Digitized by Google THE LIBRARIES 1 I i |] COLUMBIA UNIVERSITY njj 1 1 i 1 ♦ i 5 Music Library 1 A- 1 la liririnjfruilfa^lru^ GIVEN RV — BIOGRAPHICAL AND HISTORICAL v* DICTIONARY OF MUSICIANS. sss Digitized by Google Digitized by Google DICTIONARY OF MUSICIANS, FROM THE EARLIEST AGES TO THE PRESENT TIME. COMPRISING THE MOST IMPORTANT BIOGRAPHICAL COMTfifrTS or Tiir. works op CERBER, CHORON, AND FAYOLLE, COUNT ORLOFF, DR. BURNEY, SIR JOHN HAWKINS. &c. &c. TOGETHER WITH UPWARDS OF A HUNDRED ORIGINAL MEMOIRS QF THE MOST (gmtnnit h'bmg jMugfriaim AMD A SUMMARY OF THF. HISTORY OF MUSIC. VOL. II. LONDON : PRINTED FOR SAINSBURY AND CO., SALISBURY- SQUARE, FLEET-STREET ^ AN'D SOLD BY LONGMAN, HIRST, R EES, ORME, BROWN, ANTD GREEN', PATER- NObTER - ROW ; IIOOKHAM ; B IRC HALL AND CO. ; AND CIIAPPELL AND CO., NEW BOND STRKET ; OOULDINO, D ALMAINE AND CO., SOHQ-SQUARE j CLKMEVT1 AND CO., CHEAPSIDE ; AND ALL OTHER BOOK AND MUSIC SELLERS IN THE KINGDOM. 1824. ed by Google :. . . v . * — rev.-. ..jr.e ", '913 COLUivu,:^ W I .-.If. ^ music ^e^v c. S 2. ^ A' PRINTED BY A. APPLEGATH, STAMFORD-STREET. BIOGRAPHICAL DICTIONARY OP MUSICIANS. K A E A, (Fhanz Ion.) chapel -master at the cathedral of Cologne, in 1783. He published at the Hague six operas of instrumental music. KAEBERLE, a celebrated performer on the hautboy, at Beuthen on the Oder, about the year 1740. He composed some music for bis instrument. KAEMPFER, (Joseph) a celebrated performer on the double bass, resided in London for some years, after 1783. He was by birth a Hungarian, and originally an officer of the Austrian army. Being in garrison in Croatia, with little to do, the idea first struck him to render himself cele- brated as a musician. With this intent, he chose the double bass, conceiving that on that instrument he would have fewer rivals than on any other. Without any master, his genius and taste were his only guides. After a certain time, conceiving that he had attained sufficient power to be heard in VOL. II. K A E public, he went to Vienna, where he was received shortly afterwards in the chapel of prince Esterhazy, then under the conduct of the immortal Haydn. By perseverance in practice, Kaempfer could at length exe- cute on his double bass, (which he used to call his Goliath) not only the most difficult violin passages, but also used the upper tones of his instrument with such delicacy that they resembled those of the harmonica. In the year 1776, being desirous of travel- ling through Germany, and finding the size of his double bass very inconvenient, Ka- empfeo had one constructed, which, by means of twenty-six screws, he could take to pieces or put together with facility. He extended his travels on the continent as far as St. Petersburg, from whence he sailed for this country. . He was considered here as a fine solo player, and was constantly engaged at the principal concerts. KAESERMANN, (Nicol.) a professor B Digitized by Google K A 1 of music at Bern, published at Augsburg, in 1797, " Trots Sonat. pour It Clav. avec V.," Op. 1. He afterwards published at Bern, in 1804, " Gellerfs geistl. Oden und Lieder, mil gam neuen Melodienfur 3 bis 4 Singstimmen, nebst einer Klavitr- parthie und Generalbasse." KAESTNER, (Abraham Gotthelf) doctor of philosophy, was born at Leipsic in 1719. He translated from the English language a treatise on ancient and modern music, with their application to the cure of disease, written by Dr. Brocklesby. Kaest- ner died in the year 1800. K AFFK A, properly KAROKA,( Joseph) a celebrated violinist, born in Bohemia, had been, in the year 1788, during forty-five years, in the service of the prince of Tour and Taxis, at Kegensburg. KAFFKA, (Wilhelm) eldest son of the preceding, was an excellent violinist, in the service of the same prince as his father. He has also composed some masses, and music for his instrument. KAFFKA, (Johann Christophe) se- cond son of Joseph Kaflfka, was born at Regensburg in 1759, and studied music under the celebrated Riepel. He was first in the service of his prince, as violinist, and in 1778 made his dtbut as a singer, at the theatre at Breslau, from whence he pro- ceeded to Bt Petersburg, and lastly per- formed, in 1802, at the court theatre at Dessau. He has composed much vocal and instrumental music, both sacred and profane. KAHL (Wilhelm G.) was, in 1796» a student of music at Halle, and published, at Leipsic, in that year, "6 Kleine So- natcn furs Klavier" KAISER, (Pater Jistrid) a monk in Suabia, about the year 1750, was cele- brated as a church composer. KAISER, (P. L.) a musician at Win- terthur, in Switzerland, was born at Frank- fort on the Maine, in 1736. In 1784, he made a second journey to Italy, having resided there previously, during several years. He was considered an excellent performer on the harpsichord, and his com- 2 K A t positions are in the style of Gluck, who, it is said, he chose for his model. He pub- lished several collections of German songs, also some music for his instrument, between the years 1775 and 1790. KAISERLY KRIKUHR, an Armenian singer, published at Constantinople, in 1794, a work on Armenian church music, also a second book of the same description, in 1803. KALCHER, (Johann Nepomuk) court- organist at Munich, is a celebrated per- former and composer. Among his printed works are " 15 Lieder beym Klavier" Mu- nich, 1800. KALICK, a German musician, com- posed some flute music, at Vienna, previ- ously to the year 1799. KALKBRENNER, (Christian) a Prussian Jew, born in 1755, at Munden, in Germany. He was a pupil of Emmanuel Bach, when he so distinguished himself as to be received at a very early age in the chapel of the elector of Hesse-Cassel. He soon afterwards quitted that town for Berlin, where, attached to the suit of prince Henry, brother of Frederick the Great, he composed for the prince's theatre the fol- lowing operas : " La Veuve de Malabar" " Dentocritus," and "La Femme et k Se- cret." In 1796, he travelled to various parts of Germany and Italy, and finally settled at Paris, where he was appointed singing-master to the academy of music. For this theatre ffe produced the opera of " Olympic," but it was unsuccessful ; and had written another opera, " Oenone," which was just about to be performed, when he died, in 1806. Kalkbrenner published at Paris, in 1802, the first volume of a "Hisfoire de la Musique" He had pre- viously written several didactic works on music t he also published many pieces for the piano-forte. Kalkbrenner's history is considered high authority in what relates to Hebrew and the ancient Greek music. KALKBRENNER, (Fredericx) son of the preceding, was born at Cassel in 1784. He is considered as one of the best piano pupils of the celebrated Adam, and in ed by Google K A M composition was a pupil of Catel. In the year 1802, he gained two prizes at the conservatory at Paris, the one for composi- tion, and the other for his performance on the piano, which prizes were presented to him by Chaptal, the minister of the interior. Kalkbrenner's style of playing is peculiar, but his command of the piano is pro- digious. He has composed voluminously for his instrument, both in this country, (where he resided several years as a teacher) and in Paris and Vienna. Much of his music evinces a fine taste and rich fertility of invention. Among his more favourite piano-forte pieces, published in this country, are, " Kssais sur dijfirentes Caracteres pour Ic Piano-forte" " Taleo, ou la Chaise au Menard, Rondo." "Sonata, for the left hand," (obligato.) " Variations sur la Bumdina in Gondoletta." " Operatic Airs, No. 1." « La Solitudine, Rondo." " Po- lacca Rondo." " Grand dramatic Sonata." "Ihio for the Piano-forte and Violin," Op. 49. « Pastoral Rondo." Op. 29. " Eleventh Fantasia, with We're a1 noddin." " Grand Concerto." "Military Rondo," Op. 62. "Rondo, with Bishops Duet of Maid Marian," Op. 65. " Twelfth Fan- tasia, with Auld long syne," Op. 62. " Grand Waltz, with Flute Accompani- ment," Op. 63. " Rondo ViUageois," Op. 67. « Gage tfAmitU, Grand Rondo," Op. 66. Vocal pieces: u Three Songs." " Tre Canzonette Italiane," and " Hail, George the Fourth." These are almost the only vocal compositions of their author. The Italian canzonets are said to be simply elegant. One of the English songs, " The knell of the brave," has a good dramatic effect, but much the most original of the three is «* Woman." KALLENBACH, (G. E. G.) an organist at Magdeburg, published many vocal pieces at the above town and Halle, between the years 1787 and 1800. KAMBRA, (R.) a composer of vocal and instrumental music, resident in London, in the latter part of* the last century. He published some original Chinese songs, with KAP ' an accompaniment for the piano-forte, also some sonatas and other music for the piano- forte. (Preston's Cat. 1798.) KAMMEL, (Anton) a violinist in the late king's band, was born in Bohemia. He was a pupil of Tartini. He performed for some time at Prague, where he was especially celebrated for his adagio playing. From thence he proceeded to London, where he married a woman of some fortune. He died about the year 1788. His composi- tions consisted chiefly of violin music, and some masses. KANCKA, (J. von) doctor of laws at Prague, is not only known, since the year 1796, as an excellent pianist, but has pub- lished some music for his instrument at Leipsic. KANNE, (F riedrich August) born in 1 778, near Leipsic, was of the legal pro- fession, but, since the year 1802, has made himself known as a composer. His works are chiefly vocal and dramatic. In 1807, he went to Vienna, where he produced two successful operas, " Orpheus," and " Fefr nando and Miranda." In 1800, he was so highly esteemed in the musical profession as to be appointed chef-oVorchestre to the opera in Presburg, with a salary of 1600 gueldere. KANNENGIESSER, (J.J.) chamber- musician to the court of Prussia. He pub- lished some vocal and instrumental music at Berlin, between the years 1788 and 1800. He was considered the best music- master of his time, in Berlin. KANTER, (Christopher) a musician at Koningsberg, published there, in 1799, some music for the piano-forte. KAPP, (J. Carl) a rrussian organist, published, at Brunswick, nine operas of piano-forte music, up to the year 1798. He was a pupil of HAssler and Weimar. KAPSBERGER, (Johann Hieronv- mus) a German of noble family, is well known, not only for the variety 0f bis com- positions, but also for his great skill and execution on almost all instruments, parti - cularly on the theorbo lute, an instrument r2 3 Digitized by Google K A tJ invented by a Neapolitan musician, whose name is not now known. Kapsberger ren- dered essential assistance to Kircher, in the compilation of his " Musurgia." • A mean jealousy of the reputation of Palestrioa induced him, in conjunction with some others, to make several nefarious attempts to destroy the popularity of that great musician. The conspiracy failed, and the contrivers of it reaped for their trouble only odium and disgrace. Many of the compositions of Kapsberger are for the lute. He wrote some masses, litanies, motets, and other pieces for the church, and a considerable portion of vocal music for the theatre, and for public solemnities. He published, at Rome, a work entitled " Coro Musicale in Nuptiis D. D. Thaddei Barberini et Anna: Co- lumnte" KARASEK or KARAUSCHEK, a