DICTIONARY OF MUSIC - El Atril

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184 GLUCK GLUCK may be detected the germ of Gluck's distinctive tiualitiea. [About this time the composer fell lished works.] From 1755 to 1761 Gluck was permanently in ViennaT^nd to all appearance failing ; he wrote divertissements for the palaces of Laxemburg and Schonbrunn ; composed airs for the comedies or comic operettas performed at the court theatre : and produced an opera in three acts, ' Tetide ' (1760), of which nothing has survived. [The ballet of ' Don ' Juan (Vienna, 1761), and a visit to Bologna, were the most prominent events of his career before his definite change of style.] The years that he spent in Vienna, far from being wasted, w.ere probably most useful to him, for by these api>arently insignificant works he was acquiring flexibility of style, and securing powerful patrons, without losing sight of his ultimate aim. His opera ' Orfeo cd Euridice ' ' (Vienna, Oct. 5, 1762)— the libretto not as heretofore by Metastasio, but by Calzabigi— showed to all capable of forming a judgment what were the aims of the relormcr of the lyric stage. After the production of this fine work, however, he returned to Metastasio and to piiccs de circonstance for the court theatre—' II Trionfb di Clelia ' (1763); 'La Rencontre imprevue,' ' afterwards produced in German as Die Pilgrime Ton Mekka' (1764); 'II Parnasso confuso,' 'La Corona,' and 'Telemacco, ' first produced in Rome, 1750, and partly re-written (1765) ; in fact he wag obliged to bend to circumstances, and before all things to please the princes who protected him and sang his music. ' II Parnasso was played by four archduchesses, the archduke Leopold accompanying them on the harpsichord. It was probably between this date and the departure of Marie Antoinette for France (May 1770) that Gluck acted as singing master to that princess. At length, thinking the time had come for bringing his ideas before the public, and finding 1 Printed la 17G4 in Paris at tile expense of Count Durazzo. in Calzabigi a poet who shared his taste for strong dramatic situations, he produced in Paride ia love with Marianna Peigin, daughter of a rich merchant, wlio refused his consent to the marriage. This, accordingly, took place after the father's death on Sept. 15, 1750.] His next work was 'Filide,' or ' La Contessa de' Numi' (1749), a serenade, or more properly cantata, in two acts, written at Copenhagen for the birthday of Christian VII. ' Ezio ' was given at Prague in 1750, and 'La Clemenza di Tito' at Naples 1752 ; from the latter Gluck borrowed many a page for his French operas ' Armide ' and ' Iphigi'uie en Tauride. ' These operas were followed in 1752 by ' Issipile ' (Prague), and in 175-1 by ' Le Cinesi,' first performed at Schonbrunn, ' 'La Danza (La.xemburg, 1755), ' L' Innooenza giustificata ' (Vienna, 1755), and ' Antigono ' (Rome, 1756). [For this last he was rewarded with the order of the Golden Spur, and henceforth the title of ' Eitter ' or ' Chevalier ' ' ' Vienna Alceste (Dec. 16, ' 1767) and ed <strong>El</strong>ena' (1770). The scores of these operas were published in Vienna (1769-70), is ailded to his name in his pub- •' and dedicated respectively to the Archduchess Leopold and the Duke of Braganza. Each contains a dedicatory epistle, briefly explaining Gluck's views on dramatic music. As far as theory went, his system was not new, as it rested on the outlines already sketched by Benedetto Marcello in his ' Teatro alia Moda' (1720); but theory and practice are two different things, and Gluck has the rare merit of showing in his ' ' Alceste and ' ' Paride that he was both composer and critic, and could not only imagine but produce an opiera in which all is consecutive, where the music faithfully interprets each situation, and the interest arises from the perfect adaptation of the enscmhie of the niusic to the whole of the drama. The composition of these two great works did not prevent his writing the intermezzi of ' Le Feste d' Apollo, ' ' Bauci e Filemone, ' and 'Aristeo,' produced at the court theatre of Parma in 1769, but not published. In sfiite of the favour he enjoyed at the court of Vienna, and of the incontestable beauties contained in 'Orfeo,' 'Alceste,' and 'Paride ed <strong>El</strong>ena,' Gluck's countrymen criticised his new style in a manner so galling, that, conscious of his own power, and by no means devoid of vanity, he resolved to carry out elsewhere the revolution he had determined to elfect in dramatic music. In Bailly du Rollet, an attache of the French embassy in Vienna, he found an enthusiastic piartisan and a valuable auxiliary ; they consulted as to a drama in which music might be employed for enhancing the expression of the