Page:A Dictionary of Music and Musicians vol 2.djvu/163

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  1. For Men's Voices.
    1. 1. Vereinslied ; 2. Ständchen; 3. Wir sind nicht Mumien; 4–6. Geharnischte Lieder (also for P.F.); 7. Soldatenlied; 8. Die alten Sagen; 9. Sastengrün; 10. Der Gang um Mitternacht; 11. Festlied; 12. Gottes ist der Orient. Kahnt.
    2. Das düstre Meer. Unter allen Wipfeln. Eck.
    3. Vierstimmige Männergesänge. 1. Rheinweinlied; 2. Studentenlied; 3. Reiterlied; 4. Ditto. Schott.
    4. An die Künstler. With orch. Kahnt.
    5. Fest-Chor (Herder-Memorial, 1850). Weber.
    6. Festgesang. Kühn.
    7. Das Lied der Begeisterung. Taborizky & Parsch.
    8. Was ist des Deutschen Vaterland? Schlesinger.
    9. Weimar's Volkslied. Also for Organ and P.F., 2 and 4 hands. Kühn.
  2. For Single Voice and P.F.
    1. Gesammelte Lieder. Kahnt. 1. Mignon's Lied (also with orch. accomp. and for P.F.); 2. Es war ein König (also for P.F.); 3. Der du vom Himmel bist (also for P.F.); 4. Freudvoll und Leidvoll; 5. Wer nie sein Brod; 6. Ueber allen Gipfeln ist Ruh'; 7. Der Fischerknabe (also with orch.); 8. Der Hirt (also with orch.); 9. Der Alpenjäger (also with orch.); 10. Die Lorelei (also with orch. and for P.F.); 11. Am Rhein (also for P.F.); 12. Vergiftet sind mein Lieder; 13. Du bist wie eine Blume; 14. Anfangs wollt' ich; 15. Morgens steh' ich auf; 16. Ein Fichtenbaum (2); 17. Comment disaient-ils? 18. Oh! quand je dors; 19. S'il est un channant gazon; 20. Enfant si j'etais Roi; 21. Es rauschen die Winde; 22. Wo weilt er? 23. Nimm' einen Strahl; 24. Schwebe, blaues Auge; 25. Die Vatergruft; 26. Angiolin dal biondo crin (also for P.F.); 27. Kling leise; 28. Es muss ein Wunderbares sein; 29. Mutter Gottes Straüsslein (1); 30. Ditto (2); 31. Lasst mien ruhen; 32. Wie singt die Lerche; 33. In Liebeslust; 34. Ich möchte hingehn; 35. Nonnenwerth (also for P.F.); 36. Jugendglück; 37. Wieder möcht' ich dir begegnen; 38. Blume und Duft; 39. Ich liebe dich; 40. Die stille Wasserrose; 41. Wer nie sein Brod; 42. Ich scheide; 43. Die drei Zigeuner (also with orch.); 44. Lebe wohl; 45. Was Liebe sei; 46. Die todte Nachtigall; 47. Bist du; 48. Gebet; 49. Ernst; 50. An Edlitam; 51. Und sprich; 52. Die Fischerstochter; 53. Sei still; 54. Der Glückliche; 55. Ihr Glocken von Marling. Kahnt.
    2. Il m'aimait tant (also for P.F.) Schott.
    3. Drei Lieder. 1. Hohe Liebe; 2. Gestorben war ich; 3. O lieb'; also for P.F. as 'Liebesträume.' Kistner.
    4. Tre Sonetti di Petrarca. Haslinger.
    5. Die Macht der Musik. Kistner.
    6. Jeanne d'Arc au bucher, Mezzo-Soprano and Orch., or P.F. Schott.
    7. Ave Maris Stella. Kahnt.


  1. Bürger's Leonore, Kahnt; Lenau's Der traurige Mönch, Kahnt; Jokai's Des todten Dichters Liebe, Táborszky & Parsch; Strachwitz's Helge's Treue, Schuberth; Tolstoy's Der blinde Sänger, Bessel, Petersburg.


  1. Beethoven. i. & ii. Sonatas complete. iii. Variations for P.F. solo. IV. Various P.F. compositions for 2 and 4 hands. V. Duets for P.F. and violin. VI. Duets for P.F. and cello, or horn. VII. Trios for P.F, violin, and cello. X. Masses, vocal score. XIV. String quartets. XV. Trios for strings, wind and strings, and wind only. Holle.
  2. Field. 18 Nocturnes, annotated. Schuberth.
  3. Hummel's Septet; also as quintet for P.F. and strings. Schuberth.
  4. Schubert's P.F. Sonatas and Solos (selected); 2 vols. Cotta.
  5. Weber's P.F. Sonatas and Solos; 2 vols. Cotta.
  6. Viole's Gartenlaube; 100 Etudes in 10 parts. Kahnt.


