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A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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1874) being musical director. [G.]

KNIGHT, Rev, J. P. Add that his last
composition was a setting of Byron's ' Jephthah's
Daughter,' and that he died at Yarmouth, June
I, 1887.

KOCH, Heinbich Chkistoph, born at Rudol-
stadt Oct. 10, 1749, the son of a member of the
ducal orchestra there. In 1768 he was admitted
into the band as a violinist, having received in-
struction from Gopfert of Weimar, and in 1777
obtained the title of ' Kammermusiker.' He
composed various pieces of small importance for
the court, but his fame rests upon his contri-
butions to musical literature. His 'Versuch
einer Anleitung zur Composition' appeared in
three parts between the years 17S2 and 1793;
and his ' Musikalisches Lexicon ' in 1802. This
was republished in a condensed form in 1807
and 1828, but its complete revision dates from
1S65, and is the work of Arrey von Dommer.
[See DOMJIER in Appendix, vol. iv. p. 617.] He
wrote several other works of less importance on
harmony and other subjects connected with the
art, and died March 12, 1S16. [M.]

KOHLER, Louis. See vol. ii. p, 733 a, and
add date of death, Feb. 16, 18S6.

KOLLMANN, Acgust Friedkich Karl.
Line 9 ofarticIe,/or about 1 782 reac^April 9,1784.
Line 12, for Nov. 1824 read Easter Day, 1S29.



KRAUSS.

KONTSKI, DE. Correct date of birth
Charles to 1815, and add date of death. At
27, 1S67. Correct date of birth of Apolli.\ai
to 1826, and add date of death, June 29, iS-
(Partially corrected in late editions.) ' '

KOZELUCH. Leopold. As to the date
death the authorities are at variance,the date i S
being supported by Dlabacz and Wurzbacli,
well as by the less trustworthy evidence of Fe
and Mendel. The testimony of the first is es}
cially weighty, since his dictionary was beccun
1 815, when the date of so important a musTciai
death must have been well known. Almost ;
the authorities give May 8 as the day : Dlabac2
May 3 is probably a misprint for 8. It shou
be added that he aiTanged some Scotch song's f
Thomson of Edinburgh, in allusion to wbie
Beethoven, in a letter of Feb. 29, 1812 (Thayt
iii. 449), whether inspired with disgust at Koz
Inch's underselling him, or with a genuine coi
tempt for his music, says, 'Moi je m'estin
encore une fois plus sup(?rieur en ce genre qi
Monsieur Kozeluch (miserabilis).' He aga:
calls him ' miserabilis ' (Thayer, iii. 200).

KRATJSS, Marie Gabrielle, bom Marc
23> 1842, at Vienna, received instruction at tl
Conservatorium in pianoforte playing and ha;
mony, and in singing from Mme. Mar'chesi. SI.
made her d<5but at the Opera there as Mathild
('Tell'), July 20,, i860, and played immediatel
after, Anna ('Dame Blanche') and Valentini
She became a favourite, and remained there fc
some years, until about 1867. Her parts ir
eluded both Donna Anna and Elvira, Fidelic
Euryanthe, Senta, Camille ('Zampa'}, Ameli'
Ankarstroem ('Gustavus III.'), Lalla Rookh
and Maria (in Rubinstein's 'Kinder de
Haide '), Feb. 23, 1861, and Helfene (' Hiiuslich ■
Krieg'), Oct. 6, 1861. She made her d^ut a
the Italiens, Paris, as Leonora (' Trovatore')>
April 6, 1867, and Lucrezia; became very sue 1
cessful, and was engaged there every season imti ;
the war of 1870. She gained great applause b]
her performance of Donna Anna, Fideho, Norma
Lucia, Semiramide, Gilda, etc, and in a nev
opera of Mme. de Grandval's, ' Piccolino,' in Jan
1869. She sang with great success at Naples ii
Petrella's 'Manfredo' (,1871) and ' Bianca Orsini
(1874), also as Aida; with less success at Milai
as Elsa on the production there of ' Lohengrin,
and in Gomes's 'Fosca,' Feb. 16, 1S73. Sht
returned to the Italiens for a short time in the
autumn of 1873, accepted the offer of an engage-
ment for the Academic, previous to which die
played at St. Petersburg in 1874. She made
her debut at the Academic at the inauguration
of the new house as Rachel in ' La Juive ' (first
two acts), Jan. 5, 1875, and in the same opera
in its entirety Jan. 8. She has played there
ever since until the present time, and has main-
tained her position as the principal dramatic
soprano of that company. She has played the
heroines of Meyerbeer, also Donna Anna and
Agatha, and in operas produced there for the
first time as the heroine (Mermet's 'Jeanne



KRAUSS.