words and the pathos of the situations ; and their choice fell upon Racine's ' Iphigenie. This opera, ' Ijihigenie en Aulide,' was written in French in 1772, partially rehearsed at the theatre in Vienna towards the end of the same year, and produced at the 0[iera in Paris, April 19, 1774. Gluck left no means untried to ensure success — statements of his views, public announcements (Mcrciire de France, Oct. 1772 and Feb. 177.3), public tributes of respect to J. J. Rousseau, letters to authors whose good-will it was desirable to propitiate in short everything that ability and experience in such matters could suggest. And yet if it had not been for the all-powerful protection of his former pupil, Marie Antoinette, he would in all probability have failed in getting his work performed, so sti-ong was the opposition which his arrival in France liad roused, especially amongst those interested in keeping him out of the ' Academic de Musique. ' The Dauphiness seems to liave been really attached to her old singing master. In a letter to her sister Marie Christina (May 3, 1777) she calls ' him notre 2 Printed in folio by G. T. Trattnem with movable types.
CHRISTOPH WILLIBALD, RITTER VOX GLUCK
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GROVE'S "^'^^^^^^ DICTIONARY OF MUS
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E, Aldrich, Esq., ' New E. Hebom-Al
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LIST OF CONTRIBUTOKS .... Rev. Cano
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DICTIONARY OF MUSIC AND MUSICIANS F
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FACKELTANZ FALCON Ricordi. Faccio h
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FANCIES FANFAKE attacks iijion tlic
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FANTASIESTUCK FAEANDOLE for the Vir
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FARINELLI FAKINELLl second viait to
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FARINELLI FAEMER 11 supplied Sir J.
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FARNABY FAIiKEXC 13 Ayres, 1675, to
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FAURE of Fasch's scholars, who, as
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FAUX-BOUKDON FAUX-BOURDON 17 taken
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FAYRFAX been of Bayford in Hertford
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FEO FERRABOSCO 21 performance. Jan.
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FERRABOSCO FEREABOSCO 23 and famous
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FERRARI FERRI 1637, and HUl, three
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FESTING FESTIVALS, MUSICAL 27 simpl
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FESTIVALS, MUSICAL FESTIVALS, MUSIC
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FifcxiS FEVIN 31 a Philosophie de l
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FIDDLE FIDELIO 33 maiiu. A j'ear in
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FIELITZ FIGURE 35 1832. From thence
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FIGURE FIGURED BASS 37 same, partly
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FILTSCH FINALE 39 a iiosition as te
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FINCK FINCK 41 'Circa annum 1480 et
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FINGER-BOAED FINGEUING 43 'The Anat
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FINGERING FINGERING 45 all existing
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FINGERING FINGEEING ascending, seco
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FINGERING FINGEEING 49 fore there a
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FINGERING FINGERING 51 Harmonics. S
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FINGERING FINGEPJNG 53 sliding from
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FINTA GIARDIXIEEA, LA FIOEITURE 55
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FISCHER FISCHER 57 Helden Miisik, i
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FITZWILLIAM COLLECTION, THE FLAGEOL
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FLAUTO MAGICO FLOEENCK 61 Eb for E
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FLORENCE FLORIMO 63 the result of t
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FLOWER FLUE-WORK 65 other hand, his
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FLUTE FLUTE 67 a chromatic scale. T
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FLYING DUTCHMAN FORSTER 69 of the '
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FOOTE FORD 71 as ' a favourite air
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FORM FORM 73 G-i time, but possesse
