Page:A Dictionary of Music and Musicians vol 2.djvu/123

LECOCQ. organist; but the stage was irresistible, and a little one-act piece 'Le Baiser à la Porte' (1864) was followed by 'Les Ondines au Champagne' (1865) [App. p.698 "produced at the Folly Theatre, London, in Sept. 1877"], 'Le Myosotis' (1866), 'Le Cabaret de Ramponneau' (1867), and 'Fleur de The,' 3 acts (1868) [App. p.698 "given by the Variétés company at the Lyceum, on June 12, 1871, and in English at the Criterion, Oct. 9, 1875"]. This last piece was a brilliant success. Lecocq at last found himself established with the public, and produced in rapid succession 'L'Amour et son carquois,' 2 acts (1868); 'Gandolfo' and 'Le Rajah de Mysore,' both in one act (1869) [App. p.698 "'Le Rajah de Mysore' was given in English at the Park Theatre, Feb. 15, 1875"]; 'Le beau Dunois,' 1 act (1870) [App. p.698 "given at the Lyceum by the French company, May 25, 1871"]; 'Le Barbier de Trouville' and 'Le Testament de M. de Crac,' both in 1 act (1871); 'Sauvons la caisse,' 1 act, and 'Les Cent Vierges,' 3 acts (1872) [App. p.698 "versions of 'Les cent Vierges' were given at the Britannia Theatre, May 25, 1874, and at the Gaiety, Sept. 14 of the same year"]; 'La Fille de Mme. Angot,' 3 acts (1873) which ran for 500 nights consecutively [App. p.698 "produced in another English version, at the Gaiety, Nov. 10, 1873. The date of the original production of this work is Dec. 4, 1872. This, the 'Cent Vierges,' and 'Giroflé-Girofla' were all produced first in Brussels, where the composer resided from 1870 to 1873"]; 'Les Prés St. Gervais' and 'Giroflé- Girofla' both in 3 acts (1874); 'Les Jumeaux de Bergame,' 1 act, and 'Le Pompon,' 3 acts (1875); 'La petite Mariée,' 3 acts (1876) [App. p.698 "given in French at the Opera Comique, London, May 7, 1876"]; 'Kosiki' and 'La Marjolaine,' both in 3 acts (1877) [App. p.698 "'La Marjolaine' was produced at the Royalty in English, Oct. 11, 1877"]; 'Le petit Duc' and 'Camargo,' both in 3 acts (1878) [App. p.698 "A version of 'Le petit Duc' was given at the Philharmonic Theatre on April 27, 1878"]; and finally 'La petite Mademoiselle,' 3 acts (1879) [App. p.698 "produced at the Alhambra, Oct. 6, 1879"]. To this long list must be added detached songs and other trifles thrown off by his rapid and untiring pen. Lecocq has profited by the false system momentarily in the ascendant among French musicians. Our learned composers, encouraged by some of the managers, overload their operas with orchestral writing and substitute the lyric for the dramatic element—to the ruin of French opéra comique. But Lecocq realizes that what the public really like are light, gay, sparkling melodies. His aim has been to dethrone Offenbach, and as he has the advantage of writing correctly, he has had little trouble in attaining a popularity even greater than that formerly possessed by the composer of 'Orphée aux Enfers.' His style is not a very elevated one, and makes no demand on the poetry or the intellect of the composer; but it requires tact, ease, freedom, and above all, animation. These qualities are conspicuous in Lecocq's operettas, which have become universally popular, owing to the life, brio, and easy gaiety which pervade them. [ G. C. ]

LEDGER LINES are the short lines drawn above and below the staff for those notes which exceed its limits. The origin of the term is not known. It is proposed to derive it from the French léger, light, or from the Latin legere, to read, or as if it were equivalent to layer—additional lines laid on above or below; but neither of these is quite satisfactory. The term came into use about the year 1700 (see Mr. C. J. Evans in the Musical Times for June 1879). In French they are called 'lignes postiches,' or 'supplémentaires'; and in German 'hilfslinien,' or 'nebenlinien,' A, C, etc. being said to be 'durch den Kopf,' and B, D, etc. 'durch den Hals'—'ein, zwei, drei, gestrichene,' etc. [ G. ]

LEE,, son of Harry Lee, a pugilist and landlord of the Anti-Gallican tavern, Shire Lane, Temple Bar, was born in 1802. When a boy he entered the service of Lord Barrymore as 'tiger,' being the first of the class of servants known by that name; but on the discovery that he had a fine voice and a natural taste for music, he was withdrawn from that position and placed under a master for instruction. In 1825 he appeared as a tenor singer at the Dublin theatre, and in 1826 in London at the Haymarket theatre [App. p.698 "he became conductor of the Haymarket in 1827"], and soon afterwards commenced business as a music-seller in the Quadrant. In 1829, with Melrose, the tenor singer, and John Kemble Chapman, he entered upon the management of the Tottenham Street Theatre, and gave performances of popular English operas. Lee seceded in 1830 and became lessee of Drury Lane Theatre. [App. p.698 "His secession from the lesseeship of the Tottenham Street Theatre was on account of the heavy penalties incurred by the management through their infringement of the 'patent theatres'' rights."] He was soon afterwards joined by Capt. Polhill, but at the end of the season he withdrew, leaving Polhill sole manager. In 1831 he undertook the management of the Lenten oratorios at both Drury Lane and Covent Garden. In 1832 he was composer and music director at the Strand Theatre, and in 1845 the same at the Olympic. Lee composed the music for several dramatic pieces, amongst which were 'The Sublime and Beautiful,' and 'The Invincibles,' 1828; 'The Nymph of the Grotto' and 'The Witness,' 1829; 'The Devil's Brother' (principally from Auber's 'Fra Diavolo') and 'The Legion of Honour,' 1831; 'Waverley' (with G. Stansbury). 1832; 'Love in a Cottage,' 'Good Husbands make good Wives,' 'Sold for a Song,' and 'Auld Robin Gray,' the last composed about 1838 but not performed until 1858. He was also composer of many songs and ballads, highly popular in their day ('Away, away to the mountain's brow,' 'Come where the aspens quiver,' 'The Macgregors' Gathering,' etc.) and author of a 'Vocal Tutor.' Lee married Mrs. Waylett, the popular singer and actress, whose death (April 19, 1851 [App. p.698 "April 26"]) so seriously affected him that he died the 8th of the following October. [ W. H. H. ]

LEEDS MUSICAL FESTIVAL. The first of these meetings took place in 1858, Sept. 7–10, in the new Town Hall, after the opening of that building by the Queen—conductor, Sir (then Professor) Sterndale Bennett, whose May Queen was performed (Sept. 8) for the first time. They are now triennial. The second was held in 1874, Oct. 14—17; and the third in 1877, Sept. 19—22, Macfarren's 'Joseph,' first performed on the 21st; conductor, on both occasions, Sir Michael Costa. The proceeds of the festivals go to the hospitals of the Town. [ G. ]

LEEVES,, born 1748, became in 1779 rector of Wrington, Somerset, the birthplace of John Locke, the philosopher. He composed much sacred music, but will be remembered only as the author of the air of 'Auld Robin Gray' (words by Lady Anne Barnard, born Lindsay of Balcarres) written in 1770, but not known as his before 1812. He died at Wrington. May 25, 1828. [ W. H. H. ]