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Liadoff (lé'-ä-dôf), Anatole. 1855-
Russian composer and teacher; born in St. Petersburg. Both his father and grandfather had been professional musicians, and his father gave him his first musical instruction. He entered the Conservatory, where his work was brilliant; at the same time he studied composition under Rimsky-Korsakov. He graduated in 1877 and the next year was made a professor in the Conservatory. He is now conducting special classes in harmony and composition there and holds a similar position in the Imperial Court Chapel. He was associated with Balakirev and Liapounov in making researches into the folk-songs of various districts for the Imperial Geographical Society. Since 1894 he, with Rimsky-Korsakov, his former teacher, and Glazounoff, has been leading the concerts of the Musical Society. His most numerous and brilliant compositions are for the piano and they show the influence of Chopin, containing, however, a distinctly Russian character. Among them are a popular series, entitled Birioulki, and a set of Arabesques. His principal orchestral works are a scherzo, a mazurka, and a choral finale for Schiller's Bride of Messina.
Liapounov (lé-ä'-poo-nôf), Sergius Mikhailovich. 1859-
Russian composer; born at Yaroslay. He received his musical education in the classes of the Imperial Musical Society at Nijny Novgorod and at the Moscow Conservatory, which he left in 1883. He was appointed, in 1893, with Liadoff and Balakirev, by the Imperial Geographical Society, to make researches into the folk-songs of the various districts, and he had charge of Vologda, Viatka, and Kostroma. He was assistant director of the Court Chapel from 1894 until 1902. His compositions for orchestra include a ballade, solemn overture, symphony in B minor, and a polonaise. Among his numerous piano compositions are a concerto, preludes, waltzes, mazurkas, and studies which include twelve Ètudes d'éxecution transcendante. His songs include thirty-five national songs with piano accompaniment.
Lichner (likh'-ner), Heinrich. 1829-
Born at Harpersdorf, Silesia. He studied under Karow at Bunzlau, Dehn at Berlin, Mosewius and Adolf Hesse at Breslau. At Breslau he was cantor and organist of the Church of the Eleven Thousand Virgins and conductor of the Sängerbund. Among his compositions are overtures, symphonies, songs, choruses for male voices, and much piano-music.
Lichtenberg (likh'-t'n-bërkh), Leopold. 1861-
Violin virtuoso; born in San Francisco, California. His first instructor was M. Beaujardin, and he played in concert at the age of eighteen. When twelve years old he was heard by Henri Wieniawski, then on a visit to this country, who invited him to be his pupil and aid on a tour through the States. Following this Lichtenberg spent six months under Lambert at Paris, then joined Wieniawski at Brussels, where he studied under him for three years. He won the first prize of honor at the national " concours " and often played before royalty. He substituted for Wieniawski on a tour through Belgium and was very successful. Returning to New York he played for a time in the Theodore Thomas Orchestra, but again went to Europe, where for three years he toured the principal cities. He then became a member of the Boston Symphony Orchestra, and later was made head of the violin faculty of the National Conservatory of New York, where he has since resided. Lichtenberg's playing places him among the best, his technique is perfect and his performance full of feeling.
Lie (le), Nissen Erika. 1845-1903.
Erika Lie was born at Kansviger, near Christiania, Norway, in 1845. During her girlhood she met many distinguished musicians, and when her family moved to Christiania in 1860 she became a pupil of Kjerulf, and the year following went to Berlin for piano study with Kullak. She soon became a teacher in Kullak's Academy and gave her first concert there. Later she studied with Tellefsen in Paris, and in 1870 was made a professor of piano at the Copenhagen Conservatory. She toured Europe, giving most successful concerts, and was especially applauded for her rendition of the works of Chopin. She was married in 1874 to Dr. Oscar Nissen of Christiania, in which city she died in 1903.
Liebig (le-bikh), Karl. 1808-1872.