Bo- hemian violinist, died in 1789. He com- posed some instrumental music, among which are concertos for the bassoon and violoncello, and symphonies. On the latter- named instrument, he was an excellent performer. KARELIN, (Sila Dementiewitsch) by birth a Russian, was, in the year 1796, the director of the musique de ckasse of some nobleman at St. Petersburg. He was consi- dered the finest performer in Russia on the cor de chasse, and his instrument is said to have cost, at Moscow, 800 rubles. KARR, a German musician, residing at Paris, published there, in 1782, "Deux Concertos pour le Viol on' * KARR, (Henri) an excellent pianist, resident at Paris, was born at Deux-Ponts, in 1784. He has published some music for his instrument • KARSTEN, a good tenor singer at the opera at Stockholm, is by birth a Swede. He was in London in the year 1792, and sang with much applause in various parties of the nobility. KAUER, (Ferdinand) a musician at Vienna, published there much dramatic and instrumental music, between the years 4 KAY 1794 and 1809. He is said to have been an excellent pianist. KAUFMANN, (Carl) an organist at Berlin, born there in 1766, was a pupil of Fasch in composition, and of Kohn on the violin. He published some instrumental music about the year 1 790. His composi- tions are chiefly for the piano and organ, on which instruments he was an excellent performer. He died at Berlin, in 1808. KAUFMANN, (Johann) a violoncellist at Stuttgard, born in 1760. KAUFMANN, (Madame) wife of the preceding, was a celebrated singer at Stutt- gard, in the service of the court. KAUTH, (Madame) an amateur com- poser of music for the piano-forte. A con- certo of her composition was played by Hummel, at a concert in Berlin, in 1792. KAYSER, (J. H.) a musician, and pro- bably violinist, at St. Petersburg, published there, in 1 796, " Troit Airs Russes, avec Variations pour deux Violons," Op. 1. KAYSER, (Elizabeth) not less cele- brated for her beauty and fecundity, than for her talents as a singer. At the age of fifteen, she sang with great success at the opera, in Dresden. She afterwards was married to a tenor singer of the same thea- tre, and became the mother of twenty-three children, having, four times, twins. From Dresden she went to Stockholm, where her charms were still such as to captivate Fre- derick, King of Sweden, whose mistress she became, and by whom she had her twenty- fourth child. It was to Madame Kayser that the king owed the preservation of his life, in the fire at the Opera-house in Stock- holm. Already was the machinery at the end of the stage in flames, without the audience knowing of it, when Madame Kayser, observing the fire to spread, had sufficient presence of mind to approach the royal box without interrupting her singing and action. At first she made signs to the king, who did not understand her ; she then, seizing a favourable moment, said to him in a low voice, "Leave the theatre, sire, it is on fire.*' The king instantly quitted Digitized by Google K E I the house ; when, after giving him time to escape the crowd, she vociferated fire ! and gaming her box, threw herself and royal son, who was then about four years old, oat of a window, which not being very high from the ground, she escaped without injury. KEARXS, (W.H.) an English musician, and author of a singular cantata, lately published by Platts. It is considered by critics to have much merit as a composition, though it is affectedly changeful. KEEBUE, (John) organist of St. George's, Hanover-square, subsequently to the year 1759, was a pupil of Dr. Pepusch. He published, in 1784, a work entitled *' The Theory of Harmonics" (See Mont hit/ Review, 1785.) KEEPER, (John) of Ifarthall, an Eng- lish church composer, published, in 1574, " Select Psalms, in four parts." KEHL, (Johann B.) a singer and organist, was born at Cobourg. He pub- lished several sonatas for the harpsichord, &c at Nuremburg, about the year 1770. KEIFERERUS, (Christianus) a monk and church composer, published some sacred music at Augsburg and Ingolstadt, in the years 1612 and 1618. KE1SER (Reinhard) was bora at Leipsic in 1673. His first master in coun- point was his father, and early in life he was entered at the university of his native town, where he much distinguished himself in his general studies, whilst at the same time he greatly improved in the science of music, by a close attention to the best pro- ductions of Italy. His first attempt at composition was the pastoral of " Jsmene" which he wrote for the court at Wolfe n- buttel just after he quitted the university ; it was received with the greatest approba- tion. His second opera, " Basilius," proved not less successful. Shortly after this, he went to Hamburgh, where the opera was in great perfection, the celebrated Hasse being a tenor singer on that stage at the time. Here he reproduced his " Basilius" and "limine," both of which were received with enthusiasm. He also brought out the opera of " Janus" which was equally suc- K E I cessful. Gifted with first-rate talents, Rei- ser now found himself obliged to oppose their whole force to misfortunes which threatened him. He had become director of the Opera-house at Hamburgh, and the speculation was just on the point of failing, when he saved the concern from ruin, by writing and bringing out no less than eight operas in one year. Every one of them succeeded, and their receipts released the theatre from all pecuniary difficulties. Soon after this time, Keiser married a womau of property, and commenced, in con- junction with the learned Matheson, giving public concerts at Copenhagen, where he was honoured with the nomination of cha- pel-master to the king. On his return to Hamburgh, he brought out " Circe," the last and most beautiful of his operas. This was first performed in 1734, and was the one hundred and eighteenth which this inde- fatigable artist had produced. Keiser is considered the father of German melody. Exclusive of his dramatic works, he com- posed divertimenti, sereuate, and cantatas. Fancy and originality were the character- istics of all his productions, as they have since been in most of the compositions of the immortal Haydn. In fact, the vigour of a fertile imagination, corrected by study and experience, is discernible in all the effusions of the inexhaustible Keiser. He died in 1735. It is to be regretted that hardly any of Keiser*s works are now to be procured, though a new edition of some few of them was talked of in Hamburgh, about the year 1810. KEITH (Robert William) was born, in 1787, at Stepney. He is the eldest son of Cornelius Keith, organist of St. Peter's church, Cornhill, and Danish chapel, Well- close-square. R. W. Keith received the early part of his musical education from his grandfather, William Keith, organist of Westham church, Essex, after whose de- cease he was under several masters for the organ, piano-forte, and violin. His instruct- ors on the latter instrument were Barthe- lemon and Diettenhoffer. under whom, to complete his musical education, he also 0 Digitized by Google K E L studied harmony and composition. The theoretical works written by Keith are, in- struction books for the violin, German flute, and piano-forte ; also a work entitled a " Musical Vade Mevum," in two volumes, 8voM written iu a catechetical form, which commences with the first principles of music, and gradually passes on through the whole of the science, including composition, &c. KELLER (Godfrey) was a celebrated English master of the harpsichord, about the beginning of the eighteenth century. He published several sonatas in five parts, for flutes, hautboys, &c. ; also a work en- titled " A complete Method for attaining to play a Thorough-bass upon either Organ, Harpsichord, or Theorbo Lute.*' KELLER, (C.) a German composer of flute music, now living, probably at Vienna. Among his works are " Par. pour Flute, avec Acc. de Piano," Vienna; *'Fantaisie, avecAcc. de Piano," Op. 6, Vienna ; " PoU pottrri, avec Acc* dedeux V ., T,t et B., &fc.n Op. 4 ; u Or.Pohnoiseen Jfe avecd'Orch." Op. 13. KELLER, (H. M.) a German organist, died in 1710. He wrote some music for his instrument KELLNER, (David) a musician at Hamburgh, published there, in 1 732, " Treu- lichen Vnterrichtsim Generalbasse," which, in 1796, had arrived at its eighth edition. It is considered an excellent manual of thorough-bass. KELLNER, (J oh awn Christophe) son of the preceding, was an organist at j Cassel, and born in 1736. He learned music of his father, and subsequently at Gotha, under the celebrated Benda. He had published, up to the year 1785, fifteen operas of harpsichord music, together with some pieces for the organ. He also wrote several passions and cantatas for the church, besides one opera, "Die Schadenfreude;* which was printed in 1782. He also pub- lished, in 1788, a work on thorough-bass. In 1795, he was residing at Manheim, as court-musician, from which time, till 1800, many more of his works were published there, both vocal and instrumental. 6 KELLNER (Ernest Augustus) was born at Windsor, in 1792. His father was a native of Sax e- Weimar, and one of the private band of musicians in the service of* her late majesty queen Charlotte. A. t about two years of age he began to teach the piano-forte to his son ; who, at five years old, played one of Handel's concertos on the organ, before the royal family at Windsor. Soon after this, young Kellrter began to study singing under sir W. Par-* sons, by command of his late majesty. At eight years of age, he sang in public ; and from that period, until his voice changed, sang at the Ancient concerts, oratorios, &c» &c. with Mara, Banti, Billington, and Grassini, with great success. When his voice broke, he went into the navy, and served as a midshipman for about three years, when he returned to London, and again commenced diligently to prosecute his musical studies. In April, 1815, he married, and the same year went to Italy, where he applied himself with great zeal to the art of singing, under the celebrated masters, Porre, Nozarri, and Crescentini. After leaving Italy, where he received dis- tinguished marks of favour from the royal families of Naples and Tuscany, he visked Switzerland and Germany t here he also had the honour of receiving 6attering marks of approbation and favour from many of the courts, particularly Bavaria, Saxe- Weimar, Baden, &c. He returned to England in 1820. His compositions are chiefly manuscript, and consequently only known within the circle of his friends ; he has, however, written some masses and offertories, which have been sung at the Bavarian chapel. KELLY (Michael) is a native of Dub- lin. His father, Michael Kelly, was an eminent wine merchant in that city, and for several years master of the ceremonies at the castle. At a very early period, Michael displayed a passion for music ; and as his father was enabled to procure the best masters for him, before he had reached his eleventh year he could perform some of the most difficult sonatas then in fashion, on Digitized by Google K E L at the Rotunda in Dublin, gave ie lessons in singinc. and persuaded to send hira to Naples, as the propensity ra. At the he was accordingly sent i, from persons of consequence in Ireland, to sir William Hamilton, the then British minister at the court of Naples. Sir Wil- liam took him under his