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FORM FORM 75 iiant, thereby indicat
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FORM FORM 77 systematic development
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FOEM FORM 79 subjects ; whereas the
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FORM FORM n complementary key of th
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FORM FORM ties in the affinities of
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FORM FORM 85 the first movement ; f
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FOEM FORM tying down composers by a
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FOESTEE FOETE 8'..; by Ornithoparcu
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FOUGHT FOUNDLING HOSPITAL 91 compos
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FRAMERY FRANC [13 good intonation a
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FRANCHETTI FRANCK 95 and 1745 she t
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C]i;SAE FEAXCK
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98 FRANCK FEANCK the quintet for pi
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100 FRANCK FRANCO the theatre of Mo
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102 FRANCO FKANCO Perfect ; but, wh
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104 FRANZ FRANZ his letters on Scot
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FRANZ FRASI 105 time, shidying Bacl
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FEEGE FRESCOBALDI 107 large example
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FREZZOLINI FEICHOT lOS oC the notes
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FEIEDLANDER FROBERGER 111 and was w
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FUCHS PUENTES 113 song of the same
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FUGUE FUGUE 115 the fugue on its pr
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FUGUE FUGUE 117 (i) Handel, 'Hallel
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FUGUE FUGUE 119 -Hfrr^^^^^-^w- Sub.
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FUGUE FUGUE 121 to shape themselves
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Subject. ^^r FUGUE FULDA 123 ^^- To
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FUX FZ 125 (Jeanne Roger, Amsterdam
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GABRIELLE GABRIELLI 127 often so bo
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GADE GADSBY 129 on the approval of
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GAGLIANO GAGLIANO 131 (1508), and I
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GAGLIANO GAILHAED 133 ' other compo
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GALIMATHIAS GALITZIN 1.35 any Europ
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GALLI GALLIA 137 on the whole. He r
Page 151 and 152: GALLUS GALUPPI 139 scholastic post.
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Page 155 and 156: GARCIA GARCIA 143 the Conservatoire
Page 157 and 158: GAEDONI GARLANDIA 145 "published se
Page 159 and 160: GASSMANN GATES 147 E. T. Smith, whe
Page 161 and 162: GAULTIER GAUNTLETT I4y plusieurs di
Page 163 and 164: GAVOTTE GAYARRE 151 a performer. Hi
Page 165 and 166: GEBEL GEISLER 153 and in 1729 becam
Page 167 and 168: GEMINIANI GEKEE 155 Cousser's death
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Page 171 and 172: GEEICKE GERMAN 159 century (see Bec
Page 173: ETELKA GERSTER
Page 176 and 177: 162 GESELLSCHAFT DEE MUSIKFREUNDE '
Page 178: 164 GHAZEL GHEO institution in its
Page 182 and 183: 166 GIBBONS GIBBONS British Museum
Page 184 and 185: 168 GIBBONS GIGUE Lord, grant grace
Page 186 and 187: 170 GIMEL GIMEL positions. Having l
Page 188 and 189: 172 GIORGI GIOVANNINI be the greate
Page 190 and 191: 174 GIUGLINI GLADSTONE GIUGLINI, An
Page 192 and 193: 176 GLAZOUNOV GLAZOUNOV with Elenov
Page 194 and 195: 178 GLEE GLEN gives a name. It is s
Page 196 and 197: 180 GLINKA GLINKA His mental growth
Page 199 and 200: GLINKA GLINKA 181 other hand did al
Page 201: GLOVER GLUCK 183 the Holy Scripture
Page 206 and 207: 186 GLUCK GLUCK school accused him
Page 208 and 209: 188 GNECCO GOD SAVE THE KING Aleasa
Page 210 and 211: 190 GOD SAVE THE KING GOD SAVE THE
Page 212 and 213: 192 GODAED GODDAED with the first i
Page 214 and 215: 194 GODOWSKY GOETZ autumn in the Gr
Page 216 and 217: 196 GOLDBERG GOLDMAEK GOLDBERG, Jos
Page 219 and 220: GOLD.AIAKK GOLDSCHMIDT 197 subject
Page 221 and 222: GOLLMICK GOMBERT 199 a composer. He
Page 223 and 224: GOODBAN GOOVAERTS 201 (possihl_y th
Page 225 and 226: GOSS GOSSEC 1^03 writer of popular
Page 227 and 228: GOTTSCHALK GOUDIMEL 205 William Tuc
Page 229 and 230: GOUDIMEL GOUDIMEL 207 de Besanijon.