Born at Schwedt, Prussia. His first position was as clarinet-player in the Alexander Grenadier Regiment, Berlin. In 1843 he established symphony concerts and also an independent orchestra, the Berlin Symphoniekapelle, which was often employed for concerts given by the Berlin Vocal Societies. His success brought him the title of Royal music-director in 1860, but seven years later his orchestra deserted him and elected Professor Stern to succeed him. Liebig organized another orchestra, but its success-was never great. He died in Berlin.
Liebling (lep'-ling), Emil. 1851-
Born in Pless, Germany, of Russian parentage, this talented musician came to America when quite young to become a leader in the art. He was one of four brothers, all of whom have become prominent in musical affairs. After arriving in this country, in 1867, Emil Liebling taught music in Kentucky and Chicago. Returning to Berlin he studied under Kullak and Ehrlich, and composition under Heinrich Dorn. In Vienna he studied under Dachs. He also taught in Kullak's Conservatory of Music from 1874 to 1876. Mr. Liebling's attainments along other lines are equally advanced. He is an accomplished linguist and as a writer he is a fluent and forcible contributor to American musical journals. He spent the summer of 1876 studying under Liszt at Weimar. Returning to Chicago the same year he impressed his audiences with his finished execution and a practically unlimited repertory. The concerts he gave in Berlin brought him enthusiastic praise from the severest of critics. He is as exceptional as a man, an artist, and a musician, possessing the most charming personality. He is a good common-sense business man, a famous composer, a pianist and teacher ofworld-wide fame, a most entertaining and instructive lecturer. Among his compositions are a valse de concert, Florence; a gavotte modern, Albumblatt; Serenade, Spring Song, Menuetto, Scherzoso, Lolita and Concert Polonaise.
Liebling, Georg Lothar. 1865-
Court pianist and composer; born in Berlin. He studied piano under the Kullaks, Liszt, and Rubinstein, and composition under H. Urban, H. Dorn, and Tschaikowsky. He composed when only eight years of age, and at sixteen was appointed a professor at the Kullak Conservatory. From 1883 to 1895 he was touring through Europe, Asia and Africa. He was appointed Court pianist by the Duke of Coburg in 1890. His first appearance in London was in 1897, and the next year he played by command before the late Queen Victoria at Osborne. His compositions include a piano concerto, violin concerto, violin sonata, numerous piano works and songs, symphony for orchestra, overtures and suites for same, a concert mass and operas. His Lieblingswalzer has been sung by Nikita at a great many concerts.
Liliencron (le'-li-en-krön), Rochus, Freiherr von. 1820-
Famous author on musical subjects; born at Plön in Holstein. He attended college in his native town and at Lübeck. He studied both theology and law at Kiel and Berlin, graduating as Doctor of Theology and Philosophy. After graduation he devoted much time to Germanistic studies, including Old Norse languages and literature, writing on them for various periodicals. He was in the government service from 1848 to 1850 as secretary in the bureau of foreign affairs during the war with Denmark. In 1850 he became professor of Old Norse languages and literature at Kiel, and two years later of German language and literature at Jena. He was Privy Cabinet Councillor to the Duke of Meiningen from 1855 to 1868. In 1855 he published Lieden und Sprüche aus der letzten Zeit des Minnesangs, a work which contains twenty melodies with texts from the Jena Minnesänger codex, written about 1320. In 1869 he setled in Munich. Since 1876 he has lived principally at Schleswig as Prälat des St. Johannisstiftes. In his later years he has been interested in church-music. He is also the president of the Royal Prussian Commission for the editing and publication of the
Denkmäler Deutscher Tonkunst, twenty-two volumes of which have been printed. Among other works is his Deutsches Leben im Volkslied um 1530, the finest German folk-songs of the Sixteenth Century, with melodies.
Limnander (lem'-nän-der), Armand Marie. 1814-1892.