fostering care, and he was placed in the conservatorio La Ma- dona della Loretto, where, for some time, he received instruction from the celebrated composer, Fineroli. Sir William Hamilton also did Kelly the honour of introducing him to the king and queen of Naples, who particularly noticed the young Irishman. Having had the good fortune to meet Aprili, the first singing-master of his day, an en- to go to Palermo, offered to take while there. This proposal of course gratefully accepted, and he . rili's valuable tuition until the of his engagement at the i*s kindness, however, did not tei there, for he sent Kelly to Leghorn, with the strong recommendation of being his favourite pupiL From Leghorn, young Michael was engaged at the Teatro Nuovo at Florence, as first tenor singer. He then visited Venice, and several of the principal theatres in Italy, in which he performed with distinguished success. He was next engaged at the court of Vienna, where he was much noticed by the emperor Joseph IL He had likewise the good fortune to be the most intimate friend of Mozart, and was one of the original performers in his " Nozte di Figaro," Having obtained a year's leave of absence from the emperor, for the purpose of visiting bis father, (at the the end of which time he was to go back to Vienna, where he was in to haP7ly) he reused to E^JL by EEL the same opportunity as signora Storace. Iu April, 1787, Kelly made hts first appearance in Drury-lane theatre, in the character of Lionel, in the opera of Lionel and Cla- ris**. Here he remained as first singer until he retired from the stage. He was also for several years musical director of that theatre. Kelly sang at the king's Ancient concerts ?t Westminster abbey, and at all the principal music meetings and theatres in Great Britain. He was, besides, for several years, principal tenor singer at the Italian opera in the Haymarket, where he was stage manager, a situation which he retains at this moment, and musical director at the little theatre on the opposite side of the way. The death of his dear and lamented friend, Stephen Storace, in the year 1797, first induced Kelly to become a composer, since which time he has written and select- ed the following sixty pieces, for the dif- ferent theatres, by which it will appear that no English composer has eve more largely to the public stock of i ment. It may be necessary to add that, in addition to the following list, Kelly has composed a great number of Italian and English songs, duets, trios, &c &c., which to the present time retain their popularity : '< A Friend in Needy'* 179f j " Chimney Comer," 1797} "Castle Sfectre,» 1797 ; " Last of the Family? 1797 ; « Blue Beard? 1798; "Captive of Spilsberg? the comic music, the serious being by Dus- sek, 1798 ; " Aurelio and Mirando? 1798 ; "Feudal Times? 1799 ; "Pizarro? 179© ; " Of Age to-morrow? 1800; " De Montford? 1800; "Remorse? 1601; " Gyp*}? Prince? 1801 ; *' Adelmom," 1801 ; •* Algomah? 1802 ; "House to be sold? 1802; "Uriania? 1802; "Hero of the North? 1808 ; M Marriage Promise? 1803 ; " Love laughs at Locksmitks? 1 804 ; " Cinderella? 1804 ; " Counterfeits? 1804 ; Deaf and Dumb? 1804; " Hunter of the Alps? 1804; " Land we live in? IB04; « Honey Moon? 1806 ; " Youth, Love, and Folly , 1803} " Prior Claim? 1805; « Forty Thieves? 1806 ; '« We jly by Digitized by Google KEN Night," 1806; " Royal Oaky 1806; "Adrian and Orilla," 1806; " Adelgi- tha," 1807 ; " Town and Country," 1807 ; " Time's a tell tale," 1807 ; " Young Hussar," 1807 ; " Wood Demon" 1807 ; " Something to do" 1808 ; " Jew of Mo- gador," 1808 ; " Africans," 1808 ; " Ve- nom? 1808 ; " Foundling of the Forest," 1809; "Fall of the Toronto," 1809; "Britain's Jubilee," 1809 ; " Gustavus Vasa," 1810;" Humpo," 1812; "Absent Apothecary," 1813; "Polly," 1813; " Hussion," 1813 ; « Nourjahad," 1813 ; " Peasant Boy," 1814 ; " Unknown Guest," ; " Bride of Abydos," ; " Abu- dah," 1819 ; " Grand Ballet," 1819. KELWAY, (Joseph) successor to Wel- don, as organist of St. Martin's in the Fields, about the year 1744. He was a pupil of Geminiani. His playing on the organ was so excellent, that Handel is said often to have gone to the church when he performed. Some harpsichord sonatas of his composition were published. KELZ, (Matth.) a German musician in the seventeenth century, published several sacred works, and wrote a treatise on com- position, in the Latin language, between the years 1626 and 1669. KEMP, (Dr.) an English musician, of much talent as a theorist He has also composed some very pleasing vocal music. Among his works are " Musical Illustra- tions of the Beauties of Shakspeare" Songs: " A lover's eyes will gate" "Doubt thou the stars are fire," " Fair ladies masked," *'Lady, by yonder blessed moon," " Love, love," " Lover's eyes," " Oh ! for my beatls," « When I beheld thy blue eye." (dementi's Cat.) KEMPIS, (Fiorenzo a) an instrumental composer at the beginning of the eighteenth century, published in London, in 1714, "Douze Sonates a V. et Viola dagamba" KENDAL, an English organist, publish- ed, in 1780, some music for his instrument. KENN, a performer on the horn, was engaged, in 1798, in the orchestra of the grand opera at Paris, where he also pub- lished some music for bis instrument. 8 KEN KENNIS, (William Gomma r) director of the music at the church of St. Peter, at Lou vain, about the year 1768, was con- sidered, in 1772, as the first of all violinists in the Austrian Netherlands, principally in the execution of difficulties. About that time he published nine works, at Paris and elsewhere, of which only the fourth and ninth are known in Germany: they are both duets. KENT (Jambs) was a native of the city of Winchester, and born in 1700. At an early age he was admitted into the choir of that cathedral, under the superintendence and tuition of Mr. Vaughan Richardson, the organist. After having been some time in this situation, he became one of the chil- dren of the chapel royal. Here, under the care of Dr. Croft, he laid the foundation of his future excellence. He studiously ob- served the style, and happily caught the manner, of that justly celebrated composer. The first public situation which Kent obtained in his profession, was that of organist of the chapel of Trinity college, Cambridge ; and, lastly, in 1737, of the cathedral church of the chapel of the col- lege at Winchester, in which city he con- tinued to reside until the day of his death. Whilst he was the organist of Trinity chapel, he conducted himself so much to the satisfaction, and was, in other respects, in such high esteem with the members of that college, that, when he was promoted to his situation at Winchester, tbey presented him with an elegant piece of plate, in token of their great esteem and regard. As a composer of sacred music, Kent followed closely to the style of Dr. Croft ; and few persons have succeeded better than he in that due intermixture of harmony and melody which renders this species of music interesting both to learned and un- learned auditors. In his compositions, the full sense and meaning are generally given to the words ; and, although we sometimes observe in them what may be thought to border on conceit, yet their merit is for the most part so conspicuous, that we readily overlook their defects. 'By any one con- Digitized by Go( KEN versant in church music, it will easily be discovered that Kent was a pupil of Dr. Croft. Indeed he often, without hesitation or scruple, followed the ideas of this great master in his compositions. He once said to that excellent singer, J. Norris, who was attending the rehearsal of a new an- them, *' I know your thoughts ; there is the same passage in Dr. Croft : but could I have possibly done better than copy him in this place V* His talents were too great, and his disposition too ingenuous, to allow him to dissemble that he occasionally availed himself of the excellencies of his favourite master. Of his own originality he has left us ample proof. The subject of St. John's chapter is not much calculated for musical expression ; yet, induced chiefly by his sincerely Christian principles, he set it to music, and few composers could have executed the task so well as he has done. His anthems, "Hearken unto this, O man," and " When the Son of many* are truly sublime compositions in the solemn style. *' Give the Lord the honour due unto his name," is equalled by few anthems in force and dignity. The fourth verse in " The Lord is my shepherd,'* as a bass solo, and the sixth verse, in which the two voices unite, produce a striking and most pleasing effect, the one by its majestic simplicity, and the other by its pastoral, yet elegant harmony. Few anthems have obtained more celebrity than " O Lord, our Gover- nor;* " My song shall be of mercy,** and " Hear my prayer '* So modest and unassuming was this ex- cellent man, that it was not uptil towards the decline of bis life that he could be pre- vailed with to give his works to the public ; and he then printed and published a second volume, containing a morning and evening service and eight anthems. Some of these have since been printed separately, and a few of them have been admitted into Page's Harmonia Sacra, Kent was remarkably mild in his disposition, amiable in his manners, and exemplary in his con- duct} and, as an organist, was conscien- tiously diligent in performing all the duties K E R of his situation. His performance on the organ was solemn and expressive ; and he was reputed by some competent judges to have been one of the best players of Dr. Croft's music in the kingdom. Kent died at Winchester, deeply regretted by all who had the happiness of his ac- quaintance, in the year 1776, having re- sided in that city, in the character of organist and composer, for nearly forty years. KEPLER, (Johann) a great astronomer and mathematician, was born at Wiel, in the duchy of Wurtemburg, in the year 1751. We shall pass unnoticed all Kepler's mathematical and astronomical works, and speak only of that entitled " Harmonica Mundi," The third book of this work treats of the subject of musical harmony ; several of the first chapters are confined entirely to discussions relative to the music of the ancients. In the seventh chapter he treats of the proportions throughout all the eight usual sounds of diapason. He also speaks of the modern method of notation by lines and letters of the alphabet, and gives his opinion respecting the origin of the clefs. It may, however, with truth be observed, that if Kepler had made no greater discover- ies in mathematics than he did in music, it is probable that his conceits might have remained, but his discoveries would all long since have been forgotten. KERL, (Jacob oe) canon of the cathe- dral church of Cambray, was born at Ipres, in Flanders. His compositions, which are chiefly for the church, were published in different parts of Europe, from 1562 to 1573. His masses were printed at Venice in 1562. Their style is dry and uninter- esting ; the harmony, however, is good, and his answers to the fugues are warrantable. KERL (Johann Caspar) was a native of Saxony. Having, during his youth, shown a great taste for music, he was sent to Vienna, and, at the expense of the arch- duke Leopold, placed under the tuition of Giovanni Valentine, chapel-master at the imperial court. His patron afterwards