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isiil ; Symphony for orchestra, 1847 ; The
Templar, dramatic overture, 1852 ; To Deiim
and Jubilate ; Anthems ; Part-songs and
songs. Grove ; Riemaun ; Fetis; do., Sup-
plement, ii. 105 ; Mendel.

LES REXDEZ-VOUS DE NOBLE COM-
PAGNIE. See Le Prc aux Clercs.

LESSEL, FRANZ, born at Pulawy, Po-
land, about 1780, died at Petrikov, March,
1839. The son of Prince Czartoryski's mu-
sic director, he went to Vienna in 1797 to
study medicine, but became the pupil of
Haydn, whom he did not leave until his
death. Returning to Poland in 1810, ho



450



LESSORS



lived with the Czartoryslci family, but when
they became exiles, after the Revolution of
1830, he led a life of vicissitude. He lost
the place of principal of the Petrikov gym-
nasium in 1837, and is said to have died of
a broken heart. Works : Overture for or-
chestra ; Concerto for pianoforte and or-
chestra ; Chamber music ; Fantasias, sona-
tas, aud other pieces for pianoforte ; Church
music ; Songs. Grove ; Sowiriski, 3G4 ; Fe-
tis ; Schilling.

LESSONS, THE, for the Harpsichord, by
Handel. The first set, published by Cluer
as " Suites de Pieces pour le Clavecin "
(London, 1720), is said to have been com-
posed for his favourite pupil, the Princess
Anne. It contains eight suites : I. in A ;
H. iu F ; III. in D minor ; IV. in E minor ;
V. in E (containing the Harmonious Black-
smith) ; VI. in F-sharp minor ; VH. in G
minor ; VIII. in F. Printed by Walsh in
1733, with a second set containing : I.
Suite in B-flat ; II. Chaeonue (18 variations)
in G ; IH. and PV. Suites in D minor ; V.
Suite in E minor ; VI. Suite iu G minor ;
Vn. Suite in B-flat ; VIII. Suite in G ; IX.
Chaconne (62 variations) in G. This was
followed by a set of Sis Fugues or Volun-
tarys for the Organ or Harpsichord, op. 3,
which are among Handel's best composi-
tions for keyed instruments : I. Fuga, in G
minor ; H. in G ; IH. in B-flat ; IV. in B
minor ; V. in A minor ; VI. in C minor.
Arnold reprinted Walsh's first and second
sets under the title of Lessons for the Harp-
sichord (London, 1793), and added a third
set : I. Suite in D minor ; II. Suite in G
minor (both composed for the Princess
Louisa) ; IH. Lesson in A minor ; IV. Ca-
priccio in G minor ; V. Fantasia in C ; VI.
Chaeonue iu F. He also published a fourth
volume, containing the Six Fugues or Volun-
tarys. After Handel's death Walsh pub-
lished a hybrid work entitled A Collection
of Lessons for the Harpsichord by Mr. Han-
del, the fourth book of which contained un-
authorized arrangements of short move-
ments. Other editions were published in



Germany, Holland, France, and Switzerland.
The German Hiindelgesellschaft repro-
duced these hi 1859, with additional pieces.
Dr. Rimbault printed in his History of the
Pianoforte a capriccio on the authority of
the Princess Amelia's Lesson Book. In the
18th century these lessons held the same
place in musical literature that Beethoven's
sonatas do iu the present. Liszt played the
fourth lesson iu E minor at a recital in Lon-
don with great effect. The MSS. of many of
these compositions are iu Buckingham Pal-
ace. Eockstro, Handel, 346 ; Schoalcher,
Handel, 63.

LESTOCQ, ou rintrigue et 1'amour,
opera in four acts, text by Scribe, music by
Auber, first represented at the Opera Co-
mique, Paris, May 24, 1834, and at Covent
Garden, London, Feb. 21, 1835, as Lestocq,
or the Fete of the Hermitage. It is Auber's
weakest opera. Published by Schott (Mainz,
1837). Allgem. mus. Zeitung (37), 180;
N. Zeitschr. f. Mus. (2), 82, 181, 193.

