Part 2

WAGNER, by Herkomer 559

WAGNER 545

Wagner 551

Wagner from family group 555

Weber, Aloysia, and Jos. Lange 279

Weber, Constanze 280

WEBER 387

Weber in his 24th year 393

WEBER, by T. Minasi 395

Willaert, Adrian 19

Zelter, Carl Friedrich 591

CARICATURES.

Auber 655

Beethoven 329

Berlioz, by Benjamin 687

Berlioz, by Carjat 688

Donizetti 76

Halévy, by Dantan 667

Halévy, by Carjat 671

Handel 210

Kreisler, Kapellmeister 455

LISZT 827

Liszt, by Dantan 829

Meyerbeer, bust 476

Meyerbeer 478

Rossini, by Carjat 56

Rossini, bust 63

Rossini from "Panthéon Charivarique" 64

Strauss, Johann (senior) 492

Verdi 129

FAC-SIMILE MANUSCRIPTS.

AUBER, music 661

AUBER, letter 662

BACH, music 182

Bach, poem 192

Balfe, letter 889

Balfe, music 890

Beethoven's creed 329

BEETHOVEN, music 336

BELLINI, letter 73

Bellini, music 74

Bizet, music 702

BOIELDIEU, music 637

Brahms, music and letter 506

BRUCH, music 521

Cherubini, music 106

CHOPIN, music 775

Donizetti, music 774

Dvořák, music 81

FRANZ, music and letter 467

GADE, music and letter 841

Gade, musical autograph 842

GLUCK, music and letter 233

GOUNOD, music 727

GRÉTRY, music 629

Grieg, music 836

Halévy, music 669

Handel, music 211

HAYDN, music 261

HÉROLD, music and letter 651

LISZT, music and letter 825

Marschner, letter 411

MARSCHNER, music 413

Massenet, music 716

MÉHUL, music 643

MENDELSSOHN, letter 425

MENDELSSOHN, music 426

MEYERBEER, music and letter 483

Mozart, letter 290

MOZART, music 292

PERGOLESE, music 47

Purcell, music 873

Raff, letter 499

Raff, music 501

Rameau, music 621

RHEINBERGER, music 529

ROSSINI, music 61

RUBINSTEIN, letter 797

Rubinstein, music 800

SAINT-SAËNS, music 707

SCARLATTI, music 40

SCHUBERT, music 361

SCHUBERT, letter 371

Schumann, Clara, letter 449

Schumann, letter 449

SCHUMANN, music 450

Schumann, music 462

Sgambati, music and letter 113

SPOHR, letter 377

SPOHR, music 383

SPONTINI, music and letter 87

Strauss (junior), music 493

Strauss (senior), music 493

Sullivan, music 895

THOMAS, AMBROISE, music 693

TSCHAÏKOWSKY, music 807

VERDI, music 125

Verdi, letter 132

WAGNER, letter 547

WAGNER, music 548

WAGNER, humorous composition 561

Weber, letter 401

WEBER, music 407

BIRTHPLACES AND RESIDENCES.

Auber's residence 658

Bach's birthplace 167

Beethoven's birthplace 310

Beethoven, house where he died 323

Gluck's birthplace 221

Gounod's residence 725

Grétry's Hermitage 627

GRIEG'S country house 833

Handel's house 201

Haydn's birthplace 247

Mendelssohn's birthplace 418

Mendelssohn's residence 435

Mozart's birthplace 274

Mozart's residence in Vienna 287

Mozart, house where he died 289

Palestrina's birthplace 32

Schubert's birthplace 353

Schumann's birthplace 441

Verdi's birthplace 119

Verdi's residence 123

Wagner's birthplace 534

Wagner's residence, Villa Triebschen 537

Wagner's residence at Bayreuth 538

Wagner's residence at Venice 541

Weber's birthplace 391

MONUMENTS, STATUES, BUSTS, AND TOMBS.

Auber, bust 656

Auber's tomb 659

BACH, statue 169

Bach, monument 185

Balfe, tablet 887

BEETHOVEN'S tomb 325

BEETHOVEN, MONUMENT IN VIENNA 332

BEETHOVEN, MONUMENT IN VIENNA 339

Beethoven, bust 341

Beethoven, monument in Bonn 345

Beethoven, Mozart, and Schubert, Tombs of 365

BELLINI, monument 69

Bellini, bust 70

BELLINI'S tomb 71

Bizet's tomb 699

Boieldieu, bust 634

Boieldieu's tomb 635

CHERUBINI, monument 99

Cherubini's tomb 101

Cherubini, bust 103

CHOPIN'S tomb 773

DONIZETTI, monument 79

Donizetti, bust 80

Glinka, bust 789

Gluck's grave 231

GLUCK, statue 237

GLUCK, MONUMENT 239

Grétry's tomb 626

Grétry's Memorial Chapel 627

HALÉVY'S TOMB 668

Handel, monument in Halle 197

HANDEL, statue in Vauxhall Gardens 205

HANDEL, bust 209

HANDEL, statue, Paris Opera House 213

HAYDN, bust 251

HAYDN, monument 253

Haydn's grave 259

HÉROLD, bust 647

HÉROLD'S TOMB 649

Lasso, statue in Munich 5

Mendelssohn, bust 433

MEYERBEER, bust 477

Meyerbeer, family tomb 481

MOZART, statue 285

MOZART, MONUMENT IN VIENNA 291

MOZART, MONUMENT IN SALZBURG 299

MOZART, MONUMENT IN VIENNA 301

Purcell, memorial tablet 875

RAMEAU, statue 619

SCHUBERT, MONUMENT 363

SCHUBERT'S TOMB 367

SCHUMANN, monument 447

Spontini, bust 88

VERDI, bust 127

WAGNER, bust 563

WEBER, monument 399

MISCELLANEOUS.

