DICTIONARY OF MUSIC - El Atril

LAMOUKEUX LAMPEETI 629
Carvallio became director of the Opera Comicjue
in 1S76, he ottered Lamoureux tlie post of
conductor, but in less than a year tlie latter
resigned, owing to some difficulties arising out
of the rehearsal of Chauinet's ' Bathyle " in
May 1S77. In December of the same year
Lamoureux ^vas appiointed conductor of the
Opera by Vaucorbeil, and gare up the sub-con-
ductorshipi of the Concerts du Conservatoire,
which he had held since 1872. In 1S7S he
was decorated with the Legion d'Honneur, and
in the following year he resigned his post at
the Opera on account of a dispute with Vaucorbeil
as to the tempo of one of the moTements in
'Don Juan.' From that time he determined
to be self-dependent, and after having carefully
prepared the undertaking, he founded on Oct.
23, 1881, the Kouveaux Concerts, called the
Concerts Lamoureux, which were held for some
years in the theatre of the Chateau d'Eaii, and
afterwards at the Eden Theatre (1885) and the
Cirque des Champs Elysees (1887), where their
success is constantly on the increase. In the
year of their foundation, he appeared as a
conductor in London, giving two concerts in
St. James's Hall, on March 15 and 22, 1881.
Not only did Lamoureux develop as a conductor
a precision and tirmness, a care for the
perfection of the smallest details, mthout excluding
passion and warmth of expression ; he
also gave a welcome to the works of French
composers of the new school, such as Reyer,
Lalo, d'Indy, and Chahrier, and succeeded in
placing himself at the head of the Wagnerian
movement in France. He gave excellent renderings
of selections from ^Vagner's operas to a
public that had been too long deprived of these
tine compositions. The first Act of ' Lohengrin,'
Acts I. and II. of 'Tristan,' and Act I. of Die
Walkiire ' were given in their entirety, and
excerpts from the other works have been heard.
Encouraged by the warmth of the applause and
the moral support of his audience. Lamoureux
decided to give a performance in a Paris theatre
of * Lohengrin,' a work unknown in France, less
by reason of patriotic susceptibilities than of
commercial intrigues. After a whole year of
pireparation a pierfect performance was given at
the Eden Theatre (May 3, 1887), which was
not repeated. It is true that it took place at
a time of unfortunate political relations ; but if
Lamoureux had to give in, it was because he
received no support from the ministry with
which he believed himself to be in perfect
agreement. Those who protested against 'Wagner
used the word patriotism as a pretext. The
violent manifestations were, however, directed
by unseen agents, and governed by far meaner
motives, among which the love of money was
supreme. [He lived to see the ultimate triumph
of 'Wagner in Paris. In April and Nov. 1896,
in March and Nov. 1897, and in the spring of
1898, he gave concerts with his orchestra in the
Queen's Hall, London ; and in May 1899 he and
his band were chief attraction of a ' in
London
Musical Festival '
the Queen's Hall. He
died in Paris, L>ec. 21, 1899, being succeeded
as conductor by his son-in-law, Camille
Chevillard.] A. J.
LAMPE, John Feedefjck, a native of
Saxony, horn 1703, came to England about
1725, and was engaged as a bassoon player at
the Opera. In 1732 he composed the music
for Carey's ' Amelia, ' produced March 13. In
1737 he p^nblished A Plain and Compendious
Method of teaching Thorough - Bass, etc., and
also furnished the music for Carey's burlesque
opera 'The Dragon of Wantley,' which met
with remarkable success. It is an admirable
example of the true burlesque, and is said to
have been an especial favourite of Handel's.
In 1738 he composed music for the sequel,
' Margery ; or, A AVorse Plague than the
Dragon.'' In 1740 he published The Art of
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