' c'), April 5, 1876; Pauline (Gounod's
1 yeucte'), Oct. 7, 1878; Aida, March 22,
: Hermosa (Gounod's 'Tribut de Zamora'),
L 1 I, 1881 ; Katharine of Arragon (Saint-
ns's 'Henry VIII.'), March 5, 1883; the
e ne on revival of Gounod's ' Sappho,' April
,584; Gilda (' Eigoletto '), March 2, 1885,
B Dolores (Paladilhe's 'Patrie'), Dec. 20, 1886.
I talent of Mile. Krauss is the more remark-
b because the instrument at her disposal is
ki om being perfect, and always in response to
e'fforts. The voice, . , . although not want-
i^ 1 brilliancy and power, is sometimes wanting
1 lie and character; in certain parts of the
•n its resonance is dull, and it is only in the
part that it acquires its best qualities. The
is pure to perfection, her phrasing is mas-
! and her musical delivery, in recitative
: ally, attains in the highest degree to gran-
! and beauty. If one adds to these purely
I al qualities the wonderful fire, . . . the
' tic feeling, the passionate expression, her
intelligence, and the incontestable power of
1 ainatic accent, one can understand the sway
Kxn artist exercises over the public, and one
m less the secret of the success which has made
; ireer remarkable. Mile. Krauss is certainly
• f the greatest singers that contemporary
t a boast of.' (Pougin.) [A.C.]

1 LEBS. Add date of death of Karl A.ugust,
[a;6, 1880. Line 23 of article,/or Michaelsi

OiMlCHALESI.

I:EISLERIAjSrA. Line 4 of article, for
u;al papers read ' Fantasiestiicke in Callots
a ;r.'

I.ETSCHMER, Edmdnd. Add that 'Hein-

3ber Lowe' was produced at Leipzig in 1877,

h1 aether opera, 'Der Fliichtling' at Ulm in

^ His most recent production is 'Schon

aat,' an opera in 4 acts, produced at

-n Nov. 5, 1887. ' Sieg im Gesang,' a

ii a, was lately performed at Dresden.

1< EUTZER, CoNRADiN. Line 2 of article,

r 82 read 1780. P. 72 a, 1. 6, for in 1843

ted the 43rd festival, read in 1841 con-

j i the 23rd festival.

K EUTZER, RoDOLPHE. P. 72 a, note, add
e ;ed not complain of this, for in the adver-
■*ints of Ernst's concert in the London papers
14 it is given as 'Greitzer'! See 'Mus.
01,' June 20, 1844, P- 209 c.
KOLL, Fkanz. Line 9 of article,_/oj* Varia-
'luead various readings. Line 12, add refer-
'■'■ ■ English edition of Spitta's Bach, ii. 166.
K JMMER,Fbanz. Adddayof birth.Dec.s.
KrjMPHOLZ, Wenzel. Line 12 from end
a cle, for seems to have intended writing a
' read wrote a sonata in one movement,

uider Mandoline, vol. ii. p. 205.
: KEN, F. W. Add date of death, April

: PFERATH, H. F. Add date of death,

1 2, 1882.



KULLAK.