Belgium composer of dramatic and church-music. He was born at Ghent. His early musical instruction was obtained at Saint-Acheul under Cornette, and at the Jesuits' College at Freiburg, Switzerland, under Père Louis Lambillotte. He founded an amateur vocal society in Malines, which was known as the Réunion Lyrique. About 1841 he studied composition under Fétis at Brussels. Six years later he went to live in Paris, and here he produced a number of operas. He died at his castle at Moignanville, Seine - et - Oise. His comic operas are splendid, among them are Les Monténégrins, Le Chateau de Barbe-Bleue, and Yvonne. He composed a grand opera, Le maitre Chanteur; a lyric poem, Scènes Druidiques; a Te Deum, requiem, some string music and many songs.
Lincke (link'-ë), Joseph. 1783-1837.
Famous cellist and composer; born at Trachenberg, Silesia. His father was a capable violinist and instructed him on the instrument. He studied the violoncello under Oswald. His parents died when he was only a boy and he was obliged to support him-self. He copied music until 1800, when he became a violinist in the Dominican convent at Breslau. Here he also enjoyed instruction under Hanisch for organ and harmony. He studied the cello under Lose, succeeding him as first cellist at the theatre. In 1808 he went to Vienna and became one of Prince Rasoumowsky's private quartet. Here he and Beethoven became firm friends. He played at Schuppanzigh's quartet concerts, and he in turn assisted at Lincke's farewell concert when only Beethoven music was performed, and at which the great composer was present. Lincke later became chamber virtuoso to Countess Erdödy at Pancovecz, and in 1818 was appointed first violoncellist at the Theatre an der Wien. In 1831 he played at the Vienna Court Opera. He died in Vienna. He has composed some variations and capriccios for the cello.
Lindblad (lint'-blät), Adolf Fredrik. 1801-1878.
Swedish composer, born at Löfvigsborg, near Stockholm. As a youth he lived in Berlin, there studying music under Zelter. Returning to Stockholm he spent the remainder of his days there, devoting himself to composition and giving lessons in singing. His compositions are mostly songs, which are national in character, exquisite in melody, and rich in originality. Among them are The Song of the Dalecarlian Maiden; Lament; A Day in Spring, and Autumn Evening. Jenny Lind was one of his pupils and she made his songs so popular in Germany that he was given the title of the Schubert of the North." He composed an opera, Frondärarne; vocal duets; trios; quartets; and among instrumental works are a symphony in C, a duo for piano and violin and a violin sonata.
Linden (lint'-'n), Karl van der. 1839-
Composer; born at Dordrecht. He studied piano under J. Kwast, sr., and theory under F. Böhme. He lived in Paris, Belgium and Germany, where he spent his time in study. In 1860 he returned to Dordrecht and became successively conductor of Harmonic, from 1865 conductor of the Liedertafel, 1872 bandmaster of the National Guard, and in 1875 conductor of the grand concerts of the Nether-land Musicians' Association. Linden ranks high as a leader, and his compositions are excellent. In 1875 he conducted the Musical Festival at Rotterdam, and in 1877 and 1880 at Dordrecht. He was a member of the jury at the great musical competitions of Ghent, 1873; Paris, 1877, and Brussels, 1880. His compositions include the cantatas, De Starrenhemel, and Kunstzin; seven overtures for grand orchestra; two operas; many songs; part-songs for male, female and mixed voices; sonatas and piano-pieces, and many works for wind band.
Lindley, Robert. 1776-1855.
Violoncellist; born at Rotherham, Yorkshire, England. His first instruction was from his father, in 1792 becoming a pupil of Cervetto, who took such an interest in him that he taught him gratuitously. His first position was at the Brighton Theatre, where he played before the Prince Regent. In 1794 he succeeded Sperati as first violoncellist at the Opera and at all the principal concerts, which position he held until he retired in 1851. Lind-ley and Dragonetti, the great doublebass-player, were friends for over fifty years. The Royal Academy of Music was established in 1822 and he became a professor. Lindley was probably the greatest cellist of his time, his techinque was remarkable and his tone was pure, rich and strong. He composed for his instrument, but nothing of importance. He died in London.
Lindner (lint'-nër), Friedrich. 1540-1597.