LESUEUR, JEAN FRANC/CIS, born at
Drucat-Plessiel,
near Abbeville
(Somme), France,
Feb. 15, 1760, died
in Paris, Oct. 6, 1837.
The grand-nephew
of Eustache Lesu-
eur the painter,
he was admitted, at
the age of seven, to
the maitrise school
at Abbeville, and a
few months later became a choir-boy at
the cathedral at Amiens, where for seven
years he pursued almost all his practical
musical studies. At fourteen he entered
the College of Amiens to study rhetoric
and philosophy, but did not complete the
course, the post of master of music at
the cathedral at Seez being offered him in
1779. This post he quitted six months
later for that of submaster at the Church
of the Saints-Innocents, Paris, where he got
some notion of harmony from the Abbo




451



LESUETJE



Roze, but all the musical knowledge lie ac-
quired later was due to liis own observa-
tion and studying the scores of great mas-
ters. In 1781 he accepted the post of
master of music at the cathedral at Dijon,
and in 1783 a similar position at Mans,
which he soon left to undertake the direc-
tion of the choir at Saint-Martin at Tours.
In 1784 he visited Paris to have some of his
compositions brought out at the Concerts
Spirituals, and was advised by Sacchiui,
then in Paris, to write for the stage. On
the recommendation of Gossec, Gretry, ami
Philidor, he obtained the maitrise of the
Saints-Innocents, and in 178G he succeeded
in the competitive examination for the
post of master of music at the Cathedral
of Paris. According to the regulations of
the office, he had to assume the clerical
dress, and was known henceforth as 1'abbe
Lesueur, but he never took orders. He ob-
tained permission of the Archbishop of Paris,
and of the chapter of Notre Dame, to intro-
duce a full orchestra into the cathedral, and
during the years l~Mi and 1787 the church
was crowded by people who came to hear
Lesueur's motets. The brilliancy of these
musical services laid him open to attacks
from conservative ecclesiastical quarters, to
which he replied in two pamphlets : " Essai
de musique saeree, ou nmsiquo luotiv.'r < I
methodique, pour la feto de Noel, :'i la
messe du jour" (Paris, Hi'rissant, 17>7i.
:iii<l " Expose d'une nmsiinie line, imitative,
ct particuliere a chaque solennite, oil Ton
donue des principes geueraux sur les-
quelles on 1'etablit, et le plan d'une mu-
sique propre a la fete de Noel" (ib., 1787).
About the same time his opera Telemaque
was received by the Academie Royale de
Musique (Opera), but was not given. His
position at Notre Dame continued to be the
source of many troublesome quarrels and
of libellous anonymous pamphlets, and in
1788 he retired to the country-seat of M.
Bochard de Champagny, where he passed
four years in composition. At the death of
his benefactor he returned to Paris, where



his opera La caverne was brought out at the
Opera Comique in 1702 with much success,
to be followed in 171)4: by Paul et Vii'giuie,
and at last by Telemaque. The success of La
caverne procured him the post of professor
in the Ecole de la Garde Nationale, the
duties of which he entered upon Nov. 21,
1793 ; he was also appointed one of the in-
spectors of instruction at the Conservatoire
from its foundation in 1795. He co-op-
erated with Mehul, Langle, Gossec, ami
C.itel in editing the Principes elementaires
de musique and the Solfeges used at that
school ; but he was not destined to remain
at peace with his colleagues. His two
operas, Les bardes and La mort d'Adam,
which had been accepted by the Opera,
were set aside in favour of Catel's Semiramis,
and an explosive pamphlet of his brought
about a rupture between himself and Sar-
rette, the head of the Conservatoire and
Catel's patron. The quarrel ended in Le-
sueur's deposition from office at the Conser-
vatoire in 1802. Abject poverty now stared
him in the face, but in March, 1804, he was
appointed maitre de chapelle to Napoleon
on recommendation of Paisiello. He took
advantage of this much envied position to
have his Les bardes brought out at the
Opera in July, 1804. Its success was over-
whelming, the Emperor presenting him
with a gold snuff-box with the inscription:
"L'Empereur des Franeais a 1'auteur des
R-trdes." In 1809 La mort d'Adam was
produced, but without success. In 1814,
after the restoration, he was made superin-
tendent and composer to the Royal Chapel,
which post he held until the Revolution of
July, 1830. In 1813 he succeeded Gretry
(deceased) at the Institut de France, and in
1817 he was appointed professor of compo-
sition at the Conservatoire, which office he
held until his death. He was especially
noted as a teacher ; twelve of his pupils
won the prix de Rome, viz. : Bourgeois,
Ermel, Paris, Guiraud, Berlioz, Eugene
Prevost, Ambroise Thomas, Elwart, Ernest
Boulauger, Besozzi, Xavier Boisselot, and



