Scan 18
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
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1BIBL.—WALTER, F., 'Briefe Vincenz Lachners an Hermann Levi' (Mannheim, 1931).
2WÜRZ, ANTON, 'Franz Lachner als dramatischer Komponist' (Würzburg, 1928).
3See also Oberthür (difference with).
4LACHNITH, Ludwig Wenzel (b. Prague, 7 July 1746; d. Paris, 3 Oct. 1820).
5Bohemian horn player and composer. He was in the service of the Duke of Zweibrücken, and thence went to Paris, where he made his début at the Concert Spirituel as a horn player. He was a clever, handy creature, who wrote not only quantities of all kinds of instrumental music, but several pasticcios and other pieces. His notorious achievements, however, were his adaptations of great operas, by way of making them acceptable to the big public, such as 'Les Mystères d'Isis', for which both libretto and music of Mozart's 'Zauberflöte' were "arranged" into what Fétis calls "a monstrous compilation" 1 (Opéra, 20 Aug. 1801). No wonder that the piece was called 'Les Misères d'ici' and that Lachnith was styled "le dérangeur". He was adept also at working up the music of several composers into one piece and torturing it to the expression of different words and sentiments from those to which it had originally been set — e.g. 'Le Laboureur chinois', in which the music of "several celebrated composers" was "arrangée par M. Lachnitch" (5 Feb. 1813). In these crimes he had an accomplice in the elder Kalkbrenner, who assisted him to concoct two "oratorios in action"—'Saul' (6 Apr. 1803) and 'The Taking of Jericho' (11 Apr. 1805).
6Lachnith also wrote several operas of his own, e.g. 'L'Heureuse Réconciliation' (1785), 'L'Antiquaire' (1789) and 'Eugénie et Linval' (1798).
7LACHOWSKA, Aga (b. Lwów, 1886).
8Polish mezzo-soprano singer. Educated both in Poland and abroad she established her position in the operatic field in Poland, Spain and Italy, especially as the heroines in 'Carmen' and 'Samson and Delilah'. She also frequently appeared on the concert platform, delightfully interpreting songs by old and modern composers.
9LACOMBE, Louis (Trouillon) (b. Bourges, 26 Nov. 1818; d. Saint-Vaast-la-Hougue, 30 Sept. 1884).
10French pianist and composer. He entered the Paris Conservatoire under Zimmerman at the age of eleven, and at thirteen carried off the first pianoforte prize. In 1832 he undertook a concert tour with his sister and in 1834 settled in Vienna, where he had lessons from Czerny and studied theory, etc., with Sechter and Seyfried.
11From 1839 he lived in Paris and devoted himself mainly to composition, writing numerous pieces for pianoforte solo, studies, etc., a Quintet for violin, oboe, cello, bassoon and pianoforte, and two trios, his best-known pieces of chamber music; two dramatic symphonies for solo voices, chorus and orchestra, 'Manfred', after Byron (1847), and 'Arva' (1850), as well as a melodrama with choruses, 'Sapho', which received a prize at the Exhibition of 1878. The two stage works performed in the composer's lifetime were music for J. A. P. Niboyet's légende 'L'Amour' (Théâtre Saint-Marcel, Paris, 2 Dec. 1859) and 'La Madone', one-act opera (Théâtre-Lyrique, 16 Jan. 1861); the four-act 'Winkelried' was given on 17 Feb. 1892, at Geneva; the two-act 'Le Tonnelier de Nuremberg' in Hugo Riemann's adaptation, as 'Meister Martin und seine Gesellen', was given at Coblenz on 7 Mar. 1897, and the three-act 'Korrigane' at Sondershausen in 1901.
12A monument was erected to Lacombe's memory in 1887 in his native town. In 1896 his treatise 'Philosophie et musique' appeared posthumously.
13J. A. F.-M., rev.
14LACOMBE, Paul (b. Carcassonne, 11 July 1837; d. Carcassonne, 5 June 1927).
15French composer. He was taught theory in his birthplace by a former pupil of the Paris Conservatoire, an organist, François Teysserre. In 1866 he began to correspond with Bizet, and he was his disciple until Bizet's death. Lacombe belonged to the group of composers whose desire was to reform French music after 1870. He travelled in Europe, but lived in his native town till his death. In 1901 he was elected "corresponding member" of the Institut, and he was made chevalier of the Legion of Honour in 1902.
16Lacombe produced more than 150 works — instrumental music, chiefly for pianoforte, and songs. There are also some unpublished compositions. His first Sonata for violin and pianoforte (1868) was played by Delaborde and Sarasate in 1869. A great many of his works were performed by the Société Nationale de Musique between 1872 and 1921. He also composed orchestral music: an 'Ouverture symphonique' (Pasdeloup concerts, 1876); 3 symphonies (the third awarded the prize of the Société des Compositeurs de Musique, 1886); a Suite for pianoforte and orchestra. In chamber music his important works are 3 violin sonatas, a cello sonata, 3 trios and a quartet. His last works were: 'Marche dernière' (orchestra), 'Dialogue sentimental' (flute, bassoon and pianoforte, 1917), 'Petite suite', 'Deux Pièces' (pianoforte, 1922), 'Trois Mélodies' (1922), 'Berceuse' (1924).
171 See the account by O. Jahn ('Mozart', 2nd ed., II, 537). The magic flute and all the comic music were omitted; Papageno was turned into a shepherd sage; while many pieces were left out, others were put in—as for instance "Fin ch' han dal vino", arranged as a duet! The opera opened with Mozart's finale, and the disorder must have been complete. And yet it ran forty-nine nights!
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