DICTIONARY OF MUSIC - El Atril

V90 LUTZ LUZZASCHI
in 1781 transferred to the present chapel, the
French and Dutch services being removed at
the same time to the chapel vacated by the
Germans, wliere they were performed until their
discontinuance in 1839. Upon the removal,
a new organ was erected in the chapel. The
present organ, by Snetzler, was built for
Buckingham House, and removed here prior
to the demolition of that edifice in 1825.
The organists since 1784 have been Augustus
Friedrich Karl KoUraann, died Easter Day,
George Augustus Kollmann, died March
1829 ;
19, 1845 ; Miss Joanna Sophia Kollmann, died
in May 1849 ; and Frederic Weber, the last
organist, died 1905. [During recent years the
services have been held in Danish instead of
German.] w. H. H.
LUTZ, WiLHELM Meyer, was born in 1822 '
at Miinnerstadt, Kissingen, where his father
was organist and teacher of harmony to the
Schoolmaster's Institute. He showed a gift
for the piano at a very early age, and when
twelve played in public with the orchestra.
His father removing to Wurzburg, he entered
the Gymnasium and University there, and at
the same time studied music under Eisenhofer
and Keller. From 1848 Lutz was settled in
England, first as organist to St. Chad's,
Birmingham, and St. Ann's, Leeds, and then
organist and choirmaster to St. George's
Catholic Cathedral, Loudon, for which he composed
several grand masses and much other
music. Meyer Lutz also had a long and wide
experience of the stage as chef d'orchestre^ first
at the Surrey Theatre (1851-55), and from
1869 at the Gaiety Theatre ; and also had the
management of the operatic tours of Grisi and
Mario, Pyne and Harrison, and other eminent
artists. Many of his operas and operettas are
well and favourably known in England, amongst
them ' Faust and Marguerite ' (Surrey Theatre,
1855), 'Blonde and Brunette' (1862), ' Zaida '
(1868), ' Miller of Milburg ' (1872), 'Legend of
the Lys ' (1873), a cantata entitled ' Heme
Hunter,' etc. etc.
the
More generally popular than
these are the many compositions for the Gaiety
Theatre in its most fashionable days. The
well-known tune of the ' Pas de Quatre ' was by
him. A string quartet, which he wrote for
M. Sainton's chamber concerts, was very well
spoken of, and he left much music, orchestral
and chamber, in MS. He died in London,
Jan. 31, 1903. G.
LUYTON, or LUYTHON, Carl, was born at
Antwerp, about the middle of the 16th century.
The earliest known date in his life is 1576, in
which year he dedicated a mass to the Emperor
Maximilian IL, and in the same year was
appointed Kammer-musikus or organist to the
Emperor. On Maximilian's death at the end of
1576, Luython was reappointed organist at
1 Thedate3]829and]830a
KboTe la probably correct.
a given b7 various aQthorltlea, but the
Prague to the new Emperor Rudolf IL, and
also for a time held other offices about the
court. On Rudolfs death in 1612, Luython
seems to have remained in Prague up to his
own death in 1620, although even then the
arrears of pay due to him for his service under
Rudolf had never been made up (see Quellen-
Lexikon for details). Luython is important
both as a vocal and instrumental composer.
His chief vocal works are : one book of Italian
madrigals a 5, 1582, 21 n. ; Sacrae Cantiones
a 6, Prag, 1603, 29 n. ; Lamentationes a 6,
Frag, 1604 ; Lib. I. Missaruni, Prag, 1609,
9 masses fj 3-7. Of these F. Commer republished
the Lamentations in vol. 20 of his Musica Sacra,
and 3 masses a 3-4, in vols. 18 and 19. See
Eitner for a characterisation of these masses.
Ritter descrtbes two of Luython's motets
appearing in the Promptuarium of Schadaeus as
masterly in treatment and full in harmony.
Generally speaking, Luython is remarkable as
a pioneer in the use of chromatic modulation
without any sacrifice of harmonic euphony or
pleasing melody. Of his instrumental works
only two are preserved, one entitled a Fuga
suavissima, which appeared in Woltz's Tabulatur-Buch
of 1617, and fully deserves its name.
It is reproduced in Ritter's GeschicMe des Orgelspiels,
Ex. 29, and is remarkable for its union
of attractive melody with a freedom of modulation
into different keys after the modern
fashion. The other work is an organ Ricercare
in a MS. of 1624, concerning which and the
Fuga suavissima see Ritter, pp. 51, 52, In
connection with these experiments in chromatic
modulation, it is interesting to be told by
Michael Praetorius that he had seen, in the pos-
session of Luython at Prague, a Clavicymbel of
Vienna manufacture, in which different keys
were provided for two distinct semitones between
each whole tone, so as to have pure major
thirds, and to allow the transpositions of the
church modes on any key ; also two keys were
inserted between the semitones e-f and h-c,
for enharmonic modulation ; there were thus,
as Praetorius says, seventy-seven keys in the
four octaves from C to c'" (Syntagma, tom. ii.
c. xl.). J. R. M.
LUZZASCHI, LuzzASCO, of Ferrara, was a
pupil of Ciprian de Rore at Ferrara, before
Ciprian left that city in 1558, and was afterwards
first organist at the court chapel of the
Duke of Ferrara, Alfonso II. He is also designated
as maestro di cappella. The date of his
death is given as 1607. Van der Straeten, in
his Musique aux Pays- Bas, tome vi. p. 134,
communicates the text of a document, relating to
a composition of Rore, subscribed by Luzzaschi
in 1606. Frescobaldi was his most illustrious
pupil. His compositions consist of seven books
of madrigals a 5, published from 1575 to 1604,
but not all perfectly preserved (two books
altogether missing) ; another book of madrigals