Scan 12
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
32 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1this capacity he conducted numerous concerts both in Paris and in the provinces. In 1907–14 he was professor of the advanced class for pianoforte there. On the death of d’Indy in 1931 he became Vice-Principal of the Schola Cantorum, and in 1935 of the École César Franck. He directed the orchestra class and the conductors’ class, and was also responsible for the concerts given by the school.
3As a composer Labey must be regarded as one of d’Indy’s disciples. He has written a dramatic work in three acts, ‘Bérengère’ (1912), which was selected as a prize-winner at the Concours de la Ville de Paris in 1921, but he is, in spite of this, more interested in symphonic music than in dramatic. Among his works are ‘Fantaisie’ for orchestra, ‘Symphony No. 1’ (first performed in 1904 under Cortot), ‘Symphony No. 2’ (performed at the Lamoureux concerts, Angers, Nancy, etc.), ‘Lied’ for cello and orchestra (1921), ‘Ouverture pour un drame’ (Lamoureux, 1921); ‘Suite champêtre’ for orchestra (1923); ‘Symphony No. 3’ (Poulet concerts, 1934); two Sonatas for violin and pianoforte (1905 and 1924); a pianoforte Quartet, a string Quartet (1919), two Trios; a Quintet for strings and pianoforte; numerous pieces for pianoforte, songs, choruses, etc. All these have been frequently performed both in France and elsewhere.
5E. B. (ii).
7LABIAL PIPES. Organ pipes possessing lips, as distinct from reeds.
9Labiche, Eugène. See Bowles (‘Horse eats Hat’, incid. m.). Delibes (‘Omelette à la Follembûche’, lib.). Ibert (‘Chapeau de paille’, incid. m.). Listov (‘Money Box’, do.). Rota (‘Capello di paglia’, opera). Sauguet (‘37 Sous’, incid. m.). Shaporin (‘Italian Straw Hat’, do.). Thompson (R., do.).
11LABITZKY. German-Bohemian family of musicians.
13(1) Josef Labitzky (b. Schönfeld, Eger, 4 July 1802; d. Carlsbad, 18 Aug. 1881), violinist and composer. He was grounded in music by Veit of Bečov (Petschau). In 1820 he became first violin in the band at Marienbad and in 1821 removed to a similar position at Carlsbad. He then formed an orchestra of his own, and made tours in southern Germany. Feeling his deficiencies, he took a course of composition under Winter at Munich, and in 1827 he published his first dances there. In 1835 he settled at Carlsbad as director of the band, making journeys from St. Petersburg on the one hand to London on the other and becoming every day more famous, both as a performer and as a composer of dance music.
15Labitzky’s dances are full of rhythm and spirit. Among his waltzes, the ‘Sirenen’, ‘Grenzboten’, ‘Aurora’, ‘Carlsbader’ and ‘Lichtensteiner’ are good. In galops he fairly rivalled Lanner and Strauss, though he had not the poetry of those two composers.
17(2) August Labitzky (b. Bečov, 22 Oct. 1832; d. Reichenhall, 28 Aug. 1903), violinist and conductor, son of the preceding. He became associated with his father as director of the band at Carlsbad in 1853.
19(3) Wilhelm Labitzky (b. ? Carlsbad, c. 1836; d. ? Toronto, ?), violinist, brother of the preceding. He was an excellent player, but emigrated to Canada, where he settled at Toronto.
21There was also a sister of (2) and (3), who was a favourite singer at Frankfort o/M.
23F. G.
25LABLACHE, Luigi (b. Naples, 6 Dec. 1794; d. Naples, 23 Jan. 1858).
27Italian bass singer of French descent. His father, Nicolas Lablache, a merchant of Marseilles, had left France in consequence of the Revolution in 1791. His mother was Irish. The father died in 1799, but the family was patronized by Joseph Buonaparte, and Luigi was placed in the Naples Conservatorio della Pietà dei Turchini at the age of twelve. Gentilli taught him the elements of music and Valesi instructed him in singing; at the same time he studied the violin and cello under other masters. At this period his boy’s voice was a beautiful contralto; his last use of it was to sing, as it was just breaking, the solos in Mozart’s Requiem on the death of Haydn in 1809. Before many months were passed he became possessed of a magnificent bass, with a compass of two octaves, from Eb to e♭'.
29Continually dominated by the desire to appear on the stage, the youth made his escape from the Conservatory no less than five times, only to be brought back in disgrace. To these escapades was due, however, the institution of a little theatre within the Conservatory, and Lablache was satisfied for a time.
31Having at length completed his musical education, Lablache was engaged at the San Carlino Theatre at Naples, as buffo napoletano, in 1812, though then only eighteen. He made his début in Fioravanti’s ‘La molinara’. A few months later he married Teresa Pinotti, the daughter of an actor engaged at the theatre. His young wife persuaded him, not without difficulty, to quit the San Carlino to recommence serious study of singing, and to give up the dialect in which he had hitherto sung and spoken. Accordingly, a year later, after a short engagement at Messina, he went as primo basso cantante to the Opera at Palermo. His first appearance was in Pavesi’s ‘Ser Marc-Antonio’, and his success was so great as to decide him to stay at Palermo for nearly five years. But the administration of the Teatro alla Scala at Milan engaged him in 1817, and he made his début as Dandini in Rossini’s ‘Cenerentola’ with great success.
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