Page:A Dictionary of Music and Musicians vol 2.djvu/154

142  of the Sonnambula, a most effective character,—'Lucia,' Adina, in 'L'Elisir,' 'La Figlia del Regimento,' and, perhaps, altogether her best part, Giulia in Spontini's 'Vestale.' In 1848 she returned to Her Majesty's Theatre, and added to these 'Lucia di Lammermoor' and 'L'Elisir d'Amore.' In 1849 she announced her intention not to appear again on the stage, but so far modified this resolution as to sing at Her Majesty's Theatre in Mozart's 'Flauto Magico' arranged as a concert, without acting (April 15); and still further by re-appearing in 'La Sonnambula' (April 26) and 3 other operas. Her last appearance 'on any stage' took place in 'Roberto,' May 18 [App. p.819 "May 10"], 1849. [App. p.819 "Add that she sang in April and May, 1849, for Lumley, as farewell appearances, at one concert (Flauto Magico), and in six operatic performances, viz. April 26, Sonnambula; 28, Lucia; May 3, Figlia; 5, Sonnambula; 8, Lucia; 10, Roberto (her last appearance on the stage).

Lumley, in his book, mentions four, meaning perhaps four different parts, or possibly with the idea of undervaluing her assistance, which, according to Nassau Senior, was gratuitously given to Lumley.

According to Léon Fillet and Arthur Pougin (Le Ménestrel, Nov. 20, 1887), the 'hearing' of Mlle. Lind (1842) by Meyerbeer, of which so much has been said and written, had no reference whatever to an engagement at the Opéra at Paris. It seems to have been altogether private, and unconnected with any question of the sort."] Henceforward she betook herself to the more congenial platform of the concert-room. How she sang there, many of the present generation can still remember,—'the wild, queer, northern tunes brought here by her—her careful expression of some of Mozart's great airs—her mastery over such a piece of execution as the Bird song in Haydn's Creation—and lastly, the grandeur of inspiration with which the "Sanctus" of angels in Mendelssohn's "Elijah" was led by her (the culminating point in that Oratorio). These are the triumphs which will stamp her name in the Golden Book of singers' (Chorley). On the other hand, the wondrous effect with which she sang a simple ballad, in the simplest possible manner, can never be forgotten by those who ever heard it. After another season in London, and a visit to Ireland in 1848, Mlle. Lind was engaged by Barnum, the American speculator, to make a tour of the United States. She arrived there in 1850, and remained for nearly two years, during part of the time unfettered by an engagement with any impresario, but accompanied by Mr., now Sir Julius, Benedict. The Americans, with their genius for appreciation and hospitality, welcomed her everywhere with frantic enthusiasm, and she made £20,000 in this progress. Here it was, in Boston, on Feb. 5, 1852, that she married Mr. Otto Goldschmidt. [.]

Returned to Europe, Mme. Goldschmidt now travelled through Holland, and again visited Germany. In 1856 she came once more to England, and, until recent years, appeared frequently in oratorios and concerts.

It must be recorded that the whole of her American earnings was devoted to founding and endowing art-scholarships and other charities in her native Sweden; while, in England, the country of her adoption, among other charities, she has given a whole hospital to Liverpool and a wing of another to London. The scholarship founded in memory of her friend Felix Mendelssohn also benefited largely by her help and countenance; and it may be said with truth that her generosity and her sympathy are never appealed to in vain by those who have any just claims upon them. [.]

Madame Lind-Goldschmidt now lives in London, respected and admired by all who know her, the mother of a family, mixing in society, but in no degree losing her vivid interest in music. The Bach Choir, conducted by Mr. Goldschmidt, which has lately given the English public the first opportunity of hearing in its entirety the B minor Mass of that composer, has profited in no small degree by the careful training bestowed on the female portion of the chorus by this great singer, and the enthusiasm inspired by her presence among them.

[App. p. 701 "Add that from Easter 1883 to Easter 1886 she was professor of singing at the Royal College of Music, and that she died at Wynd's Point, Malvern, on Nov. 2, 1887."] [ J. M. ]

LINDA DI CHAMOUNI. Opera in 3 acts; words by Rossi, music by Donizetti. Produced at the Karnthnerthor theatre, Vienna, May 19, 1842; in Paris, Nov. 17, 1842; in London, at Her Majesty's, June 1843. [ G. ]

LINDBLAD,, born near Stockholm in 1804. This Swedish composer passed several years of his early life in Berlin, and studied music there under Zelter. In 1835 he returned to Stockholm and there resided, giving singing lessons and composing until hia death in August 1878 [App. p.701 "Aug. 23"].

Lindblad has composed but little instrumental music; a symphony in C which was given under Mendelssohn's direction at one of the Gewandhaus Concerts at Leipzig in November 1839, and a duo for pianoforte and violin (op. 9) are considered the best, but they aim so little at effect and are so full of the peculiar personality of their author that they can never be popular, and even his own countrymen are not familiar with them. It is his vocal compositions which have made him famous. He is eminently a national composer. He has published a large collection of songs for voice and piano to Swedish words, which are full of melody, grace, and originality. Written for the most part in the minor key, they are tinged with the melancholy which is characteristic of Swedish music. In such short songs as 'The Song of the Dalecarlian maiden,' 'Lament,' 'The wood by the Aaren lake,' etc., whose extreme simplicity is of the very essence of their charm, his success has been most conspicuous. In longer and more elaborate songs, where the simplicity at which he aimed in his accompaniment has limited the variety of harmony and figures, the effect is often marred by repetition and consequent monotony. Yet even in this class of work there are many beautiful exceptions, and 'A day in Spring,' 'A Summer's day,' and 'Autumn evening,' are specially worthy of mention.

Jenny Lind, who was Lindblad's pupil, introduced his songs into Germany, and their rapidly acquired popularity earned for the author the title of 'the Schubert of the North.' His only opera, 'Frondörörne,' is scarcely known anywhere, but several of his vocal duets, trios, and quartets have a considerable reputation in Sweden.

An analysis of Lindblad's Symphony will be found in the Allg. Mus. Zeitung for Oct. 23, 1839 (comp. col. 937 of the same volume). There is a pleasant reference to him, honourable to both parties alike, in Mendelssohn's letter of Dec. 28, 1833. [ A. H. W. ]

LINDLEY,, born at Rotherham March 4, 1776, showed so early a predilection