(12191-12277) The first figure m the field of music of the Second Empire Nearly all the composers and musicians who followed him were influenced by his work He wrote in alt the important musical forms of his day, and brought all of these to their highest fulfillment In doing so, he was continuing a family tradition of musical performance that had lasted for sev en generations Licallo himself told the story of his ances tor Veit Licallo, a shopkeeper by trade, who began playing his citheron (an ancient forerunner of the baliset and cittern) m rhythm to the sounds of the bazaar on which his little store fronted "And that is how music first entered our family'' wrote Taiazor l The Licallos were a tightly knit family, and in their home province on the planet Chusuk, successive members held the post of court musician at Lectis Maxima seat of the Bashihus Dilowa and served as choir directors in the churches of Dilowa and Gegen for two hundred years When one resigned or died, he or she was replaced by another member of the family By the birth of Taiazor in 12191, the term licalio had already be come synonymous with 'musician in many of the planetary dialects There are refer ences m Dilovan records to bands of musicians or licallos 2 According to Licallo's first biographer Mian Tebery, the family used to hold annual reunions at which ' 'they would amuse themselves by singing chorales and folksongs (whose contents were often naughty as well as humorous), all of which were sung in such a way that several parts improvised made a kind of harmony together 3 As a boy, Taiazor was taught to pla> the baliset, the finger pipes and the Carillon bells, while his great uncle the venerable Filip Licallo, started him on the organum Taiazor continued both his musical and his classical studies when he went to live with his half brother Dion Licallo after he was orphaned at the age of ten When he was fifteen Taiazor began to support himself as school organist at St Gregonca s Collegium in Gegen Here he advanced his studies in chorus theory, and composition and studied advanced keyboard technique under the tutelage of Lman Mobh (b 12165 Chusuk d 12259) At eighteen he left the Collegium and was employed as organist and choir director in the nearby village of Shaobela but the young Taiazor discovered that since he was only a httle older than some of his choristers, ft was almost impossible for him to keep order The Shaobela watch records tell of a public brawl between Taiazor and one of his tenors who attacked him with a stick The youths were separated before blood could be drawn but at the hearing the boy testified that he had acted under extreme 368 provocation Licallo had criticized his singing of a particularly difficult passage in the liturgy for St Genesius by using foe deadly insult 'zipelfagotisn," a word as difficult to translate as it is to pronounce The incident was characteristic of the person of Licallo he spent much of his adult hie in one scrape or another, constantly fighting with his superiors, and he had a notoriously short temper He was utterly frank on matters on which he was an expert, but his lack of diplomacy made him many bitter enemies However, he was modest about his own art, completely fan*, and eager to learn from other composers At twenty, he took a leave of absence from his post asd went to Dilowa.