Born at Liegnitz, in Silesia. He was a boy-chorister in the Electoral Chapel at Dresden. He was educated at the expense of the Elector, first at the famous school at Pforta and later in the University at Leipsic. He was in the service of Count George Frederic, at Anspach, for ten years. In 1574 he was appointed cantor at the Church of St. AEgidius at Nuremberg, where he died. Among his compositions are two volumes of Cantiones sacra, and a volume of Masses. His music shows the kind used at the time in Lutheran Churches and schools of Nuremberg and elsewhere.
Lindpaintner (lint'-pint-nér), Peter Joseph von. 1791-1856.
Conductor and composer; born at Coblentz. His father was a tenor singer in the service of the Elector of Treves and removed with him to Augsburg when the French took possession of the electorate. It was there that young Lindpaintner studied violin, piano and counterpoint. The Elector became interested in him and provided him with the means to study under the famous composer, Winter, at Munich. Here he wrote his first opera, Demophoon; a mass, and a Te Deum, which were successfully produced in 1811. His kind patron died the next year and he was obliged to accept the position of music-director of the Isarthor Theatre. At the same time he continued his studies under the celebrated contrapuntist, Joseph Grätz. His compositions had been very successful, and in 1819 he was appointed chapelmaster for the Royal band at Stuttgart, which post he held until his death. He brought this orchestra up to such a standard of excellence that it ranked among the best in Germany. Mendelssohn said he played upon it, with his baton, as if it had been a single instrument. He had many offers for professional engagements, but only accepted one. This was three years before his death, when he went to England to conduct the New Philharmonic concerts in London. He also conducted these concerts the next year. Previous to this time, in 1848, he had received a medal from Queen Victoria for the dedication of his oratorio, Abraham. He received many gifts from royalty, and he was a member of almost every musical institution of the Continent. He composed twenty-eight operas, three ballets, five melodramas and oratorios, several cantatas, six masses, a Stabat Mater, and more than fifty songs with piano accompaniment, be-sides symphonies, overtures, concertos, fantasias, trios and quartets for different instruments. He restored Handel's Judas Maccabaeus. His operas were mostly of the Romantic School, the best being The Vampyre, The Mountain King, and The Sicilian Vespers. Equally worthy of mention is his overture and incidental music to Goethe's Faust, and among his songs, Roland and The Standard-bearer created quite a furore at their appearance. He died at Nonnenhorn, on Lake Constance, while away for a summer's holiday.
Lindsay, Miss M.
Mrs. J. Worthington Bliss, popular English song-writer; born at Wimbledon. Her ballads, somewhat in the style of Claribel, are very popular. Some of her best songs are Airy, Fairy Lillian; Alone; The Bridge; Excelsior; Far Away; Home They Brought Her Warrior Dead.
Linley, Francis. 1771-1800.
English organist and composer; born at Doncaster. Though blind from his . birth he received a good education, studying under Dr. Miller. He became organist of St. James' Chapel, Pentonville. He married about this time and his wife was blind also. Their marriage was not a happy one and they soon separated. He had bought the business of Bland, music-seller in Holborn, in 1796, but his venture was unsuccessful and he left for America the same year. He remained there until 1799, playing successfully. Returning to England he died at Doncaster the next year. Among his compositions are songs, piano and organ-pieces, flute solos and duets, and an Organ Tutor.
Linley, George. 1798-1865.
Born at Leeds; the son of a tradesman. He received his early education at Eastbury's Quaker School. He contributed verses to the newspapers and wrote some satirical pamphlets about the notables of his native town. He lived for a while at Doncaster, then Edinburgh, finally taking up his residence in London. He composed several hundred songs between 1830 and 1865, some of them being the most popular of their time: Ever of thee; I cannot mind my wheel, Mother; Thou art gone from my gaze; and others. He also did literary work of various kinds. His Musical Cynics of Lon-don, 1862, was a satirical attack upon H. F. Chorley and others, and did him more harm than good. The Modern Hudibras appeared two years later. He died at Kensington and was buried at Kensal Green. He composed the operas, Francesca Doria; La Poupée de Nuremberg; The Toymaker; and Law Versus Love. He collected and arranged songs under the titles, Scottish Melodies; Songs of the Camp; Original Hymn Tunes; and others. Among his latest works were two books of Nursery Rhymes.