Digitized by Google K E S ordered him to be sent to Rome, in order to Kte his musical studies under Caris- At lib return be had an highly ad - vantageoua offer from the elector palatine, but he refused it, and settled in Bavaria, where he became chapel-master to the elector Ferdinando Maria. Kerl's principal work is his " Modulatio organic a super magnificat octo tonis ecclc- siasiicU respondent,'* printed at Munich in 1686. He is justly esteemed one of the most celebrated organists that the world ever produced. In a competition that he had with some Italian musicians, at the court of the elector of Bavaria, he composed a piece for the organ so difficult, that none but himself could execute it KERNER, (L.) a musician at Ham- burgh, about the year 1690, was the master of Matheson. KERNTL (P. F.) published in Holland, about the year 1782, two operas of duos for the flute, and one opera of duos for the violin. KERPEN, (F.H.Freyer von) a canon of the cathedrals of Mentz and Wurtzburg, was an excellent amateur musician, and published much vocal and piano-forte mu- sic, between the years 1780 and 1800. . KERSTEIN published in London, pre- viously to the year 1797, '< Six Duets, five for two Flutes, end one for a Flute and Clarionet." KERUTH (C. F.) published in 1799, at Vienna, " 6 Ttrssetti u 2 V. e Vc." KERZEL or KERZELLI, (Michael) a musician at Vienna, where he published, up to the year 1783, much violin music About the year 1787, he went to Moscow, where he probably still continues. KERZINGER, a musician at Presburg, wrote there, before the year 1796, the music of an operetta, entitled » Die lUumina- HO 71. KESSEL, (Johann C. B.) a singer at Eisleben, was born in 1766. In the year 1790, he published at Leipsic, " Unterrickt im Generalbasse zum Gebrauchefur Lehzer und Lernende" an improved edition of which appeared in 1792. 10 K I A KETSLER, (Johank WnnsLai) organist at Heilbronn, published at Stutt- gard, in 1793-1794, " Wurtembergische* vierstimmiges Choralbuch," also at Darms- tadt, in 1796, "Divertissement Sociauxr, ou six Angtoiscs pour le Clavecin avec leur Chor Vgraphie," KETTE, (Albeecht) a celebrated organist of the court and cathedral at Wurtzburg, was born in 1726, and the afterwards a pupil organist, Bayer, at whose death, in 1749, be succeeded to his public situations. He composed much church music and music for the organ, and died in the year 1767. KHISEL, (Giovanni Giacomo) a con- trapuntist of the sixteenth century, and probably a German, resident in Italy, pub- lished at Venice, iu 1591, "lAbro X. do Madrigali et Motetti a 4 e 5 voci." KHYM or KYHN, (Carl) an instru- mental composer, has published much music at Augsburg and Vienna, since the year 1798. KIALLMARK (E.) was born at Lynn Regis, in Norfolk, in the year 1781. His father was a native of Sweden, and an officer in the service of that state: his mother was a descendant from Mr. Bank*, of Yorkshire, a cousin of the late sir Jc Banks. His parents dying when he very young, left E. Kiallmark, their only child, without provision, when he was kindly adopted by his maternal grandfather, who spared no expense in his education, and finding that he had a strong passion for music, consented eventually to bring him up to that profession. His grandfather first placed him, at the age of fifteen, (giving a considerable premium) with a German mu- sician of great pretension; after two years' agreeable years of his life) he and from that period has depended on his owa exertions for a livelihood. Having by the end of his apprenticeship gained a tolerable practical knowledge of the piano- forte, harp, and violin, he commenced pro- fessionally bv teachm0, those instrumtnts at Digitized by Google K I A fatigue, succeeded in gaining several pupils. He always, however, appropriated a portion of Us receipts to the acquirement of musical instruction, and became successively a pupil of Barthelemon, Cobham, Spaguoletti, &c. till at last he found himself, to his great delight, capable of playing in an orchestra, and became a performer, either as deputy or principal, in the oratorios, concerts, music meetings, and theatres. At the early age of twenty-two he married a young Scotch i, and at that time, having succeeded a very tolerable connection, pave up all his public engagements, and became a piano-forte master. Soon after that period he became intimately acquainted with Von Each, and although he (as him- self would acknowledge) was but an in- different theorist, yet to his taste and talents, and his friendly hints and instructions, Kialimark confesses himself deeply in- debted. Soon after this, he ventured to publish two or three pieces, although almost unacquainted with the earliest rules in com- position. This success induced the music- sellers to make fresh applications to him; and, after a short time, he became known as a composer. KiaJlmark has since had great success as a piano-forte instructor, seldom teaching less than from nine to twelve hours per day, and for some years has had one or two assistants constantly in his employ. At the suggestion and desire of some of his connections, he was induced to become a party with Logier at the rime of his great success in this country ; and although such was the state of Kiallmark's engagements that he could but seldom find time to see Logier, he yet acknowledges to have derived great pleasure and advantage from his acquaintance. The following are amongst the most favourite pieces of Kiallmark's composition. Piano-forte: " and Variations to admit Kiesewetter to possess : bis abilities are, in every sense of the word, admirable indeed: we merely wish to have it understood, that there are points of peculiar skill which, when pushed beyond certain limits, run into defeat, how- ever vehemently applauded these very ex- ertions maybe by the multitude of auditors, who are ever more stimulated by novelty and surprise than by the appropriate disposi- tion of parts and of the whole, which is the result of deep consideration and fine taste. Kiesewetter's command of the instrument appears to render him superior to every possible difficulty, and out of this super- abundant power, perhaps, arise those tempt- ations which almost necessarily lead to excess. For, although sobriety of judgment rejects superfluous execution as well as superfluous ornament, yet, when wanned with exercise, there are few who can resist the power of demonstrating acquirements which others have not reached." Kiese- wetter performed at the spiritual and other concerts, in London, in the season of 1824. KILIJCK, (T.) organist of Gravesend, is considered a sound musician. He has lately republished *' Handel's Overtures, arranged for the Organ or Piano-forte," in which he has increased the combinations, and given them a fuller accompaniment. He has also added a figured bass, (dementi's Cat.) " KINDERMANN, (Johann Erasmus) a celebrated organist atNuremburg, died in 1655. He composed many practical works, both vocal and instrumental, the latter being chiefly for the organ. His writings bear date from the year 1640 to 1653. K1NDERVATER,(JohannHeinrich) a German clergyman, died in 1726. He wrote several works on music, among others one entitled " De Mnsica UtteratU neces- 12 KIN saria tractatus harts subcisivis usque Aca* demicis conscriptus." KINDSCHER, (L.) a singer at the court church at Dessau, published there, in 1792, a collection of twenty-four songs, and at Leipsic, in 1801, a similar collection. KING, (William) organist of New College, Oxford, set to music Cowley's "Mistress," and published it with the fol- lowing title, " Poems of Mr. Cowley and others, composed into Songs and Ay res, with a Thorough-basse for the Theorbo, Harpsecor, or Base-Violl." Oxford, 1688. KING, (Robert) bachelor in music of Cambridge, in 1696, was one of the band of William and Mary. He composed various airs, printed in the Tripla Concordia, and set to music many songs, printed in the Theatre of Music. v KING, (Charles) educated in the choir of St. Paul's, under Dr. Blow, was at first a supernumerary singer in that cathedral for the small stipend of fourteen pounds a year. In the year 1704, he was admitted to the degree of bachelor in music, in the university of Oxford. King composed some anthems and services, and thereby gave oc- casion to Dr. Greene to say, and indeed he was very fond of saying it, as he thought it was a very witty sentiment, that " Mr. King was a very serviceable man." As a musician, he is but little esteemed. KING, (M. P.) an English composer, chiefly of vocal music, since the year 1790. Among his works are — Operas: " False Alarms," "Invisible Girl," " Matrimony " " One o'Clock," " Timour the Tartar.*' "Eight Sjngs and Cantata" Op. 2. Glees, for three voices : "It was the Nightingale, " "Minsfrels three, lady, are we," "0 could I flow like thee," "O, whiter than the swan," " When shall we three meet again V " Who rides on that meteor of fire ?" Duets : " What virtue prompts," " Vows are but breath," "Do not call it sin," "Say, beauteous tyrant" " By the roses of the spring," "Eagle Wings" "Hush, softly." He also published "A general Treatise on Music, particularly on Harmony or Tho- rough-ba^s, and its application to Composi- Digitized by Google ) KIR written on a new Plan,** &c. likewise several sonatas, rondos, &c. for the piano- forte. KERB YE, (George) an English musi- cian, and one of our best mad riga lists at the close of the sixteenth and beginning of the seventeenth century. In the year 1597, he and Thomas Weilkes published their first books of English madrigals. Some of his compositions are to be found in the Triu mphs of Oriana. KIRCHER, (Athanasius) a native of Fulda, was born in the yearl60l . At the age of eighteen, he was admitted into the society oi" Jesuits, and after having passed through a regular course of study, became a teacher of philosophy, mathematics, and languages, hi the university of Wartzburg. In the year 1631, when the Swedes, under Gustavus Adolphus, entered Germany, he retired into France and settled in the Jesuits' college at Avignon, where he continued four years. He was then called to Rome to teach ma- thematics in the Roman college, and he afterwards became professor of the Hebrew language in that city. He died in 1680, having written and published different works to the number of twenty-two volumes in folio, eleven in quarto, and three in octavo. The chief of Kircher's musical works is his "Musurgia Universalis:' This is di- vided into ten books. In the preface, the author states that he was aided in the com- pilation of it by Antonio Maria Abbatini, chapel- master of the churches of St. Maria Maggiore and Pietro Heredia*, in Rome, also by Kapsberger and Carissimi. He apologizes for his attempting to write on the subject of music, who was not a pro • fessed musician ; but he states, in his de- fence, that from his youth he had assidu- ously applied himself to the study of this science. In the first book he treats of the anatomy of the ear, not only in man but in various kinds of quadrupeds and birds. From this he passes to the consideration of the voice in the human race, and also of the vocal organs in several species of animals. & I R In the second book he speaks of the music of the Hebrews, and gives the forms of some of their instruments. He then proceeds to the music of the Greeks, and of