Scan 26
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
39 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1Metius in 'Camilla' (revived, 1726), which had formerly (1706 and 1708) been sung by Ramondon, a low tenor. Again, he is advertised ('Daily Journal', 13 Mar. 1731) as sustaining the added part of Corydon in Handel's 'Acis and Galatea', "for the benefit of M. Rochetti, at Lincoln's Inn, Theatre Royal, on Friday 26th", his name being spelt as in the cast of 'Camilla'. In 1733 he sang Mercury in John Durant Breval's mock-opera 'The Rape of Helen' (performed only once at Covent Garden, 19 May 1733). His name is correctly spelt in the libretto published four years later.
3J. M., adds.
5LAH. The name for the submediant note in any key in Tonic Sol-Fa, so pronounced, but in notation represented by the symbol l.
7LA HALLE, Adam de 1 (b. Arras, c. 1240; d. ?, c. 1286).
9French trouvère, nicknamed le bossu or le boiteux d'Arras. He is one of the most prominent figures in the long line of trouvères who contributed to the formation of the French language in the 12th and 13th centuries. Tradition asserts that he owed his nickname to a personal deformity; but he himself writes "On m'appelle bochu, mais je ne le suis mie". His father, Maître Henri, a well-to-do burgher attached to the sheriffdom of Arras, sent him to the Abbey of Vauxcelles near Cambrai, to be educated for holy orders; but, falling desperately in love with a "jeune demoiselle" named Marie, he evaded the tonsure and made her his wife. He soon effected a separation, however, went to Paris to complete his studies and retired, in 1263, to Douai 2, where he appears to have resumed the ecclesiastical habit. After this we hear little more of him, until the year 1282, when, by command of Philip the Bold, the Comte d'Artois, Robert II, accompanied the Duc d'Alençon to Naples, to aid the Duc d'Anjou in taking revenge for the Sicilian Vespers. Adam de La Halle, having entered Count Robert's service, accompanied him on this expedition and wrote some of his most important works for the entertainment of the French court in the Two Sicilies. A story of his death at Naples, between 1285 and 1288, is told by his contemporary, Jean Bodel d'Arras, in 'Le Gieus du Pelerin'; the statement in Prud'homme's 'Dictionnaire historique' that he returned to France and became a monk at Vauxcelles may therefore be incorrect.
11The first of the compositions of his which are held to have been the beginning of opéra-comique was 'Le Jeu Adam, ou de la feuillée', performed at Arras about 1262; it is a piece 3 of considerable freedom, not to say licence, and the author had to learn greater seemliness before he wrote his most interesting work. This was a dramatic pastoral entitled 'Le Jeu de Robin et de Marion', written for the French court at Naples, and first performed in 1275 or 1285. Ten personages appear in the piece, which is written in dialogue, divided into scenes and interspersed — after the manner of an opéra-comique — with airs, couplets and duos dialogués, pieces in which two voices sing alternately, but never together. The work was first printed by the Société des Bibliophiles de Paris in 1822 (30 copies only), from a manuscript in the Paris Bibliothèque Nationale; one of the airs is given in Kiesewetter's 'Schicksal und Beschaffenheit des weltlichen Gesanges' (Leipzig, 1841), and two were published by Tappert in 1874. In 1872 the works of Adam de La Halle were published by Coussemaker; and in June 1896 a performance of 'Le Jeu de Robin et Marion' was given at Arras in connection with the festivities in honour of the composer. 4 The authentic text was edited by Ernest Langlois in 1896, and Julien Tiersot edited the complete work, adding accompaniments to the songs.
13Adam de La Halle was a distinguished master of the chanson, of which he usually wrote both the words and the music. A manuscript 5 of the 14th century, in the Paris Library, contains sixteen of his chansons a 3, in rondeau form, and six motets, written on a canto fermo, with florid counterpoint in the other parts. Combarieu speaks of seven motets; other poetical and musical works of his are found in manuscripts at Paris, Arras, Montpellier, Aix, Cambrai, Rome, Oxford and Siena. Kiesewetter printed one of them, and also one of the motets a 3, in the work mentioned.
15W. S. R., adds.
17BIBLIOGRAPHY
18Coussemaker, Charles, 'Œuvres complètes du trouvère Adam de la Halle' (Paris, 1872).
19'Grande Encyclopédie', art. by H. Lavoix, under 'Adam' (with bibliography).
20Guv, H., 'Essai sur la vie et les œuvres littéraires d'Adam de La Hale' (Paris, 1898).
21Kirby, Percival R., 'A Thirteenth-Century Ballad Opera' (M. & L., XI, 1930, p. 163).
22Langlois, E., 'Le Jeu de Robin et de Marion' (Paris, 1896) (with facsimile and commentary).
23'Le Jeu Adam ou de la feuillée' (Paris, 1911).
24Tiersot, J., 'Le Jeu de Robin et de Marion' (adaptation française par Émile Blémont) (Arras, 1896).
25Weckerlin, J. R., Reprint of the 'Jeu de Robin et de Marion' (Paris).
26See also Chanson (rondeau & virelai, mus. exx.). Franck (E., opera).
27La Harpe, Jean François de.
28See Alembert (opponent). Arnaud (F., disputes with).
30LAHEE, Henry (b. London, 11 Apr. 1826; d. London, 29 Apr. 1912).
32English organist and composer. He studied under Sterndale Bennett, Goss and Cipriani Potter, held the post of organist at Holy Trinity Church, Brompton, from 1847 to 1874.
341 Also spelt "de la Hale" or "de la Halle".
352 Fétis says to Paris.
363 No music is preserved.
374 See 'Revue du Nord', 1895.
385 This manuscript is often pointed to as containing the earliest known instance of the use of the sharp sign.
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