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gem, nius. Zeitg., xx. 91.

LUCIO VERO, Italian opera, text by
Zeuo, music by Sacchini, first represented
at the San Carlo, Naples, Nov. 4, 17G4.
Given in London in December, 1773. Sub-
ject, the story of Hen-nice, daughter of
Agrippa I. of Judrca. Other operas, same
text, music by Pollarolo, Venice, 1700 ; by
Perti, Bologna, 1717 ; by Torri, Munich,
1720 ; by Ariosti, London, 172G ; by Bioni,
Breslau, 1727 ; by Araja, Venice, 1735 (in
Florence as Berenice, 1730) ; and by Scala-
briui, Hamburg, 174G.

LUCREZIA BORGIA, Italian opera in
three acts, text by Felice Romani, music by
Donizetti, first represented at La Scala, Mi-
lan, Dec. 2G, 1834. Original cast :

Gennaro Signer Pedrazzi.

Alfonso Signer Marini.

Orsini Mile Brambilla.

Lucrezia Mine Lalaude.

Subject, the story of Lucrezia, natural
daughter of Cardinal Borgia (afterwards
Pope Alexander VI.), who became the wife
of Alfonso d' Este, sou of the Duke of Fer-
rara, and of Geuuaro, her own illegitimate

son, who, brought up by a fisherman, rises
to high rank in the Venetian army, and at
last falls a victim to his own mother. The
libretto is a free adaptation of Victor Hugo's
drama, " Lucivce Borgia" (1833). When
the opera was produced in Paris, at the
Theatre Italieu, Oct. 27, 1840, Hugo
brought action for infringement of copy-
right, won his case, and the libretto was
rewritten, the scene being changed to Tur-
key and the Italians to Turks. The opera
was reproduced in its new form, under the
title La Riuegata, Jan. 14, 1845 ; and a
French version, entitled Nizza de Grenade,

was prepared for the provinces. A com-
promise was finally effected by the payment
of an indemnity to the author, and Lucrezia
then assumed its original form. Lucrezia
Borgia ranks with Lucia di Lammermoor
and La Favorita as Donizetti's most success-
ful operas, and marks a half-way point be-
tween the style of Rossini and that of Verdi.
Lucrezia was sung by Grisi with brilliant
success and was one of Tietjens' best charac-
ters. Among the best numbers are : Lu-
crezia's aria, " Com' e bello ; " Gennaro's
romauza, "Di pescatore ignobile ;" " Vieni
la mia vendetta," sung by Duke Alfonso ;



his duet with Lucrezia, " O ! a te bada ; "
the trio, " Guai se ti sfugge,'' sung by Lu-
crezia, Genuaro, and Alfonso ; and Orsini's
drinking-song, "II segreto per esser felici."
The opera was given at Her Majesty's, Lon-
don, in two acts, June 6, 1839, for the debut
of Mario, and at the Princess's Theatre, in
English, Dee. 30, 1843. It was first repre-
sented in New York, Sept. 5, 1854, with
Mario, Siisini, Mine Grisi, and Mine Stra-
koscli. Score published by Ricordi (Milan) ;
by Diabelli (Vienna) ; and by Breitkopf fe
Hiirtel (Leipsic). Clement et Larousse,
413; Athenirum (1839), 437; (1844), 20;
I 'l >t Dii, Standard Operas, 95.

LUDOVIC, drame-lyrique in two acts,
text by Saint-Georges, music by Herold,
first represented at the Opera Comique,
Paris, May Hi, 1833. Herold died while at
work on this opera, and it was completed
by Hair vy. Clement et Larousse, 414.

