The Oxford companion to music by Latham Alison

Author:Latham, Alison
Language: eng
Format: epub
Tags: Music, Music
Publisher: Oxford ; New York : Oxford University Press
Published: 2002-08-14T16:00:00+00:00

Lucia di Lammermoor

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Lucia di Lammermoor (‘Lucy of Lammermoor’). Opera in three acts by Donizetti to a libretto by Salvadore Cammarano after Walter Scott’s novel The Bride of Lammermoor (1819) (Naples, 1835).

Lucier, Alvin (Augustus) {b Nashua, NH, 14 May 1931). American composer. He studied at Yale (1950-6), Brandeis (1958-60), and Darmstadt (1961), and has taught at Brandeis (1962-70) and Wesleyan University (from 1970). He was a member, with Robert Ashley and others, of the Sonic Arts Union (1966-73), performing live electronic pieces that included his own Vespers (1968) for people in the dark using echo-location devices to explore the acoustic environment. Later works have also used electronics in live performance, often involving interaction between slow electronic glissan-dos and instrumental sounds. PG

Lucio Silla (‘Lucius Sulla’). Opera in three acts by Mozart to a libretto by Giovanni De Gamerra (Milan, 1772). Anfossi (1774) and J. C. Bach (1775) also wrote operas on the subject.

Lucrezia Borgia. Opera in a prologue and two acts by Donizetti to a libretto by Felice Romani after Victor Hugo’s play Lucrece Borgia (1833) (Milan, 1833).

Ludford, Nicholas (£01485; ^?London, 01557). English composer. He was a singer at the collegiate chapel of St Stephen, Westminster, until its dissolution by Henry VIII in 1547. His output included at least 17 masses— more than by any other English composer—of which three are now lost and three survive incomplete. Seven of them form a unique cycle of "Lady masses for three voices, written in a manuscript that once belonged to Henry VIII and Catherine of Aragon. Like his more famous contemporary, John Taverner, Ludford wrote mostly in an idiom that emphasized abstract grandeur and exuberance of florid detail, rather than humanistic expressiveness or concision. JM

Ludus tonalis (‘The Play of Notes’). Piano studies (1942) by Hindemith; consisting of a prelude, 12 fugues with ii interludes, and a postlude (an inverted version of the prelude), they are studies in counterpoint, tonal organization, and piano technique.

Luening, Otto (Clarence) (£ Milwaukee, WI, 15 June 1900; d New York, 2 Sept. 1996). American composer and teacher. He studied in Munich (1915—17) and in Zurich (1919-20), where he had private lessons with Philipp Jarnach and Busoni. In 1920 he moved to Chicago and embarked on a career as a teacher, notably at Columbia University (1944-68), where in 1952 he and Vladimir Ussachevsky set up the studio that became the Columbia-Princeton Electronic Music Center. During

the 1950s and 60s he wrote electronic pieces, sometimes in collaboration with Ussachevsky, but his output was large and diverse, and included the opera Evangeline, orchestral works, string quartets, and other chamber pieces. PG

Luftpause (Ger., ‘air break’). A pause for breath in wind playing or singing, often indicated by a V-shaped mark above the staff. See also Atempause.

Luisa Miller. Opera in three acts by Verdi to a libretto by Salvadore Cammarano after Friedrich von Schiller’s play Kabale und Liebe (1784) (Naples, 1849).

lullaby. See berceuse.

Lully, Jean-Baptiste [Lulli, Giovanni Battista] (b Florence, 29 Nov. 1632; d Paris, 22 March 1687). French composer of Italian origin. The son of a

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