Page:A Dictionary of Music and Musicians vol 4.djvu/722

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706
MAAS.
LOVER.

LOVER, Samuel, born at Dublin in 1797, began his career as an artist and miniature painter, was elected a member of the Royal Hibernian Society of Arts in 1828, and afterwards became its secretary. He wrote a number of successful novels, dramas, and poems, and composed both words and music of many songs and ballads. He also appeared as a singer in a musical entertainment, 'The Irishman's Carpet Bag.' His compositions include the music and songs to his dramas and burlettas produced at the London theatres and rendered popular by Mme. Vestris, Tyrone Power, and others, viz. 'Rory O'More,' Adelphi, Sept. 29, 1837; 'White Horse of the Peppers,' Haymarket, 1838; 'Happy Man,' Haymarket, May 20, 1839; 'Greek Boy,' Covent Garden, Sept. 26, 1840; 'Il Paddy Whack in Italia,' English Opera House (Lyceum), April, 1841; 'MacCarthy More,' Lyceum, April 1, 1861, and many detached songs, principally Irish, both humorous and pathetic. Many of these were very effective, as, for instance, his 'What will you do, love?' 'Angel's Whisper,' 'Molly Bawn,' and 'The low-backed Car.' An evening entertainment which he attempted met with some success in England and America. He died July 6, 1868.

[ A. C. ]

LUCAS, Charles. Add that in 1840–3 he occasionally conducted at the Ancient Concerts.

LUCCA, Pauline. Add date of birth, April 26, 1841, and that her parents were Italian. P. 171a, l. 22, for In July read On July 22. Add that in the Italian seasons of 1882–4, at Covent Garden, Mme. Lucca appeared in the parts of Selica, Cherubino, Carmen, etc., and was announced to appear in 'Colomba,' but that opera was not produced. In the last line of the article, for Rahder read Rahden. (Corrected in late editions.)

LUISA MILLER. Line 4 of article, for December read Dec. 8.

LUMBYE, H. C. Correct date of birth to May 2, 1810.

LUSTIGE WEIBER VON WINDSOR. Line 4 of article, for in May read March 9. (Corrected in late editions.)

LUTE. P. 176a, l. 8 from bottom, omit the clause between the commas, as the lute is not furnished with a soundpost. P. 176b, l. 13, the single-necked lute had, about a.d. 1600, open strings or diapasons as well as the theorbo, but always in pairs of strings. For 'luth téorbé,' or 'liuto attiorbato ' see Theorbo, vol. iv. p. 100b. P. 177a, ll. 40, 54, 59, for the modernizing of the Laux Maler lute figured on p. 176, the use made of old lutes to repair other instruments, the attribution of the surname Luther, the true date for Maler, and the anecdote told by Mace concerning King Charles and Goothiere (Gaultier), see THEORBO, vol. iv. p. 100b.

[ A. J. H. ]

LUTENIST. The date given on p. 178a, l. 4, is corrected in the article Shore, vol. iii. 488b, where the death of Shore is given as 1750. 1752 is probably the correct date.

LUTHERAN CHAPEL. The last sentence of the article should run:—The organists since 1784 have been Augustus Friedrich Karl Kollmann, died Easter Day, 1829, etc.

LWOFF, Alexis. Add date of birth, May 25.

LYCEUM THEATRE. P. 181a, l. 20, for July 22 read July 23. Line 11 from end of article, for 71 read 41.


M.

MAAS, Joseph, born Jan. 30, 1847, at Dartford; began his career as a chorister at Rochester Cathedral, and was taught singing by J. L. Hopkins, the organist, and later by Mme. Bodola-Pyne. He was for some time a clerk in Chatham dockyard, but went to Milan in 1869, and studied under San Giovanni. He made his début at one of Leslie's concerts, Feb. 26, 1871, and sang 'Annabell Lee' in the place of Sinis Reeves, with great success, 'inasmuch as he was not only compelled by unanimous desire to repeat it, but there was a strong attempt to induce him to sing it a third time, which, however, he had the good sense to resist.' He played the hero in 'Babil and Bijou' at Covent Garden, Aug. 29, 1872; he then went to America, and played in Miss Kellogg's English Opera Company. He reappeared in England at the Adelphi under Carl Rosa, as Gontrau on the production of Briill's 'Golden Cross,' March 2, 1878, and was engaged by Rosa for three years as his principal tenor both at Her Majesty's and in the provinces. His principal parts were Rienzi on its production at Her Majesty's, Jan. 27, 1879; Raoul, Feb. 12, 1879; Wilhelm Meister on the production in English of 'Mignon,' Jan. 12, 1880; Radames on the production in English of 'Aïda,' Feb. 19, 1880; also Faust, Thaddeus, Don César, etc., He played at Her Majesty's in Italian in 1880, and at Covent Garden (as Lohengrin) in 1883. He played under Rosa at Drury Lane in 1883–85, his new parts being Edgar of Ravenswood, April 19, 1884, and the Chevalier des Grieux on production in London of 'Manon,' May 7, 1885. He was very popular on the stage, more on account of his very fine voice, which was said to resemble Giuglini's in character, rather than for his dramatic gift, since he was a very indifferent actor. He was equally popular in the concert-room, where he appeared first at the Sacred Harmonic, in the 'Messiah' April 4, 1879,