The following may be an
early ASCSP brochure ....
The AMICA, V 12, No.
12, Dec 1975
L. LESLIE LOTH - BEGINNING his musical career in Richmond, Virginia, L. Leslie Loth gave voice to musical expression as a boy soprano in a vested choir. Having been endowed, from birth, with a greater musical urge than is found in the average choir boy, he soon showed talent in other directions. An early grasp of piano technic was only one phase of his pronounced musicianship. At twelve he began to compose and two years later his first published composition appeared.
Then began a busy
period of development and intensive training in New York, where, in addition to
his studies, time was devoted to directing a women's chorus of five hundred
voices, concertizing as soloist or as accompanist to various artists. This was
followed by seven years of additional training under European masters.
While abroad, Mr. Loth
taught piano and theory, showing an early flare as a pedagog and numbering
among his pupils, artists and students from Europe and America. In addition to
the demands made upon him as a teacher, he found time to create. The better
known musical formswere selected as a means of expression, and his first
Symphony in A major was performed by the Breslau Symphony Society, an
organization tion that has been conducted at various times by such masters as
Grieg, Joachim, Rubinstein and Nikisch.
Following this first
symphony, there appeared chamber music works, songs, piano compositions as well
as two other symphonies. These have been performed by leading organizations and
prominent artists, in concerts and on the radio.
Mr. Loth's success as
an artist and composer was sensational, and inno less degree has he established
himself in New York as an arranger and teacher, meticulous in his attention to
the individual requirements of numerous clients and pupils.
As a composer, the name of L. Leslie Loth stands prominently to the fore among musicians the world over. He is both mood painter and melodist. Whatever form of expression he attempts, there is a noticeable command of the instrumental idiom, combined with a certain imaginative quality, that earn for its creator an enviable reputation.One seeks in vain for so-called "thick instrumentation," "stuffed" phrases or "dead" moments. In fact, originality of treatment is one of the chief factors that has contributed towards Mr. Loth's popularity.
Many press clippings testify to the fact that Mr. Loth
As an arranger and editor,
Mr. Loth brings to his work a background of accomplishment and experience
which stamps his work as that of a Master. His 500 or more published
compositions bear evidence of the high order of his musicianship and of his
Many of his orchestral
arrangements are heard on the radio and in concerts. Numerous catalogues of
publishers list works with Mr. Loth's fingering, phrasings, marks of expression,
and other editorial requirements.
Writers from every state in
the union send their work to Mr. Loth for analysis and professional opinion.
This has been particularly true in the field of song writing, and it has been
Mr. Loth's pleasure to guide these aspirants to song writing fame, into the
proper lines of procedure.
Song writers seem
especially to be in need of this kind of assistance, and numerous are the
letters of appreciation Mr. Loth has received from clients who had hitherto
suffered financial loss and much mental disturbance due to their previously
scientific and original in his manner of solving technical difficulties, Mr.
Loth is deeply concerned with developing in the pupil an understanding of the
inner meaning of music.
Through long teaching
experience and unusually broad musical contacts, Mr. Loth has acquired the happy
faculty of presenting ideas to pupils in a simple, direct way. His application
of technical methods of modern schools is supplemented by the creation of
original exercises for solving the problems of each pupil. By studying the
individual characteristics of pupils, Mr. Loth extends his own knowledge to the
pupil. This assists the pupil to solve his own problems to the extent that he
may gain greater freedom of expression through his personality. This has been
true not only in his teaching of piano, but in his teaching of harmony,
composition and orchestration as well.
Letters from former
students, pianists, teachers and directors from all parts of the country attest
the splendid results these musicians have achieved as the result of association
with his stimulating and inspiringg personality, and they further tell of the
success they have attained in their own teaching and performing through the
application of the principles of artistic performance he has imparted to them.
In the days of its
popularity, Mr. Loth was one of the most popular of the younger artists
recording exclusively for the Ampico. Many of his delightful compositions found
awaiting them a wide appreciation of their many beauties at the hands of Ampico
Of his shorter works
recorded for the Ampico which especially attracted attention, were Papillons,
Arabesque-Intermezzo, two Caprices of unusual charm of lilt and rhythm, and his
little idyls of the outdoors which may be placed beside the "Woodland
Sketches" and "New England Idyls" of MacDowell. Of his larger
works, the recordings of the Concert Paraphrase on Waltz-Themes from Gounod's
FAUST and a similar paraphrase on Waldteufel's waltz, THE SKATERS, stood out
prominently as examples in which the composer and artist were united into a
creation of remarkable interest.
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