Unger M.P. Historical Dictionary of Choral Music
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LONDON, EDWIN (16 MARCH 1929– ). American composer. He
studied with Luigi Dallapiccola, Darius Milhaud, and Gunther
Schuller, among others, and in 1960 completed a Ph.D. degree in
composition at the University of Iowa. As a faculty member of the
University of Illinois, he founded Ineluctable Modality, a choral
ensemble dedicated to presenting experimental new music. He was
chair of the National Council for the American Society of University
Composers from 1974 to 1981, and chairman of the music depart-
ment at Cleveland State University from 1978. His wide-ranging
style is often theatrical, sometimes humorous, and incorporates alea-
toric effects and references to historical styles. Choral works include
Three Settings of Psalm 23, for solo vv., SSAA, TTBB, and SATB
(1961); Four Proverbs, for S, female vv., 2 tpt., and bn. (1968); Bach
(Again); Psalm of These Days I–V, for chorus and various insts.
(1976–80), Moon Sound Zone, for chorus and str. qt. (1980); and
Jove’s Nectar, for chorus and various insts. (1994); among others.
LOOMER, DIANE (23 APRIL 1940– ). Canadian choral conductor
who was born in the United States. In 1987 she cofounded Elektra
Women’s Choir (with Morna Edmundson) and in 1992 she founded
the male chorus Chor Leoni. Both ensembles are based in Vancouver,
Canada, and both have received acclaim at home and abroad. She is
active internationally as a choral clinician and conductor, and has
published several popular choral works and arrangements.
LORENZANI, PAOLO (5 JANUARY 1640–28 OCTOBER 1713).
Italian composer. He is thought to have played a pivotal role in
bringing Italian influence to French music around 1700. From 1651
to 1655 he sang in the Cappella Guilia under Orazio Benevoli. He
was active in Rome as a composer and maestro di cappella until
1675, when he assumed a similar position at the cathedral in Mes-
sina, while serving the French Duke of Vivonne, Viceroy of Sicily.
When Vivonne returned to France in 1678, Lorenzani accompanied
him. Despite Jean-Baptiste Lully’s dominance at the French court,
Lorenzani found favor with Louis XIV, who sent him the following
year to recruit Italian singers. Upon his return with five castrati, he
took up a new position of service to the queen. His success at the
French court continued until 1683, when Lully succeeded in margin-
alizing him. In 1694 he was elected director of the Cappella Giulia
(though he had not applied for it), and he returned to Rome, taking up
262 • LONDON, EDWIN
his duties in the spring of 1695. He remained active until the end of
his life, composing not only for the Sistine Chapel but also for other
churches and celebrations in the city.
Much of Lorenzani’s music is lost. Surviving works include 3
Magnificat settings (two of them for double choir), a set of Marian
litanies, a volume of 25 motets published in 1693 by the French firm
of Ballard, and another 10 Latin motets, most of them for only two or
three voices with continuo.
LORENZO DA FIRENZE. See ITALIAN TRECENTO.
LOS ANGELES MASTER CHORALE. Resident choir of the Los
Angeles Philharmonic. It was formed in 1964, on completion of the
Los Angeles Music Center, by Roger Wagner and representatives of
the Junior Chamber of Commerce. Wagner conducted the choir until
1984. Subsequent directors have included John Currie (1985–90),
Paul Salamunovich (1991–2001), and Grant Gershon (from 2001).
LOTTI, ANTONIO (1666–5 JANUARY 1740). Italian composer. He
was born in Hanover, where his father was Kapellmeister. By 1683
he was studying with Giovanni Legrenzi in Venice. From 1689 he
was a paid singer at San Marco (St. Mark’s Basilica), and he subse-
quently held increasingly prominent organist positions there. In 1736
he became maestro di cappella (after having bid unsuccessfully for
the post three years earlier), and he continued to hold the position
until his death. Among his students were Benedetto Marcello and
Baldassare Galuppi.
Lotti was equally successful with opera and sacred music, preferring
the historic contrapuntal style for the latter. After 1719, with some
two dozen operas to his credit, he evidently turned exclusively to sacred
composition, composing mostly for St. Mark’s and the Ospedale degli
Incurabili. Surviving choral works include dozens of masses and mass
movements (some for only two or three voice parts) and a considerable
number of motets and Magnificat settings. Much of his sacred music is
unaccompanied or with organ. The motets typically contrast contrapun-
tal and chordal passages. Especially famous is his Miserere in D (one
of about 12 settings by him that are extant), which was sung on Maundy
Thursdays at St. Mark’s from 1733 through the rest of the century and
into the next. Only a few of his oratorios survive. Some secular pieces
are extant as well, among them, madrigals for two to five voices.