LUHRSS, KARL, born in Schwerin,
April 7, 1824, died in Berlin, Nov. 11,
1882. Pianist, first instructed by his father,
who w;is organist and court musician at
Schwerin, then in Berlin pupil at the Roy-
al Academy and of Mendelssohn. From
is 11 he often appeared successfully in con-
certs, and in 1847 went to Rome ; after his
return in lS4s lie taught pianoforte and
singing at Schwerin, and in 1851 settled in
Berlin. Works : Psalm C'VHI. for soli, cho-
rus, and orchestra, performed at Schwerin ;
'2 symphonies for orchestra, Berlin and Leip-
sic ; (Quartet for strings ; Trio for pianoforte
and strings ; Sonatas for pianoforte, and for
do. and violin; Songs. Fetis ; Mendel.

LUISA MILLKK, Italian opera in four
acts, text by Cannnarano, from Schiller's
drama " Kabale und Liebe," music by
Verdi, first represented at Naples, Dec. 8,
1849. Given at the Opera, Paris, Feb. 2,
1853 ; in English at Sadler's Wells Theatre,
London, June 3, and in Italian at Her Maj-
esty's, June 8, 1858 ; in New York, first
time, Castle Garden, 1853. Luisa was a
favorite character with Mine Anna de La-
grange. Grove, iv. 248 ; Clement et L:i-

rousse, 410 ; Athenaeum (1858), i. 75!) ;
Krehbiel, Review (1880-87), 8.

Anna de Lagrange.

LULLY (Lulli), .IF. AX B.VPTISTE, born
at or near Florence, Italy, in 1033, died
in Paris, March 22,
1087. Son of Lo-
renzo de' Lulli, a
Florentine gentle-
man, and Catarina
delSerta ; pupil of
an old Franciscan
monk in the rudi-
- \ & ments of music
and on the gui-
tar. The Chevalier de Guise took him to
France, where he first became scullion in
the kitchen of Mademoiselle de Montpen-
sier. The Comte de Nogent, happening to
hear him one day amusing himself bv play-
ing popular airs on a wretched little violin,
reported the boy's talent to "la Grande
Mademoiselle," who gave him a place among
her musicians. But the mischievous young-
ster was soon discharged for setting to mu-
sic some satirical verses on Mademoiselle.
He next gained admission to the King's
band, and attracted the notice of Louis
XIV. bv some airs for violin which he wrote.


His talent as a solo player induced that
monarch to appoint him inspector of his
violinists (a baud of eighty players, known
as " la grande bande "), and to found a new
band of twenty-four ("lespetits violons"),
to be under his especial direction. Lully's
" petits violous " soon surpassed the older
band. Feeling that his musical education
had been but slight, Lully gave up the vio-
lin, and began seriously to study the clave-
cin and composition under Metru, Rober-
det, and Gigault, organists at Saint-Nicolas-
des-Champs. He was soon appointed to
compose music for the court ballets, and
later (about 1GGO) to write ballet divertisse-
ments for some of Cavalli's operas, then
given for the first time in France. It was
by studying the scores of Cavalli and other
Venetian composers that Lully laid the chief
foundations of his own style. This influ-
ence was almost immediately perceptible in
the divertissements he wrote to some of
Moliere's comedies. From 1G58 to 1671
he wrote thirty ballets, in which he himself
sometimes danced with considerable success.
The last of them was for Moliere's " Psyche "
(1071). Next year the King appointed him
" surintendant de la musique de chambre,"
and " maitre de musique" to the royal
family. But these honours did not satisfy
his ambition. The privilege of founding
an " Academic de Musique," granted to the
Abbe Pen-in, June 28, 1G69, raised his
envy. His character for honour was never
high, and by a series of intrigues, in which
Madame de Moutespan figured a good deal,
he got Perriu's patent transferred .to him-
self (March, 1G72), to the exclusion of
Henri Guichard and Jean de Grenouillet,
who seem to have had a legal claim on Per-
rin's succession. But whether Lully had a
right to the position or not, he certainly
filled it admirably. He gave his personal
attention to every detail of the management
of the Academie Royale de Musique, which
has since become so famous. He was not
only director, stage manager, ballet-master,
conductor, and machinist at once, but taught

