ Mendicanti in 1672, and in 1685 succeeding Natale Monferrato as maestro at San Marco, where he enlarged the orch. to 34 pieces (8 violins, 11 violette [small viols], 2 tenor viols, 3 viole da gamba and bass viols, 4 theorbos, 2 cornette, 1 bassoon and 3 trombones). His 18 operas show a noteworthy advance over those of his predecessors in the orchestral support of the vocal parts, and he treats the recitative and the melodic phrase with greater freedom. He was one of the first to write for 2 violins and violoncello, and one of the most important composers of chamber-music before Corelli. Also a noted teacher; among his pupils were Gasparini, Lotti and Caldara.—Publ. Concerto di messe e salmi a 3–4 con violini (1654); Motetti da 2–4 voci (1655); Motetti a 5 voci (1660); Sacri e festivi concerti, messe e salmi a due cori (1657); Sentimenti devoti [address hidden] 3 voci, 1660; 2 vols.); Complete con litanie ed antifona della Beata Vergine (a 5; 1662); Cantata e canzonette a voce sola (1674); Idee armoniche (a 2 and 3; 1678); Echi di riverenza (14 cantatas for solo voice; 1679); Motetti sacri con voce sola con 3 strumenti (1692); Suonate per chiesa (1655); Suonate da chiesa e da camera a tre (1656); Una muta di suonate (1664); Suonate a 2 violini e violone (with org. continuo; 1667); La Cetra (sonatas for 2–4 instrs.; 1673); Suonate a 2 violini e violoncello (1677); Suonate da chiesa e da camera (1693).—Cf. G. Tebaldini, G. L., in ‘Musica d’oggi’ (Apr., 1937). See also Q.-Lex.
11Lehár [lā’hahr], Franz (Ferenc), b. Komorn (Komárom), Hungary, Apr. 30, 1870. He was first instructed in music by his father, Franz L. (1840–98), a military bandmaster; from 1882–8 he st. at the Prague Cons. under A. Bennewitz (vln.), J. Förster (theory). In 1885 Fibich became interested in the youth, and gave him lessons in comp., although L. continued his regular courses at the Cons. Two years later L. submitted two pf.-sonatas (G, D m.) to Dvořák, whose advice was to the effect that L. should devote himself entirely to composition. After leaving the Cons. L. accepted a position as first violinist in the theater-orch. at Elberfeld, but as the duties were heavy and left him no time for composition, he left after a year; he then ent. his father’s band (50th Infantry) at Vienna as asst.-cond.; from 1890–1902 he was cond. of various bands; in the spring of 1902 he became cond. at the Th. an der Wien, which
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