Page:A Dictionary of Music and Musicians vol 2.djvu/170

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Musick,' 1669; 'Choice Ayres, Songs and Dialogues,' 1676–84; and 'The Theater of Music,' 1687; and eight three-part vocal compositions by him (including 'Ne'er trouble thyself at the times or their turning,' reprinted in some modern collections) in 'The Musical Companion,' 1667. Instrumental compositions by him are printed in 'Courtly Masquing Ayres,' 1662; 'Musick's Delight on the Cithern,' 1666; 'Apollo's Banquet,' 1669; 'Musick's Handmaid,' 1678 (reprinted in J. S. Smith's 'Musica Antiqua'); and Greeting's 'Pleasant Companion,' 1680. In several of these is 'A Dance in the Play of Macbeth,' evidently written for an earlier version than Davenant's.[1] The library of the Sacred Harmonic Society contains the autograph MS. of a 'Consort of ffoure Parts' for viols, containing six suites, each consisting of a fantazia, courante, ayre and saraband, which Roger North (1728) tells us was 'the last of the kind that hath been made.' Lock died in August 1677. He is said to have been buried in the Savoy, but the fact cannot be verified, the existing registers extending no further back than 1680. Purcell composed an elegy on his death, printed in 'Choice Ayres' etc., Book II, 1689. A portrait of him is in the Music School, Oxford.

[ W. H. H. ]

LOCKEY, Charles, son of Angel Lockey of Oxford, was admitted a chorister of Magdalen College, April 1, 1828, and remained so until 1836, when he went to Bath to study under Edward Harris. In 1842 he became a pupil of Sir George Smart and lay clerk of St. George's Chapel, Windsor. In 1843 he was appointed vicar choral of St. Paul's Cathedral. In 1846 he was engaged for the Birmingham Festival and allotted the tenor song 'Then shall the righteous,' in the first performance of 'Elijah.' On hearing him rehearse the song, Mendelssohn immediately requested him also to sing 'If with all your hearts,' which had before been assigned to another singer. 'A young English tenor,' says the composer,[2] 'sang the last air so very beautifully that I was obliged to collect myself to prevent my being overcome, and to enable me to beat time steadily.'—In April 1848 Lockey was appointed a gentlemen of the Chapel Royal. He married May 24, 1853, Miss Martha Williams, contralto singer. In 1859 an affection of the throat deprived him of his voice and compelled his retirement.

[ W. H. H. ]

LOCRIAN MODE (Lat. Modus Locrius, Modus Hyperæolius). The Eleventh Ecclesiastical Mode: a tonality which can scarcely be said to have any real existence—as it is universally discarded, in practice, on account of its false relation of Mi contra Fa—though, in theory, it necessarily takes its regular place in the series. [See Mi contra Fa.]

Theoretically, the Final of the Locrian Mode is B. Its compass, in the Authentic form, ranges between that note, and its octave above; and its semitones lie between the first and second, and third and fourth degrees. Its Dominant is G, (F being inadmissible, by reason of its forbidden relation with the Final,) and its Mediant, D. Its Participants are E, and F; its Conceded Modulations, C, and the A below the Final; and its Absolute Initials, B, C, D, and G.

Mode XI.

{ \override Score.TimeSignature #'stencil = ##f \cadenzaOn \relative b { b1^"Fin."( c) d^"Med." e^"Part." f^"Part."( g^"Dom.") a b \bar "||" } }

In its Pagal, or Hypolocrian form, (Mode XII,) its compass lies between F and the F above; and its semitones fall between the fourth and fifth and the seventh and eighth degrees. Its Final is B; its Dominant, E; and its Mediant, D. Its Participants are G, and C; its Conceded Modulations, A, and the upper F; and its Absolute Initials, G, A, B, C, D, and E.

Mode XII.

{ \override Score.TimeSignature #'stencil = ##f \cadenzaOn f1 g^"Part." a b^"Fin."( c'^"Part.") d'^"Med." e'^"Dom."( f') \bar "||" }

It will be observed that the actual notes of Modes XI and XII correspond, exactly, with those of Modes IV and V. The reason why the two former are discarded, and the two latter held in good repute, is this. Mode IV, being Plagal, is subject to the 'Arithmetical Division'; i.e. it consists of a Perfect Fourth, placed below a Perfect Fifth. But, Mode XI is Authentic; and, by virtue of the 'Harmonic Division,' consists of a Quinta falsa, placed below a Tritonus—both of which intervals are forbidden, in Plain Chaunt. Again, Mode V, being Authentic, and therefore subject to the 'Harmonic Division,' resolves itself into a Perfect Fifth, below a Perfect Fourth. But, Mode XII is Plagal; and, under the 'Arithmetical Division,' exhibits a Tritonus, below a Quinta falsa. [See Modes, the Ecclesiastical.]

A very few Plain Chaunt Melodies, and Polyphonic Compositions, are sometimes referred to these rejected Modes: but, such cases are exceedingly rare; and it will generally be found that they are really derived, by transposition, from some other tonality.

[ W. S. R. ]

LODER, Edward James, son of John David Loder, born at Bath, 1813, was in 1826 sent to Frankfort to study music under Ferdinand Ries. He returned to England in 1828, and went back to Germany with the view of qualifying himself for the medical profession, but soon changed his mind and again placed himself under Ries. When he again came back to England he was commissioned by Arnold to compose the music for 'Nourjahad,' an old drama of his to which he had added songs, etc., to convert it into an opera, for the opening of the new English Opera House, then building. The opera was produced in July, 1834, and, notwithstanding very general admiration of the music, proved unattractive owing to the poverty of the libretto.

  1. Pepys, who from Nov. 5, 1661. to Dec. 21, 1668. saw 'Macbeth' performed seven times, mentions (April 19, 1667; the 'variety of dancing and musick' in it.
  2. Letter of Aug. 26, 1846.