which he gives a general and superficial account. The next book enters deeply into the doctrine of harmonics, first explaining the several kinds of proportion, and afterwards demonstrating the ratios of intervals. This book contains a system of arithmetic, taken from the writings of Boethius and others, in which are contained rules for the addition, subtraction, multiplication, and division of intervals by means of characters adapted to the purpose. The fourth book is entirely on the divi- sion of the monochord, and the method of finding the intervals by various geometric and algebraic processes. The fifth book contains directions for the composition of music in consonance. In this he explains the nature of counterpoint, both simple and figurate, and also of fugue, and gives some general rules for composition in one, two, three, and more parts. Towards the close of the book, he speaks of that spurious kind of fugue, called fuga in nomine, and not only explains the nature of canou, but gives examples of canons, some of which are very wonderful in their con- trivance. He mentions one, which he says might be sung by twelve millions two hun- dred thousand voices. In the sixth book, he treats of instrumental music, and of the various instruments in use among the moderns. Nearly the whole of this book is taken from the Latin work of Mersennus. At the conclusion he gives a particular description of the great bell at Erfurt. The seventh book contains a comparison between the ancient and modern music, with some specimens of the ancient Greek musical characters, taken from Alypius. This book is of a miscellaneous nature, and, amongst other things, comprises a general enumeration of the most eminent musicians of the author's time, and contains a great variety of fine compositions selected from their works. Digitized by Google KIR The second volume begins with the eighth book. In this is inserted tables of all the possible combinations of numbers, as they relate to musical intervals; as also some minute investigations into the various kinds of metre used in poetry, and particularly Greek and Latin poetry, which are illustrated by musical characters. In the ninth book there is a chapter "Be Sympathia etAntipathia Sonorum Rationed and an experiment here mentioned is truly curious. The author says, if five glasses of the same magnitude are filled, one with aqua vit«, the second with wine, the third with aqua subtilis, the fourth with a thickish fluid, such as sea- water or oil, and the fifth or middle one with common water, and a finger wetted, the following effects will be produced : the aqua vit® will be much agi- tated, the wine greatly shaken, the aqua subtilis less shaken, and the/ sea water or other fluid not moved at all. From this ex- periment we may probably date the inven- tion of musical glasses. He then produces instances of the surprising effects wrought by music, beginning with the disposition of Saul, as recorded in sacred writ, which he endeavours to account for mechanically ; and he concludes by relating the whole process for the reputed cure of the bite of a taran- tula. In treating of echoes, he relates an inter- esting story from Cardan, which we shall give in his ewn words. " A friend of mine having set out on a journey, had a river to cross, and not knowing the word, cried OA, to which an echo answered, Oh ; he imagin- ing it to be a man, called out in Italian, On de devo passer ? it answered Passa ; and when he asked, Qui ? But as the waters formed a deep whirlpool there, and made a great noise, he was terrified, and again asked, Devo passar qui? the echo returned, Passa qui. He repeated the same question often, and still had the same answer. Terri- fied with the fear of being obliged to swim, in case he attempted to pass, and it being a dark and tempestuous night, he concluded that his respondent was some evil spirit that wanted to entice him into the torrent. He Kin therefore returned, and on relating his story to Cardan, was convinced by him that it was no demon but only the sport of nature." The author next proceeds to the descrip- tion of such instruments as produce music by the rotation of a cylinder ; and mentions one, in the form of a star, in the church of a monastery of St. Fulda, so contrived, as, by the motion of a cylinder round its axis, to produce music from a number of small bells. He then describes an iastrument'to resemble, in its sound, a concert of viols. This was, in fact, a harpsichord with a cir- cular belly, under which was a wheel, one- sixth part of which rose above the belly ; the strings, which were of the intestines of animals, like those of the harp, were strained into contact with the edge of this wheel, and being rubbed with powdered rosin, produced the tone he speaks of. Kircher mentions, as a contrivance of his own, the Molian harp, which he describes at considerable length. But although he might have been ignorant of the fact, St, Dunstan is said, by Fuller, to have had one which must have been of a nature very simi- lar to Kircher's. In this book it is that he gives an account of the celebrated hydraulic organ of Vitruvius, which no one has hitherto been able to comprehend. The tenth book is on the subject of ana- logical music, as Kircher has termed it, and the chief intention of it is to demonstrate the harmony of the four elements and of the planetary system. The author endeavours to prove that the principles of harmony are discoverable in the proportions of our bodies, in the passions of the mind, and even in the seven sacraments of the church of Rome. From these he proceeds to the consideration of political and metaphysical harmony ; and, in conclusion, to that harmony, if any one can understand what he means by it, which subsists in the several orders of intellectual beings, and which is consummated in the union between God and the universe. In the year 1673, Kircher published his "Phonurgia Nova," a work in which he explains the nature, properties, and effects of sound, Digitized by Google K I R Id tlus work the author gives a very cir- cumstantial account of that useful instru- ment, called by us the speaking trumpet, the invention of which he claims as bis own. Of the power of this trumpet, he sajs, that with one of fifteen palms in length, he and some companions made themselves beard from different stations, at the dis- tance of two, three, four, and five Italian To speak in general terms of the works of Kircher, they are chiefly either on sub- jects of the most remote antiquity, or on such as, from their nature, seem to elude all inquiry ; notwithstanding this, the world is under great obligations to him for the "Musuirgia Utuvetsalis." In availing him- self of the researches of other learned men, and of all the assistance that he could possibly desire from an extensive correspondence, and the communications of persons eminent both in the theory and practice of music, he has been able to exhibit such a fund of in- struction and entertainment, such a variety of curious particulars relative to the prin- ciples and gradual progress of the science, and such a number of curious anecdotes respecting the professors of his own time, and the opinions entertained of their works, that we know not which to admire most, his ingenuity or his industry. Notwithstanding the merits of Kircher, Ms uMusurgia," soon after its publication, underwent most severe censures from Mei- bomius, a German writer of considerable celebrity. KIRCHHOF, (Gottfrieo) an organist at Halle, diea in 1746. He published, at Amsterdam, a work called "L'A, B, C, Musical." KIRCHHOFF, a Saxon harpist, was ce- lebrated in Denmark and Russia, in the latter half of the iast century. He wrote much music for his instrument. KIRCHNER, (Johann Heixrich) a singer at Rudolstadt in the year 1790, pub- lished, early in the present century, at Arm stadt, "Theoretisch-practisches Uandbuch zu einem fur kunftige Landschullehrer nutkigejs Musikaliscken Unterricht," and KIR " 12 Arien turn Gebrauch fur SingchOre in Partitur, 1/e und 2te Sammlung." Kill K MAN, a composer of piano-forte music, resident in London in the latter half of the last century. He published, among other works, "Duets for the Piano-forte Op. 6, (Preston.) " Trois Sonat. & quatre Mains, et une h deux Cemp." Amsterdam, " Three Sonatas/or the Harpsichord, with V." Op. 8, (Preston.) "Sonata for the Piano- Forte," (Clementi.) "Duets for the Piano- Forte,'* (Clementi.) He also published "Eight Ballads," dedicated to the Mar- chioness of Salisbury, Op. 10, (Clementi); and in conjunction with Keeble, "Forty Interludes, to be played between the Verses of the Psalms.1' KIRMAIRor KIRMAY, (Wolfgang) chamber-musician to a nobleman at Munich, was known by his composition of serenatas, notturnos, and other violin music. He died in 1795. K1RMAIR (Frisdrich Joseph) was, in 1803, appointed chamber-musician to the duke of Saxe-Gotha. He is celebrated as a pianist, and performed in public in almost all the large towns of the continent. In 1795, he was appointed music-master to the late queen of Prussia. His works for the piano-forte are numerous, and have been chiefly published at Berlin and Offenbach. The following are among his more favourite compositions : "Deux Sonat. pour Clav., V. Oblig., et B„ ad lib., composes de divers Themes et Passages tire's deC Opera 'La Ft. Magiqne,' arranges par les Amateurs," Op. 9, Offenbach. "Trois Sonat. progress, pour le Clav. avec V. et B." Op. 8, Offenbach. "Gr. Sonat. avec Acc. Oblig." Op. 21, Offenbach. " Gr. Sonat. avec V. Oblig. et B. ad lib." Offenbach. " Sonat. avec Acc. de V. et B." Op. 23, Offenbach. « Trots Sonat. pour les Amateurs" Op. 12, Offen- . bach. '* Sonat. avec un Toccata pour le Clav. dans le Stile de Clementi," Op. 17, Offenbach. The above are all imported by Messrs. Boosey and Co. KIRNBERGER, (Johamn Philip) a native of Berlin, was a pupil of Sebastian Bach, and possessed Teat musical learning. ed by Google Kit His knowledge of counterpoint and of all the laws and subtilties of canon and fugue, are indisputable ; but in his compo- sitions he is often dry and crude, and he appears to have been perpetually striving at new passages and effects, with which his invention did not very liberally supply him. He died in the year 1783. His, principal works were theoretical and didactic, and are as follows : "Die kunst des reinen satzes, 8fc." i. e. the art of pure composition explained on certain principles and by means of ex- amples, 1774. '* Grundsatze des General- basses, 8fc" i. e. principles of thorough- bass, forming the first elements of composi- tion, 1781, with many plates. " Geilajtken nber die verschiedeuen lehrarten, tfc" i. e. ideas on the different methods of composi- tion, 1782. " Anleitung zur sing kompo- sition mit oden in verschiedeuen sylbenma- sen," i. e. instructions for learning vocal composition, 1782. " Die wahren grund- satze zum gebrauch der Haimo7iie,'* i. e. principles of harmony, &c. 1773. This last work is attributed to Kirnberger by Kollmann, and the editors of the Diet. Hist, des Musiciens, but by Gerber it is said to be from the pen of Schulzen. The chief of the musical articles in the first volume of Sulzer's Theory of the Fine Arts, were also written by Kirnberger. His practical works are chiefly sacred. KIRSTEN, (Friedrich) an organist at