new singers and dancers, and composed all
the music given at the theatre. Finding
an admirable collaborator in the poet Qui-
nault, he wrote twenty operas and divertisse-
ments between the years 1672 and 168G.
On July 24, 16G2, he married Madeleine,
daughter of the singer Lambert, by whom
he had three sous and three daughters.
He was a man of the readiest wit, of great
astuteness, thoroughly unscrupulous and
avaricious, in which last quality his family
resembled him. He died of an abscess in
the foot, brought on by hitting his toe with
his baton while conducting his " TeDeum,"
Jan. 8, 1687. He was granted naturaliza-
tion papers as a Frenchman in 1G61. He
left a large fortune, and his family erected
a superb monument to him, surmounted by
a bust by Cotton, which still stands in the
church des Petits-Peres, near the place des
Victoires. There are many portraits of him,
the most noted being those engraved by
Edelinck, Thomas, Saint-Aubin (from Colig-
non's bust), and Desnochers. Miguard's
portrait has boon lost. Lully's genius was
epoch-making ; he was the true founder of
the French " tragedie-lyrique " or grand
opera, as it is now called. If he took the
form of his airs slavishly enough from Ve-
netian models, he was a bold innovator in al-
most every other direction. He expanded
the meagre instrumental prelude of the
Italian opera into a worthy musical form
(very like that adopted by Handel) ; his
recitatives are still models of style in their
noble freedom and dramatic expressive-
ness. He was the first really great opera
composer in France, and one of the greatest
in all history. In composing it was his
habit to write only the voice part and the
bass, leaving the completion of the sketch
1 and the scoring to his pupils Lalouette and
Colasse. His works held the stage up-
wards of a century.

Works I. Operas : Les fetes de 1'Amour
et de Bacchus, pastoral, Paris, Theatre du
Bel-Air, Nov. 15, 1672; Cadmus et Her-
mione, lyric tragedy, ik, April, 1673 ;



Alcesle, ou le triomplie d'Alcide, id., Theatre
du Palais Royal, Jan. 19, 107-4 ; Tliusee, id.,
Saiut-Germaiu-eu-Laye, Feb. 3, 1675 ; Le
Carnawl, opera-ballet, Oct. 17, 1675 ; Ati/s,
lyric tragedy, Saint-Germain, Jan. 10, 167(1,
and Paris, August, 1677 ; /sis, tragedie-
opera, Academic Royalc de Musique, Jan.
5, 1677 ; Psyche, lyric tragedy, ib., April 9,
1678 ; Bellerophon, opera, ib., Jau. 31, 1679 ;
I'rovrjiiiie, lyric tragedy, Saint-Germain,
Feb. 3, and Academic Royale de Musique,
Nov. 19, 1680; Le
trinntfihe de 1'Amour,
opera-ballet, Saint-
Germain, Jan. 21, and
Academic Royale de
Musique, May 6, 1681;
/V/'.s-.V, Ivrie tragedy. Academic Royale de
Musique, April 17, and Versailles, June,

1682 ; Phaeton, id., at court, Jan. 6, and
Academic Royale de Musique, April 27,

1683 ; Amadis de Gaule, id., Acadi'mie
l;"\;ile de Musique, Jan. 18, 1(584; 7i'"////./,
id., at court, Jan. 18, and Academic Roy-
alc de Musique, Feb. 8, K'.S.'i; I/idylle de
la Puix, ou lY-glogue de Versailles, diver-
tissement, Versailles and Paris, 1685; Le
'/;/;(/-/(' de la Paix, opera-ballet, Fontaine-
bleau, Sept. 12, and Academic Royale de
Musique, October, 1685; Armiili' et Re-
liaud, lyric tragcd\ . A'-mli'mie Koyale de
Musii|iie, Feb. 15, 1G86 ; Acis el (lalatee.
heroic pastoral, Chateau d'Anel, Sept. 6,
16S6, and Academie Royale de Musique,
I<;s7; Parts of first act of AchiUe et Po-
lv\c'-nc (with Colasse), lyric tragedy, Paris,
Nov. 7, I(is7.

