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Scan 466
Dictionary of music, 1908
14 lines. Read by computer on 3 September 2026. Printed page 458. See the scan on archive.org.
1Perrin and Cambert (q.v.) for the erection of an "Académie de Musique"—transferred to him—i.e. cancelled and a new one drawn up in his favour. The lawsuit of those who had suffered loss (Grenouillet and Guichard, to whom Perrin had made over the patent) was stopped by order of the Cabinet, and their theatre closed. Thus L., after his competitors had been set aside, became "the founder of the French National Opera." In Quinault he met with a gifted poet, who at all times showed rare comprehension of the demands which music makes of poetry (above all, the giving up of continued lines of verse of equal measure). L. tyrannised over his poet, but paid him handsomely. The opera of L. differed from the Italian—as the latter, meanwhile, had been developed—in the strict conformity of the music to the natural declamation of speech—i.e. L. is one of those great reformers who, in favour of poetry, repressed the overgrowth of the purely musical—of flowery melody, of syllabic extension, ornaments, repetition of words, etc. He placed himself again on the footing of the first Florentine inventors of music-drama, and achieved results similar to those brought about afterwards by Gluck and more recently by Wagner. The difference of the results lies in the difference of the period, i.e. in the advanced development of musical means, and also in the difference of creative power. No wonder, therefore, if, at the present day, L.'s music appears dry—almost pedantic. As he set French texts to music, his mode of treatment of necessity developed a truly national style, and his music is pregnant with the natural rhythm and accent of French speech. As a conductor L. was exceedingly excitable, and he died finally from an injury caused by a cane which served as a conducting-stick. L.'s importance lies in his operas, which held the French stage for a century, and only yielded to the productions of Gluck, of higher, more genial merit: Les fêtes de l'Amour et de Bacchus (1672, Pasticcio of the old ballets and masques of L.); Cadmus et Hermione (1673, libretto by Quinault); Alceste (1674); Thésée (1675); Atys (1676); Isis (1677); Psyché (1678); Bellérophon (1679); Proserpine (1680); Le triomphe de l'Amour (1681); Persée (1682); Phaëton (1683); Amadis de Gaule (1684); Roland (1685); Armide et Renaud (1686, in new edition [full, and piano score] in the fourteenth volume of Eitner's publications of the "Gesellsch. für Musikforschung"); Acis et Galatée (1687)—all of which were published, and the greater number in "Chef d'œuvres classiques de l'opéra français" (Breitkopf & Härtel). To these must be added a series of pièces d'occasion and divertissements for the court, of which only the masque Le carnaval (1720), and the ballets Le triomphe de l'Amour (1681), Le temple de la paix (1685), Idylle de la Paix (1685), Églogue de Versailles (1685) appeared in print. L. also produced with great success a number of sacred works (Te Deum, Miserere, etc.). L.'s eldest son, Louis de L., b. Aug. 4, 1664, Paris, d. after 1713, likewise wrote several operas, the first (Zéphire et Flore), 1688, jointly with his younger brothers, Jean Baptiste and Jean Louis.
3Lumbye, Hans Christian, b. May 2, 1810, Copenhagen, d. there March 20, 1874, popular Danish composer of dance-pieces. He was named the "Northern Strauss"; he conducted, from 1865, an orchestra of his own in the Tivoli, Copenhagen, with which he also made concert tours. When he retired into private life he was named councillor of war, and handed the direction of his band over to his son Georg, the composer of the opera Die Hexenflöte (1869).
5Lunga pausa (Ital.), a long pause or rest.
7Lupi. (See Lupus.)
9Lupot, celebrated family of French violin-makers, among whom Nicolas specially distinguished himself. The latter was born 1758 at Stuttgart, where his father lived for twelve years as violin-maker to the court, and died at Paris in 1824. (He was named the "French Stradivari," because he imitated in an exceedingly clever manner the Stradivari violins.) His instruments are very valuable, and of high price.
11Lupus, a composer's name (Christian name), frequently to be met with in collections of the 16th century. The most important bearers of it are:—(1) L. Hellinck, who is mentioned by his full name in Forster's "Selectissimae motetæ" (1540), Ott's "115 guten newen Liedlein" (1544), and other collections. (2) L. Lupi, mentioned by name in Gardano's motets "Del fiore" and "Del frutto." The family name Lupi ("Wolf") gives more room for hesitation, as, in addition to L. Lupi, there were composers in the 16th century named Didier, Johannes (Jean) and Manfred Lupi, of whom, except their works (for the most part only detached motets), nothing is known. Of Johannes L. the only works published are a book à 4-8, "Musicæ Cantiones quæ vulgo motetti nuncupantur" (Attaignant, 1542), and a book à 4-5, "Mutetæ" (Gardano, 1545). (Cf. also Lobo.)
13Luscinius, Ottomar (really Nachtgall or Nachtigall, Latinised L.), b. 1487, Strassburg, d. there about 1536. He was a learned theologian and musical theorist, studied at Paris, Louvain, Padua, and Vienna, and in the last city enjoyed instruction from Paul Hofhaimer. He was afterwards organist at Strassburg (1517), preacher at Augsburg (1523), Basle (1526), whence he escaped from the Reformation, which was making headway, to Freiburg. L. published, "Institutiones musicæ" (1515, as Luscinius), and "Musurgia seu praxis musicæ" (as Othmar Nachtgall, 1536; 2nd ed. 1542); the
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