Page 231: CHARLES FRANCOIS GOUNOD
Page 234 and 235: 210 GOUNOD GOUNOD of '.MireiUe' (Th
Page 236 and 237: 212 GOW GEABU musical world as perf
Page 238 and 239: 214 GRAFTON GRAND returned to Hambu
Page 240 and 241: 216 GRANDIOSO GRASSHOPPER tions of
Page 242 and 243: 218 GRAUN GRAUN 'delightful beyond
Page 244 and 245: 220 GRAVE GREAT ORGAN and fugues. O
Page 246 and 247: 222 GREATOREX GRECO containing the
Page 248 and 249: 224 GREEK MUSIC GREEK MUSIC instrum
Page 250 and 251: 226 Table of Fifteen Keys with thei
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228 Table op Fiftees Keys with thei
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230 GREEK MUSIC GREEK MUSIC Kara Sv
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232 GREENE GREENE jnost esteemed or
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234 GEEGOIR GREGORIAN MUSIC Nexo Le
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236 GREGORIAN TONES GREITER and wer
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238 GENTRY GENTRY under the harsh t
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GRETRY GKETRY 239 containing two ai
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GRIEG GRIEG 241 not a good represen
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EDVAED HAGERUP GRIEG
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244 GRISAR GEISI rooms successfully
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than Grisi's success ; GRISI GROSSO
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GEORGE GROVE
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248 GROVE GROVE symphonies of Beeth
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250 GEOVE GEUA scheme, carried out
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252 GUADAGNINI GUARDUCCI he acquire
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254 GUDEHUS GUERRERO made instrumen
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256 GUIDETTI GUIDO D'AREZZO uncerta
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258 GUIGNON more than half a centur
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260 GUITAR GUITAR inwards after the
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262 GUNN - GUKLITT merit, made her
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264 GYMNASTICS GYMNASTICS was firml
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266 GYMNASTICS GYBOWKTZ his system
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TJ (pronounced Ha) is the German na
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270 HADDON HALL HAESSLER England. A
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272 HAINL HALE first composed as a
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274 HALEVY HAL^VY and on March 4, l
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HALF-CLOSE HALLE 275 nent secretary
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HALLING >i \.:\[£rMK of standing d
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HAMMERSCHMIDT HANDEL 279 ' 5. Music
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HANDEL HANDEL 281 operas and sacred
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HANDEL HANDEL 283 with worthy appre
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HANDEL HANDEL 285 which Handel hear
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HANDEL HANDEL 287 Unhappily the MS.
