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cember, 1838 ; Die Rosenmadcheu, 1840 (?) ;
Die sicilianische Vesper, Stuttgart, 1843 ;
Liditenstciii, ib., 1845 ; Giulia, oder die Cor-
sen, ib., December, 1853 ; Libella, not per-

II. Ballets and melodramas : Music to
Goethe's Faust, Stuttgart, 1832 ; Aglae, ou
I'eleve d'amour, ballet ; Zephyr und Flora,
do.; Joco, der brasiliauische Afi'e, do.; Zeila,
do. ; Der Geistersohn, do. ; Die Glocke,
melodrama on Schiller's poem ; Abraham's
Opfer, do. ; Der gerettete Moses, do. ; Fried-
rich der Siegreiche, do.; Timoklea, do.

HI. Oratorios and church music : Der
Jiingling von Naiu ; Abraham's Opfer (dif-
ferent from the melodrama) ; Additional
accompaniments to Handel's Judas Macca-
bseus ; Herr Gott, dich loben wir, motet
for 4 voices and orchestra, on a text by
Klopstock ; Grabgesaug for 4 male voices,
5 horns, and 3 trombones, or pianoforte ad
lib. ; Masses, Te Deum, psalms, Pange lin-
gua, cantatas in MS.

IV. Instrumental works : Overture to the



tragedy Der Paria, Leipsic, Breitkopf &
Hilrtel ; do. to Abraham's Opfer, ib. ; Fest-
Ouverture for the music festival in Halle,
1835 ; Symphony for grand orch., MS. ;
1st quartet for strings, Leipsie, Peters ;
Concerto for clarinet, Mainz, Schott ; Diver-
tissement for 2 pianofortes, Leipsie, Breit-
kopf & Hiirtel ; Several pianoforte pieces ;
Overtures in score to most of the operas
and ballets, Leipsie, Breitkopf & Hiirtel ;
Overture on Hail Columbia ; Sinfonia cou-
oertante for flute, oboe, clarinet, horn, and
bassoon, op. 4, Mainz, Schott ; Concertino
for clarinet, op. ID, Leipsie, Breitkopf &
Hiirtel ; Sinfouia concertante, for 2 horns,
op. -'>, ib. ; Bo ml o for bassoon and orch.,
<>!>. 'J4, ib. ; Concerto for flute, op. 28, ib. ;
Concertino for violin, op. 35, Mainz, Schott ;
Sinfonia coucertaute for flute, oboe, clar-
inet, horn, and bassoon, op. 36, ib. ; Con-
certino for clarinet, op. 41, ib. ; do. for
violin, up. IL', Leipsie, Probst ; do. for
horn, op. 43, ib. ; Koiido brillant for clar-
inet, op. 45, Leipsie, Breitkopf <k Hiirtel ;
Concerto for flute, op. 40, ib., Probst ; Po-
lonaise for flute and orch., op. 47, il>., Breit-
kopf \ Hiirtel ; Roman/a and rondo, op.
4S, ili. ; Fantasie, variations, and rondo, for
2 horns and orch., op. 40, ib. ; 3 grand
trios for violin, viola, and violoncello, op.
52, ib., Peters ; Pot-pourri, op. G2, ib. ,
Breitkopf <k Hiirtel.

V. Vocal chamber music : C four-part
songs for male voices, op. :!'.), Main/,, Schott;
Die Frauen, G do. to words by Wagner,

op. 54, Mannheim, Heckel ; Canons with
pianoforte, Leipsie, Breitkopf & Hiirtel :
About 50 songs for a voice with pianoforte.
Allgem. d. Biogr., xviii. TOG ; Allgem.
mus. Zeitung, xv. seq. ; do. xxxvii., 6G1,
677 ; Fetis ; Schwiibische Chronik, Dec.
25, 1856 ; Westermann's Illustr. Monatsh.
(185G), No. 3.

