DICTIONARY OF MUSIC - El Atril

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670 LEIT-MOTIF LEIT-MOTIF It seems hardly necessary to point to Wagner's works as containing the most remarkable examples of 'leit-motive,' as it is with his name that they are chiefly associated. In his earlier works there are but suggestions of the principle, but in the later works, as in ' Tristan ' and the ' Trilogy, ' they are worked up into a most elaborate and consistent system. The following examples will serve to illustrate some of the most characteristic of his ' leit-motive ' and his use of them. The curse which is attached to the Rheingold ring is a very important feature in the development of the story of the ' Trilogy, ' and its ' leitmotif, ' which consequently is of frequent occur- rence, is terribly gloomy and impressive. Its first appearance is singularly apt, as it is the form in which Alberich the Niblung first declaims the curse when the ring is reft from him by Wotan, as follows : m //:e ip^EE 'B*t sei die-eer Riug // I 5^- ^m ^r Among the frequent reappearances of this motif, two may be taken as highly characteristic. One is towards the end of the ' Rheingold, ' where Fafner kills his brother giant Fasolt for the possession of the ring, and the leit-motif being heard reminds the hearers of the doom pronounced on the possessors of the ring by Alberich. A yet more pregnant instance is in the Siegfried comes to ' Gotterdammerung. ' When the Hall of the Gibichungs on the Rhine, with the ring in his possession, having obtained it by slaying Fafner, who had taken the form of a dragon to preserve it, the first person to greet him is Hagen, the son of Alberich, who looks to compass Siegfried's death, and regain the ring for the Niblungs by that means. As Hagen says ' Heil Siegfried, theurer Held,' the greeting is belied by the ominous sound of the leit-motif of the curse, which thus foretells the catastrophe in the sequel of which Hagen is the instrument and Siegfried the victim, and lends a deep and weird interest to the situation. Siegfried himself has ' motive ' assigned to him in different circumstances and relations. For instance, the following figure, which he blows on the horn made for him by Mime, is the one which most frequently announces his coming. It implies his youthful and light-hearted state before he had developed into the mature and experienced hero : This figure is frequently subjected to consider- able development, and to one important transformation, which appears, for instance, in the death march as follows : In his character as mature hero he is notified by the following noble figure, m^^mm^^m -Pf^ which occurs as above in the last act of the 'Walkiire, ' when Wotan has laid Briinnhilde to sleep on the ' Felsenhohe, ' with a wall of fire around her ; and the sounding of the motif implies that Siegfried is the hero who shall pass through the fire and waken Briinnhilde to be his bride. A happy instance of its recun-ence is when, in the first act of ' Siegfried,' the youthful hero tells how he had looked into the brook and saw his own image reflected there. In the above examples the marked character of the figure lies chiefly in their melody. There are others which are marked chiefly by rhythm, as the persistent motif of Mime imitating the' rhythmic succession of blows on an anvil Mi^^ mst£^, mm ^^^ which points to his occupation as a smith. This motif occurs in connection with the rattling blows of the hammers of the Nibelung smiths underground, at the end of the second scene of the ' Rheingold,' and thus shows its derivation. Other ' motive ' again are chiefly conspicuous by reason of impressive and original progressions of harmony. Of this kind that of the Tarnlielm is a good example. It occurs as follows, where Alberich first tests the power of the helm at the beginning of the third scene of the ' Rheinrold '— to^^fe^^ t^p:^^^ m^^^^^:
LEIT-MOTIF LE JEUNE 671 Another instance, ^vhere a strongly marked melodic figure is conjoined "witli an equally striking progression of harmonj', is the ' death motif in ' Tristan und Isolde,' which first appears in the second scene, where Isolde sings as follows : A figure which it is difficult to characterise, hut which has a marvellous fascination, is the motif of the love-potion in ' Tristan und Isolde.' I ttP^ T^T^ fc,r°^^ ^-^'^^^
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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
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GALLUS GALUPPI 139 scholastic post.
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GAMBA, VIOLA DA GAMUT 141 intolerab
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GARCIA GARCIA 143 the Conservatoire
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GAEDONI GARLANDIA 145 "published se
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GASSMANN GATES 147 E. T. Smith, whe
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GAULTIER GAUNTLETT I4y plusieurs di
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GAVOTTE GAYARRE 151 a performer. Hi
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GEBEL GEISLER 153 and in 1729 becam
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GEMINIANI GEKEE 155 Cousser's death
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mieulx ne vient, ' 'A GENOVEVA GERB
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GEEICKE GERMAN 159 century (see Bec
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ETELKA GERSTER
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162 GESELLSCHAFT DEE MUSIKFREUNDE '
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164 GHAZEL GHEO institution in its
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166 GIBBONS GIBBONS British Museum
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168 GIBBONS GIGUE Lord, grant grace
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170 GIMEL GIMEL positions. Having l
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172 GIORGI GIOVANNINI be the greate
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174 GIUGLINI GLADSTONE GIUGLINI, An
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176 GLAZOUNOV GLAZOUNOV with Elenov
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178 GLEE GLEN gives a name. It is s
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180 GLINKA GLINKA His mental growth
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GLINKA GLINKA 181 other hand did al
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GLOVER GLUCK 183 the Holy Scripture
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CHRISTOPH WILLIBALD, RITTER VOX GLU
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186 GLUCK GLUCK school accused him
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188 GNECCO GOD SAVE THE KING Aleasa
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190 GOD SAVE THE KING GOD SAVE THE
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192 GODAED GODDAED with the first i
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194 GODOWSKY GOETZ autumn in the Gr
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196 GOLDBERG GOLDMAEK GOLDBERG, Jos
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GOLD.AIAKK GOLDSCHMIDT 197 subject
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GOLLMICK GOMBERT 199 a composer. He
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GOODBAN GOOVAERTS 201 (possihl_y th
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GOSS GOSSEC 1^03 writer of popular
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GOTTSCHALK GOUDIMEL 205 William Tuc
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GOUDIMEL GOUDIMEL 207 de Besanijon.
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CHARLES FRANCOIS GOUNOD
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210 GOUNOD GOUNOD of '.MireiUe' (Th
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212 GOW GEABU musical world as perf
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214 GRAFTON GRAND returned to Hambu
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216 GRANDIOSO GRASSHOPPER tions of
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218 GRAUN GRAUN 'delightful beyond
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220 GRAVE GREAT ORGAN and fugues. O
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222 GREATOREX GRECO containing the
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224 GREEK MUSIC GREEK MUSIC instrum
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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
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606 KUBELIK KUBELIK born in Melbour
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608 KUHNAU KUFFERATH of preluding,
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610 KUHNAU KULLAK reiterated joke o
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612 KUNTZSCH KYEIE his opera ' Das
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614 KYRIE KYEIE borrowed from the K
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616 LABLACHE LABLACHE however, the
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618 LACHNER LACOMBE when he retired
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620 LA FAGE LAFONT to have had its
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622 LAHOUSSAYE LALANDE Jesu Christe
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Page 670 and 671: 626 LAMENTATIONS LAMENTATIONS Hiere
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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 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 748 and 749: 700 LIBEARIES AND COLLECTIONS OF MU
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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