Page:A Dictionary of Music and Musicians vol 4.djvu/716

700 LEONORA. Mr. Nottebohm's researches in the sketch-books have made it clear that for the revival of the opera in 1814, Beethoven's first intention was to recast the Prague Overture No. 3 (op. 138), changing the key to E. Of this various drafts exist, and some are given in 'Beethoveniana,' p. 74. Had this intention been carried out the overture would have borne the same relation to op. 138 that 'Leonora No. 3' does to 'Leonora No. 2,' and we might then have possessed five overtures to the opera! [ G. ]

LEONORE PROHASKA. The four pieces, as given in the article, have been published by Breitkopfs in the supplemental volume to their complete edition of Beethoven. The march from op. 26 is transposed into B minor, and scored for Flutes, Clarinets in A, Bassoons, 2 Horns in D and 2 in E, Drums, Violins i and 2, Viola, Cello and Bass. [ G. ]

LESCHETITZKY,. At end of article add that in 1880 he married his pupil, Mme. Essipoff. Also that an opera by him. 'Die erste Falte' was given at Prague in 1867.

LESLIE,. Add that in 1880 his choir was broken up; it was subsequently reorganized under Signor Randegger, and in 1885–1887 Mr. Leslie resumed its management. P. 123b, l. 18, for 1853 read 1854. (Died Feb. 4, 1896.)

LESUEUR, J. F. Correct date of birth to Feb. 15, 1760.

LEVASSEUR,, was born March 9, 1791, at Bresles, Oise, the son of a labourer. He entered the Paris Conservatoire in 1807, and became a member of Garat's singing class Feb. 5, 1811. He made his débuts at the Académie as Osman Pacha (Grétry's 'Caravane') Oct. 5, 1813, and as Œdipus (Sacchini's 'Œdipe à Colonos') Oct. 15, and was engaged there. According to Fétis he was successful only as the Pacha; the repertory was either too high for his voice, or unfavourable to the Italian method which he had acquired. He made his début at the King's Theatre in Simon Mayer's 'Adelasia ed Alderano,' Jan. 10, 1815, and played there two seasons with success in 'La Clemenza di Tito,' in 'Gli Orazi,' as Pluto (Winter's 'Ratto di Proserpina') at Mme. Vestris's début July 20, 1815; in Paer's 'Griselda,' Farinelli's 'Rite d'Efeso,' Ferrari's 'Heroine di Raab,' and Portogallo's 'Regina di Lidia.' He reappeared there with some success in 1829, and again in French as Bertram on production of 'Robert,' June 11, 1832. He reappeared at the Académie about 1816, and remained there as an under-study, but obtained much reputation in concerts with his friend Ponchard. He made his de'but at the Italians as Figaro, Oct. 5, 1819, and remained there until about 1827, where he sang in new operas, Rossini's, Meyerbeer's 'Crociato,' and Vaccaj's 'Romeo.' He sang at Milan on the production of Meyerbeer's 'Margherita d'Anjou,' Nov. 14, 1820. He reappeared at the Académie as Moses on the production of Rossini's opera there, March 26, 1827, a part which he had previously played at the Italiens Oct. 20, 1822; returned there permanently the next year, and remained until his retirement Oct. 29, 1853. He created the part of Zacharie in the 'Prophète' at the request of Meyerbeer, who admired his talent as much as his noble character. He was appointed head of a lyric class at the Conservatoire June 1, 1841, and on his retirement in 1869 was appointed a Chevalier of the Legion of Honour. He died at Paris Dec. 5, 1871, having become blind a short time before his death. 'It was in the production of "Robert" that Levasseur created a class of characters … in which he has had innumerable imitators, but not one single artist with his peculiar physiognomy, his exceptionally toned voice, his imposing presence and intellectual grasp. His Bertram was a veritable creation.… Next to Bertram must rank his delineation of Marcel and Zachariah.' [ A. C. ]

LEVERIDGE,. Add that about 1708 he wrote new music for Act. ii. of Macbeth. In the last sentence of article, for engraved portrait read mezzotint, and for Fryer read Frye.

LEVEY,, born April 25, 1837, at Dublin, was taught music by his father, Richard Michael Levey, leader of the Dublin theatre orchestra. He afterwards studied at Paris under Auber, Thalberg, and Prudent, and was elected a member of the Société des Auteurs et Compositeurs. He was conductor at Drury Lane from 1868 to 1874, and has held the same post at Covent Garden, Adelphi, Princess's, Avenue, and Grecian Theatres, etc. His compositions include two operettas, 'Fanchette,' Covent Garden, Jan. 2, 1864; 'Punchinello,' Her Majesty's, Dec. 28, 1864; 'The Girls of the Period,' musical burletta, libretto by Burnand, March, 1869; incidental music to 'Antony and Cleopatra,' 1873; music to the dramas 'King o' Scots,' 'Amy Robsart,' 'Lady of the Lake,' 'Rebecca,' and 'Esmeralda,' and to several pantomimes; 'Robin Hood,' cantata for boys' voices; Saraband for piano on a motif written by Hemy VIII.; several drawing-room pieces and many songs, one of which, 'Esmeralda,' originally sung by the late Miss Furtado at the Adelphi in the drama of that name, and in the concert-room by Mme. Bodda-Pyne, obtained considerable popularity. [ A. C. ]

LEVI,, born Nov. 7, 1839, at Giessen, studied with Vincenz Lachner from 1852 to 1855, and for three years from that time at the Leipzig Conservatorium. His first engagement as a conductor was at Saarbrticken in 1859; in 1861 he became director of the German Opera at Rotterdam, in 1864 Hofkapellmeister at Carlsruhe, and finally in 1872 was appointed to his present post at the Court Theatre of Munich. He attained to a prominent place among Wagnerian conductors, and to him fell the honour of directing the first performance of Parsifal at Bayreuth, on July 28, 1882. [ M. ]

LEWIS, C., originally an architect, commenced business as an organ-builder in 