LET



Gounod. He died full of honours. His fa-
vourite theme was ancient Greek music, and
he wrote a good deal on the subject iu a
rather loose way, for he had quite a talent for
getting facts wrong. As a composer he was
noted for a certain grand simplicity of style,
which even in his own day had rather an
antiquated flavour, yet his power of pro-
ducing striking effects by the simplest of
means was undeniably great.

Works : I. Operas : La cavcrne, Theatre
Feydeau, Feb. 15, 1793 (in full score, Paris,
Naderman) ; Paid et Virginie, ou le triomphe
de la vertu, ib., Jan. 13, 1794 (score, ib.);
Telkmaque dans 1'ile de Calypso, ou le tri-
omphe de la sagesse, ib., May 11, 179G
(score, ib.) ; Oxsian, ou les bardes, Opera,
July 10, 1804 (score, Paris, Janet) ; L'iuau-
guration du Temple de la Victoire (with
Persuis), ib., Jan. 2, 1807 ; Le triomphe de
Trajan (with do.), ib., Oct. 23, 1807 ; La
mort d'Adam, ib., March 17, 1809 (score
published, Paris) ; Tyrtee, received at the
Opera iu 1794, but not given ; Artaxerce,
received at the Opera in 1801, but not
given ; Alexaudre a Babyloue, received in
1823, but not given.

H. Sacred music : L'ombre de Sacchini,
cantata, Concert Spiritual, December, 178G ;
Chant des bardes en Fhonueur de la paix
et des heros francais, Opera, April 14, 1802 ;
Messe, ou Oratorio de Noel (Paris, A. Petit,
182G) ; Messe soleunelle, for 4 voices, cho-
rus, and orchestra (ib., published by the
author, 1827) ; Deborah, oratorio (ib., id.,
1828) ; 3 Te Deum (ib., id., 1829) ; 3 Mo-
tets, called Oratorios pour le careme (ib.,
id., 1829-33) ; 2d Messe soleuuelle (ib.,
id., 1831) ; Marche du couronnement de
1'Empereur, for grand orcli. (only piano-
forte score published) ; Music for the fete
of Vendemiaire I., year IX., given by 4 or-
chestras at the Invalides (MS.) ; 2 Ora-
torios de la Passion (Paris, Frey) ; Eachel,
oratorio (ib., id.) ; Ruth et Noemi, do. (ib.,
id.) ; Ruth et Booz, do. (ib., id.) ; 1st, 2d, and
3d Oratorios for the coronation of sovereign
princes (ib., id.) ; Sacred cantata and motet




(ib., Beauvais) ; 2 Psalms (ib., Lemoine) ;
Super flumina Babylonis and 3d Oratorio
du Careme (ib., Frey) ; 3d /? _
Messe solennelle (ib., id.) ; f^> r/UJL
Messe basse, and Motet,
Joannes (ib., Lemoiue) ;
3 Odes of Anacreou (ib., Janet et Cotelle) ;
G do. (ib., id.). Raoul-Rochette, Notice his-
torique sur la vie et les ouvrages de M.
Lesueur, Paris ; Stephen de la Madelaine,
Biographic de Jean-Francois Le Sueur,
Paris, 1841 ; Fetis ; Berlioz, Mi'moires,
chaps, vi., xiii., xx.

LET OTHERS SING. See The Puri-
tan's Daughter.