Dresden, published, between the years 1770 and 1797, several operas of piano- forte music, also " Lieder fUr gesellige und einsame Freuden gedichtet von Fr. Voigt und furs Clavier gesetzt," Hamburgh. KIRSTEN, (Michael) organist at Bres- lau, died in 1742. He wrote some church music. KITTEL, (Christoph) court-organist and composer at Dresden, published there, in 1657, twelve canticles for four voices. KITTEL, (Johann Christian) organ- ist at Erfurt, was born there in 1732. He was a pupil of the great Sebastian Bach, and in all respects worthy of his master. He published " 6 $ons. furs Wavier," 16 It L E 1787. " Verandereingen nber das -^t< 'Nicht so traurig, nicht so sehr,' furs J*C/> vier,' 1797. " Der angehende practise* Organist oder anweisung zum Zueckrncit c gen gebrauch der Qrgel bey Gottesverc/ rung en in leyspielen, Erste abetheilung-. Erfurt, 1801. " Der angehende practise A Organist, Zweyte abthcilung," Erfurt 1803. "Neves Choralbuch 200 thcil bezifferte, theils viersthnmig ausgeset&ti Chor&let desgleichen k I cine vorspielc en- thaltend** Altona, 1803. "Hymme an das jahrhundert, vierstimrnig,** Hamburg-h, 1801. " Der angehende practische Organ- ist. Dritte und letzte abtheilung," Ham- burgh, 1808. " Grosse Priiludien fUr die orgel, 2d abtheilungenr Leipsic. Kittel died at Erfurt, in the year 1809. KLACKEL, (Stephan or Paten) cha- pel-master at Prague, was born in 1753. He was an excellent violinist, and was heard in most of the capitals of Europe. He died in 1788. KLASS, a German instrumental com- poser, published at Breslau, in 1786, "Bin Bratschenconcert," Op. 1, and " Ein Vio- linconcert," Op. 2. KLAUSER, a musician, probably resi- dent at Vienna, published there, about the year 1800, " Dome Variations pour deux Violons sur * O mein lieber augustin,' " and "Huit Variations pour deux Violons et Bass, sur ' Es klinget so herrlich, No. 2.' " KLEEBERG, (C. G.) an organist and composer at Gera, in Upper Saxony, pub- lished, among other works, " Trois Duos pour deux Violons," Op. 1, 1794, and " Tanze am Klavier," Op. 6. He died in 1811. KLEIN, (Jacob) an instrumental com- poser, published at Amsterdam, about the year 1720, "jSix Sonates a Hautbois et B. C." Op: 1. « 6 Dergl." Op. 2, and " Six Sonates d une B. de Violon et B. C." Op. 3. KLEIN, (Johann Joseph) organist at Eisenburg, published at Gera, in 1783, a work entitled "Versuch eines lehrbuchs, 8fc." i. e. an essay towards systematic in. structioa in practical music. In 1785, Digitized by Google K L E appeared his " Choralbuch mit n Men vorber- I ickte, Sfc." i. e. a choral book, with an introduction relative to that style of music in the church service* He also published " Vorschlage zur verbesseruvg tier gewohn- lichen Singschulen in Deutschland, ' Leips. Mus. Zeit. 1799, No. 30. " Ueber die Tonzeicken, nebst vorschlag einer hlei- nen veranderung in absicht der benennung der Tone," Leips. Mus. Zeit. 1799, No. 41. "Lehrbuch der theoretischen Musik in sys- tematischer ordnung cntworfen von u. s. w. mit kiip/em," Leipsic und Gera, 1801. The plates in this work consist of scales and passages for most wind instruments. Lastly, *' Neues vollstandiges choralbuch cum gtbrauch beym Gottesdienste, nebst einem kurzen torbericht von tier Choral Mus." Rudolstadt, 1802. KLEIN, (Heinrich) a professor of mu- sic at Presburg, in Hungary, was a pupil of Kirnberger, and is an excellent pianist. He has written many masses, besides other vocal and instrumental music. The last of his compositions which we have heard of, was dated in the year 1800. KLEINE, (Andreas) a celebrated or- ganist, was born in Thuringia in 1650. He composed some church and dramatic music, and died at Copenhagen. KLEIN HEINZ, (Franz Xaver) a pianist, who first resided at Vienna, and latterly at Pest, in Hungary. He is con- sidered in Germany as an excellent com- poser. The following are among his prin- cipal compositions: " Trois Sonnies pour Ic Clav. avec F. obi.," OfFenbach, 1789. " Far. sur 'La ci darem la mano, Sfc.'pour le Clav." " Far. sur « Ein Madchenoder Weib- chen, SfC: No. 2," Offenbach, 1797. "Douze Far. pour le Clav. sur ' Chaste Fille de La- tone, tec* de Gluch, No. 3." " Douze Far. pour le Clav.," Op. 4, Vienna, 1799. " Gr. Sonate pour le Clav." Op. 5, Vienna, 1800. "Sonate pour le Clav.," Op. 6, Vienna, 1800. "Sonate pour le Clav." Op. 7, Vienna, 1801. 4< Deux Sonates pour le Clav., avec F." Op. 8, Vienna. "Trio pour Clav., F., ou Clar. et D.," Op. 13. "Sonate 4 ouatre Mains pour le vol, n. KLE Clav.," [Op. 12, Vienna, 1008. "Bettor* Abschied, der Handschuh, die Etwartung, alle drey mit JBegleitung der Klaviers." "Der Kampf,fur Gcsang mit Klavierbeg- leitung" and " Trois gr. Sonates pour P. F." Op. 17, Leipsic. " KLEINKNECHT, (Johann Wolf- gang) concert-master to the margrave of Anspach. was born at Ulm in 1715. He commenced his studies of gymnastics in that town, and there acquired the extensive at- tainments which he afterwards displayed. His father instructed him in music, and he made such wonderful progress, that at eight years old he played the violin before the duke of Wurteraburg, and at different courts, where he was generally admired. Encouraged by his first success, he resolved to devote himself entirely to music. Chance favoured his design. The duke of Wur- temburg named him, in 1773, his chamber- musician, and sent him in this capacity to his chapel at Stuttgard, where Brecianello, one of the first violinists of his time, was then chapel-master. He was the first model upon which young Kleinknecht attempted to form himself. After the death of the duke, he travelled to different courts, and obtained a situation as violinist at the chapel of Eisenach. Here the consort of the margrave of Bayreuth heard and engaged him for a fete, to be given on the birthday of the margrave. The comforts he observed at this court, and the favour showed him by the prince, made him forget Eisenach, and he accepted the situation of concert-master at Bayreuth. About this time he became acquainted with Benda, and his style pleased him so much that he adopted it. His first enthusiasm being Eisenach, who had treated him so kindly, and began to reproach himself with in- gratitude for having left his patron without permission. With the design of atoning for his fault, he feigned a desire to visit again the different musical academies, and demanded his dismissal. As soon as he ob- tained it, he went to Eisenach to offer his services to his old master, who received c 17 Digitized by Google KLE them with undiminished kindness. He em- ployed the time he remained there (till the death of the duke) in cultivating his talents. He was then made leader of the excellent orchestra of the theatre of Dresden, for which Hasse composed, and filled this station ■with the greatest iclat till his death, which happened in 1775* He was considered a very good leader. KLEINKNECHT, (Jacob FniEnmcH) second son of the preceding, was born at Ulm in 1722. He published many instru- mental compositions, and was chapel- master to the court of Anspach at the time of his death, which took place there in 1794. KLEMME, (Johann) a Saxon by birth, and a celebrated organist and church musi- cian, was patronised for his early profici- ency in. music by Christian II., elector of Saxony. That prince committed him to the tuition of the ablest masters in the court of Dresden, and he was instructed and maintained at his expense for nearly six years, when the elector died. Fortunately for Klemme, the succeeding elector was also a lover of music ; and observing his desire for improvement, he placed him for further instruction under Christian Erbach, an organist and composer at Augsburg, with whom he studied three years. At the expiration of this term he returned to Dres- den, and was soon afterwards appointed master of the electoral chapel, and organist to the elector. The works of Klemme are thirty -six for the organ, composed after the manner of voluntaries, and published at Dresden in the year 1631. He was likewise the author of a set of spiritual madrigals, in the Ger- man language, for four, five, and six voices, and he assisted in the publication of the se- cond partof thtSymphoni* Sacra of Schutx. Klemme is considered to have been one of the most skilful harmonists of his time. KLENGEL, (A. A.) a German com- poser, residing in Austria. In the review of his "6 NottumV' for the piano-forte, the editor of the quarterly musical journal speaks very highly of Klengel, whose com- positions, he says, remind him of Haydn, 18 KLO (Musical Review, vol. iv. p. 117.) Among" his works are, "Premier Concert, en Si, avec Orck. on deux V.f 7% er Pc." Op. 4. " ^ir Suisse pour P. F* et.Clav" Op. 30. " Di- vertissement" Op. 6. "Rondo Militaire," Op. 12. " La Promenade sur Mcr inter- rompue par in Templte, Souvenir d'ltalie," Op. 19. "Rondo Pastoral," Op. 2a " FantaiHe sur un Air Cosaque Op. 22. "Fantaisie sur un Air Russe," Op. 25. "Rondo sixihne," Op. 26. "Rondo huittime," Op. 28. " Quince Sonatincs faciles et progressives." " Variations d'un Andante," Op. 16. "Variations d'un Thhne tire- de Figaro," Op.17. (All from Wessel'a Cat.) KLES, (F.) a German instrumental com- poser, has published some violin concertos at Breslau, since the year 1786. KLETZINSKY, (Johann) an instru* mental composer of some eminence, resided at Vienna in the latter part of the last cen- tury, and published there several operas of violin music. KUMBATH, a German musician, re- sident at Paris, published there, about the year 1780, " Recueil de pet its Airs pour le Clavecin," Op. 1. KLINGENBRUNNER (G.) published at Leipsic, in 1802, " Quint e Variations pour la Flute, sur un Thhne cTAlcina" Op. 1. KLINGENSTEIN, (Bernhard) direc- tor of the music at Augsburg in the year 1600. He published many sacred compo- sitions for the church. KLOCKENBR1NG, (Friedric* Ar- nold) secretary to a government office at Hanover, published there, in 1787, a work ClIUUcGl SlUSSCl ^UiiffCfl Vl~5CfiZCUc7tC7if C) C. in which may be found the following dis- sertations : 1st, On the state of music in the countries newly discovered in the South Seas, and especially on the difference of the system of intervals of those people from our harmonic rules. 2dly, A letter on the question, If young persons in the higher ranks of society ought to learn music? 