LINIKE (Linigke, Linicke), JOHANN
GEOIIG, born in Prussia, latter part of the
j 17th century, died after 1725. Violinist
and vocal composer, pupil in Berlin of Jo-
haim Theile ; became in 1GDG chamber mu-
sician in the electoral chapel, and in 1712
Conzertmeister at the ducal court at Weis-
senfels. Later he made a concert tour to
England, and in 1725 was appointed Con-
zertmeister of the opera orchestra in Ham-
burg. Works : Wettstreit der Poesie, Mu-
si k und Malerei, Festspiel, performed in
Hamburg, 1725 ; Musical prologue, ib.,
; 1725 ; Recitatives to Handel's opera, Julius
Ciisar ; (J symphonies; 2 sonatas; 2 can-
tatas for voice, pianoforte, and strings ; Can-
tata for voice and pianoforte. Fetis ; Ger-
ber ; Mendel ; Schilling.

LINK, FRIEDRICH, born at Oberuhain,
Nassau, Dec. 1, 1841, still living, 1889.
Organist, pupil of his father on the piano-
forte, the violin, and in theory ; and in 18G5
at the Couservatorium, Leipsie, of Mo-
scheles, Reiuecke, and Weuzel on the piano-
forte, of Riehter on the organ, and of
Haiiptinanu, Reiuecke, and Riehter in har-
mony and composition. In 18GG he was
appointed musical instructor and organist
in the teachers' seminary at Wettingen,
Su it/i'i'land. Works: Music for pianoforte ;
do. for violoncello ; Songs. Mendel.

LINKE (Lineke), JOSEPH, born at
Trachenberg, Silesia, June 8, 1784, died in
Vienna, March 2(i, 1837. Virtuoso on the
violoncello, pupil of his father and of Os-
wald on the pianoforte and the violin ;
and, while chorister at the Dominicans in
Breslau, of Hauisch on the organ and in
counterpoint, and of Lose and Flemming
on the violoncello. He succeeded Lose as
first violoncellist in the opera orchestra,
conducted by Carl Maria von Weber. In
1808 he joined the orchestra of Prince
Rasoumoffsky in Vienna, in 1816 became
chamber virtuoso to the Countess of Erdody-
Nie/.ky in Croatia, and in 1818 returned to
Vienna, to till the place of solo violoncellist
in the orchestra of the Theater an der Wieu,


and from 1831 ill that of tlio Imperial
Opera. lu close connection with Beetho-
ven, he was indebted to this master for the
high reputation he won as a quartet player.
Works : Concertos, caprices, variations,
fantasias, rondos, and polonaises for violon-
cello ; Pieces for violoncello, with quartet ;
Do., with guitar ; Do., with pianoforte. Fe-
tis ; Mendel ; Schilling ; Wurzbach.

LINLEY, FRANCIS, born at Doncaster,
England, iu 1774, died there, Sept. 15,
1800. Virtuoso on the organ, pupil of Mil-
ler, organist at Doiicaster. Though blind
from his birth, he beat fourteen compet-
itors as a candidate for organist of the Pen-
touville Chapel, London. The failure of
a music trade he had established in that
city caused him to go to America, where his
talent was greatly admired ; he returned to
England about 1795. Works: Interludes,
fugues, and other pieces for organ ; Sonatas
for pianoforte and flute ; Solos and duos
for flute ; Pianoforte music ; Method for
organ. Fetis ; Mendel.

LINLEY, GEO11GE, born at Whit-
church, England, in 1795, died in London,
Sept. 10, 18C5. Vocal composer ; acquired
a rare popularity in England, by his pecu-
liar and fascinating melodies. Works Op-
eras and operettas : La poupee de Nurem-
berg, given in London, Coveut Garden,
18C1 ; The Toy Maker ; Fraucesca Doria.
The Jolly Beggars, cantata ; 12 songs of
the camp ; Selection of Scottish melodies
(with C. G. Byrne) ; Songs of the Trouba-
dours ; Musical Cynics of London ; Selec-
tion of original hymn tunes ; Part-songs ;
Trios ; Duets ; Ballads, romances, noc-
turnes, melodies, and songs. Fetis, Sup-
plement, ii. 113 ; Mendel, Ergauz., 21G.

