Scan 92
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
54 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1498. 'In convertendo Dominus.' 1568. S.W. XXI, 63.
2499. 'Jam lucis orto sidere.' 1564. S.W. XXI, 84.
3500. 'Laudabit usque ad mortem anima mea Dominum.' 1604. S.W. XXI, 41.
4501. 'I.evavi oculos meos.' 1568. S.W. XXI, 71.
5502. 'Omnis de Saba venient.' 1604. S.W. XXI, 1.
6503. 'Omnia tempus habent.' 1585. S.W. XXI, 77.
7504. 'Osculetur me osculo.' 1582. S.W. XXI, 9.
8 'Qui ponit aquam in salerno' (Pt. 2 of 499). 1564. S.W. XXI, 88.
9505. 'Quid vulgo memorant.' 1604. S.W. XIX, 122.
10506. 'Salve Regina Mater misericordiae.' 1604. S.W. XXI, 18.
11 'Tempus amplexandi et tempus longe fieri' (Pt. 2 of 503). 1585. S.W. XXI, 81.
12507. 'Tui sunt coeli.' 1604. S.W. XXI, 5.
13508. 'Unde revertimini pax religioque sorores.' 1573. S.W. XIX, 138.
14 'Vive pater patriae' (Pt. 9 of 123). 1604. S.W. I, 66.
15509. 'Vinum bonum et suave.' 1570. S.W. XXI, 91.
16 'Obscura sub nocte micans' (Pt. 2 of 496). 1568. S.W. XIX, 150.
17 a 9
18510. 'Dixit Martha ad Jesum.' 1604. S.W. XXI, 98.
19511. 'Inclina, Domine, aurem tuam.' 1604. S.W. XXI, 106.
20 a 10
21512. 'Aurora lucis rutilat.' 1604. S.W. XXI, 119.
22513. 'Mira, loquor, sed digna fide.' 1604. S.W. XXI, 126.
23514. 'Quo properas, facunde nepos Atlantis?' 1568. S.W. XXI, 112.
24 a 12
25515. 'Domine quid multiplicati.' 1604. S.W. XXI, 135.
26 'Ego dormivi, et soporatus sum' (Pt. 2 of 515). 1604. S.W. XXI, 143.
27516. 'Laudate Dominum omnes gentes.' 1604. S.W. XXI, 152.
28 See also Cornett (tune with diminutions, mus. ex.). Dehn (motets scored by). La Hèle (masses on motets by L.). Lechner (ed. of works). Litaniae Lauretanae (ex. of). Paciotti (Mass ? on motet by L.). Troiano ('Cortigiana innamorata', lib.).
30LASSUS, Rudolf (de) (c. 1565–1625).
31See LASSUS (Roland de, father).
32Last, Jef. See Korchmarev ('Holland' symphony).
33LAST JUDGMENT, THE (Oratorio). See SPOHR.
35LAST POST. See POST, FIRST AND LAST.
36LATERE, Johan de. See DELATRE.
37LATES, John (James) (b. ?; d. at or nr. Oxford, 1777).
38 English violinist and composer. He studied under the best Italian masters of that day and became leader of the concerts at Oxford. His patron, the Duke of Marlborough, gave him a professional post at Blenheim. His published works include violin solos, duets and trios.
39 His son, Charles Lates (d. c. 1810), studied church music under Philip Hayes of Oxford, in which city both father and son lived, and had some degree of fame as a performer on the organ and the pianoforte. He published some sonatas for the pianoforte and other works.
40 F. K.
42LATHAM, Peter (Morton Sturges) (b. London, 17 Nov. 1894).
43 English musical scholar and lecturer. He was educated at Rugby School in 1908–13 and took a classical scholarship there. In 1913 he went to Balliol College, Oxford, where his studies were interrupted by war service in 1914 (lieutenant in the Hants Regiment in India and Palestine), but resumed in 1919. He left Oxford with the M.A. degree and later (1934) took the B.Mus. there. In 1919–20 he was at the R.A.M. in London, where he gained the Charles Lucas Prize for orchestral composition.
44 In 1921 Latham became a University Extension Lecturer for Oxford and Cambridge, also a few years later for London University. He was appointed professor of harmony and counterpoint at the R.A.M. in 1938 and lecturer in musical history and appreciation at the G.S.M. in 1948. In 1946 he became Gresham Professor of Music in succession to Walford Davies. During the second world war he rendered home service as a lieutenant in the R.A. in 1941–43, part of it under the Committee of Official Histories.
45 Apart from essays and reviews contributed to various journals, notably 'The Gramophone' (1920s–30s), Latham wrote a book on Brahms, published in the 'Master Musicians' series in 1948.
46 E. B.
48Latil, Léo. See Milhaud (8 songs).
50LATILLA, Gaetano (b. Bari, 12 Jan. 1711; d. Naples, 1791).
51 Italian composer. He was a choir-boy in the cathedral at Bari and was later educated at the Conservatorio di Sant' Onofrio at Naples. In 1732 his first opera, 'Li mariti a forza', had a great success at the Fiorentini theatre, Naples, and he had about eight other operas to his credit when in 1738 he was appointed second maestro di cappella, under the elderly Pompeo Cannicciari (1670–1744) at Santa Maria Maggiore, Rome. Illness compelled him to resign this post in 1741, and he returned to Naples, continuing to write for the stage all the time. In 1756 he went north once more, to become chorus master at the Conservatorio della Pietà, Venice, and on 16 Mar. 1762 he was appointed second maestro at St. Mark's in succession to Galuppi, who had been promoted to first maestro. Burney met him at Venice in 1770 and found him a "plain and sensible man", with a great knowledge of music of the ancient, and understanding of what were then the modern, trends.
52 Dissatisfied with his salary, Latilla returned in 1772 to Naples, where he wrote a few more operas ('I sposi incogniti', 1779, being the last) and devoted the rest of his life chiefly to teaching, charging, it is said, the very moderate fee of one carlino per lesson to Neapolitans, two carlini to foreigners and three to Englishmen. Latilla's sister Silvia was the mother of Niccolò Piccinni.
53 The number of works Latilla wrote for the stage is very large, amounting to about fifty operas, serious and comic, intermezzi, scenic cantatas, etc. He was a favourite with travelling buffo companies in the middle of the 18th century, and on their wanderings
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