693



KUHE, WiLHELM, born Dec. 10, 1823, at
Prague, was taught music by Tomaschek, with
Schulhoflf as a fellow student. He made a
concert tour with great success in 1844-45 at
Linz, Salzburg, Innsbruck, Augsburg, Munich,
and Stuttgart. He visited London with Pischek
in 1845, and played with success at the Musical
Union in May seder's trio, op. 52, May 13. He
has lived in England ever since, dividing his
time between London and Brighton since 1847,
at which last place he has attained popularity as
a teacher and performer, and as a promoter of
concerts. In the last capacity Mr. Kuhe showed
great enterprise by the annual festival held by
him from 1870 to 1882, wherein he encouraged
native talent by the new works composed at
his instance and produced by him, viz. Virginia
Gabriel's 'Evangeline' in 1873 ; Barnett's can-
tata, 'The Good Shepherd,' in 1876; Clay's
'Lalla Rookh' in 1877 and 1878; Cowen's
'Deluge,' and Cellier's 'Suite Symphonique'
in 1878 ; Walter Macfarren's overture, ' Hero
and Leander,' Gadsby's 'Lord of the Isles,'
Wingham's Concert Overture in A, and Slo-
per's suite in 1879; Leslie's cantata, 'First
Christmas Morn, 'A. H. Jackson's 'Ballet Suite'
and W. Macfarren's Symphony in Bb in 1880 ;
W. Macfarren's Concertsttick in B b, played
by Miss Kuhe, in 18S1 ; Corder's orchestral
Nocturne in 1882, etc., in addition to ' The
Woman of Samaria,' ' The Martyr of Antioch,'
etc., under the respective direction of their
composers. He has occasionally appeared in
London, where he has given an annual concert
since 1846. He was appointed a Professor of
the Royal Academy of Music in 18S6. His
numerous compositions include many drawing-
room pieces, fantasias, and studies, viz. ' Lieder
ohne Worte,' op. 12; ' Le CariUon,' op. 13;
' Chanson d'Amour ' ; ' Romance sans Paroles,'
op. 17 ; ' Le Feu FoUet,' op. 38 ; ' Victoria Fan-
tasia on National Anthem ' ; ' Fantasia on Aus-
trian Anthem' ; operatic fantasias, etc. [A.C.]

KUHLAU, Fbiedeich. For day of birth
read Sept. 11, and for the place and day of
death read Copenhagen, March 12. It is curious
that the canon by Beethoven is on the name.
' Bach,' whether by accident or design cannot of
course be asserted. The last two lines of the
article should run — Compositions, of which a few
for flute and a few for piano, are still much
esteemed. (Corrected in late editions.) Under
Fltjte, vol. i. p. 538, a list of his most prominent
compositions is given, to which may be added an
excellent trio for two flutes and piano, op. 1 19,
seven sonatas for flute and piano, and four
sonatas for violin and piano.

KUHNAU, JOHANN. Line 10 from bottom
of page, yor then read in 1701. Line 8 from
bottom, the date of death should probably bq
June 25, as given by Riemann and Paloschi.

KULLAK, Theodok. Line 1 2 of article, for
185 1 read 1850, and add date of death, March
I. 1882.



L. IV. PT. 6.



Zz



L.



LABITZKY, Josef. Add date of death,
Aug. 19, 18S1.

LACHNEE. Add date of death of
Theodor, May 22, 1877. P. 81 h, 1. 3 from bot-
tom, ybr death read retirement.

LACHNITH, L. W. P. 82 b, 1. 6, for Aug.
20 read Aug. 23. Add date of death, Oct. 3,
1820.

LACOMBE, Louis. See vol. ii. p. 732 b, and
add date of death, 1884.

LAFONT, C. P. Add day of birth, Dec. i.
Line 15 from bottom of page, for 1S12 read 1816.
Line 9 from bottom, add day of death, Aug. 23.

LAGUERRE, Jean. Add that in 1737 he
sang in Capt. Breval's ' Rape of Helen ' the part
of Mercui-y, and that his name was correctly
spelt in the cast.

LAHEE, Henkt, born at Chelsea in April,
1826, held the post of organist at Holy Trinity
Church, Brompton, from 1847 to 1874, and
is well known also as a professor and composer.
His music is thoroughly English in character,
and is influenced by the traditions of our old
part-song writers. Mr. Lahee has been the
victor in various prize competitions for glees and
madrigals : in 1869 with ' Hark, liow the birds '
(Bristol); in 1878, with 'Hence, loathed
Melancholy' (Manchester); in 1879, with
'Away to the hunt' (Glasgow); and in 1880
and 1884, with ' Love in my bosom' and ' Ah !
woe is me ' (London Madrigal Society). Equally
good work can be seen in his other choral songs,
such as ' The Unfaithful Shepherdess,' ' Love
me little, love me long,' and the popular ' Bells,'
and in his anthems no less than in his various
songs and instrumental pieces.