LINLEY, THOMAS, born at Wells,
Somerset, England, about 1725, died ill
London, Nov. 19, 1795. Pupil of Thomas
Chilcot ; was for many years singing-master
and director of concerts in Bath. In 1774
he was connected with the management
of oratorios at Drury Lane Theatre, and in
1776 became conductor of the music there.

Works Operas, and music to dramas : The
Duenna, 1775 ; Selimaaud Azor, 177G ; The
Camp, 1778 ; The Carnival of Venice, The
Gentle Shepherd, and Robinson Crusoe,
1781 ; The Triumph of Mirth, 1782 ; Tho
Spanish Rivals, 1784 ; The Strangers at
Home, and Richard Cicur de Liou, 1780 ;
Love in the East, 1788 ; Songs in The
School for Scandal, 1777 ; Accompaniments
for the songs in The Beggar's Opera ; Mu-
sic for parts of Sheridan's Monody on the
Death of Garrick, 1779 ; Six Elegies ;
Twelve Ballads ; A 5-part madrigal, "Let me,
careless ; " Other vocal music, published af-
ter his death. Grove; Riemaun ; Mendel ;
Fetis ; Gerber ; Harmouicou (1825), 215.

LINLEY, THOMAS, the younger, born
at Bath in 1756, died at Grimsthorpe, Lin-
colnshire, England, Aug. 7, 1778. Violin-
ist, sou and pupil of Thomas Liuley ; stud-
ied under Dr. Boyce, and iu Florence under
Nardiui, becoming the warm friend of Mo-
zart while in Italy. On his return to Eng-
land, in 1772, he became solo violin at his
father's concerts in Bath and at Drury Lane
Theatre. Works : Let God arise, anthem
with orchestra, 1773 ; Part of the music for
The Dueuua, 1775 ; Chorus and two songs
for The Tempest ; Ode on the Witches and
Fairies of Shakspere, 177G ; The Song of
Moses, oratorio ; Accompaniments for wind
instruments to music in Macbeth. Grove ;
Riemaun ; Mendel ; Futis.

LINLEY, WILLIAM, born at Bath about
17G7, died in London, May 6, 1835. Son
and pupil of Thomas Liuley and pupil of
Abel ; received an appointment in India ;
returning with a competence, he devoted
himself to music and literature. Works :
The Honeymoon, comic opera ; Pavilion,
do. ; The Magic Fire, a pantomime ; 2 sets
of canzonets ; Glees ; Church music. He
edited Shakespeare's Dramatic Songs (1815-
16). Grove ; Mendel ; Futis ; Schilling.

Brussels, Aug. 18, 1808, still living, 18811.
Vocal composer of great popularity in Bel-
gium, on account of his arduous and self-



sacrificing efforts iu promoting the culti-
vation of choral music. AVorks : Many
choruses for male voices ; Sacred composi-
tions. Fetis, Supplement, ii. 111.

LINWOOD, MARY, boru at Leicester,
England, in 1755, died there, March 2,
1845. A'ocal composer. AVorks : David's
First Victory, oratorio ; Songs, and other
vocal music, of which her cavatiua, " Pretty
Fairy/' is best known.

LJPAAYSKI, JOSEPH, born at Hohen-
iiKiuth, Bohemia, Feb. 22, 1772, died in A'i-
omi a, Jan. 7, 1810. Pianist, pupil at Ki'mig-
griitz, of the organist Haas on the organ and
the pianoforte ; later, while studying law at
the university in A'ienna, pupil of Paster-
witz, a Benedictine monk, in composition.
His intercourse with A'anhall, Abt Stadler,
Salieri, and principally with Mozart, induced
him to devote himself exclusively to music,
and iu a short time he won a brilliant reputa-
tion as a pianist and composer. AVorks Op-
eras : Der gebesserte Hausteufel, given at
Kronenburg, Nether Austria, about 1S10;
Die Nymphen der Silberquelle, A'ienna,
Schikaneder Theater, about 1800 ; P.ernu-
doue, Prague, about 1800. Sonatas for pi-
anoforte, violin, and violoncello ; do. for pi-
anoforte and violin ; Fugues, sonatas, and
other pieces for pianoforte. Fetis ; Mendel ;

