a horn-player at the Opéra Comique. Rejecting the offer of an engagement at the latter theatre, on Garcia's advice, she went to Italy, and received additional teaching from Bonfichi and Banderali at Milan. After singing with increased éclat at Venice, Munich, Brescia, Cremona, Venice (again), and other Italian cities, she at length appeared in London during the season of 1830. 'She had been for six years reported to be one of the best singers of Italy—much had been expected of her … She had been compared with the best of the best; but she arrived in England too late, and her place, moreover, had been filled by women of greater genius. She was a good musician, and sang with taste; but her voice, a soprano, ere she came had contracted a habit of trembling, in those days a novelty (would it had always remained so!), to which English ears were then averse. She gave little satisfaction' (Chorley). Mme. Méric sang, however, again in London in 1831. In Paris she pleased no better in these latter years, and at length retired, in 1833, as it is said, to Spain; since then no more has been heard of her. A biography, with a portrait, of Mme. Méric-Lalande was published in the musical journal, Teatro della Fenice, Venice, 1826, 18mo.
LALLA ROOKH. Moore's poem has been the parent of several musical compositions.
I. An opera, by C. E. Horn; produced in Dublin in or about 1820. 2. A ditto by Felicien David. [See Lalla Roukh.] 3. A ditto in 2 acts; words by Rodenberg, music by Rubinstein; produced at Dresden in March, 1863. The name of the piece has since been changed to Feramors. 4. Das Paradies und die Peri, by Schumann; and 5. Paradise and the Peri, a Fantasie-Overture by Sterndale Bennett. For these two last see their own headings.
[App. p.695 "add 2. 'Lalla Rukh,' a dramatic piece by Spontini, produced Jan. 27, 1821, at the Royal Palace, Berlin. [See vol. iii. p. 673.] Change 2, 3, 4, 5, to 3, 4, 5, 6. Add 7. 'Paradise and the Peri,' Cantata, John F. Barnett, Birmingham, 1870. For other musical compositions based on the poem see Clay, vol. i. 369b; Paradise and the Peri, vol. ii. 648b; and Stanford, vol. iii. 689."]
LALLA ROUKH. Opera in 2 acts, founded on Moore's poem; words by Lucas and Carré, music by Felicien David. Produced at the Opéra Comique May 12, 1862.
LAMB, Benjamin, organist of Eton College in the first quarter of the 18th century, and also verger of St. George's Chapel, Windsor, was the composer of some church music. An evening 'Cantate' service and four anthems by him are in the Tudway collection (Harl. MSS. 7341–42). He was also a composer of songs.
LAMBERT, George Jackson, son of George Lambert, organist of Beverley Minster, was born at Beverley in 1795 [App. p.695 "Nov. 16, 1794"]. He studied under his father until he was sixteen, then in London under Samuel Thomas Lyon, and finally became a pupil of Dr. Crotch. In 1818 he succeeded his father at Beverley. His compositions include overtures, instrumental chamber music, organ fugues, pianoforte pieces, etc. In 1874 ill health and deafness compelled him to relinquish his post and retire from active life. [App. p.695 "date of death, Jan. 24, 1880."]
The two Lamberts successively held the office of organist of Beverley Minster for the long period of 96 years, the father for 40 and the son for 56 years, and but for the latter's deafness would have held it for a century, a circumstance probably unparalleled.
LAMENTATIONS (Lat. Lamentationes Hieremiæ). On the Thursday, Friday, and Saturday, in Holy Week, the three First Lessons appointed, in the Roman Breviary, for the Office called Tenebræ, are taken from the Lamentations of Jeremiah; and the extraordinary beauty of the music to which they are sung, in the Sistine Chapel, and other large Churches, contributes not a little to the impressive character of the Service. [See Tenebræ.]
It is impossible to trace to its origin the Plain Chaunt melody to which the Lamentations were anciently adapted. The most celebrated version—though not, perhaps, the purest—is that printed by Guidetti, in his 'Directorium Chori,' in 1582. The best modern editions are those contained in the Mechlin 'Graduale,' and the Mechlin, and Ratisbon, 'Officium Hebdomadæ Sanctæ'; in which the Lessons are given, at full length, in Gregorian notation, although the music is really no more than a simple Chaunt, in the Sixth Mode, repeated, almost notatim, not only to each separate verse of the Sacred Text, but even to the prefatory 'Incipit Lamentatio Jeremiæ Prophetæ,' and the names of the Hebrew letters with which the several paragraphs are introduced.
VI. Modus.
Early in the 16th century, the use of the Plain Chaunt Lamentations was discontinued, in the Pontifical Chapel, to make room for a polyphonic setting, by Elziario Genet—more commonly known by his Italian cognomen, Carpentrasso—who held the appointment of Maestro di Capella, from 1515 to 1526. These compositions remained in constant use, till the year 1587, when Pope Sixtus V. ordained, that the First Lamentation for each day should be adapted to some kind of polyphonic music better fitted to express the mournful character of the words than that of Carpentrasso; and, that the Second and Third Lessons should be sung, by a single Soprano, to the old Plain Chaunt melody as revised by Guidetti. The disuse of Carpentrasso's time-honoured harmonies gave great offence to the Choir: but, the Pope's command being absolute, Palestrina composed some music to the First Lamentation for Good Friday, in a manner so impressive, that all opposition was at once silenced; and the Pope, himself, on leaving the Chapel, said, that he hoped, in the following year, to hear the other two First Lessons sung in exactly the same style. The expression of this wish was, of course, a command: and, so understanding it, Palestrina produced, in January 1588, a volume, containing a complete set of the nine Lamentations—three, for each of the three days—which were printed, the same year, by Alexander Gardanus, under the title of Lamenta-