Good taste is shown by this composer in the
choice of his words, and he has found Longfellow
congenial with his musical style. The cantata
' The Building of the Ship ' was written in 1869
for the late Rev. John Ourwen, who desired a
work of moderate diflBculty for the use of Tonic-
Sol-faists. It was performed on a large scale in
the Hanover Square Rooms, has since attained
considerable popularity in the provinces, and
has even made its way to Africa and America.
The subject of another cantata, Tennyson's
'The Sleeping Beauty,' afforded Mr. Lahee
scope for a greater variety of treatment, and
contains some graceful writing for female voices.
It has been heard on the continent and in
America. [L.M.M.]

LAHOUSSAYE, PiEKRE. See vol. iv. p. 293 a.

L.ILANDE, Heneiette Clementine Mebic.
Add that she died in Paris, Sept. 7, 1867.



LALANDE, Michel Richaed de, Surintn*-

dant de la Musique under Louis XIV. and XcJ^
the cleverest composer of church music of ijp-
day, was born in Paris, Dec. 15, 1657, anddJi
in the same city, June 18, 1726, having spentn^
years in the service of the court. He was i ''
fifteenth child of a tailor, and was at first a c'l
rister of St. Germain I'Auxerrois, where hei ■■■
died music under Chaperon, and learnt, alu -
entirely by himself, to play the violin, bass vfi.-
and harpsichord. When, on the breaking of in-
voice at the age of 15, he was obliged tolejt.:
the maitrise, he bethought himself of turni:'
his violin-playing to account, and applied it
admission into Lulli's orchestra. He wx iv
fused, and swore out of pique never to touch jk-
violin again. He gave himself up to the orgit:.
and made such progress that he was soon |c
pointed organist in four different churcheB*.
Paris — St. Gervais, St. Jean, Petit St. Antoi|ji:
and at the church of the Jesuits, who confidecci :
him the composition of symphonies and chcxtic:
for several of the tragedies performed at tl|l-^
college. He soon afterwards applied for (iL
post of organist to the King, but though Liti:;
pronoimced him to be the best of the competitilr i
he was refused on account of his youth. ||i
was recommended by the Mar^chal de I'l-
allies, to whose daughters he taught music, fk~
Louis XIV., and the King chose him to suj '7
intend the musical education of the princes ij".','
afterwards the Duchesse d'Orleans and Mads j,,;"'
la Duchesse. Lalande was so successful in '*,''



Jafa



capacity that the King appointed him mastek
his chamber music ; and in 1683, on the ret'iT
ment of Dumont and Robert from the supefV,'
tendence of the chapt^le, he obtained one of v
appointments, for it was decided to appoint ijlil
officers to serve for three months by tu ii. <
Eventually the ofiices were united in thepeifo?
of Lalande, who had now received several penfii f r_
and the cordon of the order of St. Michel, ^-i:;
1684 the King had given him a wife, Anne Ee it:'
said to be the best singer of the court, had J ft
the expenses of the wedding, and given a dc't.- ?
to the bride. In 1722, having lost his wife, I':
two gifted daughters, who died of smallpox in H' -
same j'ear as the Dauphin ( 1 7 11 ), Lalande beg l-
the King to allow him to remit three-quar i-'i
of his salary, thus returning to the original ir-:
rangement. He presented as his substitutes tf; ;
assistants Campra, Bernier, and Gervais. Ak-y
reward for his disinterested conduct the Bej.i:
granted him a pension of 3000 livres. In i^_
following year he married again. Mile. deCi-is-
daughter of one of the Princesse de Conti's ; 'U: ;
geons, and died three years later at the ag" lij^
68. Lalande, though infinitely superior to



I



LALANDE.

ciposers of church music of his time — Gou-
I at, Minoret, etc. — cannot of course be com-
] ed to Handel and Bach, who were almost his
c temporaries. The cause of his superiority
r his immediate rivals was that he knew how
idapt to French tastes the forms of concerted
rch music hitherto confined to the Italian
lol, and his compositions, besides possessing
1 imagination, show that, like the musicians of
[li's school, he gave special attention to do-
nation and to the proper agreement between
Ards and music. He wrote no less than 60
1 tets for chorus and orchestra for the chapel at
""rsailles, which were published most luxuri-
<: I y at the King's expense. They are contained
i 20 books, and are usually found bound in 10
1 umes. He did not C(mtribute so much as
i generally supposed to the the ballet of ' Les
laments,' by Destouches (Tuileries, Dec. 31,
];i; Acad^mie de Musique, May 29, 1725),
1 portion being confined to a few pieces in
t' prologue. He wrote music for the heroic
1 toral ' Melicerte, ' begun by Molifere and
lered by Gu^rin. He composed various works
i the court theatres : — the ' Ballet de la
.iinesse' (Versailles, 1686), 'L' Amour flechi
ir la Constance' (Fontainebleau, 1697), *Les
lies de Cardenio ' (Tuileries, 1720). Fetis is of

■ inion that Lalande worked at several operas

■ thout allowing anythingto be represented under
5 own name, and gives as his authority Titon

Tillet, to whom we owe the biographical de-
ils of Lalande ; but du Tillet does not mention

in his article on Lalande in the 'Parnasse
•an9ais.' [A.J.]