Radzyn, Poland, Oct.
30 (Nov. 4?), 1790,
died at I'rlow, near
Lemberg, Dec. 1C,
18(51. Virtuoso on the
violin, instructed by
his father, an amateur
violinist, but chiefly
self-taught ; became
Couzertrueister of the
theatre at Lemberg in
1810, and Kapellmeister soon after, but re-
signed in 1814, in order to study. In 1817
he went to Italy, where Paganini showed him
great favour, playing with him every day,
and appearing with him in public at two

concerts. In 1829 the two violinists were
rivals ill AA r arsaw, and the friendship was
broken up. Iu 1839 he became Conzert-
meister in Dresden, and in 18G1 retired on
a pension. He travelled iu France, Eng-
land, Russia, and Italy, and was everywhere
received with enthusiasm. His playing was
characterized by a broad and powerful tone,
the result, probably, of his early studies on
the violoncello. AA'orks : 4 violin concer-
tos, including the Military Concerto ; Ron-
dos ; Polonaises; Variations; Trio for
strings ; Other violin music. He edited,
with Xalewski, the Polish poet, a collection
of Galician Volkslieder (1834). Mendel ;
Fetis ; do., Supplement, ii. 114 ; AYurz-
bach, xv. 217 ; Schilling ; do., Supplement,
270 ; Riemaun ; AVasielewski, Die Aloliue,

LISBETH, French opera-comique in
three acts, text by Faviercs, music by
< in' try, first represented at the Theatre
Italien, Paris, Jan. 10, 1797. Its success
was brief, and the score was not published.
Clement et Larousse, 403.

LISLE. See 1,'iiin/ii de Lisle.


LISTE, ANTON, born at Hildesheim in
1774, died, probably in Zurich, after 1828.
Pianist and singer, pupil in A'ieuna of Mo-
zart, and of Albrechtsberger in composition.
He lived in A'ienua till 1804, then in Hei-
delberg, and finally settled in Zurich, to
teach music. AVorks : Concerto for piano-
forte ; Sonata for do. and bassoon or vio-
loncello ; Sonatas, variations, and other
pieces for pianoforte ; Songs. Fetis ; Ger-
ber ; Mendel ; Schilling.

spiel in three acts, text by Schiebler, music
by Johann Adam Hiller, first represented
in Leipsic, in. 17G7. Pianoforte score pub-
lished by Breitkopf & Hiirtel (Leipsic,

LISZT, FRANZ (Hungarian, Ferencz),
born at Raiding, Hungary, Oct. 22, 1811,
died at Bayreuth, July 31, 188G. His



father, Adam Liszt, was an officer in the
Imperial service, arid it was from him that
the young Franz got his first musical in-
struction. He
made his first pub-
lic appearance as a
pianist at Oedeu-
burg in 1820, with
such success that
several Hungarian
noblemen guaran-
teed him the means
to continue his studies for six years. He
went to Vienna, where he studied the pi-
anoforte under Czerny, and composition
under Salieri and Raiulhartinger. His first
published work was the twenty-fourth vari-
ation on a waltz by Diabelli, one of the fifty
variations contributed by various compos-
ers (Beethoven wrote thirty-three, his op.
120, when asked to contribute one"), pub-
lished in June, 1823, in the collection en-
titled Vaterlandischer Kiinstler-Yerein. In
the same year he went to Paris, hoping to
enter the Conservatoire, but Cherubini re-
fused to make an exception in his favour to
the rule forbidding the admission of for-
eigners, so he studied under Reicha and
PaOr. His reputation as a pianist was al-
ready brilliant ; his first serious attempt at
composition was a one-act operetta, Don
Sanche, which was brought out at the Aca-
demic Royale tie Musique with some success,
on Oct. 17, 1825. From this time to 1827
his time was taken up with concert tours to
England and Switzerland. Being thrown
upon his own resources by his father's death
in that year, and having, moreover, to sup-
port his mother, he settled in Paris, where
he became intimate with Lamartiue, George
Sand, Victor Hugo, and other lights of lit-
erature. He temporarily joined the Saiut-
Simoniaus, but soon reverted to the Catholic
faith. In 1834 he formed something more
than an intimacy with the Comtesse d'Agoult,
by whom he had three children. Of these a
son, and the elder daughter, who married the
French statesman Eniile Ollivier, are dead.