n. Ballets, etc. : Alcidione, Saint-Ger-
main ; Airs de ballet in Cavalli's Serse.
Louvre, Nov. 22, 1660 ; La raillcrie, bal-
let ; L'impatience, do. ; Hercule amoureux,
do. ; Les sept plauetes, do. ; L'amour ma-
lade, comedy ; La noce au village, ballet ;
Le ballet des arts ; Les amours de-guises,
do. ; La princesse d' Elide, comcdie-ballet ;
Cariselli, ballet, Fontaiuebleau ; Le mariage
force, comedy ; La naissance de Venus,
divertissement ; Le ballet des gardes ; Le

ballet de Crequi ; Le ballet des Muses ; La
fete de Versailles ; Le ballet de Flore ;
L'amour medecin, comedy ; Monsieur de
Pourceaugnac, do. ; Le ballet de Chambord,
ou le Bourgeois gentilhomme, do. ; Le bal-
let des nations, sequel to the preceding ;
Les jeux pythiens, ballet ; Airs de clause in
Psyche, tragedie-ballet ; Entr'actes to Cor-
ueille's (Edipe, Versailles, Ki.V.i.

III. Church music : 5 volumes of motets,
copied by Philidor aiuu for the Comte de

Toulouse, now in the libraries of the Con-
servatoire, and of Versailles ; Motets for 2
choruses, Paris, Ballard, 1684 ; Mass for 4
voices a cappella- ; Other church pieces.

IV. Instrumental music : Many sympho-
nies, trios, airs for violin, etc. Le Prevost d'
Exmes, Lulli musicien (Paris, 1779) ; LQ
Cerf de la Vieville de Fresueuse, Comparai-
son de la musique italieune et do la mu-
sique frangaise, Part II., 182-239 ; Lettro
de Clement Marot a M. de . . . tou-
ehant ce qui s'est passe a 1'arrivee de J.-B.
Lully aux Champs-Elyse'es, in (Euvres
choisis do Si'neee, edited by P. A. Cap and
E. Charles (Paris, 1855) ; Fetis ; Grove ;

LULLY, LOUIS DE, born in Paris, Aug.
4, 1664, died after 1713. Dramatic com-
poser, eldest son of the preceding, whom
he succeeded as superintendent and com-
poser to the king. Works: Zephire et
Flore (with his brother Jean Louis), given
in 1688 ; Orphee (with his brother Jean
K-iptiste), 1690 ; Alcide, ou le triomphe
d'Hercule (with Marais), 1693 ; Ballet des
saisons (with Colasse), 1695 ; Le triompho
de la raison, cantata, Fontaiuebleau, 1703.
Fetis ; do., Supplement, ii. 133.

Copenhagen, May 2, 1810, died there,
March 20, 1874. Like Strauss and Lauucr,



in Vienna, lie bad an orchestra of his own,
which played at the Tivoli, near Copen-
hagen, and made con-
cert tours. On his
retirement in 18G5,
with the title of
Krigsraad, his son
Georg assumed the
conductorship of his
orchestra, and now
enjoys nearly as great
a popularity as once
did his father, whose
dances, marches, pot-
pourris, etc., over BOO in number, continue >
in great favour in the Scandinavian king-
doms. The opera Die Hexentiute, 1809, is
by Georg Lumbye. Fetis ; Mendel.

LUMPP, LEOPOLD, born in Baden,
Jan. 4, 1801, still living, 1889. Organist
and church composer ; studied music in his
native city and at Freiburg, was ordained
priest in 1823, and made city chaplain at
Eastatt, where he also assisted his aged
father as musical instructor at the Lyceum.
In 1825 he was appointed professor there,
and in 1827 prebendary of the cathedral at
Freiburg, where he also conducted the
choral music, and the vocal instruction in
the episcopal seminary. In 1835-43 he
was director of a singing society, founded
by him, and in 1838 was made Kapellmeis-
ter at the cathedral. Works : 7 German
masses for 4 voices, with organ ; Der Cho-
ralgesaug uach clem Cultus der katholischen
Kirche (Freiburg, 1837) ; Melodieu zum
Freiburger Diocesan-Gesangbuche (Carls-
ruhe, 1852) ; Preludes and finales for organ ;
Songs, etc. Fetis ; Mendel.