LALLA EOOKH. P. 86 a, add 2. ' Lalla
iikh,' a dramatic piece by Spontini, produced
m. 27, 1S21, at the Royal Palace, Berlin. [See
1. iii. p. 673.] Change 2, 3, 4, 5, to 3, 4, 5, 6.
:Id 7. 'Paradise and the Peri,' Cantata, John
Barnett, Birmingham, 1 8 70. For other musical
mpositions based on the poem see Clay, vol. i.
19 h ; Pabadise and the Peei, vol. ii. 648 b ;
id Stanford, vol. iii. 689.

LALO, Edouakd Victor Antoine, bom at
iUe, Jan. 27, 1823,^ studied the violin at the
Duservatoire of that town under an excellent

erman professor named Baumann. When he
ime to Paris he played the viola in the Armin-
lud-Jacquard quartet, and began to compose
ith activity. He competed at the concours at
16 Theatre Lyrique in 1867 with an opera,
Fiesque,' which took a third place, and has
nee been printed and partly performed at
le Concert National, 1873. The ballet music
om this work, under the title of a Divertisse-
lent, was given with great success at the Con-
srt Populaire, Dec. 8, 1872. Lalo next com-
osed a violin concerto in F, played by Sarasate
t the Concert National, Jan. 18, 1874, and a
ymphonie Espagnole, for violin and orchestra,
layed by the same artist at the Concert Popu-
dre, Feb. 7, 1875. I* ^^^ produced in England
t the Crystal Palace, March 30, 1878. After

> Date verified b7 tbe legiatei of birth.



LAMBETH.



695



these two great successes, which gave Lalo a
first-class position as a composer for the con-
cert-room, he produced an Allegro Symphon-
ique, the overture to his opera, 'Le Roi d'Ys,'
a violoncello concerto, played by Fischer, a
scherzo for orchestra (all performed in Paris),
a Serenade and a Fantaisie Norv^gienne for
violin and orchestra, first given in Berlin.
His ' Rhapsodic Norv^gienne ' and his ' Con-
certo Russe,' played by Marsick, were the last
important works for the concert-room written
before his grand ballet, ' Namouna,' performed
at the Opera, March 6, 1882. This work has
something of a sjrmphonic style, and is orches-
trated in a manner far superior to that of many
more popular ballets, but it was coldly received
by the public. 'Namouna' was only given 15
times, but when transferred to the concert-room
in the form of a grand Orchestral Suite in five
movements, it achieved the success it deserved.
An andantino, and two otlier movements from the
same, arranged for violin and orchestra, were also
received with favour at the Concerts Modernes,
and a serenade, arranged for four stringed instru-
ments, was also successful. After this repara-
tion for his former failure, Lalo again set to
work and orchestrated the whole of his ' Roi
d'Ys,' of which the general plan had been
sketched some five or six years before, and wrote
a Symphony in G minor, performed at the Con-
cert Lamoureux, Feb. 13, 1887, which was much
praised by musicians. The opera was produced
at the Opera Comique, May 7, 1888, with
well deserved success. Thus far we have only
spoken of Lalo's orchestral compositions. An
allegro for piano and violoncello, a sonata for
the same, a serenade and chanson villageoise
for violin and piano, a sonata in three move-
ments for the same, a trio in A minor for piano
and strings (given at Halle's recital, June 15,
1888), a string quartet in Eb, a 'Fantaisie
Ballet ' for violin and orchestra (unpublished),
and more than 20 songs, complete the list of
works by one who has gained a reputation both
in Germany and France, though his dramatic
work has received but tardy recognition. His
talent is of an extremely individual kind, and
has been formed, not by the discipline of the
Conservatoire, nor by the influence of professors,
but by the direct study of such masters as
Beethoven, Schubert, and Schumann, for whom
he has a special predilection. His chief charac-
teristics are the expressive grace of certain ideas,
the piquancy of some of his tliemes, and, above
all, the richness and skill of his orchestration.
Lalo is one of the most distinguished of French
composers, and has fully deserved the decoration
of the Legion d'Honneur conferred upon him in
July 1880. [A.J,]

LAMBERT, G. J. Correct date of birth to Nov.
i6, 1794, and add date of death, Jan. 24, 1880.