LET THE BRIGHT SERAPHIM, so-
prano aria in D major, of an Israelitish
woman, with accompaniment of trumpet,
violins in unison, viola, and continue, in
Handel's Samson, Act HI., Scene 3.

LET THE LOUD TIMBREL. See The
Puritan's Daughter.

LE TROUBLE ET LA FRAYEUR. See
Le Domino noir.

LETZTE ABENCERAGE, DER. See
Les Abenc&rages.

LETZTEN DINGE, DIE (The Last
Things, commonly called The Last Judg-
ment), oratorio, in two parts, text by Roch-
litz, music by Spohr, first performed in the
Lutheran church, Cassel, ou Good Friday,
182G, and also at the Rhenish Festival in
Diisseldorf in that year. At the first per-
formance Spohr's two daughters and Messrs.
Wild, Albert, and FOppel sang the soli.
Malibran calls this oratorio a musical por-
trait of Michael Angelo's Last Judgment.
It was given at the Norwich (England) Fes-
tival, iu 1830 ; by the Handel and Haydn
Society, Boston, March 20, 1842. Spohr
wrote an oratorio on the same subject, Das
jiingste Gericht, in 1812, but abandoned it
after two performances. Spohr, Autobiog-
raphy, ii. 159 ; Allgem. mus. Zeitg. (30), G53 ;
Chorley, Modern German Music, ii. 93 ; Up-
ton, Standard Oratorios, 283 ; Grove, ii. 554.

LEVEQUE (L'Eveque), JOHANN WIL-
HELM, born in Cologne in 1759, died in



453



LEVERIDGE




Hanover in 1810. Violinist ; studied music
in Paris while preparing to take orders,
gave up theology for his art, and secretly
left his father's house to undertake concert
tours in France and Germany. He was
made Couzertmeister to the Prince of Oet-
tiugen-Wallerstein. then to the Prince of
Nassau -Weilburg, several years Liter to the
Prince-Bishop of Passau, and finally at the
court of Hanover. Works : Concertos,
quartets, trios, duos, and solos for violin.
Fetis ; Mendel ; Schilling.
LEVERIDGE, RICHARD, born in Eng-
land iu 1G70, died
in London, March
22, 1758. Dramatic
singer, noted for his
bass voice, which in
17150, when he was
sixty, was still so
unimpaired that he
otVerrd a wager of a
hundred guineas to
sing a bass song with any man in England.
11* was engaged at the Drnry Lane Theatre
in 1705-7, then at the Queen's Theatre
until 1712, after which he sang at Lincoln's
Inn Fields and Covent Garden for nearly
thirty years. Works: Music for the Isl-
and Princess, or the Generous Portuguese,
lii'.i'.t; do. for Pyranius and Thisbe, a comic
masque, compiled by him from "A Midsum-
mer Night's Dream," 171(5. In 1727 he
published a collection of his songs, with
music, in two small 8vo volumes ; and many
other songs were published singly.

LEVETT, DAVID MAURICE, born, of
English parentage, in New York, Jan. 1.
1844, still living, 1889. Pianist, pupil at
the Leipsic Couservatorium on the piano-
forte of Moscheles, Plaidy, Reinecke, Paul,
and Papperitz, and in theory under E. F.
Richter, Paul, and Papperitz ; then in Ber-
lin on the pianoforte of Carl Tausig, and
iu Paris of Louis Lieb, Asger Hamerick,
and Sveudseu. In 1871 (?) he went to
America, in 1875 was director of music at
St. Mary's Hall, Burlington, New Jersey, in



187(i professor in the New Brunswick Con-
servatory of Music, and in 1878 professor
in the Illinois Conservatory of Music, Jack-
sonville. In 1880-84 he resided in Chicago,
and after a short visit to Europe became
in 1885 professor in the Conservatory of
Music, New York. Works, all for piano-
forte : Meditation, op. 12 ; Melody inD-tlat,
op. 13 ; Valse Noble, op. 14 ; Dance of the
Fairies, op. 15.