The younger daughter, Cosima, was married
to Hans vou Biilow in 1857, but was af-
terwards divorced from him, and married
Richard Wagner. During his stay in Paris
Liszt rose to the very first place among liv-
ing pianists ; in fact, he may safely be re-
garded as the greatest pianist in every re-
spect that ever lived. Since Pagauini the
violinist, no virtuoso had excited such gen-
eral enthusiasm. In 1849 he settled in
Weimar, for fifteen years, as conductor at
the Court Theatre. His aim in doing this
was mainly to exert all the influence in his
power to further the cause of the new
school of German and French music, and
to bring to a performance important works
which had little chance of seeing the light
if left to the mercy of speculative managers.
Among the great compositions he brought
out at the Weimar Opera may be numbered
Wagner's Fliegende Hollander, Taunhiiuser,
and Lohengrin, Schumann's Genoveva and
music to "Manfred," Schubert's Alfonso imd
Estrella, and Berlioz's Beuvenuto Cellini.
In 1859 he resigned in disgust at the oppo-
sition made to the production of Corne-
lius's Barbier von Bagdad. After that time
he lived at intervals at Rome, Pesth, Wei-
mar, and Bayreuth, holding a sort of musi-
cal court wherever he happened to be. In
18GG holy orders, with the title of Com-
mendatore, were conferred on him at Rome
by Pius IX. Liszt's career may be divided
into two parts : his virtuoso period, extend-
ing from 1839 to 1849, his career as a com-
poser beginning about the time of his set-
tling iti Weimar ; after that time he only
occasionally appeared in public as a pianist.
He wrote a great deal of music, almost ex-
clusively for the pianoforte, before he went
to Weimar, but the compositions belonging
to his earlier period are chiefly interesting
as examples in the history of the develop-
ment of pianoforte playing. Of all modern
pianists and writers for the pianoforte Liszt
has undoubtedly contributed most to the
art of pianoforte playing, and has seemingly
exhausted the resources of that instrument.



His recognition as a composer must date,
however, from the time when he turned his
attention to the orchestra. The peculiar
direction his genius then took was probably
due in great measure to the influence of
Berlioz and of Wagner, with both of whom
he had formed an
intimrioy which soon
r i p o n e d into the
warmest friendship.
Liszt still stands as
the foremost compo-
ser of so-called pro-
g r a m in e music.
Abandoning Berlioz's
plan of attempting t<>
make the musical presentation of a p"i tic
idea, or dramatic narrative, go hand in hand
with the development, of an organic and self-
dc|n lull nt musical form, he struck out in
the new, quasi-Wagnerian direction of mak-
ing the musical form depend solely upon the
development of the poetic idea lie attempted
to express. He thus gave to the world the
Symphonic Poem, in which form programme-
music has said its last word up to the pres-
ent time. During the later years of his life
Liszt applied himself more exclusively to
choral composition. Lis/t's personal influ-
ence upon the musical world has probably
been more extensive than that, of any single
man in all the history of the art. There
was hardly a contemporary composer in
Europe who did not owe something to
Liszt's advice, his pecuniary aid, or his gen-
erous energy in bringing compositions to
public notice, and paving their way to fame.
His generosity and charity were boundless.
In one department Liszt has outstripped
all rivals : in transcribing orchestral or vo-
cal works for the pianoforte. He numbered
among his pupils almost all the great pian-
ists of the day, von Billow, Carl Tausig, and
Franz Beudel being the most noted of