LOTTI, ANTONIO • 263
LOWRY, ROBERT (12 MARCH 1826–25 NOVEMBER 1899).
American composer and compiler of gospel hymns for Sunday
Schools, including “Shall We Gather at the River,” “I Need Thee
Every Hour,” and “We’re Marching to Zion.”
LUBOFF, NORMAN (14 MAY 1917–22 SEPTEMBER 1987).
American choral conductor, composer, and arranger. He was born in
Chicago, where he studied with Leo Sowerby and began his career
as a singer and arranger on radio programs. He then worked in Hol-
lywood as an arranger for television programs and motion pictures.
In 1950 he formed the Walton Music Corporation to publish his
music. He is best remembered as the founder and conductor of the
Norman Luboff Choir, which focused particularly on his arrange-
ments of folksongs and other light repertoire, and which achieved
international acclaim through extensive recording and touring during
the late 1950s and the following decades.
LULLY, JEAN-BAPTISTE [GIOVANNI BATTISTA LULLI] (29
NOVEMBER 1632–22 MARCH 1687). Italian-born composer,
instrumentalist, dancer, and actor, who dominated musical activities
at the French court. His acclaim extended beyond France’s borders,
aided in part by the prestige of French culture. Of humble origin, he
was taken to France in 1646 to serve as Italian tutor to Anne-Marie-
Louise d’Orléans (1627–93), a cousin of Louis XIV. He soon estab-
lished himself as a fine violinist, and in 1653, a year after the Grande
Mademoiselle was driven into exile for her involvement in the
Fronde uprising, he entered the king’s service as a dancer and com-
poser. His assignment brought him into close association with Louis
XIV. To increase his artistic control, he obtained permission to es-
tablish his own instrumental ensemble of 16 string players, the Petit-
Violons du Roi, in opposition to the Vingt-Quatre Violons du Roi.
He soon established himself at the court as the principal composer of
ballet. As his reputation grew, he was given increasingly prominent
positions by the king. With Molière he created the comédie-ballet,
which combined comic theater (which included spoken dialogue)
and ballet.
At first Lully scorned the idea of large-scale dramatic works sung
throughout in French. Nevertheless, as the idea became popular in
Paris, he changed his mind. In 1672 he acquired patents of operatic
production from their previous owners, becoming the director of the
264 • LOWRY, ROBERT
Académie Royale de Musique (the Paris Opéra). His prerogatives
gave him control of all operatic ventures in France, and he used this
power to keep potential rivals at bay. With the king’s support and
considerable ruthlessness, Lully achieved great success with his tra-
gédies en musique.
Lully’s talents as a violinist, dancer, and actor contributed greatly
to his success as a composer for the stage. He was particularly adept
at writing music that caught the natural declamation and inflection of
the French language, producing a form of recitative that was more
lyric than its Italian counterpart (resulting also in less difference be-
tween aria and recitative). Although he may not have invented the
French Overture (as is often claimed) he certainly established it in
France and abroad.
While writing effective choruses for his theatrical works, Lully
also composed significant choral works for the church. Though rela-
tively few in number, they exerted considerable influence on other
composers. Especially important are 12 surviving grands motets,
written for the royal chapel and of appropriately regal character. They
are scored for two “choirs” (each in five parts) with string orchestra.
One choir comprises solo singers and emphasizes the higher range,
the other consists of a larger ensemble singing in a generally lower
range. Especially popular in his day were his Te Deum, Miserere, De
profundis, and Quare fremuerunt. The 10 petits motets are for three
parts and continuo; they were probably composed for the Convent of
the Assumption in the Rue Saint-Honoré in Paris.
LUPI, JOHANNES (C. 1506–20 DECEMBER 1539). Franco-Flem-
ish composer. He served as singer at Cambrai Cathedral, and from
1527 as choirmaster. Dismissed repeatedly from his post (primarily
for an inability to control the choirboys), he was nevertheless held
in high esteem as a composer, and consequently always rehired. His
compositions are models of imitative counterpoint, generally char-
acterized by melismatic text setting, thematic unity, and full textures.
Surviving works include 2 masses for four voices, more than 30
motets (mostly for five or six voices), and some two dozen chansons
(almost all for four voices, although a few five-voice works and one
six-voice piece occur). A few years after his death, a collection of 15
motets (including Salve celeberrima virgo, his one extant motet for
eight voices) was published in Paris.
