i. 210–213). She never returned to England. She failed to obtain an engagement in Paris, and in 1845 sang again in Berlin, but coming just after Jenny Lind, was only moderately received. In 1848 she married Prince Lichtenstein and retired. She died at Pesth, Nov. 29, 1866. Her special characteristic was the singular harmony between her bodily and mental gifts. In conversation she was witty and intellectual, and as a singer had a great diversity of rôles, playing both Elvira and Donna Anna, Jessonda and Madeleine ('Postilion'), Lucrezia and Adine ('Elisir'). An admirable portrait of her was painted by Krüger, and engraved by Sachse of Berlin.
Her niece and namesake, Sophie Löwe, a soprano, daughter of the regisseur of the Court Theatre at Stuttgart, and pupil of Stockhausen, made her first appearance in London in 1871, and sang at the concerts for several seasons with success, till her marriage in 1877.
LOGIER, Johann Bernard, a descendant of a family of French refugees, was born in 1780 at Kaiserslautern in the Palatinate, where his father and grandfather were organists. He received his early musical education from his father. After the death of his parents, and when about 10 years old, he came to England in the company of an English gentleman, with whom he resided for two years, and studied the flute and pianoforte. He then joined the band of a regiment commanded by the Marquis of Abercorn, of which Willman, father of the celebrated clarinet player, was master, and with which he went to Ireland. In 1796 he married Willman's daughter, and engaged in composing for and instructing military bands and teaching the pianoforte. At the close of the war, his regiment being disbanded, he became organist at Westport, Ireland. Whilst there he invented his machine for guiding the hands of learners on the pianoforte, and devised the system of instruction known by his name. [For an account of this machine and system, and the controversy which raged on their introduction, see Chiroplast.] In 1821 the Prussian government sent Franz Stoepel to London to inquire into the merits of the system, and the result was that Logier was invited to Berlin to superintend the promulgation of it in Prussia. He remained in Berlin three years, being allowed an annual vacation of three months to visit England. In 1826, having acquired a competency by the sale of his chiroplast and elementary works, his very numerous classes, and the fees received for permission to use his invention and teach on his system,—it was asserted that he had received 100 fees of 100 guineas each for that purpose,—he retired and settled in Ireland, near Dublin, where he died July 27, 1846. He composed some sonatas and other pieces, besides making numerous arrangements for the pianoforte. He also composed an ode on the commencement of the 50th year of the reign of George III., Oct. 1809, performed in Dublin. Besides the publications connected with his chiroplast, he was author of 'A Complete Introduction to the Keyed Bugle,' of which instrument he is said to have been the inventor.
LO, HE COMES WITH CLOUDS DESCENDING, the first line of the hymn which is usually sung to the tune called Helmsley, or Olivers. This tune claims a notice on account of the various opinions that have been expressed respecting its origin. The story runs that Thomas Olivers, the friend of John Wesley, was attracted by a tune which he heard whistled in the street, and that from it he formed the melody to which were adapted the words of Cennick and Wesley's Advent hymn. The tune heard by Olivers is commonly said to have been a Hornpipe danced by Miss Catley in the 'Golden Pippin,' a burlesque by Kane O'Hara, but this seems inconsistent with chronology. The hymn-tune appeared first, as a melody only, in the second edition of Wesley's 'Select Hymns with Tunes annexed,' 1765, under the name of 'Olivers,' and in the following form:
![{ \time 2/2 \relative c'' { \repeat volta 2 { c4 e8 g b,8. a16 g4 | a( b16 a) c8 g8. f16 e4 | g4. g8 c4. d8 | e8 g f e \grace e4 d2 } d4( e16 d) e8 f4 e | c( d16 e) d8 e[ d] c4 | e( f16 e) g8 f[ e] d4 | c4. e8 g,4. f'16 a | e4 d c2 \bar "||" } }](http://upload.wikimedia.org/score/k/j/kjnfeccbhs512r0ce3vta4r6w5latex/kjnfeccb.png)
In 1769 an improved version, in three parts, was published by the Rev. Martin Madan in the Lock 'Collection of Hymn and Psalm Tunes.' It is there called 'Helmsley,' and under that name became widely popular.
![{ \time 4/4 \key g \major \relative g' { g4 b8( d) \grace g,8 fis4 \grace e8 d4 | e8.[( fis16] g8[) fis16( e)] d8.[\trill c16] b4 | d4. d8 g4. a8 | b[( d]) c[( b]) \appoggiatura b4 a2 \bar "||" g4^\markup { \smaller \italic Pia } b8( d) fis,4 d4 | e8.[( fis16] g8[) fis16( e)] d8.[ c16] b4 | d4. d8 g4. a8 | b[( d]) c[( b]) \appoggiatura b4 a2 \bar "||" a8.[ b16] a8[ b] c4\trill b | g8.[( a16] g8[)( c]) b8.\trill[( a16] g4) | b8.[( c16] b8[)( d]) c8.\trill([ b16)] a4 | g \times 2/3 { g8 a b } d,4 c' | b( a\trill) g2 \bar "||" } }](http://upload.wikimedia.org/score/e/d/eddkxlxd5pv2wuq6dq0c8wi02bm085n/eddkxlxd.png)
But at this time the 'Golden Pippin' was not even in existence. O'Keeffe, who possessed the original MS., tells in his 'Recollections' that it was dated 1771. The burlesque, in three acts, was produced at Covent Garden in 1773: it failed at first, but obtained some success when altered and abridged. The source from whence 'Olivers' was derived seems to have been a concert-room song commencing 'Guardian[1] angels, now protect me,' the music of which probably originated in Dublin, where it was sung by a Mr. Mahone, and no doubt also by Miss Catley, who
- ↑ The same words, under the title of 'The Forsaken Nymph,' had been set by Handel, some years before, to a totally different air.
