Scan 96
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
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1Animuccia — P. Soto thought it desirable to edit a third volume, containing unacknowledged works, for three and four voices, by some of the greatest composers of the age. In 1589 the same zealous editor published an amended reprint of the three volumes, consolidated into one. This was succeeded in 1591 by a fourth volume, dedicated to the Duchessa d’Aquasparta. Serafino Razzi published a large collection in 1563, and many others followed; for at this period almost every large town, and even many an important parish, had its own company of “Laudisti”, who sang the poetry of Lorenzo de’ Medici, Poliziano, Pulci, Bembo, Ludovico Martelli, Giambellari, Filicaia and other celebrated writers, with undiminished interest, though, as time progressed, the character of the music sensibly deteriorated.
3In 1770 Burney heard the company of “Laudisti” attached to the Church of Santa Maria Maddalena de’ Pazzi at Florence sing, with excellent effect; in some street processions, as well as in some of the churches, from a book then just published for their use. W. S. R.
5BIBL.—DENT, EDWARD J., ‘The laudi spirituali in the Sixteenth and Seventeenth Centuries’ (Proc. Mus. Ass., Vol. XLIII, 1917).
6JEPPSEN, KNUD, ‘Die mehrstimmige italienische Laude um 1500’ (Leipzig, 1935; Danish original, Copenhagen, 1935).
7‘Eine venezianische Laudenhandschrift’ (‘Theodor Kroyer Festschrift’, 1933).
8See also Song, p. 913.
10“LAUDON” SYMPHONY. The distinguishing name of Haydn’s Symphony No. 69, in C major, composed about 1778 in honour of the Austrian Field Marshal Baron Gideon Ernst von Laudon.
12LAUDS (Lat. laudes). The name given by the Roman Catholic Church to that division of the Canonical Hours which immediately follows Matins. The Office of Lauds opens, according to the ritual of that Church, with the series of Versicles and Responses beginning ‘Deus in adjutorium meum intende’, followed by select Psalms with Antiphons. These are succeeded by the “Capitulum” (or “Little Chapter”), the Hymn for the Day, with its proper Versicle and Response and the “Benedictus”. The service then concludes with the Collect for the Day and the Commemorations (as at Vespers). The plainsong music proper to it will be found in the Antiphonal.
14W. S. R., rev. W. H. F.
15See also Antiphon. Matins.
17LAUFENBERG (Loufenberg), Heinrich (b. ?; d. Strasbourg, 31 Mar. 1460).
18Swiss (?) ecclesiastic and poet. He was dean at Zofingen in Switzerland in 1434, later at Freiburg i/B., and in 1445 he entered the Johannite monastery at Strasbourg. He was one of the first to adapt German sacred words to old secular tunes, so as to save the beautiful melodies while rejecting the objectionable words with which they were at first associated, a practice which was afterwards so much in vogue at the time of the Reformation. His poems may be found in Wackernagel, ‘Das deutsche Kirchenlied’, Vol. II, Nos. 701-98. Ambros 1 quotes his German paraphrase of the ‘Salve Regina’, words and music, but mistakenly attributes the melody to Laufenberg, though he afterwards so far corrects himself as to describe it as “eine volkstümliche Umbildung der kirchlichen Melodie”. R. von Liliencron 2 has shown that the melody is nothing else but that of the plainsong ‘Salve Regina’, the text of which Laufenberg so paraphrased in German verses that every note of the plainsong melisma is sung to a separate syllable. The whole piece is an interesting example of the practice by which the originally textless melismata on the final syllable of the gradual Alleluias were developed into the proses and hymns called sequences.
20For the use of his choir at Leipzig, Carl Riedel edited several ‘Altdutsche geistliche Lieder’ by Laufenberg, arranged for four voices.
22J. R. M.
23See also Chorale.
25LAUKO, Dezider (b. Szarvas nr. Békés, Hungary, 8 Nov. 1872; d. Bratislava, 2 Dec. 1942).
26Slovak pianist and composer. In his boyhood and during his education at the “Gymnasium” in his birthplace he grew up in a musical atmosphere, his father being a Slovak schoolmaster and a versatile musician. Afterwards he read law in Budapest (LL.D.), at the same time studying the pianoforte under A. Szendy at the Academy of Music. His official career brought him to Bratislava (then called Pozsony or Pressburg), where he finally became Concillor of the Government and Finance Director. He was a well-accredited pianist and also proved himself to be a prolific composer of unpretentious but pleasant pianoforte pieces (rhapsodics, humoresques, etc.), based chiefly on Slovak folk tunes. His best work of this kind are the ‘Slovenské tance’ (‘Slovak Dances’) for pianoforte duet (publ. at Turčianský Svätý Martin). Besides these he composed songs and partsongs and wrote several booklets on music. G. Č.
27Laun, Friedrich. See Freischutz (Weber, opera). Weber (12, do.).
29LAUNEDDAS. See AULOS (III).
31LAUNIS (formerly Lindberg), Armas (Emanuel) (b. Hameenlinna [Tavastehus], 22 Apr. 1884).
32Finnish musicologist and composer. He changed his name in 1900. From 1901 to 1907 he studied at the Philharmonic Society’s orchestral school in Helsingfors and in 1907-8 at the Stern Conservatory in Berlin. He then
341 ‘Geschichte der Musik’, II, 256-59.
352 ‘Monatschrift für Gottesdienst und kirchliche Kunst’ (1896), p. 265.
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