LEVEY, WILLIAM CHARLES, born in
Dublin, Ireland, April 25, 1837, still living,
1889. Pianist, pupil of his father, who was
orchestra leader at the Theatre Royal iu
Dublin, and later, in Paris, of Auber, Thai-
berg, and Prudent. In 18G2 he returned
to London, and was conductor successively
of Covent Garden, Drury Lane, Haymarkct,
Adelphi, and Princess's Theatres, London.
Works Operas and operettas : Fanchette,
Covent Garden, 1S(!2 ; Claude (MS.) ; Naza-
rille (MS., in French) ; Punchinello ; Fash-
ion ; Wanted a Parlour Maid ; Music for
Amy Robsart, Rebecca, King o' Scots, and
Lady of the Lake ; 7 Drury Lane panto-
mimes ; The Man of War, cantata for or-
chestra, chorus, and military band ; Irish
overture for orchestra ; Pianoforte music
and songs.

LE VOILA, LE ROI PROPH&TE. See
Prophiite.

LE VOILA ! QUE MON A ME. See
Zampa.

LEWANDOWSKI, LOUIS (LAZARUS).
born at Wreschen, Posen, April 3, 1823,
still living, 1889. Pianist and composer ;
went to Berlin at the age of twelve to study
pianoforte and singing, and became soprano
solo singer in the Hebrew temple. He was
for several years pupil of Marx in theory,
and later, at the Academy of Arts, of Rung-
enhagen, A. W. Bach, and Grell in compo-
sition and counterpoint. His works ob-
tained first prizes, and were publicly per-
formed there with great success. In 1840
he was appointed choirmaster at the syna-
gogue in Berlin, in I860 court music di-
rector, and choirmaster at the new syua-



451



LEYBACII



gogue. He is one of the principal founders
of the Old Men's Home for poor musicians.
Works : Kol Riimali u' T' filla, for chorus ;
Toda W simrah, for mixed chorus, solo,
and organ ; 40 psalms for do.; Symphonies ;
Overtures ; Cantatas ; Songs. Mendel.

LEYBACH, IGNACE, born at Gambs-
heiiu, Alsace, July 17, 1817, still living,
1889. Pianist, pupil in Strasburg of Hrer-
ter and Wackenthaler, and in Paris of
Pixis, Kalkbrenner, and Chopin. He was
appointed organist in Toulouse in 1844,
and settled later in Paris. Works : Char-
acteristic pieces, fantasias on operatic
themes, transcriptions, and nocturnes for
pianoforte ; Pieces for pianoforte and har-
monium ; Vocal melodies and motets ; Har-
monium method ; Concert pieces for har-
monium ; L'organiste pratique. Fetis, Sup
pk'ment, ii. 108 ; Riemann ; Mendel.

LIBANI, GIUSEPPE, born in Italy in
1842, died in Rome, May 4, 1880. Dra-
matic composer, whose last opera, Sarda-
napalo, was successfully given when he was
on his death-bed. Works Operas : Gul-
nara, given in Rome, private theatre of the
Palazzo Pamphili, 18G9, Florence, Teatro
Pagliauo, 1870 ; II conte Verde, Rome, Te-
atro Apollo, 1873 ; Sardanapalo, ib., April
29, 1880. Fetis, Supplement, ii. 109.

LIBER, ANTON JOSEF, born at Sulz-
bach, near Eatisbon, in 1732, died at Ratis-
bon in 1809. Instrumental composer, pupil
of Josef Riepel on the violin and in compo-
sition. After having completed his studies
he was made Couzertmeister and composer
to the Prince of Thurn mid Taxis, first at
Donauworth, then in Ratisbon. Works :
Symphonies ; Concertos ; Masses. Fetis ;
Mendel.

LIBER, WOLFGANG, born at Donau-
wi'irth, Oct. 31, 1758, died at Ratisbon after
1817. Violinist, sou and pupil of Anton
Josef Liber. At the age of eight years he
appeared in concerts, then studied organ
and composition at Ratisbon ; entered the
Order of the Benedictines in the Abbey of
Michelfeld, and after the suppression of



the convent retired to Ratisbon. Works :

Masses, antiphous, and other church mu-

io ; Concertos for violin. Fetis ; Mendel.