Linley, Thomas, sr. 1732-1795.
English composer; born at Wells, Somerset; the son of a carpenter. His first musical instruction was obtained from Chilcot, an organist, at Bath. Later he studied at Naples under Paradies. Upon his return to Bath he became a very successful singing-teacher and also conducted popular concerts, at which he produced much of Handel's music. In 1774 he succeeded John Christopher Smith as joint-manager, with Stanley, of the Drury Lane Oratorios, and upon the death of Stanley conducted them jointly with Dr. Arnold. In 1775 he and his eldest son, Thomas, composed and compiled the music for Sheridan's comic opera, The Duenna, which was very successful, running for seventy-five nights at Drury Lane, a very unusual occurrence at that time. Upon the request of Sheridan, who was his son-in-law, he went to Lon-don, and with him and Richard Ford purchased Garrick's share in Drury
Lane. He was director there for fifteen years and composed several successful pieces. In 1777 he became a member of the Royal Society of Musicians. Of twelve children, only three survived him, and grief at their loss and shock at the sudden death of his son, Thomas, undermined his health, and he died suddenly at sixty-three years of age in London. He was buried in Wells Cathedral, where a monument has been erected to his memory by his son William. Linley ranks very high as an English composer. Besides The Duenna, already mentioned, he composed The Royal Merchant; The Carnival of Venice; The Triumph of Mirth; Tom Jones; Richard Coeur de Lion; the song in the School for Scandal; and accompaniments to the songs in The Beggar's Opera. He also set such parts as were intended for the voice in Sheridan's Monody on the Death of Garrick; six elegies for three voices; and twelve ballads. Much of his work, also that of his son, Thomas, was published posthumously.
Elizabeth Ann, 1754-1792, his eldest daughter, born at Bath, was a concert soprano. She had the title of The Maid of Bath. In 1773 she married Richard Brinsley Sheridan, and retired at the height of her popularity. She was painted by Sir Joshua Reynolds as St. Cecilia and sat for the Virgin in his Nativity. She died of consumption of Hotwells, Bristol.
Mary, his second daughter, 1756-1787, was born at Bath. She studied with her father and sang with her sister. She married Richard Tickell. She died at Clifton.
Maria, his third daughter, and also a singer, died at Bath, in 1784. at an early age.
Linley, Thomas, jr. 1756-1778.
Eldest son of the preceding; born at Bath. His first instruction was from his father, and he first appeared. in public at the age of eight. His next teacher was Dr. Boyce, at the close of whose tuition, in 1768, he wrote six violin solos. Two years later he became the pupil of Nardini, at Florence. He made the acquaintance there of Mozart, and the two became firm friends. Returning to Bath in 1773, he became leader of the orchestra and solo-player at his father's concerts, and afterwards at the Drury Lane Oratorios. He was drowned through the capsizing of a pleasure-boat, while visiting the Duke of Ancaster at Grimsthorpe, in Lincolnshire. He was considered one of the finest violinists in Europe. He composed an anthem, Let God Arise; portions of The Duenna; a short oratorio, The Song of Moses; a glee for five voices, Hark! the Bird's Melodious Strain, the upper part of which was usually sung by his sister, Mrs. Sheridan. Most of his compositions are contained in the collection of his father's works and his own, published in 1800.
Lipinski (li-pin'-shki), Karl Joseph. 1790-1861.
