DICTIONARY OF MUSIC - El Atril

636 LARGE LAROCHE
the theatre in Tottenham Street. On Nov. 18,
1826, he appeared on the English stage, as a
member of the Urury Lane company, as Sosia
in Dryden's ' Amphitryon, ' and
afterwards played
a variety of parts, mostly original, and amongst
them Wormwood in 'The Lottery Ticket.' He
next joined the Haymarket conifiany, in which
he first appeared June 15, 1827. In 1828 he
became manager of the King's Theatre, and
continued such until 1831. In 1832 he was
lessee of Covent Garden Theatre, and actor as
well as manager, but was compelled to retire,
with heavy loss, before the end of the season.
In 1833 he resumed the management of the
King's Theatre, and retained it until his death,
which occurred at his chateau near Paris, Sept.
25, 1841. A notable feature of his last season
was the ' Tamburini
Row, ' a disturbance of the
performance occasioned by the admirers of Tam-
burini, who resented his non-engagement for
that season, and by their tumultuous proceedings
for two or three evenings forced the manager
to yield to their wishes. Another curious feature
of this year was the reappearance of Laporte
in his original capacity as an actor, with Rachel,
on three nights of her first London season.
Laporte first introduced to the English public,
amongst other operas, Rossini's ' Comte Ory
and ' Assedio '
di Corinto ; Bellini's 'Pirata,
* ' ' ' Sonnambula, ' Norma, 'and Puritani ; Doni-
Costa's 'MalekAdel'
and zetti's 'Anna Bolena, '
and amongst singers, Sontag, Meric - Lalande,
Persiani, Assandri, Albertazzi, Pisaroni, Donzelli,
David, jun., Ivanoff, Mario ; and, above
all, the famous quartet who so long held supremacy
on the opera stage, Grisi, Rubini, Tamburini,
and Lablache. Though his dilatory
and unbusinesslike habits ruined his management,
Laporte was not without good qualities.
Amongst others his tact and coolness were great,
and many of his bons mots were current at the
time. When Cerito returned the ticket of a
box on the upper tier with the remark that she
was much too young to be exalted to the skies
before her time, Laporte—having already given
a box on the same tier to Taglioni—replied that
he ' had done his best, but that perhaps he had
been wrong in placing her on the same level
with Mile. Taglioni.' w. H. H.
LARGE (Lat. Maxima, Old Eng. Maxim).
The longest note used in measured music. In
ancient MSS. , the Large appears as an oblong
black note, corresponding with the Double-Long
described in the Ars C'anlus MensurabiKs of
Franco of Cologne. FranchinusGafforius, writing
in 1496, figures it as an oblong white note, with
a tail descending on the right-hand side ; which
form it has retained, unchanged, to the present
day.'
In the Great Mode Perfect, the Large is equal
to three Longs : in the Great Mode Imperfect,
' In modern reprint.s. the t-iil in acmietiines maxle to aaceod ; but
it iB iQdispenaable that it abould he on the right-hand side. See
limuDiGrahle examplta iu Proeke'a Musicti Hioina.
In ancient In printed Perfect Imperfect
boot: Large Rest. Large Kest.
to two. [See Mood.] The Rest for the Perfect
Large stretches, in a double line, across three
spaces ;
two.
that for the Imperfect Large, across
In polyphonic music, the final note is always
written as a Large : and, in that position, its
length is sometimes indefinitely prolonged, in
the Canto fcriiio, while the other voices are elaborating
a florid cadence. In Plain-song, the
Large— or, rather, in that case, the Double-
Long— is sometimes, but not very frequently,
used, to indicate the reciting-note. w. s. K,
LARGHETTO, partaking of the broad style
of Largo, but about the same pace with Andante.
Well-known instances of its use are the slow
movements in Beethoven's second Symphony
and Violin Concerto. G.
LARGO, i.e. broad, an Italian term meaning
a slow, broad, dignified style. Handel employs
it often, as in the 'Messiah' in 'Behold the Lamb
of God,' 'He was despised,' and 'Surely He
hath borne our griefs.' Haydn uses it for the
Introduction and first Chorus iu the ' Creation,'
as well as in the Introduction to the third Part.
Beethoven employs it only in PF. works, and
it is enough to mention some of the instances
to show what grandeur and deep feeling he
conveyed by this term,— op. 7 ; op. 10, No. 3 ;
op. 37 ; op. 70, No. 1 ; op. 106. He often accompanies
it with passionato, or some other term
denoting intense expression. Mendelssohn uses
it for ' broad ' in the Andante of his string
quartet in E flat, op. 12.
The term Largamente has come into use to
denote breadth of style without change of tempo.
Largo implies a slow pace, but the very varying
metronome marks applied to it show conclusively
that style and not pace is its principal in-
tention. [In the Brit. Mus. Add. MS. 31,424,
fol. 46, 536 are two gigues marked Largo, the
others in the same set being marked vivace or
allegro.] g.
LARIGOT (from an old French word, Varigot,
for a small flute or flageolet, now obsolete), the
old name for a rank of small open metal pipes,
the longest of which is only Ij ft. speakinglength.
Its pitch is a fifth above that of the
fifteenth, an octave above the twelfth, and a
nineteenth above the unison. It is first met
with, in English organs, in those made by
Harris, who passed many years in France, and
who placed one in his instrument in St. Sepul-
chre's, Snow Hill, erected in 1670. E. J. H.
LAROCHE, Heeihn Auoustovioh, musical
critic, born in St. Petersburg, May 25, 1845.
He received his musical education at the Conservatoire,
where he was a contemporary of
Tchaikovsky (1862-66). In 1867 he was appointed
to a professorship at the Moscow Conser-