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HANDEL HANDEL, COMMEMORATION 289 po
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HANDEL-GESELLSCHAFT HAXDEL-GESELLSC
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HANDL HANDLO 293 and during its ear
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" law HAXS HEILIXG HARE 295 certs o
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HARMONIC UNION, THE HARMONICA 297 i
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HARMONICS HARMONICS 299 ments as se
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HARMONIE HAEMONIOUS BLACKSMITH 301
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HAEMOXIU.M HARMOXIUM 303 (Paris, 1S
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HAEMONY HAEMONY 305 subdued by a th
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HARMONY HARMONY 307 be said to be a
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m 3^' ^-^^- HARMONY HARMONY 309 l^-
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HARMONY HARMONY 311 the appreciatio
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HARMONY HARMONY 313 most complete,
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HARMONY HARMONY 315 ia found common
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HAEMONY HARMONY 317 the analogue of
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HAEMONY HARMONY 319 by substituting
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HARMONY HARMONY, ANALYSIS OF 321 (c
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HARMOXY, ANALYSIS OF HAPatOXY, ANAL
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HAEP HARP 3i!5 probably of a low an
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HARP HARP-LUTE 327 so ingenious tha
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HARPSICHORD HARPSICHORD 32!) that t
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HAEPSICHOKD HARPSICHORD 331 seat of
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HAERIS HARRISON 333 T\'here, before
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HART HARTMANN 335 prevailed. John T
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HARWOOD HASLINGER 337 the title of
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HASSE HASSE 339 much sought after i
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HASTREITEK HAUK 341 Besides the wor
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HAUPTMANN HAUSMANN 343 independence
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HAWKINS HAWKINS 345 elected an asso
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HAYDN HAYDN 347 which M-a3 afterwar
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FRANZ JOSEPH HAYDN
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350 1740- HAYDN -1750 incredible pi
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352 1756— HAYDN — 1766 lessons
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354 1769- HAYDN —1780 Lidl (1769-
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356 1785— HAYDN — 1790 The work
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358 1791- HAYDN —1792 On hia retu
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360 1795 HAYDN 1795 country, first
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362 1799- HAYDN -1806 engraved (180
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364 HAYDN HAYDN (1803), the Conserv
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366 HAYDN HAYDN generation same.' b
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368 HAYDN HAYDN ' Cambini) ; Sonate
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370 HAYDN IN LONDON HAYES 37. No. 9
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372 HAYNES HEBENSTEEIT copied tlie
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374 HEERMANN HEIL DIE IM SIEGERKRAN
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376 HELLENDAAL HELLINCK HELLENDAAL,
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378 HELMHOLTZ HELMHOLTZ organ and p
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380 HENLEY HENRY VIII alone. He had
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382 HENSCHEL HENSELT The complete l
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384 HERBERT HERBST to the Piarists
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386 hI:eold HEEOLD uninviting. Thus
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suffering for some time ; and HEREI
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HERZ, MEIN HERZ HESDIN 389 United S
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HEXACHOED HEXACHOED 391 the propert
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HIAWATHA HICKFORD'S ROOM 393 of the
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HICKFOBD^S ROOM HICKFORD'S EOOM 395
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HIDDEN FIFTHS HIDDEN FIFTHS SO'; i^
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HIDDEN FIFTHS HILES 39S) The follow
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HILL HILLEMACHER 401 Majesty's Thea
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HILLER HILLER 403 were held at Colo
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HILTON HIME 405 the Choristers. As
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HIXTOX HIPKINS 407 Westminster, Dec
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HISTORIES OF MUSIC HISTORIES OF MUS
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HISTORIES OF MUSIC HISTOEIES OF MUS
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HOBBS HOCHZEIT DES CAMACHO, DIE 413
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HOFFMANN HOFFMANN 4U though enjoyin
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HOFMANN HOGARTH 417 This work consi
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HOLDEN HOLLANDER 419 a Collection o
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HOLLINS HOLMES 421 was his principa
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HOLMES HOLYOKE 423 Tly. Life of Moz
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HOMILIUS HOOK 425 The air is marked
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HOPKINSON HORN 427 August 27, 1900.
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HORN HORN 429 approximates more tha
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HORX HOEX 431 hand the hell alone i
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HORN HORN 433 The aame, in a somewh
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HORSLEY HORSLEY 435 liave given t]i
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HOWELL HUBER 437 and others in rari
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HUDGEBUT HUEFFER 439 the invention
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HUME HUMFREY 441 In March 1872 he w
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HUMMEL HUMMEL 443 Hummel resigned h
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81. Soaata in FS minor. Piano. 82.