Works I. For orchestra: v'/^'""" 7 "
Dante's Divina Commedia, with female
chorus ; /"aws^-Symphonic, with male cho-

rus ; Zwei Episoden aus Lenau's Faust ; 13
symphonic poems : Ce qu'ou enteud sur la
montagne, 7asoo, Les Preludes, Or/</V,
Promt'/Iii'iix, Mazeppa, Feslklaiige, H<ri<l,-
funebre, Hiinyaria, Hainli'1, JIiunK'n.-njiltii-ltt
(after Kaulbach), Die Ideale (after Schiller),
Von der Wiege bis zum Grabe (after Michael
Zichy) ; -ft's/-Vorspiel, Weimar, 1857 ; Gau-
deamus igitur, Humoreslce with soli and
chorus ; JFesl-Marsch, Weimar, Huldigungs-
Marsch, ib., 1853 ; Vom Fels zum Meer !
Deutscher Siegesmarsch ; Kiinstler-Festzug,
1859 ; 6 Rhapsodic hongroiscs in F, D (2),
D minor, E, and Pvxthi-r Carueval ; Hun-
garian March, for the Coronation of Francis
Joseph, Budapest, 1SG7 ; RtiLwzy March,
33 mplionically arranged ; Hungarian Storm
March, 1S7() ; Szozat and Hymnus ; 2 con-
certos for pianoforte and orchestra, and I'n-
garische Fantasie ; '/W/oi-Tanz, paraphrase
on Dies irtc, for do.

II. For pianoforte : 12 Ktudes d'exi'cn-
tion transeeudante ; 3 grandes etudes de
concert; Ab irato, etude de porfcctionne-
ment ; Waldesrausehen, Gnomenreigcn, 2
concert etudes; Avo Maria; 10 Ifdrmmiii'it
poetiques ct religieuses ; Annees de Pele-
rinage, suite of 14 pieces ; Venezia e Napoli,
supplement to former; 3 Apparitions; 2
Ballades ; Concert solo ; G Consolations ;
Berceuse ; PriUudium (after Bach) ; Varia-
tions (do.) ; Fantasia und Fugue on the
theme BACH ; Scherzo and March ; So-
nata ; 2 Polonaises; Mazurka brillantc ;
Rhapsodic espagnole ; 3 caprices-valses ;
I'Yuillcs d'Album ; 2 do.; Grand Galop
chromatique ; Valse impromptu ; Mosonyi's
burial ; Elegie ; 2 Legendes ; Hymne du
Pape ; 15 HiuijimiiJii'x hongroises ; Hunga-
rian Quickstep ; Introduction and Hunga-
rian March.

HJ. Vocal Oratorios : Die Lrycnde von
der heiligen Elisabeth, Pesth, 18(55 (Stan-
islaus, 1885) ; Clirixhis, for soli, chorus, or-
gan, and orchestra, Rome, 1807.

F?. Masses, psalms, etc. : Missa sollennis,
for the dedication of the basilica at Gran ;
Coronation mass, Buda, 18G7 ; Missa chora-






lis, with organ ; Missa, for male voices and
organ ; Requiem, for do. ; 9 choruses with
organ ; Die Seligkeiten, for chorus, bari-
tone solo, and organ ; Pater noster, for
mixed chorus, with organ ; do. et Ave
Maria, for male voices, with organ ; Psalm
XIII., for tenor solo, chorus, and orchestra ;
1'saliu XVIII., for male chorus, with or-
chestra and organ ; Psalm XXIII., for tenor
(or soprano), with harp (or pianoforte) and
organ (or harmonium) ; Psalm CXXXYIL,
for a voice, with female chorus, violin, harp,
pianoforte, and organ ; Christus ist geboren,
Christmas song for chorus, with organ ; An
den heiligen Frauziskus, prayer for male
voices, with harmonium (or organ), 3 trom-
bones, and kettledrums (ad libitum) ; Des
erwaehenden Kindes Lobgesang, for female
chorus, with harmonium or pianoforte, and
harp (ad libitum).