LUPI, DIDIEB, born in the first half of
the 16th century. French vocal composer ;
lived probably at Lyons, and is cited in the
prologue of the fourth book of llabelais
among the celebrated musicians of the IGth
century. To distinguish him from Jean
Wolf, or Lupi, of Antwerp, he is sometimes
designated as Lupi second. Works : Sa-
cred songs, for 4 voices (Lyons, 1548, Paris,

1571) ; 35 songs for do. (1548) ; Psalm
XXX. (Lyons, 1549). Fetis.

LUPI, JEAN, lived in the first half of the
10th century, died in 1547. Little is known
of him. He was organist at Nivelles, Bel-
gium, resigning in or before 1502, and oc-
cupied a position at Salute-Marie, Antwerp,
after that date. Works : Many collections
of motets, masses, and songs bear the name
of Joh., Jo., or J. L. ; some of his masses
are in the manuscript collection of the Pon-
tifical Chapel iu Home. Fetis ; Mendel ;
Ambros, Gesch., iii. 203.

LURLINE, English opera in three acts,
text by E. Fitzball, music by William Vin-
cent Wallace, first represented at the Royal
English Opera, Covent Garden, London,
Feb. 23, I860. Subject, the legend of the
Loreley. Published by Cramer & Co. (Lon-
don, 1800). Athemcum (1800), i. 275.

Hamburg, Sept. 21, 170G, died after 1770.
Organist and writer on music, pupil of his
father ; when sixteen years old became or-
ganist at the Filialkirche, Hamburg ; stud-
ied composition under Mattheson ; became
organist at St. Martin's in Groningen, Hol-
land. In 1734 he went to London to hear
Handel, and returning, devoted himself to
composition and literary work. Works :
Pianoforte sonatas ; Songs. He was author
also of: Inleiding tot der muzijkkunde
(Grouiugen, 1751) ; Muziekaale spraakkunst
(Amsterdam, 1754) ; Twaalf redeueeringeu
over nuttige muziekaale onderwerpen (ib.,
probably 175G) ; and of several translations
into Dutch, Buruey's musical travels among
the number. Fetis ; Mendel ; Schilling.

War), comic opera iu three acts, text by
Zell and Geiice, music by Johann Strauss,
first represented in Vienna, Nov. 25, 1881 ;
in New York, March 15, 1882. Published
by Spiiia (Vienna, 1882).

DIE (Merry Wives of Windsor), German
comic opera in three acts, text by Mosen-
thal after Shakespeare, music by Nicolai,



first represented in Berlin, March 9, 1849.
Portions of this opera had been performed
at the Redoutensaal, Vienna, April 1. 1M7.
It was sung in Vienna with recitatives by
Proch, Feb. 12, 1852 ; in London, as Fai-
staff. May 3. 1864 ; and in Paris as Les
joyeuses commcres de Windsor, translation
by Jules Barbier. at the TheVitre Lyrique,
M ty 25. 1866. First performed in N
York, April 27. l->;:; ; ^i\tu by the Amer-
ican Opera Company at the Academy of
Music. Feb. 5, 1886. English version by
Henry E. KrehbieL The overture w
jierformed by the Philharmonic Soc:
N> -w York, in the season of 1^57-58; by
the London Philharmonic in 1864. Full
score published by 1'. ,\ B ',; Berlin,
1850). rl.-ment et Larou- 35; Ed-
wards, Lyrical Drama, ii. 62 : Neue .
xxxii. ISO ; xl. 161 : Neue Berliner Musik-
Zeituug d>57l. 211: At'u, -n;. urn (1864),
35 . Krehbiel, Bevies (1885 86), l-l.
mann Gradeuer. op. 2S first performed in
N > York at Thomas's Popular Matim'e.
1' -ji. L887.