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HURDY GURDY HURLSTONE 447 One or ot
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HUYGENS HUYGENS 449 iad seven or ei
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HYDRAULUS HYDRAULUS 451 accompanied
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HYMN HYMN 453 such cases both came
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HYMN HYMN 455 us, Lord ' ; hut here
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Church hymnody ; HYMN HYMNS ANCIENT
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TAMBIC. An Iamb or Iambus is a metr
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IMPERFECT IMPERFECT 461 to become c
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INCIDENTAL MUSIC INCLEDON 463 them.
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INCORPORATED SOCIETY INDY 465 In Ja
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INFLEXION INFLEXION 467 such matter
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INGLOTT m QUESTA TOMBA OSCURA 469 I
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INSTRtTilENT INSTEUMEXT 471 that on
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INSTRUMENT INSTRU^tENTATION 473 [Ja
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INSTEUMENTATION INSTKUMENTATION 475
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INSTRUMENTATION INSTRUMENTATION 477
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INSTRUMENTATION INSTRUMENTATION But
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INSTRUMENTATION 481 Beelioz. iflfeS
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Piccolo and 2 Flutes. SO.'Oes. & Cl
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INTERMEZZO INTERMEZZO 485 ' portant
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INTERRUPTED CADENCE INTERVAL 487 Bo
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INTRUDUCTION INTRODUCTION 489 lias
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INVENTION INVERSION 491 churches, a
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INVERTIBLE COUNTERPOINT INVERTIBLE
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INVEETIBLE COL'XTEKPOINT IXVEKTIBLE
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INVEETIBLE COUNTERPOINT INVERTIBLE
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INVERTIBLE COUNTEEPOINT INVERTIBLE
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INVITATORIUM IONIAN MODE 505 to exe
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IPPOLITOV-IVANOV IRISH MUSIC 507 ce
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IRISH MUSIC IRISH MUSIC 508 semiton
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IRISH MUSIC ISAAC 511 of Christ Chu
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ISABELLA ISOUARD 513 scene of the L
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ISTESSO TEMPO IVE 515 'Thou senteat
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TACHES, Galuco, or Jacomo Brumel, f
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JACK JACK 519 Kicercari di Jaques B
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JACKSON JACOB 521 parts,' 'Six Madr
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JACQUARD JADIN 523 stitute the larg
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JAMES JANKO 525 energy and interest
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JANSA JAPANESE MUSIC 527 amateur of
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JAY JENKINS 529 sheet, is ' Mr. Jan
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JERUSALEM JEWETT 531 in Masfa' (Jep
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JIG JOACHIM 533 10. Motetti de la S
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JOACHIM QUARTET JOACHIM QUARTET 535
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JOHN THE BAPTIST, ST. JOHNSON 537 J
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JOHNSON JOHNSTON 539 for the Latin
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JOMMELLI JOMMELLI 541 opera ' Eumen
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JONCIERES JONES 543 out in Brussels
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JOEDAN JOSEFFY 545 same county, whi
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JOSQUIN JOSQUIN 547 La, sol, fa, re
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JOTA JUDAS MACCAB.EUS 549 tabula ar
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JULLIEX JULLIEN 551 Scribe, music b
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JULLIEN JUON 553 it out on the most
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JUST INTONATION JUST INTONATION 555
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KAHRER-KAPPOLDI KALKBRENNER 557 voi
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KARAJAN KASTNER 559 as no work of h
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KEELEY KEISER 561 Choke Collection
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CLAK.V I.OIISE KELL
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564 KELLY KELWAY Arne (1778-79),—
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566 KEXXEDY KENT BUGLE made his fir
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568 KETTEN KEY Holland, with Ferdin
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570 KEY KEY also is obvious in keys
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572 KEY KEY the seven tiers of his
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5V4 KIENZL KIESEWETTER pianoforte,
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576 KING KING'S BAND OF MUSIC KING,
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578 KIRBYE KIRCHEN CANTATEN already
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580 KIROHNER KIRNBERGER execution.