LAMBETH, Henry Albert, born at Hard-
way, near Gospoit, Jan. 16, 1822, studied for
some time under Thomas Adams, ca.me to Glas-
gow about 1853 as city organist, on the recom-

Zz 2



696



LAMBETH.



mendation of Henry Smart, and in 1859 ^^^
appointed conductor of the Glasgow Choral
Union. This post he held till iSSo. About
1872 he formed a choir of from twenty to thirty
selected voices, and in the department of Scotch
music their concerts met with a very creditable
degree of success. Mr. Lambeth has harmonized
several of the best Scottish melodies in a most
effective manner. He is the composer of several
songs and pianoforte pieces, also of settings of
Psalms 86 and 137, both of which were per-
formed by the Glasgow Choral Union. He has
acted as organist and choir-master in Park (Es-
tablished) Church since about 1870. [W.He.]
LAMOUREUX, Charles, born at Bordeaux,
Sept. 21, 1834, began his violin studies under
Beaudoin, and was then sent to the Paris Con-
servatoire, where he was in Girard's class. He
obtained in 1852 a second accessit for the violin,
the second prize in the following year, and the
first in 1854. He also studied harmony under
Tolbecque, and attended the counterpoint course
of Leborne at the Conservatoire, where he
finished his theoretical studies under the famous
organist Alexis Chauvet. He was solo violinist
in the Gymnase orchestra (1850% and afterwards
joined that of the Opi^ra, where he played for
many years. He was admitted a member of the
Soci^t^ des Concerts du Conservatoire, and, like
all the members of these orchestras, gave private
lessons. But these insignificant posts were not
sufficient for the activity of Lamoureux, who
dreamt of great undertakings in the musical art
of France. Together with Colonne, Adam, and
A. Pilet, he founded in i860 a society for
chamber music of a severe character, in which
he .'showed a taste for new works by pro-
ducing compositions hitherto unnoticed. He had
also the honour of first performing in France
Brahms's sextets. He was not content with
this, for having travelled in Germany and Eng-
land, he was anxious to organize performances
on a large scale, such as he had heard under
Hiller and Costa, of the masterpieces of Handel,
Bach, and Mendelssohn. After several pre-
liminary trials at the Salle Pleyel, where he per-
formed among other tilings the ' Streit zwischen
Phobus und Pan' of Bach, he succeeded by his
own energy and resources in founding the ' Societil
de I'Harmonie sacree ' on the model of the Sacred
Harmonic Society of London. The first festival
was given at the Cirque des Champs Elys^es,
Dec. 19, 1873. The success of an admirable
performance of 'The Messiah' was such that
amateurs came in crowds to the following per-
formances. Lamoureux then produced Bacli's
Matthew Passion, March 31, 1874, and 'Judas
Maccabseus,' Nov. 19, 1874. Not content with
confining himself to well-known masterpieces,
he produced Massenet's ' Eve,' then unpublished,
March iS, 1875. These great performances
showed that Lamoureux was a conductor of great
merit, who succeeded in obtaining from his or-
chestra a matchless precision of attack and regard
to expression. When Carvalho became director of
the Op^ra Comique in i876,he offered Lamoureux



LANG.

the post of conductor, but in less than a yearttdl
latter resigned, owing to some difficulties arisiiij
out of the rehearsal of Chaumet's ' Bathyl«
in May, 1877. In December of the same yej
Lamoureux was appointed conductor of tl
Opera by Vaucorbeil, and gave up the aul
conductorship of the Concerts du Conservatoin
which he had held since 1872. In 1878 he wt
decorated with the Legion d'Honneur, and i
the following year he resigned his post at tb
Opdra on account of a dispute with Vaucorbe
as to the tempo of one of the movements i
' Don Juan.' From that time he determined t
be self-dependent, and after having careful!
prepared the undertaking, he founded on Oct



Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 164 of 194)