LI ilir.K. MAKTIN. born in Eislebeu,
N .. in. 1 183,
died tin-re. Feb.
Iv 15-tr,. The
famous German
reformer was a
.t lover of mu-
had a good
voice for singing,
and played the
flute and lute. In
his desire to im-
prove the service of the church, he planned
alterations in the music of the mass,
strove to shorten and simplify it, and to
have the vulgar tongue used more fre-
quently. He did much to promote congre-
gational singing. "With the aid of the mu-
sicians Conrad Eupff and Johann Walther
he prepared and published the Order of the
German Mass, and at the same time turned
his attention to writing and adapting

hymns. The first Protestant hymn-book
appeared in 1324, and four of its eight

hvinns were bv him. It is difficult to de-

tennine which hymns Luther really wrote
and adapted, and it is not absolutely certain
that he composed any of the hymn-tunes
ascribed to him, though very probably some
of them were his. He wrote an essay in
praise of music and a poem entitled Frau
Musika. Works : 36 hymns written or ar-
ranged by him, a list being given by Koch
;ii:d reprinted by Grove ; 13 hymn-tunes,
Bur.: ist unser Gott, and Jesaia
dem Propheteu das geschah, being almost
without doubt by him, the others with
'jreater or less decrees of certaiutv. (See


' Hymn.) Kambach, ITeber Luther's
Verdieust um den Kircheugesang (Hamburg,
: Iv'Stlin. Martin Luther, sein Leben
und seine Schiifteu, i. 373 ; Kostliu. Life of
Luther. 203 : Koch, Geschichte des Kirchen-
lieds, i. 230. 434 : ii. 2 : IVtis ; SammL mus.
Vortriige, iiL 2 s ' . K cht, Luther's Ver-
dienste urn Musik uud Poesie (Ulm, 1817) ;
Muller, Luthers Verdienste um die Musik
(Erfurt. ls!7i: Grell, Luther, geistliche
Lieder nebst desseu Gedanken ilber die
Musica (Berlin. 1>17> : Wiuterfeld, Der
evang. Kirchengesaug, i. 143 : Kevue et Gaz.
musicale. July 13. 1-"

I.I THEli'S HYMN, name given to the
hymn beginning " Great God, what do I
see and hear?" The words were written
by Bartholomanis Eingwaldt (1530-98), a
Lutheran clergyman in Langfeld, Pr . -
It is in imitation of Dies irje, dies ilia, com-
posed by Cflauo. Johaun Christian Jacob!
translated this hymn in seven ver-

-aeh an der Zeit, anel included it in
Ilia I'- ilmodh Germania (1722). Dr. Will-
iam Bengo Collyer " conveyed '' the fii'st
stanzas from Jacobi's ''Psalms and Hymns "
(Sheffield, !So2i. and composed additional
verses to the tune, which is said to be Lu-
ther's first composition, and which was first
printed in 1535. The meloely had been
sunu r as a second theme to the older hymn,
" Xuu freut euch liebeu Christen " 'meiu.''


Luther's Hymn, under which title it appears
iu the hymn collections, was formerly sung
at musical festivals and sacred concerts.
Duffield, English Hymns, 194 ; Josiah
Miller, Singers and Songs of the Church, 53,
373 ; Prescott, Christian Hymns and Hyrnu-
writers, C3 ; Grove, ii. 180.

Miinnerstadt, Kissingen, in 1829, still liv-
ing, 1889. Dramatic composer, studied at
Wiirzburg and under Eisenhofer ; settled
in England in 1848. Organist successively
of St. Chad's, Birmingham, St. Ann's, Leeds,
and St. George's Catholic Cathedral, Lon-
don ; conductor at Surrey Theatre, 1851-
55, and at Gaiety Theatre iu 18G9-81.
Works Operettas : Faust and Marguerite,
1855 ; Blonde and Brunette, 18G2 ; Zaida,
lsr,s ; Miller of Milburg, 1872 ; Legend of
the Lys, 1S73 ; All in the Downs, 1881 ;
Knight of the Garter, 1882 ; Posterity,
Iss4. Herue the Hunter, cantata ; Orches-
tral and pianoforte music, and songs.