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582 KIT KJEEULF Spaiiisches Lieders
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584 KLAFSKY KLEBEE engaged in 1874
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586 KLEMM KLENOVSKY He deserves hon
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588 KLUGHARDT KNECHT Another son of
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590 KNELLER HALL KNIGHT the Crimean
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592 KNYVETT KOCHEL these works have
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594 KONIGIN VON SABA, DIE KOLLMANN
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596 KOTO KEAFT Cantata ' Don Jnan.'
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598 KRAUSS KEEBS Rubinstein's ' Kin
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600 KEEISLER KEETSCHMER the ' Non p
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602 KREUTZER KREUTZER SONATA The mu
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604 KRIEGER KROMMER viola da gamha
Page 650 and 651:
606 KUBELIK KUBELIK born in Melbour
Page 652 and 653:
608 KUHNAU KUFFERATH of preluding,
Page 654 and 655:
610 KUHNAU KULLAK reiterated joke o
Page 656 and 657:
612 KUNTZSCH KYEIE his opera ' Das
Page 658 and 659:
614 KYRIE KYEIE borrowed from the K
Page 660 and 661:
616 LABLACHE LABLACHE however, the
Page 662 and 663:
618 LACHNER LACOMBE when he retired
Page 664 and 665:
620 LA FAGE LAFONT to have had its
Page 666 and 667:
622 LAHOUSSAYE LALANDE Jesu Christe
Page 668 and 669:
624 LALLA ROOKH LALO volumes, conta
Page 670 and 671:
626 LAMENTATIONS LAMENTATIONS Hiere
Page 672 and 673:
628 LAMOND LAMOUEEUX Palestrina, an
Page 674 and 675:
630 LAMPUGXANI LANDI afterwards to
Page 676 and 677:
632 LANG LANGE and more prominent a
Page 678 and 679:
634 LANGSAM LANIEKE acted as its di
Page 680 and 681:
636 LARGE LAROCHE the theatre in To
Page 682 and 683:
638 LASSEX LASSUS success as Renato
Page 685 and 686:
LASSUS LASSUS 639 Nicolas 1 in the
Page 687 and 688:
LASSUS LASSUS 641 From this time La
Page 689 and 690:
LASSUS LASSUS 643 and Excellencies
Page 691 and 692:
LASSUS LASSUS 645 converted them in
Page 693 and 694:
i 3^ m ,tal m^^- LASSUS LASSUS 647
Page 695 and 696:
LAST ROSE OF SUMMER LATILLA 649'
Page 697 and 698:
Haydn. J. Salve B«demptor, C. —S
Page 699 and 700:
LAUDS LAUTERBACH 653 the year 1336,
Page 701 and 702:
LAWES LAWES 655 father, tlie coiise
Page 703 and 704:
LAYOLLE LAZZARINI 657 LAYOLLE, Fran
Page 705 and 706:
LEBERT LEBRUN 659 of Tone, etc. [In
Page 707 and 708:
LECLAIR LECOCQ 661 already an old m
Page 709 and 710:
LEE LEEDS MUSICAL FESTIVAL 663 Cove
Page 711 and 712:
LEGATO LEGATO 665 another performer
Page 713:
LILLI LEHMAXN
Page 716 and 717:
668 LEIPZIG LEIPZIG while the worth
Page 718 and 719:
670 LEIT-MOTIF LEIT-MOTIF It seems
Page 720 and 721:
672 LE JEUNE LE JEUNE appointment w
Page 722 and 723:
674 LEMMENS LENEPVEU preceptor in m
Page 724 and 725:
676 LEO LEO vols., i.-iii. Cassel,
Page 726 and 727:
