Scan 95
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
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1he became at first a teacher at the Zürich Conservatory, then conductor at the Geneva theatre (1905–7) and finally teacher at the Conservatory there, where he has given composition and pianoforte lessons ever since 1907.
3Lauber’s creative output is enormously large: his catalogue contains over 200 works ranging through every category from opera to a double-bass Concerto and flute pieces. His style comes nearest to that of the French composers of the later 19th century: it is fluent and extraordinarily accomplished. He was a great master of instrumentation, knowing how to display every instrument to its best advantage. Only a few of his major works can be named here:
5Opera ‘Die Hexe’ (libretto by J. Kaiser).
6Oratorio ‘Ad gloriam Dei’.
7Numerous choral works for mixed, men’s & women’s voices with orch.
85 Symphonies.
9Symph. poems.
10Suite and Overtures for orch.
112 pf. Concertos.
122 vn. Concertos.
13Flute Concerto.
14Chamber music incl. 4 Intermezzi for wind 4tet, octet, sextets, quintets, quartets, trios.
15Sonatas for var. insts.
16Pf. Works.
17Songs.
19K. V. F.
21BIBL.—Detailed catalogue of works in ‘Œuvres des compositeurs genevois’ (Geneva, 1937).
23LAUD (Spa.). A kind of cittern (see BANDURRIA).
25LAUDA SION (1). The name of a sequence, sung at Mass on the Feast of Corpus Christi.1 The text, written about 1264 by St. Thomas Aquinas, has always been regarded as a masterpiece of medieval scholarship. The plainsong to which the sequence is adopted belongs originally to the sequence ‘Laudes Crucis attolamus’; it is written in modes VII and VIII combined. The following is the opening:
27Lauda Sion salva-torem,
28Quantum potes tantum au-de,
29Lauda du-cem et pas-to-rein,
30Qui a ma-jor omn-i lau-de,
31In hym-nis et can-ti-cis;
32Neq lau-da-re suf-fi-cis.
33Laudis the-ma spe-ci-a-lis,
34Quem in sa-crae men-sa coe-nae
35Panis vi-vus et vi-ta-lis,
36Tur-bae fra-trum du-o-de-nae
37Hod-i-e pro-po-ni-tur;
38Da-tum non am-bi-gi-tur.
40The sequence has been many times subjected to polyphonic treatment of a very high order. Palestrina left two settings of it for eight voices, arranged in a double choir, and a shorter one for four. The first, and best-known, was printed, in 1575, by Alessandro Gardano, in the third book of motets for five, six and eight voices, and is one of the earliest examples of that peculiar combination of two choirs, consisting of unequally balanced voices, which Palestrina made so justly famous — the voices selected being, in this case, cantus I and II, altus and bassus in the first choir, and altus, tenor I and II and bassus in the second.
42W. S. R., rev.
44LAUDA SION (2) (Cantata). See MENDELS-SOHN.
45Lauder, (Sir) Harry. See Skinner (unveiling of monument).
47LAUDI SPIRITUALI.2 A name given to certain collections of devotional music, compiled for the use of the “Laudisti”, a religious confraternity instituted at Florence in 1310 and afterwards held in great estimation by St. Charles Borromeo and St. Philip Neri.
49The poetry of the laudi, some ancient specimens of which are attributed, by Crescentini, to St. Francis of Assisi (d. 1226), was originally written entirely in Italian and bears no trace of classical derivation. The music to which it is adapted, inclining rather to the character of the sacred canzonet than to that of the regular hymn, was at first unisonous and extremely simple, though, after a time, the “Laudisti” cultivated part-singing with extraordinary success.3
51A highly interesting manuscript volume, once belonging to a company of “Laudisti” enrolled in 1336 at the Chiesa d’ Ogni Santi at Florence, is now preserved in the Magliabecchi Library. From this Burney4 quotes a very beautiful example — ‘Alta Trinità beata’.
53The earliest printed collection is dated 1485. This, however, would seem to have been either unknown to or unrecognized by the disciples of St. Philip Neri, for in 1565 Giovanni Animuccia, who acted as his maestro di cappella, published a volume entitled ‘Il primo libro delle Laudi’, followed by a ‘Secondo libro’ of more advanced character in 1570. These sacred songs, which formed the germ of the performances afterwards called oratorio, became so popular among the youths who flocked to St. Philip for instruction that in 1588 — seventeen years after the death of the saintly
551 See Sequence.
572 This is the plural usually adopted by Italian writers, although, the singular being lauda, it should normally be laude (feminine plural). The reason for this anomaly is that laude also appears as a singular form.
583 For a study of the technique and example of the style see Adler’s ‘Handbuch der Musikgeschichte’ (Ludwig), p. 176 ff.
594 ‘History’, II, 328.
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