3dly, The answer of a lady to the preceding letter. Klockenbring was a very celebrated musical amateur, He died ia 1795, ed by Google KLO KLOFFLER or KLOPFFLER, (Jo- hann Fried rich) an instrumental com- poser, published many works for the flute, violin, and piano-forte. He died at Stein- fort about the year 1792. KLO PP. A composer of this name was known at Vienna, in 1799, by " 6 Quartet ti a2V.,T.,eVc" KLOSE, (F. G.) a pianist, who resided for some time at St. Petersburg, about the year 1790. He published there several concertos, and some other works for his instrument. KLOSE, (F. J.) a native of London, is the son of a well-known professor, much esteemed and highly respected in the musi- cal circles of the metropolis, from whom he early received the first rudiments of a musi- cal education. He afterwards studied com- position and the piano-forte under a variety of masters, among the principal of whom was the late celebrated Francesco Tomich. Klose is an able instrumental performer, and has been a member of most of the or- chestras in Londou, particularly of the King's theatre, and concert of ancient mu- sic, the whole of which, with the exception, we believe, of the last, he has resigned, to devote himself exclusively to teaching and composition. As a piano-forte teacher, we know of few who excel him in the art of imparting that sure elementary foundation, on which (where there is ability) the grandest superstructure may afterwards be raised. As a composer, he is most esteemed for facile works, of a description calculated to promote the above end. He also excels in ballads of a pathetic and sentimental cast, of which several have acquired some degree of celebrity, as for instance, " The rote had been washed" by Cowper ; " My native land, good night," by Lord Byron ; and " Canst thou bid my heart forget,*1 ^ from Glenarvon, &c. &c. He is likewise tbe author of several ballets and detached pieces which have been performed with success at the King's theatre.. The cata- logue of his works is too extensive for in- sertion in this place, but the following are, (ui addition to the above) we believe, among the most useful and popular of his publications : " Practical Hints for acquir- ing Thorough-bass" "Instruction Book for P. F," " Sonatina for P. F. and Vio- lin, No* 1." " Sonatina for P. F. and Vio- lin, No, 2." " Sonatina for P. F, and Vio- lin, No, 3." " Sonatina for P. F. and Violin, No. 4." " Grand Sonata for P.F., Fl., and Viollo." "Sonatina for P. F. end V., No, 5." f< Sonatina for P, F. and No, 6." u Fourth Divertimento, with Henri Quatre,for P. F. and Fl., or Horn." " Preludes for P. F." " Grand Overture, performed at King's Theatre, Fl. Acer « Isabel." « The Wild Rose of Dijon." '* The Psychean Waltz." « Selected Me- lodies, Book l.» "Selected Melodies, Book 2." "Selected Melodies, Booh V " Selected Melodies, Hibernian, Book 1.° " Selected Melodies, Caledonian, Book 1." " Selected Melodies, Cambrian, Book 1." " Selected Melodies, French, (Duets) Books 1 and 2." « V Esprit du Moment, " Les Desguisemens Amoureux, grand Ballet, performed at the King's Theatre, in six Numbers." " The Rose," sung by Mrs. Ashe. " Waters of EUe," from Glenarvon, No. 1. "Elinor's Song," from Glenarvon. " Forget me not," sung by Mrs. Ashe. "Rosa's Harp of Love." •« The home of my childhood." « When the bloom on thy cheek." " Monody," tec. KLUGLING, organist of the church of St. Peter and St. Paul at Dantzic, in 1782. He was considered among the best composers of his time on the organ and harpsichord, in the style of Schobert. KNAFEL, (Joseph Leopolo) a musi- cian, probably resident at Vienna, is known by the following compositions t "Sept Variations pour le Clav. sur le Chatur des Papagenos," Vienna, 1799. "Six Variations pour la Harpe, siir le Tezo. a pianist, his readiness in reading music, and his brilliant extempo- raneous performance. His first composition of importance was an opera, produced at Copenhagen in 1790, and entitled "Holder Danshe** After which he composed many other operas in the Danish language, also 29 Digitized by Google LAB several oratorios, with other sacred music, besides many instrumental pieces. His -works are very highly considered in the north of Germany. KURTZ WEIL, an instrumental com- poser, who probably resided at Vienna. He died before the year 1806* KURZINGER, (Ion. Fbanz Xav.) a court-musician at Mergentheim, in Fran- conia, published at Augsburg, about the year 1758, a work entitled " David et Apollo, iste prof anus Pamassi, is sacer cceli titer que res et jubilaris arc/Uphonascus chori, sive 8 symphonic solemniores sed breves A 6, torn pro ecclesid quant aulA com- posite;* Op. 1 ; also " Getrutr unterricht zum Sing-en mit mameren, und die Violin zu Mpielen," Augsburg, 1763, and "Fallen erklarungen der nothigsten kunstworter." LAB KURZINGER, (Paul) ton of the pre ceding, was, in 1807, resident as a muaiciai at Vienna. He has written several shor dramatic pieces, and has also publisher several collections of songs, and some ligh music for the piano-forte. Kurzinger wa born at Wurtzburg in 1760. KUTTNOHORSKY, (Johann Nbpo- mui) chapel-master and singer at Prague, died in 1781. Among his works are two masses and eight symphonies. KUZZI, (Anton Joseph) a musician, resident at St. Petersburg in 1796, was a pupil of Dittersdorf. He has published symphonies and concertos for almost all instruments, likewise several operas, among which we can name " Belmont und Kons- tanze," and many German and Italian songs. L LABADENS, a French musician, pub- lished, in 1797, " Nouvelle Mithode pour apprendre a jouer du Violon et H lire la Musique." LABARRE, (Michel de) a celebrated flutist, died at Paris in 1744. He com* posed two operas, " Le Triomphe des Arts" and " La Ve'nitienne." LABARRE, (Louis Julian Castels de) born at Paris in 1771, of a noble family in Picardy. Viotti was his master for the violin. In 1791, he went to Naples, where he studied composition under Sala, at the conservatory of La Pieta, In 1793, he re- turned to France, and perfected himself in the science of music, under Mehul. After having remained during two years as first violin at the Theatre Francais, he entered the orchestra of the grand opera. He has published several works for his instrument, and some romances ; has also composed the music of a petit opera, entitled "LesEpoux de seize ans." LABARRE, (Tbille) a guitarist at Paris, towards the close of the last century, 30 published several practical works, and a method for his instrument. L'ABBE, (fils) a French violinist, pub- lished, in 1772, " Principes de Violon*" He is also known by eight other operas for his instrument. LABORDE, (Jean Benjamin) born at Paris in 1734, was of an opulent family, and received a distinguished education, both in the classics, sciences, and arts. He received lessons on the violin from the celebrated Dauvergne, and in composition, from Raraeau. Destined by his friends for the department of public finance, he soon got access to the court, where, from first valet-de-chambre to Louis XV., he became in a short time the confidant and favourite of that prince, whose liberality placed at his disposal large sums of money, which he soon dissipated. Still he did not neglect music, and, in the year 1758, produced the comic opera, " Gilles Gorton Peintre," which was well received, and which he followed up by several other successful dra- matic works. At the death of Louis XV. Digitized by Google 1 A C in 1774, Laborde quitted the court* mar- ried, and commenced leading a more steady life. He reentered the company of fer- miers-generaux, to which lie had belonged several years preceding, and devoted him* , self to various studies* In 1780, he pub- lished his '* £ssai sur la Musiquc Ancienne et Muderne" four volumes in 4to.f with plates, a book, which, in a literary point of view, did him little credit, as it was got up in haste, and abounds in errors and con- tradictions. He afterwards published other works of no greater merit. At length, the French revolution brought with it ruin to Laborde, who, as a fermier-g^neral was particularly obnoxious to the revolutionists. He was soon imprisoned, and, in 1794, suf- fered death by the guillotine. As a vocal composer, Laborde was celebrated by several peculiarly pleasing romances, among others, " Vois-tu ces cdteaux si noircdr ?" " L amour me fait, belle brunette;* and " Jupiter unjour enfureur." LACAS&AGNE (L'Abbe de) published at Paris, " Traiti general dee EUmens du Chant," 1766; " L'uni-clefter Musical," and " Recueil de Fables mises en Musiquc." LACHN1TH, (Anton.) This indus- trious composer, born in 1766, is a native of Prague, and probably changed his first residence, which was in Zweybruck, about the year 1780, for Paris, where, in 1812, he was still enjoying, and justly, a very high reputation as an artist. In his youth, he was an extraordinary performer on the clarionet. He was also considered a good player on the violin and piano -forte. In Paris he seems to have devoted himself entirely to the latter instrument ; and has published in that city, in conjunction with Adam, a didactic work on the piano-forte, which the conservatory has given the pre- ference to, and ordered that the students in that establishment should be instructed from it. The following is its title, " NouveUe Uithode, ou Principe general du doigte pour le Forte-piano, suivie oTune collection compUtte de to us les traits possibles, avec le jvsquaux plvs dijficiles, terminee par un LAC tlictioniiaire de passages aussi doigte's et tire's des auteurs Its plus ce'lebres, par L. Adam, et Lachnith" Paris, 1798. His practical works had, towards that year, already reached their fifteenth number, of which we can only mention here, " Six Violin Quartets," Op. 7 ; " 6 Cone, pour le P.F" Ops. 9 and 10; " 6 Gr. Symph." Ops. 11 and 12; "12 Trios Cone pour P. F, et V" Ops. 14 and 15, There is, however, a much greater number of symphonies, overtures, and operas, origin- ally composed by others, which have been arranged for the piano-forte, and published by Lachnith. , , At KuhnePs, at Leipsic, are also published by the same author, " PremHre* Lecvns et 38 Pieces agreables de tout genre par gra- dation, le tout doigte- pour Piano-forte, a V usage des EUvesdu Conservatoire de Mus- sique, par Adam et Lachnith," and "Airs de Danses de diverses Nations, Turque, Russe, Espagnole, Hongroise, AUemande, et Atiglaise, pour Piano-forte." There must probably be some young composer of the same name in Paris, perhaps his son, be- cause, in several of these works, the words Vaini (sen.) is affixed to the name. Nor have we correctly ascertained whether it be Lachnith the elder or the younger who wrote for the theatre of Paris, It may probably be the latter. Under this name was repre- sented at the Theatre Montansier, about the year 1 799, an operetta called " Le fits dt- naturd" A piece called u Les My stores tVIsis" and which was represented in Paris in 1801, is also his work. It was a me'lange of music from Mozart's Zauber- Jlote, Figaro, Don Juan, and the Cle- menza di Tito. The Parisians were far from being satisfied with such patchwork, and called Lachnith's operas, operations, and the title, " Les Mystdres rf7«*,M they changed into Les Miseres d*ici. LACHNER, (C. R. von) probably an amateur. He published, as a work of his own, "Lieder," Hamburgh, 1797. LACKMANN, (Ad. Henry) author of txeaaiifieii uuer uas uey i o?uiern gejunaeiic goldene Horn," Hamburgh, 1735; i. «, 31 Digitized by Google LAC " Hints on the golden Horn found near Tondern," Hamburgh, 1735. This work is chiefly antiquarian. LACOMBE, (Jacques) formerly a book- seller in Paris, and born there in the year 1724, was the father-in-law of the celebrated Gre'try. He published the fol- lowing works: ** Dictionnaire Portatifdcs Beaux Arts, oh Abrtgi de ce qui concerns V Architecture, la Sculpture, la Peinture, la Gravure, la Poe'sie, et la Musique, avec la definition de ces Arts, ^explication dcs ter- mcs et des chose* qui leur appartiennent, ensemble les noms, la date de la naissance et de la mort, les circonstances les plus remarquables de la vie, et le genre parti- culier des talens des personnes qui se sont distinguds dans ces differens arts, parmi les anciens et les modernes, en France, et dans les pays e'trangers," Paris, 1752, 1753, 1759, 8vo. The second edition was translated in Italian in 1758. Dr. Forkel observes