Scan 98
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
51 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Colón in Buenos Aires. His later career was confined almost wholly to Italy. E. B.
3BIBL.—GUSTARELLI, A., 'Chi è Giacomo Lauri-Volpi?' (Milan, 1932).
4LAURI-VOLPI, GIACOMO, 'Cristalli viventi' (Rome, 1948).
6LAURO, Domenico (b. Padua, c. 1540; d. ?).
7Italian composer. He went to Mantua about 1598 and became maestro di cappella at the Cathedral. He composed masses, madrigals, etc. one of two readings
8E. v. d. s. one of two readings
9Italian composer. He went to Mantua about 1598 and became maestro di cappella at the Cathedral. He composed masses, madrigals, etc. E. v. d. s. one of two readings
11LAUSKA, Franz (b. Brno, 13 Jan. 1764; d. Berlin, 18 Apr. 1825).
12Moravian pianist and composer. He emigrated early from his native country, was a pupil of Albrechtsberger in Vienna and settled in 1798 in Berlin as a favourite composer of pianoforte sonatas and pieces, chamber music, masonic and other songs and part-songs. At the same time he was a very esteemed teacher. Meyerbeer studied with him. one of two readings
13G. Č. one of two readings
14Moravian pianist and composer. He emigrated early from his native country, was a pupil of Albrechtsberger in Vienna and settled in 1798 in Berlin as a favourite composer of pianoforte sonatas and pieces, chamber music, masonic and other songs and part-songs. At the same time he was a very esteemed teacher. Meyerbeer studied with him. G. Č. one of two readings
16LAUSUS UND LYDIE (Opera). See BACH (W. F., 33).
18LAUTENCLAVICYMBEL. See LUTE-HARPSICHORD.
20LAUTERBACH, Johann Christoph (b. Culmbach, Bavaria, 24 July 1832; d. Dresden, 28 Mar. 1918).
21German violinist. His education he received at the school and "Gymnasium" of Würzburg, where he also learnt music from Bratsch and Fröhlich. In 1850 he entered the Brussels Conservatoire as a pupil of Bériot and Fétis, in 1851 received the gold medal and during Léonard's absence took his place as professor of the violin. In 1853 he became Konzertmeister and professor of the violin at the Munich Conservatory; in 1861, on the death of Lipinski, he was appointed second Konzertmeister of the royal orchestra at Dresden and in 1873 succeeded to the first place. From 1861 to 1877 he also held the post of principal teacher of the violin in the Conservatory of Dresden, with great and increasing renown.
22Lauterbach travelled much and always with success. He spent the seasons of 1864 and 1865 in England, appearing in London at the Philharmonic on 2 May of the former and 15 May of the latter year. In Paris he played at the last concert at the Tuileries before the Franco-Prussian war and received from Napoleon III a gold snuff-box set with diamonds. He was decorated with many German orders. In the summer of 1876 he met with a serious mountain accident in Switzerland, by which several of his companions were killed and he himself severely injured; but he completely recovered. Lauterbach's style united the best peculiarities of the Belgian school, great polish and elegance, with the breadth of the German. one of two readings
23P. D. one of two readings
25LAVALEE one of two readings
26Lauterbach travelled much and always with success. He spent the seasons of 1864 and 1865 in England, appearing in London at the Philharmonic on 2 May of the former and 15 May of the latter year. In Paris he played at the last concert at the Tuileries before the Franco-Prussian war and received from Napoleon III a gold snuff-box set with diamonds. He was decorated with many German orders. In the summer of 1876 he met with a serious mountain accident in Switzerland, by which several of his companions were killed and he himself severely injured; but he completely recovered. Lauterbach's style united the best peculiarities of the Belgian school, great polish and elegance, with the breadth of the German. P. D. one of two readings
28LAUTERER, Berta. See FOERSTROVÁ-LAUTEREROVÁ.
30LAUX, Karl (b. Ludwigshafen, 26 Aug. 1896).
31German writer on music. He studied at Heidelberg University, where he took a doctor's degree. In 1922-34 he was music critic to the 'Neue Badische Landeszeitung' at Mannheim and in 1934-45 of the 'Dresdener neue Nachrichten'. In the latter year he joined the council of the Saxon Ministry of Culture. His literary works include:
32(no line here) one of two readings
34'Joseph Haas' (Mainz, 1931).
35'Orchester- und Kammermusik' (in 'Atlantisbuch der Musik' (Berlin & Zürich, 1934).
36'Der Thomaskantor und seine Söhne' (Dresden, 1939).
37'Anton Bruckner' (Leipzig, 1940).
38'Musik und Musiker der Gegenwart' (Essen, 1947). one of two readings
39E. B. one of two readings
40'Musik und Musiker der Gegenwart' (Essen, 1947). E. B. one of two readings
42LAUXMIN, Zygmunt (b. ?, c. 1596; d. ?).
43Polish musician. He was a Jesuit monk and published at Wilno in 1667 a treatise entitled 'Ars et praxis musicae'. one of two readings
44C. R. H. one of two readings
45Polish musician. He was a Jesuit monk and published at Wilno in 1667 a treatise entitled 'Ars et praxis musicae'. C. R. H. one of two readings
47LAVALEE, Calixa (b. Verchères, Quebec, 28 Dec. 1842; d. Boston, Mass., 21 Jan. 1891).
48Canadian pianist and composer. He was the son of a musician, showed talent as a pianist and was sent to the Paris Conservatoire, where he made his début as a soloist in 1860. Returning shortly afterwards to Montreal, he made many tours of Canada and the U.S.A. as concert pianist during the next two decades. In 1881 he was a member of the concert company of the German singer Etelka Gerster. Subsequent years were spent in an endeavour to establish a great French-Canadian Conservatory at Quebec, and in 1887 he became president of the National Music Teachers' Association (U.S.A.). By this time he had settled at Boston, Mass., where the four remaining years of his life were spent.
49Throughout his life he was prolific both as an orchestral and ecclesiastical composer. In 1887 a French-Canadian organization offered a prize for an air suitable to be used as a national anthem by French-Canadians. With no words in mind he submitted a melody of singular beauty and dignity which won the award. Subsequently a hymn, 'O Canada', was written to it by Judge Routhier. It captured the imagination of the people of Quebec, but did not attract the attention of English-speaking Canadians until 1908. In that year was celebrated the three hundredth anniversary of the founding of the city of Quebec by Champlain. It was attended by King George V (then Prince of Wales), who expressed his profound admiration for Lavallee's air. Within a short time several English versions of the text were written, and 'O Canada' is now heard at public functions throughout Canada and in all the schools of the country, irrespective of racial origins. His comic opera, 'The Widow' (libretto by one of two readings
50Throughout his life he was prolific both as an orchestral and ecclesiastical composer. In 1887 a French-Canadian organization offered a prize for an air suitable to be used as a national anthem by French-Canadians. With no words in mind he submitted a melody of singular beauty and dignity which won the award. Subsequently a hymn, 'O Canada', was written to it by Judge Routhier. It captured the imagination of the people of Quebec, but did not attract the attention of English-speaking Canadians until 1908. In that year was celebrated the three hundredth anniversary of the founding of the city of Quebec by Champlain. It was attended by King George V (then Prince of Wales), who expressed his profound admiration for Lavalee's air. Within a short time several English versions of the text were written, and 'O Canada' is now heard at public functions throughout Canada and in all the schools of the country, irrespective of racial origins. His comic opera, 'The Widow' (libretto by one of two readings
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