In 1835 Loder set Oxenford's 'Dice of Death.' He next entered into an engagement with Dalmaine & Co., the music publishers, to furnish them with a new composition every week, in part performance of which he produced his 'Twelve Sacred Songs,' dedicated to Sterndale Bennett. As it became necessary that some of the pieces produced under this arrangement should be heard in public, an opera entitled 'Francis I,' was written to incorporate them and produced at Drury Lane in 1838. As might have been expected, so heterogeneous a compound met with little success, although one song, 'The old house at home,' obtained a widespread popularity. His opera 'The Night Dancers,' his finest work, was produced at the Princess's Theatre in 1846, revived therein 1850, and again at Covent Garden in 1860. 'Puck,' a ballad opera, additions to 'The Sultan,' and 'The Young Guard,' were brought out at the Princess's in 1848. His cantata 'The Island of Calypso,' was written for the National Concerts at Her Majesty's Theatre in 1850, but, owing to their cessation, remained unperformed until given at the New Philharmonic Concerts in 1851 [App. p.705 "1852"]. 'Raymond and Agnes,' an opera, was produced at Manchester in 1855. Besides these works Loder has written some string quartets and numerous songs, of which 'The brave old oak,' and 'Invocation to the deep' are well known. His compositions are distinguished by the melodiousness of the parts and their skilful instrumentation. He was for several years conductor at the Princess's Theatre, and afterwards at Manchester, but although musically well qualified for the office his want of regular, business-like habits militated greatly against his success. About 1856 he was attacked by cerebral disease, which long afflicted him, and prevented his resuming his old avocations. He died April 5, 1865.
John Fawcett Loder, born 1812, an excellent violinist and able orchestral leader, for many years resided at Bath and managed the concerts there. When Bath ceased to be a place of fashionable resort Loder removed to London, and on the retirement of François Cramer in 1845 succeeded him as leader at most of the best concerts and festivals. He died April 16, 1853. Two other Loders, John, a violinist, and William, a violoncellist, both died several years ago, as did the wife of the latter, formerly Emily Woodyatt, a good second soprano singer.
LODER, Kate Fanny, only daughter of George Loder, born at Bath, Aug. 21, 1826, commenced playing the pianoforte when a mere child. In her 12th year she became a pupil of Henry Field, and a year afterwards entered the Royal Academy of Music, where she studied the pianoforte under Mrs. Anderson, and harmony and composition under Charles Lucas. At the end of the first year of her studentship she obtained a king's scholarship. Early in 1840 she appeared in public at her uncle's concerts at Bath, and in March at the Royal Academy concerts. In 1841 she was re-elected king's scholar. She quitted the Academy in 1844, in which year she played the Adagio and Rondo from Mendelssohn's G minor Concerto in presence and to the satisfaction of the composer at Mrs. Anderson's concert at Her Majesty's Theatre. She was then appointed professor of harmony at the Academy. She first appeared at the Philharmonic Society March 15, 1847, when she played Weber's Concerto in E♭, and in 1848 (May 29) her performance there of Mendelssohn's G minor Concerto received the unprecedented distinction of an encore. Her reputation was now confirmed, and her public performances frequent. In 1851 she was married to Mr. (now Sir) Henry Thompson, the eminent surgeon. On March 6, 1854, at the Philharmonic Concert, she made her last public appearance. She has composed an opera, an overture, two string quartets, two sonatas and some studies for the pianoforte, a sonata for pianoforte and violin, and several minor pianoforte pieces.
LODOISKA. Comedy in 3 acts. 1. Words by Fillette-Loreaux, music by Cherubini. Produced at the Feydeau July 18, 1791. The overture is still occasionally played. 2. Words by Dejaure (same story), music by R. Kreutzer. Produced at the Italiens Aug. 1, 1791.
LOEWE, Johann Carl Gottfried, born Nov. 30, 1796, at Loebejuen, between Köthen and Halle, twelfth and youngest child of a Cantor and schoolmaster. Near his home were collieries employing 300 miners, and this underground world, so near in his boyish fancy to the world of spirits, took powerful hold on his imagination, to reappear later when he was composing 'Der Bergmann' (The Miner). His father taught him music early, and his singing, especially his power of hitting the right note, having attracted attention, he was offered in 1807 a place in the choir of Köthen. There he remained two years, hearing Pergolese's 'Stabat Mater,' and other good music, and went thence to the Gymnasium of the Franke Institution at Halle. Türk, the head of this, was director of the town choral society, and at the twelve annual concerts produced much good music, although he had some curious notions, for Loewe tells that he always omitted the introduction to the Finale of Beethoven's 1st Symphony (then well known) as 'ludicrous,' and for fear of making the audience laugh. Niemeyer, chancellor of the Gymnasium, was proud of the choir, and made them sing to distinguished visitors, among others to Mme. de Staël, who made Loewe a present, and to King Jerome, who at Türk's instigation gave him an annuity of 300 thalers. This enabled him to devote himself entirely to music. He had already become a pianist by studying Bach's 'Wohltemperirte Clavier,' and he now took daily lessons from Türk, and worked hard at Kirnberger, Marpurg, and Forkel. He also learned French and Italian. Two of his songs of this date, 'Clothar' and 'Die Einsetzungsworte des Abendmahls' (op. 2)[1] have survived. Meantime the war of 1812–13 broke out, and
- ↑ He afterwards printed three ballads by Herder and Goethe as op. 1.
