Scan 52
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.
1cadential formula, it does not proceed melodically from the leading-note to the tonic, but first descends by a whole tone from the leading-note to the submediant and thence rises to the tonic. The submediant is, of course, the sixth of the scale — hence the name.
3E. B.
5LÄNDLER.1 A national dance popular in Austria (especially Styria), Bavaria and Bohemia. It probably derives its name from the Landel, a district in the valley of the Ens, where the dance is said to have had its origin; but according to some authorities the word simply means "country dance", i.e. a waltz danced in a country fashion. In fact the Ländler is a homely waltz and differs from the waltz only in being danced more slowly. It is in 3-4 or 3-8 time and consists of two parts of eight bars, each part being repeated two or more times. Like most early dances it occasionally has a vocal accompaniment. Both Mozart (K. 606) and Beethoven (Nottebohm pp. 150, 151) wrote genuine Ländler, but the compositions under this name by Jensen, Raff, Reinecke and others have little in common with the original dance. The following example is the first part of a Styrian Ländler 2:
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9The little waltz so well known as 'Le Désir', usually attributed to Beethoven, though really composed by Schubert, is a Ländler. To know what grace and beauty can be infused into this simple form one must hear Schubert's 'Wiener Damen-Ländler' or 'Belles Viennoises' in their unsophisticated form, before they were treated by Liszt.
11W. B. S.
13LANDOLFI (Landolphus), Carlo Ferdinando (b. ?; d. Milan, ?).
14Italian 18th-century violin maker. He worked at Milan, where he lived in the Via Santa Margherita in 1750-60. The Landolfi cellos are especially striking in quality and appearance, and are in greater demand than the violins.
16E. J. P.
18Landor, Walter Savage. See Bridge (Frank, 'O that it were so', song). Dieren (8 songs). Lutyens (song). Milford (song).
20LANDORMY, Paul (Charles René) (b. Issy, 3 Jan. 1869; d. Paris, 17 Nov. 1943).
21French musicologist and critic. He was for many years professor of philosophy in various provincial lycées and finally went to Paris.
231 More rarely Landerer or Landlerischer Tanz.
242 Kohler, 'Volkstanze' (Brunswick, 1854).
26From 1892 onwards he devoted much time to music and studied singing with Sbriglia and Pol Plançon. He organized, with Romain Rolland, a series of lectures on music given at the École des Hautes Études Sociales, and also founded a laboratory for the study of physics in relation to music, which he directed himself from 1904 to 1907. In 1918 he became music critic of 'La Victoire'. He was also a regular contributor to 'Le Temps' and to numerous reviews. In 1937 he was secretary of the Musical Section of the International Exhibition in Paris, and he lectured on music in most European countries.
28Landormy was the author of several excellent works, including an 'Histoire de la musique' (1910, 2nd edition 1922), which has been translated into English, Greek, Japanese and Czech, of biographies of Brahms and Bizet in the collection 'Les Maîtres de la musique' and of 'La Vie de Schubert' (1928). He was the editor of 'Les Chefs-d'œuvre de la musique expliqués', to which he himself contributed 'Le "Faust"' de Gounod' (1922), and the author of philosophical studies of Socrates and Descartes and of a 'Commentaire au discours de la méthode'. A. H. (ii).
30LANDOWSKA, Wanda (b. Warsaw, 5 July 1897).
31Polish harpsichordist, pianist and writer on music. Her father, Marian Landowski, was a lawyer and a musical amateur; her mother, Ewa, was a linguist. Wanda Landowska began playing the pianoforte at the age of four. Her first teacher was Jan Kleczyński, author of 'Chopin's Greater Works'. She continued her studies at the Warsaw Conservatory under Aleksander Michałowski, a distinguished pianist and interpreter of Chopin. In 1896 she went to Berlin and studied composition under H. Urban. Four years later she moved to Paris and married Henry Lew, a writer and an expert on Hebrew folklore. She devoted herself to music of the past, its interpretation, its renaissance, and to the revival of the harpsichord. With the help of her husband she made researches in this direction, read books, treatises, manuscripts, and went to see all the old keyboard instruments exhibited in museums. Soon after her arrival in Paris, and thanks to her keen interest in the music of the past, she was introduced to the group of musicians of the Schola Cantorum, and she took part in the concerts organized by that school. At the time of her arrival in Paris she was well known as a pianist. Her decision to abandon the pianoforte for the harpsichord was at first thought to be due to little more than a womanly whim, but she soon established a position for herself and her instrument, and her concerts began to attract crowds of music-lovers. In 1903 she played the harpsichord
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