LUPI, JOHANNES • 265
LURANO, FILIPPO DE (BORN C. 1470; DIED AFTER 1520).
Italian composer and priest. Few biographical facts about him are
known. Around 1500 he was living in Rome, where he wrote music
for the 1508 wedding of a niece of Pope Julius II. By the spring
of 1512, he was living in Cividale, and in 1519 he was in nearby
Aquileia (both near Trieste). He was recognized for his frottole, of
which some 35 survive.
LUTHER, MARTIN (10 NOVEMBER 1483–18 FEBRUARY
1546). German theologian and founder of the Lutheran Church, who
placed high value on music. He became an Augustinian monk in
1505, and two years later was ordained a priest. After completing
a doctorate in theology, he taught courses in Scripture at the Uni-
versity of Wittenberg. Having come to regard the Bible as the only
infallible source of authority and having come to believe that the
New Testament taught salvation by faith alone, he began pressing
for church reform. He was particularly outraged by the practice of
selling indulgences, and on 31 October 1517 he outlined his position
on the issue in 95 theses, which he posted on the door of the castle
church in Wittenberg. Despite efforts to silence him, he published
further dissenting material. The confrontation came to a head with
his excommunication in 1521.
After his refusal to recant at the Diet of Worms, the emperor de-
clared Luther an outlaw. For political expediency, he was allowed
to hide at the Wartburg Castle near Eisenach, where he finished his
German translation of the New Testament, among other writings. In
1522 he returned to Wittenberg, where he laid the foundations of the
Lutheran Church by establishing a new liturgy, issuing hymnals, and
writing the Large and Small Catechisms (1529). The Augsburg Con-
fession, in which Philip Melancthon (in consultation with Luther)
summarized Lutheran beliefs, was presented to Emperor Charles V
in 1530.
Unlike other church reformers, Luther was strongly supportive
of historic church music traditions, including the use of Latin. His
Formula Missae of 1523 provided for Latin chant throughout the
liturgy. On the other hand, his Deutsche Messe of 1526, though not
compulsory, provided a standardized German liturgy in the face of
growing demand and liturgical experimentation, and replaced many
ordinary and proper Latin prayers with German hymns. Indeed,
Luther’s concern that congregants participate with understanding in
266 • LURANO, FILIPPO DE
the liturgy led to a great flowering of German congregational song.
Some of these early chorales were written by Luther himself—not
only the texts but also the tunes. His principal collaborator in the
enterprise was Johann Walter.
As a singer and lute player, who thought highly of Josquin des
Prez and Ludwig Senfl, Luther was predisposed to support music in
the church. His own stated position was that music’s proper place lay
“next to theology.” Together with Philipp Melancthon, Georg Rhau,
and Johann Walter he reformed music education in the schools.
Prospective pastors were expected to study music, and applicants
for church music positions had to prove themselves in theology. The
result was that music and theology became inseparably joined in
Protestant Germany, providing the foundation for a strong tradition
of Lutheran church music.
LUTKIN, PETER CHRISTIAN (27 MARCH 1858–27 DECEM-
BER 1931). American music educator, organist, choral conductor,
and composer. He sang in the choir of the Episcopal Cathedral in
Chicago, and taught piano at Northwestern University in Evanston,
Illinois (1879–81). After studies in Berlin and Paris (1881–84), he
served as organist at St. Clement’s Protestant Episcopal Church
(1884–91) and St. James Episcopal Church (1891–97). In 1891 he
resumed teaching at Northwestern University, and in 1895 he rein-
stituted its discontinued music conservatory as a School of Music,
serving as the first dean (1896–1928). His interest in choral music
led him to found several choirs at the university. In 1909 he founded
the annual North Shore Music Festival (1809–1932), which became
internationally known under his direction. His own compositions
included many hymns as well as choral works (often for unaccom-
panied choir), the best-known of which is perhaps his setting of the
Aaronic blessing (“The Lord Bless You and Keep You”).