Animated Forge movement 566

Auber's Piano 657

Bach and Family 171

Bach before Frederick 181

Bayreuth Hill and Theatre 540

Beethoven and Mozart 313

Beethoven's Death Mask 327

Beethoven's Life Mask 327

Beethoven leading quartet 315

Beethoven's Studio 322

BERLIN OPERA HOUSE 585

CONSERVATORY OF MUSIC AT LEIPSIC 593

Frescos in Vienna Opera House.

from "Armide" 242

" "Barber of Seville" 66

" "Creation" 266

" "Fidelio" 348

" the "Huguenots" 486

" "Jessonda" 386

" Mozart's operas 306

" Schubert's "Domestic War" 374

" the "Water Carrier" 91

GARDEN OF HARMONY 737

Gewandhaus Concert Hall in Leipsic 607

Gounod directing 732

GRÉTRY'S CLAVICHORD 625

Grétry crossing the Styx 632

Guidonian hand 137

Handel Commemoration 215

Handel's harpsichord 216

Hannibal, Scene from 576

Huguenots, billboard 484

Liszt's library and music room 818

Liszt's organ room 819

LISZT PLAYING TO HIS FRIENDS 817

Memorial Chapel, Grétry 627

Mendelssohn's hand 436

Mozart's ear 295

Mozart's first composition 270

Mozart's piano and spinet 276

Mozart, room where he was born 275

OLD MARKET SQUARE, Dresden 397

OPERA HOUSE, Paris 749

Palazzo Vendramin 543

PANTHÉON MUSICAL 755

PANTHÉON OF GERMAN MUSICIANS 567

Pergolese medal by Mercandetti 45

Pergolese commemorative medal 48

Rossini's clay pipe 60

SALZBURG 271

SCHUBERT AND HIS FRIENDS 357

SPONTINI'S PIANO 90

Strauss (junior) leading orchestra 496

St. Thomas's School 177

SYNTAGMA MUSICUM, Title-page of 572

Triumph of Rameau 622

VIENNA OPERA HOUSE 606

WAGNER AND FRIENDS AT BAYREUTH 557

Wagner's studio 539

WEBER LEADING OPERA 405

Weber's coat-of-arms 408

ORLANDO DI LASSO

Roland Delattre is generally known by the Italian form of his name, Orlando di Lasso. He was the last great light of the famous school of Netherlands masters who were the real founders of modern musical art. The history of Lasso's career is tolerably well known to us, owing to the existence of Vinchant's "Annals of Hainault" and a sketch by Van Quickelberg published in 1565 in a biographical dictionary called "Heroum Prosopographia." Although the former author was born in 1580, and Lasso died in 1594 or 1595, he places the date of the composer's birth ten years earlier than Van Quickelberg. Fétis gives plausible reasons for accepting Vinchant's date, yet it is probable that Van Quickelberg got his data directly from the composer, of whom he was an intimate friend.

At any rate, he was born in Mons in 1520 or 1530 and at the age of seven began his education. Like all musically gifted persons, he displayed his inclination toward the tone art at an early age, and in his ninth year he began the study of music. At that period music meant counterpoint and church singing. Hence Lasso, being endowed with a fine voice, began his career as a boy chorister in the church of St. Nicolas in his native town. There he became celebrated for the beauty of his voice and was twice stolen but recovered by his parents. The third time the little song-bird was carried off, he consented to remain with Ferdinand Gonzague, viceroy of Sicily and at that time commander of the army of Charles V. When the war was over the lad went with Ferdinand to Sicily and afterward to Milan. Van Quickelberg says that after six years his voice broke and at the age of eighteen he was sent by his patron under charge of Constantin Castriotto to Naples with letters of recommendation to the Marquis of Terza. He became a member of that nobleman's household and remained with him three years. At the end of that time he went to Rome, where he stayed six months as the guest of the archbishop of Florence. He was then appointed chapel-master of the famous church of St. John Lateran. While serving there he was informed of the sickness of his parents, and, probably being somewhat conscience stricken, set out for Mons, where he arrived after his father and mother were dead.