One of the greatest of violin virtuosos. Was born at Radzyn, in Poland. His father was an amateur on the violin and gave him some instruction. At ten years of age he taught himself to play the violoncello, and this practise gave him much strength and helped him with his violin playing. In 1810 he became first violin at the Lemberg Theatre, two years later becoming conductor. In 1814 he gave up his position and spent three years studying the theory of composition. At the end of this time he went to Italy to benefit him-self from hearing Paganini. They became acquainted and met daily to play, also appearing together in public, which greatly added to Lipinski's fame. Upon his return in 1818 he stopped at Trieste to see Dr. Mazzurana, former pupil of Tartini, to learn something of the latter's method. Mazzurana was ninety years old, and could not play the violin himself, but criticized Lipinski's performance of one of Tartini's sonatas. He had him read a poem which explained the motif, thus getting the master's idea. Lipinski ever after tried to use this method, and to it he owes much of his success in rendering Beethoven's compositions. He had the means to travel, and visited Germany, and, later, Russia. In 1829 he met Paganini again, this time in Warsaw; but it was as rivals, not as friends, for both gave concerts, and each had his own faction. He spent the years from 1835 to 1839 in travel, touring Germany, England, France, Austria, and again Russia. In Leipsic he made the acquaintance of Schumann. In England he played his military concerto at a Philharmonic concert. In 1839 he became concertmaster at the Royal Opera in Dresden, where he remained for many years. He retired with a pension in 1861, and died the same year at his estate, Urlow, near Lemberg. His playing was wonderful; he overcame technical difficulties with ease, and produced a powerful as well as beautiful tone. In later years he preferred Beethoven's great quartets and Bach's solos above everything else. His compositions include concertos, variations, and fantasias for the violin; but his works are nearly forgotten, with the exception of his once extremely popular military concerto.
Listemann (lis-to-män), Bernhard. 1841-
Violinist; born at Schlotheim, Thuringia. His instructors were Ulrich and David at Leipsic; Vieuxtemps and Joachim at Hanover. At the age of seventeen he was appointed Court violinist to the Prince of Schwartzburg. He came with his brother to this country in 1867 and traveled extensively, then took up his residence in Boston. From 1870 to 1874 he was leader in the Thomas Orchestra in New York. He then founded the Boston Philharmonic Club and toured the country for four years. In 1879 he organized the Boston Philharmonic Orchestra, of which he was director for two years, when he became leader of the Boston Symphony Orchestra, established by Mr. Higginson. In the same year he started the Listemann String Quartet, which is still in existence and holding a reputation for excellent work. From 1885 to 1893 he was soloist and director of the Listemann Concert Company and also was teaching in Boston, in which work he became very prominent. Since 1893 he has been the head of the violin department in the Chicago College of Music. Listemann has published a Method for Violin.
Listemann, Fritz. 1839-
Brother of the preceding; also born at Schlotheim, Germany. He also studied under Wilhelm Ulrich, who was their uncle and concertmaster of Sonderhausen, and later under David, graduating from the Leipsic Conservatory. While very young he was a member of leading orchestras in Europe, and was made chamber-virtuoso to the Prince of Rudolstadt in 1858. In 1867 he came to this country with his brother, first spending a few years in Boston, and in 1871 he became first violin in the Thomas Orchestra. The brothers went to Boston in 1874, and Fritz was one of the sextet organized by Bernhard and called the Boston Philharmonic Club. He also became a member of the Boston Symphony Orchestra and of the Listemann Concert Company. He studied composition for several years with Edward Alexander MacDowell, and has been very successful in teaching. Among his compositions are violin concertos; a Grosse Polonaise and Idylle; songs and variations.
Litoff (lë-tôf), Henry Charles. 1818-1891.
