don about the year 1861. He built the organs of the Protestant and Catholic Cathedrals, Newcastle-on-Tyne, and in London those of St. Peter's, Eaton Square, and Holy Trinity, Paddington. But his largest work is the organ of St. Andrew's Hall, Glasgow. The firm is now Lewis & Co., Limited.
LICENZA. Used by Mozart for the first movement of a vocal piece (no. 70), and last movement of another ditto (no. 36). (B. & H.'s List of new editions.)
LICHNOWSKY. P. 132b, l. 7 from end of article, for Stammer read Stummer. (Corrected in late editions.)
LIFE LET US CHERISH. A favourite German song, commencing 'Freut euch des Lebens,' the author of which is Martin Usteri of Zurich; first published in the 'Göttinger Musenalmanach' for 1796 without the author's name. The music was written in 1793 by Hans Georg Nägeli. It is used as subject for the elaborate variations which form the last movement of Woelfl's celebrated sonata called 'Non plus ultra.'
LIMPUS, R. In reference at end of article, add in Appendix.
LINCKE, Joseph. In the musical example, the sign 
should be over the third bar of the canon.
LINCOLN, Henry Cephas, born 1789 and died 1864, was an organ-builder in London. He built the organ in the Pavilion, Brighton, which is now in Buckingham Palace.
LIND, Jenny. P. 140b, l. 25, for she obtained a hearing read she was to have appeared. Line 16 from bottom, for Dec. 6 read Dec. 4. P. 141b, after the cadences, add See a cadence of hers in the Musical Union Record, 1849, p. 8. Add that from Easter 1883 to Easter 1886 she was professor of singing at the Royal College of Music, and that she died at Wynd's Point, Malvern, on Nov. 2, 1887.
LINDBLAD, A. F. Line 7 of article, for in August read Aug. 23.
LINDPAINTNER, P. J. von. Add that in 1854 he conducted several of the New Philharmonic Concerts.
LINLEY, Francis. Add date of purchase of Bland's business, 1796; and for day of death, read Sept. 15.
LINLEY, George, born 1798, wrote a large number of. songs, ballads, and other pieces, very popular in their day. He also wrote and composed music for an operetta, 'The Toymaker,' produced at Covent Garden, Nov. 20, 1861. He died at Kensington, Sept. 10, 1865.
LINLEY, Thomas. The correct date of birth is probably 1732, since he was said at the time of his death to be 63 years old.
LISZT, Franz or Ferencz. P. 146a, to his appearances at the Philharmonic add June 14, 1841 (Hummel's Septet). Add the following supplementary notice:—
The last concert given by Franz Liszt for his own benefit was that at Elisabethgrad towards the end of 1847,[1] since when his artistic activity was exclusively devoted to the benefit of others. No more striking evidence of the nobility of Liszt's purpose and of the gracious manner in which he fulfilled it could be wished for than that contained in the recently published correspondence between Liszt and Wagner.[2] The two volumes cover the Weimar period, but by no means represent the extent of the friendship between these two great men, which was only interrupted by death. Liszt's character as here revealed calls for nothing less than reverence. His solicitude is so tender, so fatherly, so untainted with selfishness, and, above all, so wise! The letters tell the story of a struggle and of a victory for his friend, but they are silent upon the incidents of his own life. On being asked one day the reason of his abstention from creative work, Liszt replied by another question, 'Can you not guess?' To Wagner himself, who urged him to compose a German opera on his (Wagner's) tragedy of 'Wieland der Schmidt,' Liszt answered that he felt no vocation for such a task; he thought it more likely that he might give his first dramatic work a trial in Paris or in London. So he continued a life of self-abnegation, and died faithful to the last to the claims of friendship and of genius, many young composers besides the titanic Wagner owing their first successes in life to his generous sympathy and penetrating judgment. He made Weimar, during the twelve years of his residence, the centre of musical life in Germany. 'I had dreamed for Weimar a new Art period,' wrote Liszt in 1860, 'similar to that of Karl August, in which Wagner and I would have been the leaders as formerly Goethe and Schiller, but unfavourable circumstances brought these dreams to nothing.' Though Liszt did not accomplish all he wished for Weimar, the little city still ranks high among German art-centres, and in some degree carries on the work of advancement so firmly established between the years 1844 and 1861.
The resignation of the Weimar Kapellmeistership in 1861 was followed by what Liszt called his vie trifurquée, divided between Budapest, Weimar, and Rome. The Hungarian Government, in order to ensure Liszt's presence in Budapest during part of the year, invented for him (1870) the post of president of an institution which at the moment did not exist, but which soon afterwards rose as the Academy of Music. Impressive scenes occurred when the Magyars publicly fêted their compatriot,[3] and hero-worship was at its height on such occasions as the jubilee of the master's career in 1873, when 'Christus' was performed at the Hungarian capital.
The aspect of Liszt's every-day life at Weimar has become known through the accounts of some of the host of aspiring pianists and music lovers who gathered around him there. Liszt's teaching