V. Cantatas, and other choral works:
Zur S:\rular-FriiT Beethoven's, Weimar,
1S70 : Choruses (S) to Herder's Der enlfes-
seite Prometheus ; Fest-Album, for Goethe's
lllOlh birthday, Weimar. 1st'.); W:irtl>m -
Lieder ; Die i,'/nc/.rn des Strassburger Mini-
ster- (Longfellow), for baritone solo, chorus,
and orchestra ; Die /////;/, Cucilia, Legende
for mezzo-soprano, with chorus (ad libitum)
and orchestra (or pianoforte, harmonium,
and harp) ; 12 choruses for male voices ; 4
do. ; An die Kiinstler (Schiller), for soli and
chorus with orchestra ; Festclior, for the
unveiling of Herder's monument, Weimar,
lv~>ii; Festgesaug, for 4-part chorus with
organ; Das Lied der Begeisterung, for male
chorus ; Weimar's Volkslied, for do. ; Was
ist des Deutscheu Vaterland ?, for do. with
pianoforte ; About GO songs, with piano-
forte ; Many arrangements for orchestra
and for pianoforte, of the most varied de-
script ion, including the Soiricx de Vienue
(after Schubert).

Literary works : Gesammelte Schriften,
frei in's Deutsche iibertragen von La Mara
(Leipsic, Breitkopf & Hartel), vol. i., Fried-
rich Chopin ; vol. ii., Essay's und Reise-
briefe eiues Baccalaureus der Toukuust ;

vol. iii., 1, Dramaturgische Bliitter, I.
Abtbeiluug, Essays, etc. ; vol. iii., 2, Drama-
turgische Blatter, IL Abthl., Richard Wag-

ner ; vol. iv., Aus den Annalen des Fort-
schritts ; vol. v., Streifziige ; vol. vi., Die
Zigeuner und ihre Musik in Uugarn. L.
Itamann, Franz Liszt als Kiinstler iiud
Mensch (Leipsic. P.reitkopf & Hiirtel, 1880).
in London, Feb. C,
1818, still living,
1889. Pianist and
dramatic composer,
son of a French sol-
dier from Alsace,
who was captured in
Spain, settled in
England as a violin-
ist, and married an
Englishwoman. The
son early became a pupil of Moscheles, and
at the age of twelve played publicly at Cov-
ent Garden Theatre. An unhappy mar-
riage, when he \\as but seventeen years old,
forced him to leave England for France.
Unable to make a living in Paris, he sup-
ported himself in the town of Melun by
teaching, until his performance at a char-
ity concert brought him influential friends
and enabled him to remove to the French
capital. He soon went to Brussels, and in
1841-44 acted as Kapellmeister in Warsaw.
Then he gave concerts in Prague, Dresden,
Leipsic, and Berlin, visited London in 1841!,
and was very successful in Amsterdam and
Brunswick. He took part in the Vienna
Revolution of 1848, but returned safely to
Brunswick, where he married the widow of
the music-dealer Meyer, and assumed
charge of the business, in 1851. He pub-



lished the well-known Collection Litolff,
oue of the first cheap editions of classical
music. In 1860 he transferred the firm to
his adopted son Theodor, and settled in
Paris, where he married the Comtesse de
Larochefoucauld. Latterly he devoted him- j
self to dramatic composition, without great
success. As a pianoforte virtuoso he pos-
sesses taste, fire, and brilliancy, but lacks
correctness ; his compositions are very un-
equal, marked by bold imagination, poetic
ideas, and striking beauties, and marred by
occasional carelessness and striving after
originality. Works Operas : Die Braut
vom Kynast, Brunswick, and Frankfort,
1847 ; Eodrigue de Toledo ; Le chevalier
Nahel, Baden, 18G3 ; La boite de Paudore,

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 72 of 93)