Scan 94
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
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1Although Latrobe never followed music as a profession he cultivated it assiduously from an early age. His earlier compositions were chiefly instrumental; three of his sonatas, having met with the approval of Haydn¹, were published and dedicated to him. His other published compositions include Lord Roscommon's translation of the 'Dies irae' (1799), 'The Dawn of Glory' (1803), anthem for the Jubilee of George III (1809), anthems, by various composers (1811), original anthems (1823), 'Te Deum, performed in York Cathedral', 'Miserere, Ps. LI' and 'Six Airs on Serious Subjects, words by Cowper and Hannah More'. He edited the first English edition of the Moravian hymn-tunes. But his most important publication was his 'Selection of Sacred Music from the Works of the most Eminent Composers of Germany and Italy', 6 vols. (1806–25)², through the medium of which many fine compositions, including much of Graun, Hasse, Haydn and Mozart, were first introduced to the notice of the British public.
3LATROBE, John (Antes) (b. London, 1799; d. Gloucester, 19 Nov. 1878).
4English writer on music and amateur composer, son of the preceding. He was educated at St. Edmund Hall, Oxford, was B.D. in 1826 and M.A. in 1829, took holy orders in the Church of England and was incumbent of St. Thomas's, Kendal, from 1840 to 1865 and honorary canon of Carlisle Cathedral from 1858. He was the author of 'The Music of the Church considered in its Various Branches, Congregational and Choral' (London, 1831) and 'Instructions of Chenaniah', a book of directions for accompanying chants and psalm tunes (1832).
6LATTRE, Johan de. See DELATRE.
7LATUADA, Felice (b. Caselle di Morimondo, Milan, 5 Feb. 1882).
8Italian composer. He studied under V. Ferroni at the Milan Conservatory, where he obtained a diploma in 1911. He has written choral, orchestral and chamber music, among which the following works may be mentioned as outstanding: 'Canto augurale per la Nazione Eletta' for tenor, chorus and orchestra, 'La consecrazione del bardo', 'Cimitero di guerra', 'Il mistero della Passione di Cristo', 'Incanti della notte', 'Divertimento rustico' and Prelude and Fugue in B♭ major for orchestra, etc. He is also the composer of several scores for important Italian films.
9Lattuada's chief contribution to music, how-
11¹ A letter from Latrobe to Vincent Novello (1828) gives a full account of his friendship with Haydn. It, together with a study of Latrobe's life and work by E. Holmes, was published in Mus. T., Sept. 1851.
12² The full contents of the 'Selection', arranged alphabetically, was published in earlier editions of this Dictionary.
14ever, are his operas, in which he shows considerable dramatic gifts. They are the following:
15'La tempesta' (libretto by Arturo Rossato, based on Shakespeare's play), produced Milan, Teatro dal Verme, 23 Nov. 1922.
16'Sandha' (lib. by Ferdinando Fontana), prod. Genoa, 21 Feb. 1924.
17'Le preziose ridicole' (lib. by Rossato, based on Molière's comedy), prod. Milan, Teatro alla Scala, 9 Feb. 1929.
18'Don Giovanni' (lib. by Rossato, based on José Zorilla's drama), prod. Naples, Teatro San Carlo, 18 May 1929.
19'La caverna di Salamanca' (lib. by Valentino Piccoli, after Cervantes), prod. Genoa, 1 Mar. 1938.
21G. M. G.
23Latymer, Lord. See Money-Coutts.
24LAUB, Ferdinand (b. Prague, 19 Jan. 1832; d. Gries nr. Bozen, Tyrol, 18 Mar. 1875).
25Austrian violinist. His father was a musician in Prague. At the age of six he mastered variations by Bériot and at nine performed regularly in public. He was a pupil of Mildner at the Prague Conservatory, and when eleven years old he attracted the notice of Berlioz and Ernst, and shortly after was taken up by the Grand Duke Stephen, who sent him to Vienna in 1847. After this he visited Paris and, in 1851, London, where he played at the Musical Union. In 1853 he succeeded Joachim at Weimar. Two years later we find him in Berlin as Kammervirtuos and leader of the court orchestra, teacher in the Stern Conservatory and leader of quartet concerts of his own. At length, after considerable wandering, he settled in Moscow in 1866 as head professor of the violin in the Conservatory and first violin of the Musical Society, with great liberty of action.
26Laub was one of the greatest violin virtuosi of his time. He had a fine and very powerful tone and a brilliant technique, and played with much feeling and passion. His repertory was very large, comprising all the important classical works and a great many modern compositions. He had also much success as a quartet player, but his style, especially in latter years, was not unjustly reproached with mannerism and a tendency to exaggeration.
28P. D.
29Laub, Thomas. See Nielsen (C., 20 songs).
30Laube, H. See Schumann ('Waldscenen', based on poems).
31Lauber, Cecilie. See Balmer (incid. m. for fairy play).
32LAUBER, Josef (b. Ruswil, Canton Lucerne, 25 Dec. 1864; d. Geneva, 27 May 1952).
33Swiss composer. Having studied under Hegar, Gustav Weber, Blumer and Freund at the Music School of Zürich and with Rheinberger at Munich, he became music teacher and choral conductor at Neuchâtel as well as organist at Le Locle. In 1892 he went to Paris to finish his musical training under Massenet and Diémer. Back in Switzerland,
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