LUTOSŁAWSKI, WITOLD (25 JANUARY 1913–7 FEBRUARY
1994). Highly regarded Polish composer, remembered almost exclu-
sively for his instrumental works. His approach to composition was
influenced by Witold Maliszewski, who taught large-scale analysis
from the perspective of a psychological progression resulting from
the interaction of introductory, transitional, narrative, and conclud-
ing formal elements. Many of Lutosławski’s early compositions
were lost during the destruction of Warsaw in World War II. After
LUTOSŁAWSKI, WITOLD • 267
his First Symphony was banned by the Soviet authorities for being
formalist (elitist and not uplifting for the masses), he responded by
composing functional and folk-based music for public consumption
while experimenting privately with more radical procedures, includ-
ing 12-tone techniques. In the more relaxed post-Stalin era of the
mid-1950s, Lutosławski began incorporating these in his concert
works. After 1960 he also began to include aleatoric counterpoint in
his compositions. The only choral work in this mature style is Trois
poèmes d’Henri Michaux, for chorus and orchestra (1963). Here
pitches are not always specified (unlike his controlled aleatorism
elsewhere), and the voice parts call for extended vocal techniques,
including whispering and shouting.
LUTYENS, ELISABETH (9 JULY 1906–14 APRIL 1983). English
composer. One of the first serialist composers in England, she devel-
oped an individual style in relative isolation, while composing com-
mercial music to support her children. Acceptance of her work came
slowly, and official recognition not until 1969, when she received
the City of London Midsummer Prize and was made a Companion of
the Order of the British Empire. Many of her works were inspired by
literature of widely divergent origins, and vocal music constitutes a
large part of her output. Her choral compositions include the motet
Excerpta Tractatus logicophilosophici, op. 27 (1953); De amore,
op. 39, a cantata for S, T, chorus, and orch. (1957); Encomion, op.
54, for chorus, brass, and perc. (1963); the motet The Country of the
Stars (1963); Magnificat and Nunc Dimittis, for male chorus (1965,
rev. SATB, 1970); the motet The Hymn of Man, op. 61, for male
chorus (1965, rev. SATB, 1970); The Essence of Our Happinesses,
op. 69, for T, chorus, and orch. (1968); The Tyme Doth Flete, op.
70, for chorus, with ad lib. prelude and postlude for 2 tpt. and 2 trbn.
(1968); Verses of Love (1970); Voice of Quiet Waters, op. 84, for
chorus and orch. (1972); Counting Your Steps, op. 85, for chorus, 4
fl., and 4 perc. (1972); It Is the Hour, op. 111a, for SSTB (1976); and
The Roots of the World, op. 136, for vv. and vc. (1979).
LUZZASCHI, LUZZASCO (?1545–10 SEPTEMBER 1607). Italian
composer and organist. He appears to have spent his entire career
in Ferrara. From 1561 he worked as an organist at the Este court,
advancing to the position of first organist in 1564. Although he
never held the title of maestro di cappella, his responsibilities were
268 • LUTYENS, ELISABETH
increased so that he eventually gained an authority equal to that of the
music director. He was also organist at the city’s cathedral, and held
a similar position at the Accademia della Morte, a religious confrater-
nity. After 1597, when control of the city passed to the Vatican (for
lack of a legitimate heir), he probably remained in the city, serving
the papal governor.
Luzzaschi was renowned for his skills as a keyboard player as
well as his compositions, which appear to have been influenced by
Giovanni Gabrieli, Luca Marenzio, and Claudio Monteverdi. He
published seven original volumes of madrigals for five voices, as
well as a collection of virtuosic works for one to three voices with
keyboard accompaniment, evidently written for the famous “singing
ladies” of Ferrara, who performed in the duke’s private chamber
concerts. Because a gap of 12 years (1582–94) separates the third
and fourth books, it is possible to discern a difference between his
early and late styles. His earlier madrigals employ loose imitation,
similar to that of his teacher Cypriano de Rore. His later works are
characterized by sectionalized contrasts of texture (polyphonic sec-
tions alternating with homophonic ones), sonority (the five voices
subdivided into smaller groupings, which respond to each other),
melody (which now includes more melismas and word-painting),
and rhythm (the declamatory passages now including choral recita-
tive). Contrary to a common misperception, he used chromaticism
only occasionally to highlight expressive moments (although in-
stances could be startling).
– M –
MACARONIC TEXT. A text containing a mixture of languages, es-
pecially one that combines Latin and the vernacular.
MACDOWELL, EDWARD (18 DECEMBER 1860–23 JANUARY
1908). American composer, known best for his smaller piano works.
As a young man, he lived for 12 years in Europe, where he received
conservatory training (in Paris and Frankfurt) and then established
himself as a composer, publishing his first works with Franz Liszt’s
help. In 1888 he returned to the United States, settled in Boston, and
began making a name for himself with public concerts in which he
MACDOWELL, EDWARD • 269
played his own works. By the end of the century, he was America’s
most famous composer. In 1896 Columbia University invited him to
establish a department of music. However, conflict with the new uni-
versity president led to his resignation already in 1904, and shortly
thereafter he suffered a mental breakdown from which he never
recovered.