He returned to Rome and soon afterward paid a visit to France and England in company with a noble amateur of music called Julius Caeser Brancaccio. From France he went to Antwerp, where he stayed until he went to Munich in 1557 to enter the service of Albert of Bavaria. The doubt as to the date of his birth makes the length of his residence in Rome uncertain. He was there either two years or twelve, according as he was born in 1520 or 1530. The invitation to Munich seems to show that Lasso had acquired a European reputation as a composer. Such a reputation would naturally have been acquired during a long period of service in the Lateran church. If, however, Lasso did remain in Rome twelve years and produce works which gave him European celebrity, they are lost. Nevertheless even Van Quickelberg's testimony goes to show that Lasso's fame as a composer and as a man had preceded him to Munich. The Duke Albert directed him to engage a number of singers for the ducal choir and take them with him to Munich. Albert V. was a lover of art, and he is credited with being highly pleased at the engagement of Lasso. Quickelberg says that report in the Bavarian capital "was busy as to the character and disposition of the man. He was credited with being a great artist and a high-minded gentleman, and the Munich folk were not to be disappointed. The brilliant wit of the master, his amiability of temper, the cheerfulness of his disposition, and the universality of his knowledge, combined to make him a favorite with all. With the duke and the duchess he was especially intimate, and owing to their favor was admitted to the highest social gatherings. His introduction to the court nobility resulted in his marriage in 1558 with Regina Welkinger, a maid of honor attendant on the duchess." [Naumann, History of Music, p. 376.]

It may be as well to add here that Lasso and his wife had six children, four sons and two daughters. Ferdinand and Rudolph, the eldest sons, became composers of some note. It was in 1562 that Lasso was made chapel-master to the Duke of Bavaria, thus attaining what was then esteemed as the highest prize in the musical world. He now had under his direction a fine body of singers and instrumentalists, for which a modern composer would have written not only masses, but cantatas and oratorios. We must bear in mind, however, that in Lasso's day church composers preferred the _a capella_ style, and the art of orchestral accompaniment, as we understand it now, was unknown. When instruments were used in conjunction with voices they simply doubled the voice parts. Hence Lasso's great compositions are all written for an unaccompanied choir. It appears that Lasso served for five years as chamber musician before being made chapel-master, because Ludwig Daser was not quite old enough to be retired from the higher post and because the Duke wished Lasso to learn the language before assuming the responsibility of the mastership. In 1562, as stated, Daser was retired, and, as Van Quickelberg tells us, "the Duke, seeing that Master Orlando had by this time learnt the language and gained the good will of all by the propriety and gentleness of his behavior, and that his compositions (in number infinite) were universally liked, without loss of time elected him master of the chapel, to the evident pleasure of all."

From this time forward for several years Lasso was engaged in composing his most noted church works, among them being the famous "Penitential Psalms," which are still held in the highest esteem among lovers of pure old church music. He wrote also some of his finest Magnificats, as well as many pieces of secular music. His fame spread through Europe, and though Palestrina was his contemporary, it was Lasso who was spoken of as the "Prince of Musicians." He was also much praised as a conductor, and contemporary writers bear testimony to the fine precision and spirit with which the ducal choir sang under his direction. In 1570 the Emperor Maximilian honored the composer by making him a knight. The following year Pope Gregory XIII. conferred upon him the order of the Golden Spurs. The ceremony was performed with much pomp in the papal chapel at Munich by the chevaliers Cajetan and Mezzacosta. In the same year the composer made a visit to Paris, where he was received with every mark of distinction by Charles IX. This visit and the favor of the monarch have given rise to one of those pretty stories with which the history of music is dotted, but which unfortunately will not bear scrutiny. The story is that Charles IX., tormented by remorse for the massacre of St. Bartholomew, asked Lasso to write his Penitential Psalms as an expression of the kingly repentance. But dates, which are stubborn things, refuse to be reconciled with this story. These psalms were undoubtedly written at the request of Duke Albert. The first volume of them in manuscript is preserved in the Royal State Library at Munich, and it bears the date 1565. The massacre of St. Bartholomew took place in 1572. The value which Duke Albert set upon these compositions is shown by the manner in which he treated them. They were bound in the most costly manner, in morocco, with silver ornaments which alone cost seven hundred and sixty-four florins. The court painter, Hans Mielich, painted for them portraits of the Duke, Orlando, and of the persons who made the books. J. Sterndale Bennett, in his excellent article on Lasso in Grove's "Dictionary of Music," makes the suggestion that the production of these noble psalms so early in the composer's life at Munich points to the probability that his Roman sojourn was twelve years instead of two, and that he was, therefore, born in 1520 instead of 1530. The inference is hardly avoidable.

To return to the Paris visit, it may be deemed probable that one result of it was the erection of a new Academy of Music, authorized by the king in 1570. The only composition known to have been produced by Lasso in Paris was sent to Duke Albert as "some proof of my gratitude." In 1574 Lasso set out for Paris once more, but when he had gone as far as Frankfort he learned that King Charles IX. was dead; so he returned to Munich, where he resumed the work of composition with undiminished activity. Lasso never left Munich again and a detailed record of his life subsequent to 1575 would consist chiefly of a chronological catalogue of the works which he published. It may be said that he did not produce any large compositions in the years 1578-80. The Duke, who had confirmed him for life in his appointment on his return from Munich, had become ill, and in October, 1579, this generous and high-minded patron of the arts breathed his last.