LIBERTA CONTENTA, LA, Italian op-
era ; text by Mauro, music by Steffani, first
represented in Hamburg in 1G93. It sur-
passes the composer's previous operas, and
contains fine counterpoint, difficult arias,
and dramatic recitatives. Grove, iii. 096.

LIBERTY DUET. See I Puritan i.

LIBIAMO, LIBIAMO. See La Tramata.

LIBON, PHILIPPE, born, of French
parents, at Cadiz, Spain, Aug. 17, 1775, died
in Paris, Feb. 5, 1838. Violinist ; studied
in his native town until he was fourteen,
when his father sent him to London, where
he became a pupil of Viotti on the violin
and of Cimador in composition. Returning
to Cadiz in 1790, he played in a court
concert in. Lisbon, and became solo violin
to the Crown Prince of Portugal. In 1798
he went to Madrid, where he became a
member of the king's chamber music, and
in 1800 to Paris, where in 1804 the Em-
press Josephine appointed him to her pri-
vate chapel, and the Empress Marie Louise
in 1810 made him her accompanist. After
the restoration he retained his position iu
the private orchestra of the king. Works :
concertos for violin ; Airs varies for vio-
lin and orchestra ; 2 collections of airs va-
ries for violin and string quartet or piano-
forte ; 6 trios for 2 violins and violoncello ;
3 grands duos coucertauts for 2 violins ;
Caprices and other pieces for violin solo.
Fetis ; Mendel.

LICHNER, HEINRICH, born at Har-
persdorf, near Goldberg, Silesia, March 6,
1829, still living, 1889. Pupil of Karow,
Dehu, Mosewius, and Hesse ; became can-
tor, organist, and director of the Siinger-
buud in Breslau. Works : Overtures ; Sym-
phonies ; String quartet ; Songs ; Choruses
for male voices ; Many pianoforte pieces.
Fetis, Supplement, ii. 109 ; Mendel.

LICHTENSTELN, German opera in three
acts, text by Dingelstedt, after Hauff's ro-
mance, music by Liudpaiutuer, first repre-



455



LIGHTEN STEIN



seated in Stuttgart, Aug. 2G, 184G. It is
one of the composer's best operas. Pub-
lished by Scbubertb (Hamburg and Leipsic,
1847). Allgem. mus. Zeitung, 1. 92 ; Neue
Zeits., xxvii. 133, 145, 157.

LICHTENSTEIN, KARL AUGUST,
Freiberr VON, bom at Lahm, Fraucouia,
Sept. 8, 1707, died in Berlin, Sept. 10,
1*45. Violinist and dramatic composer;
while studying at the University of Gut-
tiugen be appeared as violinist in Forkel's
concerts ; entered the service of the Elector
of Hanover, and in 171)8 went to Dessau as
chamberlain, and director of the duke's the-
atre. After giving performances with his
dramatic company in Leipsic in 1800, he
became director of tin- Court Opera in Vi-
enna. He was engaged several years in
diplomatic service, but. in 1811 took charge
of the theatre in Bamberg, in 1S23 became
director of the Royal Theatre in Berlin, and
in 1825 of the opera ; retired on a pension
in 1S32. Works Operas : Knall und Fall,
given at Bamberg, 1795 ; Bathmendi, Des-
snu, 1798 ; Die steinerue Bruit, ib., 1799 ;
Elide gut, Alles gut, ib., 1800 ; Mitgefuhl,
ib., 1800 ; Die Waldburg, Bamberg, 1811 ;
Andreas Hofer, Berlin, 1831 ; Singetliee
und Licdertafel, 1*23 ; /ur guteu Stunde,
IS-J3 ; Die deutscheiiHerrcn von Niirnbcrg,
Is:! I ; Triibsale eiues Hofbauquiers, ls:!S ;
Many vaudi'villes. Allgem. d. Biogr., xviii.
.">.">:; \ Gerber ; Ledebur, Toukiinst. Lex.
I'M rlins ; Mendel ; Fetis ; Schilling.