A Romanticist using the expressive harmonic vocabulary of Liszt
and Richard Wagner, MacDowell wrote much programmatic mu-
sic (especially piano pieces), whose stimulation often came from
literature. He viewed these works as responses to their extramusi-
cal sources rather than a depiction of them. In vocal genres, he was
particularly drawn to the art song. He wrote no extended choral
works. However, during his short tenure as conductor of New York’s
Mendelssohn Glee Club (1896–98), he wrote 27 partsongs for male
voices (almost all with piano accompaniment) and arranged pieces by
others. Also extant are 3 partsongs for female voices.
MACHAUT, GUILLAUME DE (C. 1300–APRIL 1377). French
composer and poet of great influence. He appears to have been born
in Reims, where he became a canon of the cathedral. From about
1323 he served John of Luxembourg, King of Bohemia, whom he
accompanied on many journeys and military campaigns until the
king’s death in 1346 at the battle of Crécy. Although he was a cleric,
he evidently wrote almost only secular works, and he apparently had
a decisive influence on shaping the formes fixes. His polyphonic
vocal works, which are well preserved in volumes whose creation
he supervised and which contain many of his poems without music,
include 42 ballades (mostly for two or three voices, and definitive
for the genre), 22 rondeaux (for two or three voices), eight virelais
(mostly for two voices—not counted here are his many monophonic
virelais), and a hocket for three voices. He also wrote 23 motets
(mostly for three voices, with French secular texts, and isorhyth-
mic), and a cyclic mass for four voices, the Messe de Nostre Dame,
comprising six movements, including the “Ite missa est.” Composed
about 1360, it is the earliest known unified setting of the Ordinary
by a single composer,
MACMILLAN, [SIR] ERNEST (18 AUGUST 1893–6 MAY
1973). Canadian conductor, organist, educational administrator, and
composer. He showed early promise as an organist, and studied in
270 • MACHAUT, GUILLAUME DE
Toronto, Edinburgh, Oxford, and Paris. From 1919 to 1925 he was
organist and choirmaster at Toronto’s Timothy Eaton Memorial
Church. In 1923 he directed the first of 30 annual performances of
Johann Sebastian Bach’s St. Matthew Passion in Toronto. From
1926 to 1942 he was principal of the Toronto Conservatory of Mu-
sic, and from 1927 to 1952 he was dean of the faculty of music at the
University of Toronto. From 1931 to 1956 he conducted the Toronto
Symphony Orchestra, which became a fully professional ensemble
under his leadership. In 1942 he became conductor of the Toronto
Mendelssohn Choir. His own choral compositions include England,
an ode for S, Bar., SSAATTBB, and orch. (1918); Te Deum, for S,
A, T, B, SATB, and orch. (1936), and a few others.
MACMILLAN, JAMES (16 JULY 1959– ). Scottish composer. His
eclectic style has been influenced by Krzysztof Penderecki, Wi-
told Lutosławski, Roman Catholicism, and his own Scottish heri-
tage. He has written more than 30 choral works, many of them for
liturgical use. Congregational participation is intended in St. Anne’s
Mass, for unison vv./congregation, opt. SATB, and org./pf. (1985);
The Galloway Mass, for unison vv./congregation, SATB/cantor,
and org. (1996); and Mass, for SATB and org. (2000, commis-
sioned by Westminster Cathedral). Other examples of his works
include Quickening, for Ct., 2 T, 2 Bar., children’s chorus, chorus,
and orch. (1998); Magnificat and Nunc Dimittis, for chorus and
org./orch. (2000); Tenebrae Responsories (eight-part settings of
three Good Friday responsories, 2006); Strathclyde Motets (prop-
ers of the Mass, 2007); and a St. John Passion, for Bar., chorus,
and orch. (2007).
MACONCHY, ELIZABETH (19 MARCH 1907–11 NOVEMBER
1994). English composer of Irish descent. She studied with Charles
Wood and Ralph Vaughan Williams at the Royal College of Music,
and later in Prague. Inspired by the music of Béla Bartók, she fo-
cused especially on chamber music. She also wrote orchestral pieces,
vivid works for the stage, and choral compositions. The latter include
some 10 works with orchestra, among them, the dramatic cantata
Héloïse and Abelard, for S, T, B, chorus, and orch. (1978); a dozen
works with piano or other instruments; and some two dozen pieces
(or sets of pieces) for unaccompanied choir, among them, works for
children and amateurs.
MACONCHY, ELIZABETH • 271