  1. De la Fondation-Goethe à Weimar. Brockhaus, 1851.
  2. Lohengrin et Tannhäuser de Richard Wagner. Brockhaus, 1851.
  3. R. Wagner's Lohengrin und Tannhäuser; with musical illustrations. Eyssen.
  4. Fred. Chopin. B. & H. 1852.
  5. Die Zigeuner und ihre Musik in Ungarn. In German and Hungarian; the former revised by Cornelius. Heckenast, Pressburg, 1861.
  6. Ueber Field's Nocturnes; French and German. Schuberth, 1859.
  7. Robert Franz. Leuckart, 1872.
  8. Verschiedene Aufsätze in der 'Gazette musicale' de Paris, und in der Neuen Zeitschrift für Musik. Kahnt.
  9. Schumann's Musikalische Haus- und Lebens-regeln; translated into French. Schuberth, 1860.

[ F. H. ]

LITANIÆ LAURETANÆ (Litany of Loreto). A solemn Litany, sung in honour of the Blessed Virgin Mary.

It is no longer possible to ascertain when, where, or by whom, this Litany was originally written: but, if we may trust the very generally received tradition that it was first chaunted at Loreto, and carried thence, by Pilgrims, to all parts of the world, it cannot be of earlier date than the closing years of the 13th century. It has, undoubtedly, been chaunted there, every evening, from time immemorial. In other places, it is most frequently sung, either in solemn Processions, or, during the Exposition of the Blessed Sacrament at Benediction: but its use—especially on the Continent—is by no means restricted to those particular occasions. In Rome, for instance, it is constantly sung, at almost every popular Service, to a simple Plain Chaunt melody, familiar to all Italians, and printed, in its purest form, in the new Ratisbon edition of the 'Directorium Chori.' This is, probably, the oldest music to which the words were ever adapted. Its date, like theirs, is uncertain: but it is at least old enough to have attracted the attention of the great Polyphonic Composers of the 16th century, some of whom have treated it in their best, and most devout style, and, when adopting it as a Canto fermo, have carefully abstained from destroying the simplicity of its character by the introduction of vain and irrelevant conceits.

Palestrina was especially devoted to the Litany; and, in 1593, published a volume, containing, in two books, ten different settings, of exquisite beauty, composed for the use of the 'Confraternity of the Holy Rosary.' One of the most beautiful divisions of the work is reprinted in the fourth volume of Proske's 'Musica Divina': but a great number of the Composer's finest Litanies still remain in MS.

Another volume of Litanies, by various authors, was published at Munich, in 1596, by Georgius Victorinus, under the title of 'Thesaurus Litaniarum.' We here find, among other interesting works, a charming Litany, by Orlando di Lasso, founded entirely upon the Plain Chaunt Canto fermo, and so simple in construction that the most modest Choir need feel no hesitation in attempting it. This Litany is also reprinted, entire, in the fourth volume of 'Musica Divina,' together with some others from the same rare work, which, fortunately, is not the only collection that has been preserved to us from the 16th century. Under the title of Litaniæ Catholicæ ad Christum, Beatam Virginem, et Sanctos, a highly interesting work was printed by Wolfgang Eder, at Ingolstadt, in 1589. Another, called Sacræ Litaniæ variæ, was published at Antwerp, in 1595. A precious volume, believed to be unique, wanting the title and first nine pages—and, therefore, without date—is preserved in the Library bequeathed by Dr. Proske to the cathedral of Ratisbon. And many other printed collections are still extant, containing quite a little treasury of Art.

At Notre Dame de Paris, the Litany is annually sung, in grand Procession, on the afternoon of the Feast of the Assumption, to a form of the First Tone, which, set with the melody in the Tenor, produces an indescribably solemn effect.

[ W. S. R. ]

LITANY (Old Eng. Letanie; Lat. Litaniæ; Gr. Λιτανεία, a Supplication). A solemn form of prayer; sung, by Priests and Choir, in alternate Invocations and Responses; and found in most Office-Books, both of the Eastern and Western Church. [See Litaniæ, etc.]