LICHTEXTHAL. L'KTKK, born at Pres-
burg, Hungary, May 10, 1780, died at Mil-
an, Aug. 18, 1853. Dramatic composer
and writer on music, instructed on the vio-
lin, pianoforte, and in thorough-bass in his
native city ; having studied medicine in Vi-
enna in 17911 1M)S and practised in the
hospitals there until 1810, he settled in
Milan, where he devoted himself to literary
pursuits and music. Works : 3 operas,
given at Milan, Teatro della Scala. Ballets :
H conte d' Essex, ib., 1818 ; Cimeue, Ales-
sandro nell' Indie, Le Sabine in Roma, ib.,
1820 ; Giovanua d' Arco (with Brambilla



and Vigano), ib., 1821 ; Didone (do.), ib.,
1821. Quartet for pianoforte and strings,
op. 4 ; 2 trios for do. ; Pianoforte music.
Noteworthy among his literary works are :
Cenui biografici intoruo al celebre maestro
W. A. Mozart (Milan, 1814) ; Mozart e le
sue creazioni (ib., 1842) ; and especially
Diziouario e bibliograda della nmsica (ib.,
1826). Fetis ; do., Supplement, ii. 110 ;
Jiidischer Plutarch (Vienna, 1848), ii. 159 ;
Wurzbach.

LICKL, .EGIDIUS CARL, born in Vi-
enna, Sept. 1, 1803, died in Trieste, July
22, 18G4. Virtuoso on the pianoforte and
the guitar, son and pupil of Johann Georg
Lickl. He settled at Trieste about 1830,
and devoted himself to teaching and com-
position. Works : Ettore Fieramosca, os-
sia la distida di Berletta, comic opera, given
in Trieste (1848) and Vienna ; Church, con-
cert, and chamber music. Fetis ; Mendel ;
Wurzbach.

UCKL, CARL GEORG, born in Vienna,
Oct. 28, 1801, died there, Aug. 3, 1877.
Pianist and virtuoso on the pliysharmouica,
.son and pupil of Johaun Georg Lickl. He
introduced the physharmouica in Germany,
and was the founder of a literature for this
instrument. Works : Polyhymnia, a suite
of pieces for pianoforte and pliysharmouica,
or tlute ; Les quatrc saisous de Tannee, mu-
sical poem for pianoforte ; Chamber music ;
Morceaux de genre, for pianoforte or phy.s-
harmoniea. Fetis ; Mendel ; Wurzbach.

LICKL, JOHANN GEORG, born at
Koruueuburg, Lower Austria, April 1 1,
1769, died at Fiiufkirchen, May 12, 1843.
Organist and dramatic and church com-
poser, pupil in his native town of the choir-
iiiaMer Sebastian Witzig on the pianoforte,
the organ, the string instruments, and in
singing and composition. In his fourteenth
year he was able to fill the place of organ-
ist at Kornueuburg ; went later to Vienna,
where he was much sought as a teacher ;
was appointed in 1805 choirmaster in the
principal church uf Fiiufkirchen, Hungary.
Works Operas : Der Zauberpfeil ; Der



456



LIDL



Briiiler von Krakau ; Dor vcrmeiute Hexen-
meister, given in Vienna, Sehikaneder's The-
ater, 1785 ; Astaroth, der Verfiihrer, ib.,
1790 ; Der Brigitta-Kirchtag, ib., 1790 ;
Der Durchmarsch, ib., 1800 ; Faust's Leben,
Thateu uud HGllenfahrt, ib., 1815 ; Der Or-
gelspieler, ib., 1825. Masses, psalms, mo-
tets, autiphons, hyinns, and other church
music ; 3 quartets and 3 trios for strings ;
3 quartets with flute and oboe ; Quartet for
pianoforte with flute and strings ; 3 sonatas
for pianoforte and strings ; Pianoforte music.
Fetis ; Mendel ; Schilling ; Wurzbach.

LIDL, ANTON, born iu Vienna iu 17-40,
died in 1789 (?). Virtuoso on the baryton
(violoucelle d'amour), which instrument he



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