English pianist and composer, most of whose life was spent on the Continent. His father was an Alsatian by birth, and had been taken prisoner by the English in the Peninsular War. When peace was declared he settled in London as a violinist, married, and there Henry Charles was born. In 1831 Moscheles heard the boy play, and offered to teach him gratuitously. His first public appearance was at Covent Garden when twelve years old. When only seventeen he married, against the wishes of his parents, and left the country to live in France. The marriage proved an unhappy one and he separated from his wife. He spent several years in travel, visiting Paris, Brussels, Leipsic, Prague, Dresden, Berlin and Amsterdam, playing successfully and gaining some reputation for his compositions. In 1851 he went to Brunswick, and married the widow of Meyer, a music-publisher. He carried on this business until 1860, when he turned it over to his step-son, Theodor, who, the next year, began the well-known "Collection Litoff," which was the first of cheap and accurate editions of classical music. Litoff went to Paris, and, after a divorce, married, for his third wife, a Comtesse de Larochefoucauld. He died at Bois le Combes, near Paris. As a pianist he had taste, fire and brilliancy, but lacked accuracy. His compositions are not of equal merit, though they contain beautiful and poetic ideas. It is a disappontiment that he did not give forth the best of his powers. Of his works, about one hundred and fifteen have been published, and include operas, among them Les Templiers; a violin concerto; a short oratorio, Ruth and Boaz; and much chamber-music. His piano music is his best, including the well-known Spinnlied; overtures; and symphony concertos. Of the last-named, numbers three, four, and five are especially beautiful, containing a wealth of original ideas in harmony, melody, and rhythm, and their instrumentation is remarkable.
Litta (lit'-tä), Marie. 1856-1883.
American singer, whose real name was Marie von Ellsner. Her father was a musician, though but little known, and she early showed her remarkable talent. At four years of age she appeared in public, and at nine she sang at Steinway Hall, New York, where she was received as a virtuosa. When she was thirteen years old her father took her to Cleve-land, Ohio, where she obtained an opportunity to sing between the acts at a German theatre. She was heard by a Mr. Hugo Hench, a gentleman of culture, who became interested in her, and obtained for her a hearing with Mr. John Underer, an experienced singing-master. Mr. Underer was charmed with her voice, and offered to give her daily instruction, under which she advanced rapidly. Litta became a great favorite with the public, and when her teacher decided that she should go abroad to study, a generous offer to defray her expenses came from Mr. A. B. Hough. In September, 1874, she had a benefit concert, which was a remarkable success, and she left in a few days for Paris, where she became a pupil of Mme. Viardot. Within a year she mastered many difficult parts and made her debut at Drury Lane, London, in 1876, as Isabella, in Robert le Diable, with Nilsson as Alice. Her attention was next turned to perfecting her acting, and she returned to Paris to study under La Grange. Her success now became wonderful, and during the next few years she obtained a place among the best of lyric artists. In 1878 she returned to America and appeared under the management of Max Strakosch, being everywhere received with enthusiasm. She later engaged Mr. Henry L. Slayton to be her manager, and for five years before her death sang almost constantly. Her health finally gave out and she returned to her home in Bloomington, Ill., where she died.
Liverati (lé-vë-rä'-te), Giovanni. 1772-1817.
Dramatic singer and composer; born at Bologna. His early musical instruction was under Giuseppe and Ferdinand Tibbaldi, who were celebrated composers. At the age of fourteen he began to study under Abbate Mattei for piano, organ, thorough-bass and composition. Later he took singing lessons from Lorenzo Gibelli. At seventeen he had composed some psalms, and two years later appeared his first dramatic composition, a one-act opera. About the same time he composed a mass for two voices with organ accompaniment, also The Seven Words of Jesus Christ on the Cross, for three voices with wind accompaniment, and A Grand Requiem Mass. In early youth he had been a singer in churches and concerts, and in 1792 he became first tenor in the Italian Theatre in Barcelona. Afterwards he went to Madrid, and for several years he directed Italian Opera at Potsdam, besides performing the duties of chapelmaster at Prague and Trieste. He went to Vienna in 1805, where he taught singing, remaining there until 1814, when he went to London as a composer to the King's Theatre. In Vienna he stood on terms of intimacy with the celebrated masters, Haydn, Beethoven, Kozeluch and Salieri, Liverati wrote fourteen operas; several cantatas; two oratorios; many vocal compositions; several stringed quartets; and much sacred music.
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