LUTZEL, J. HETNRICH, born at Iggel-
heim, near Speier, Aug. 30, 1823, still liv-
ing, 1889. Vocal composer, became organ-
ist and music director of the Protestant
church, and vocal instructor at the Gymna-
sium in Zweibriickeu. He has done much
for the improvement of vocal music in the
churches and schools of the Rhenish Palat-
inate, and has composed psalms, motets,
sacred choruses, a choral book, collections
of sacred and secular choruses for male
voices, songs for schools, and organ music,
all distinguished for ability and practical
usefulness. Mendel.

LUX, FRIEDRICH, born at Ruhl.i, Thu-
ringia, Nov. 24, 1820, still living, 1889.
Virtuoso on the organ and dramatic com-
poser, first instructed by his father, and in
composition by A. Michel at Gotha ; then
pupil of Friedrich Schneider at Dessau
(1839-41), where he was then music di-
rector of the court theatre for ten years,
leaving this position in 1851 for the appoint-
ment as Kapellmeister at the Stadttheater
in Mainz. He afterwards resigned, and

conducted only the Mainzer Liedertafel,
and the Ladies' Vocal Society connected
with it. Works Operas : Das Kathchen
von Heilbronn, given at Dessau, 1846 ; Die
Fiirstiu von Athen (not given) ; Der Schmied
von Ruhla, Augsburg, 1885 ; Coriolan, dra-
matic scene. Mass ; Die vier Lebensalter,
symphony ; Symphonic coronation march ;
Cantatas, pianoforte music, and songs.

LUZZASCO (Luzzaschi), born iu Fer-
rara in the 16th century, died there, prob-
ably iu the beginning of the 17th century.
Organist in the service of Alfonso H., and
maestro di cappella in the cathedral of his
native city. Vinceuzo Galilei placed him
among the four most distinguished musi-
cians of Lis time. He tried to revive the
enharmonic system of tones used by the
Greeks, and was noted for his excellent
ricercari for the organ. Works : 5 volumes
of madrigals, published in Ferrara, Naples,
and Venice beween 1575 and 1584 ; Ricer-
cari. Fetis ; do., Supplement, ii. 137 ; Men-
del ; do., Ergauz., 251 ; Gerber ; Schilling.

LUZZI, LUIGI, born at Olevano, Lomel-
lina, about 1825, died at Stradella, Feb. 28,
187G. Dramatic composer; devoted him-
self to music while studying at the univer-
sity and the school of medicine, in Turin.
Works : Chiarina, operetta, Turin ; Tripilla,
opera bufta, Ni >vara, 1874 ; La ventola, do. ;
a hymn, 1847 ; Vittorio Emanuele, re d'
Italia, a patriotic hymn, Turin, 1860 ; Fu-
neral march for Count Cavour ; Le Grazie
and Le Serate Toriuese, 2 albums of songs.
Fetis, Supplement, ii. 137 ; Mendel, Er-
ganz., 251.

LVOFF (Lwoff), ALEXIS, born in Re-
val, Russia, May 25, 1799, died in the prov-
ince of Kovno, Dec. 28, 1870. Violinist ;
received an excellent musical education,
entered the army at the wish of his father,
and, rising rapidly, was iu 1836 general, ad-
jutant of the Emperor Nicholas, and musi-
cal director of the royal court and chapel.
The fine quality of his violin playing was
known iu Paris, Berlin, and other cities,



and Schumann highly praised his method. '

Works Operas : The Tillage Bailiff St.
Petersburg, about
1820 ; Biauca e Gual-
tiero, ib., 1845 ; Un-
dine, Vienna, 1S4G ;
The Embroiderer,
St. Petersburg, about
1840. 8 Na-

tional Hymn, ! -
Violin concerto; 2
violin fantasias ; Le

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