678 LEO LEO is less severe iu manne
Page 728 and 729:
680 LEONCAVALLO LEONI played accomp
Page 730 and 731:
682 LESLIE LESSON LESLIE, Henry Dav
Page 732 and 733:
684 LESUEUR LESUEUR forward to the
Page 734 and 735:
686 LEVEEIDGE LEVEY ' Romeo.' He sa
Page 736 and 737:
688 L'HOMME AKMJh; L'HOMME ABME As
Page 738 and 739:
690 LIAPOUiS'OV LIBRARIES AND COLLE
Page 740 and 741:
692 LIBRARIES AND COLLECTIONS OF MU
Page 742 and 743:
694 LIBRAEIES AND COLLECTIONS OF MU
Page 744 and 745:
Page 746 and 747:
Page 748 and 749:
700 LIBEARIES AND COLLECTIONS OF MU
Page 750 and 751:
Page 752 and 753:
Page 754 and 755:
Page 756 and 757:
Page 758 and 759:
Page 760 and 761:
Page 762 and 763:
Page 764 and 765:
Page 766 and 767:
Page 768 and 769:
720 LIBRETTO LIBRETTO An excellent
Page 770 and 771:
722 LICENSE LICENSE lyrical honours
Page 772 and 773:
724 LICHNOWSKY LIE-NISSEN peers, in
Page 774 and 775:
726 LIED-FOEM LIED-FOEM generally a
Page 776 and 777:
728 LIEDEBKREIS LIEDERTAFEL first b
Page 778 and 779:
730 LILLE LILLIBUELERO Mstorischen
Page 780 and 781:
732 LILT LINCKE The evidence quoted
Page 782 and 783:
734 LIND LIND r61e in ' Euryauthe,
Page 785 and 786:
LIND LIND 735 confidence,—while s
Page 787 and 788:
LINDNER LINLEY 737 Dragonetti (see
Page 789 and 790:
LINLEY LIPINSKI 739 for a few years
Page 791:
FRANZ LISZT
Page 794 and 795:
742 LISZT . LISZT which a small but
Page 796 and 797:
744 LISZT LISZT the incideutg of hi
Page 798 and 799:
746 LISZT LISZT July 31, 1886. His
Page 800 and 801:
748 LISZT LISZT 136. Chopin's Prael
Page 802 and 803:
750 LISZT LISZT light on Schubert's
Page 804 and 805:
752 LITANY LITANY almost every popu
Page 806 and 807:
754 LITOLFF LIVERPOOL MUSICAL FESTI
Page 808 and 809:
756 LO, HE COMES LO, HE COMES was a
Page 810 and 811:
758 LOBKOWITZ LOCATELLI and with no
Page 812 and 813:
760 LOCKE LOCKE with the melody. In
Page 814 and 815:
762 LODER LODER theory, it necessar
Page 816 and 817:
764 LOESCHHOEN LOEWE sonatas for tw
Page 818 and 819:
766 LOGIER LOGROSCINO was appointed
Page 820 and 821:
768 LOMAKIN LONG wrote a violin par
Page 822 and 823:
770 LORD OF THE ISLES LORTZING chor
Page 824 and 825:
772 LOTTI LOUIS FERDINAND between t
Page 826 and 827:
774 LOURE LOVER close of which is a
Page 828 and 829:
776 LUCAS LUCCA member of the opera
Page 831 and 832:
LUCCA LUCIO SILLA 777 'The Huguenot
Page 833 and 834:
LUISA MILLER LULLY 1783, says that
Page 835 and 836:
LULLY LULLY 781 danseuses whom he i
Page 837 and 838:
LUNN LUPOT 783 the title of Reminis
Page 839 and 840:
LUTE LUTE 785 to be one. Strangely
Page 841 and 842:
LUTE LUTHER 787 the oldest instrume
Page 843 and 844:
LUTHER LUTHKRAN 789 together -with
Page 845 and 846:
LVOV LYDIAN MODE 791 for one, two,
Page 847 and 848:
LYRE LYRIC 793 1682 with other issu
Page 849 and 850:
ADDENDA ET COKEIGENDA FOE VOL. I LI
Page 851 and 852:
BEETHOVEN AND HIS FORERUNNERS By DA
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DICTIONARY OF MUSIC - El Atril

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