of this work, that it gave to Sulzer the idea of his dictionary. Secondly, " Spectacle des Beaux Arts, et leurs Rigles principales," Paris, 1761, 1765, two volumes 12rao. This work is written in the form of conversa- tions. LACROIX, (R.) a French musician, published at Paris, about the year 1783, " Six Senates, en Symphonies, pour le Clave" cin, avec Accompagnement de Violon," Op. 1. LACY, (Rophino.) This eminent vio- linist is by birth a Spaniard, but his parents, though many years established in Spain, were British. His father was in the com- mercial line, and had, at one period, acquired a very considerable fortune. Rophino, his youngest son, among other branches of education, being instructed in music from the early age of five years, was fortunate enough to make so rapid an advancement, that, when only six years old, on the arrival of a celebrated violinist from Madrid, named Andreossi, the child performed (as a young amateur) for the first time in public, at his concert, one of Giornovichi's concertos, and was flattered with a general encore. Jn order to be seen by the audience, he 32 LAC was obliged, during his performance, to stand upon a table. He was at this time consi- dered as a little prodigy in music, and shortly afterwards his father, being called by business to Madrid, took Rophino with him. During a short residence in that city, he performed at court with many enco- miums, and received the most flattering notice from the principal grandees. About the beginning of the year 1802, he was sent to college at Bourdeaux, in France, where he remained eighteen months, and then went to Paris to complete his educa- tion at one of the principal seminaries in that city, where he made a very creditable progress in the classics, taking precedence of boys nearly double his age, and obtaining various prites at the yearly public examina- tions. His principal instructor in music, at this period, was the celebrated Kreutzer, for many years leader of the grand opera in that city. About the year 1804, some little time after the coronation of Buona- parte, Lacy had the honour of performing before the emperor at the Tuileriea, and of being distinguished by his particular notice. He was then generally known by the name of Le petit Espagnol, His rather about this time, having met with many pecuniary losses in his specula- tions to America, resolved, from the favour- able reports made to him of his son's musical attainments, to devote him entirely to the musical profession ; accordingly, re- pairing to Paris, he took Rophino, very much to his regret, from his scholastic pur- suits, with the intent of proceeding to England, and there obtaining for him the instructions of the far-famed Viotti. They proceeded on their journey, by way of Holland, at the principal cities of which country R. Lacy had numerous introductions to the higher classes, and was fortunate enough to obtain some reputation. He per- formed, likewise, at the then court of Schim- milpenninck, at the Hague, receiving many presents, and obtaining much patronage at his concerts. Having, by great interest exerted in his favour, obtained passports at that difficult period, he was at length Digitized by Google LAC brought to England, and arrived in London the end of October 1805, being then exactly ten jeare and three months old. Here he met with the most flattering success, and was introduced into the first circles, his recep- tion in which was greatly improved by the fortunate facility with which he spoke the French, Italian, Spanish, and English lan- guages. For more than a year and a half after his arrival, his name was not publicly known, his general appellation being that of the young Spaniard. At the musical parties of the duke of Sussex at Kensington, and of the Austrian ambassador count Starhremberg, Lacy's performances were honoured by the appro- bation of his present majesty, then prince of Wales, and other members of the royal family, and bis first concert at the Hanover- square rooms was under the distinguished patronage of their royal highnesses the prince of Wales, the duchess of York, and the duke of Sussex. In May, 1807, there was published a well-executed print of Rophino Lacy, en- graved by Cardon, from a drawing by Smart, and bearing the first public announcement of his name, namely, " Master M. M. J. R. Lacey, the celebrated young Spaniard, bom in Bilboa, July 19M, 1795." About this period Rophino was taken to Dublin, with letters of introduction to the then lord and lady lieutenant, the duke and duchess of Richmond, and performed at Catalani's first concert in that city. He was next engaged for Corn's concerts at Edinburgh, receiving twenty guineas per night. About this period, in obedience to his father's will, Rophino sacrificed the musical for the theatrical profession, and success favouring his efforts, he long supported a principal rank in the drama, performing at the theatres royal Dublin, Edinburgh, Glas- gow, &c. the first characters in genteel comedy for many seasons, only making use of his musical abilities as an attraction on his benefit nights, which were generally very productive. His return to the musical profession did vol. II. LAC not take place till the middle of the year 1818, when application was made to him to succeed Yaniewicz, in the department of leader to the Liverpool concerts, which are always frequented by the best singers from the Italian Opera-house, and the two prin- cipal theatres of the metropolis. There he continued till the end of the year 1820, when he returned to London, and was engaged at the Opera-house, in the season of 1821, as leader of the ballets; but shortly after the commencement of the season, disagreeing with one of the directors, quitted the situation until the season of 1824, when he once more resumed his place at the head of that orchestra. Rophino Lacy's works hitherto published, are mostly for the piano-forte, or piano-forte and flute. The principal are, an arrange- ment of four of Rossini's most celebrated operas, namely, "// Turco in Italia" "La Gazza Ladra,** "Otello," and "Mosd in Egitto'* Three rondos, namely, one on the carnival of Venice, dedicated to the right honourable lady Emma Sophia Edgcumbe ; one on a popular Irish air by Whittaker; another dedicated to Mrs. St. Alban. "A Quintetto, for two Violins, Tenor, Flute, and Violoncello, with Piano-forte Accompaniment,'* dedi- cated to William Graham, Esq., and •« Six Popular Songs, with Guitar Accompani- ments** LACY. This celebrated English singer received the rudiments of his musical education at Bath, under Rauzzini, and subsequently studied in Italy, where he so entirely mastered both the language and the style of singing of the natives, that he has since appeared to superior advantage, even by the side of the most approved Italians who have visited this country. From the weak state of his health, Lacy was induced, in the year 1818, together with his wife, to accept an engagement at Calcutta, where they are now residing. Lacy is considered by com- petent judges to be, without question, the most legitimate English bass singer, the most accomplished in various styles, and d 33 Digitized by Google LAE altogether the most perfect and finished that has appeared in this country. He is endowed by nature with organs of great strength and delicacy; his voice is rich and full-toned, particularly in the lower notes; his intonation perfect, and his finish and variety in graces remarkable. So considerable were his attainments thought by the Italians, that he was offered engage- ments at the operas of both Florence and Milan. LACY, "(Mrs. Bianchi) wife of the pre- ceding, first became known to the British public as an orchestra singer, in the year 1800, when she appeared at the Ancient concert, being then Miss Jackson. She first married Francesco Bianchi the com- poser, who lived but a short time afterwards. She has, afpresent, accompanied her second husband to Calcutta. Mrs. B. Lacy is celebrated for her pure and chaste style of singing, fine intonation, and, above all, her beautiful articulation. She is considered the best singer of Handel's music now in existence. LADORNER, (S.) a musician in Paris, living in 1812, seems, with the exception of the initial of his christian name, to be identical with the following. Gerber finds, however, the name spelt as above in the Journ. de la Litttfr. de Fr. An. 6, p. 127, and before the following work, composed by him, "7Voi* Grandes Sonates, avec la Charge de Cavakrie, pour Clav." Op. 4, Paris, 1798. LADURNER, (N.) a Parisian composer, has written for the theatres there, " Les vieux Foux," and "Sentel, ou le Magistrat dn Peuple," 1794. He has also published " Trois Sonates pour le Clav., V,, et Vc." Op. 1, Paris, 1793, and " Trots Sonates pom le Clav. avec V." Op. 5, 1802. LAELIUS, (D. Daniel) a professor of the lute in the beginning of the seventeenth century. He published " Tcstudo Spi- rituality" Frankfort, 1616, 4to. This work contained the " Lobwasser Psalms,' with French melodies, for the lute. LAETI US, (Jacobus) a learned author, the period of whose birth is uncertain, was 34 LAG a native of Louvain. He published a trea- tise under the title of " Encomium Music ei," Maestricht. LAFFILARD, a French musician, pub- lished, in 1710, a very easy method for the attainment of singing at sight. In thia work we find the first idea of the Metro- nome. LAFOND, a good French violinist, and pupil of the celebrated Rode, made his first appearance in public at Paris, in 1800. He was then only fifteen years old. His excellent performances procured him the greatest applause. LAFONT, (Ch.Ph.) a celebrated French violiuist, resident during many years in Russia, is a native of Paris. His first violin- master was Bertheaume, (his uncle) and he received lessons in composition from Navoigille the elder and Berton. Early in life he travelled to various courts of Europe with his uucle Bertheaume. On his return, Garat introduced him to the public, in 1794, as a singer, in which art he was entirely self-instructed. He next ap- peared, with great success, as a violinist, at the opera and other concerts in Paris. He has published some concertos and other music for his instrument. Lafont is highly esteemed in France, for his chantant and graceful performance of the violin. LAFORET, a celebrated French bass singer, was a pupil of Lully. He sang at the French grand opera immediately after its establishment, and Lully composed seve- ral scenes for him. LAGARDE, a French musician, was living, in 1788, at Paris, as surintendant de la musiquc, of the count d'Artors, also maitre de musique of the Enfans de France. He was the composer of the opera, "EgleJ" LAGKNER, (Daniel) organist at Los- dorp, in the beginning of the seventeenth century. He was composer to count Losen- stein, and published " Melodia funebris 6 vocum" Vienna, 1601 . " Sobotes Musica" i. e. " Cantiones Sacra* 8 vocttm," 1602. It contains twenty-eight Latin hymns* " Florum Jesseeorum semina vocihus ywflt- tuor per musicos numeros disseminata, per Digitized by LjOOQIC LAH tic," Xuremburg,1607, and "Neuwe teutschc Liti.hr mit 4 Stimmcn," Nuremburg, 1606, 4 to. LAGO, (Giovakki del) a native of Venice, flourished towards the middle of the sixteenth century, and wrote " Breve Introduzzione alia Musica Miturata," Ve- nezia, 1540. LAGRANGE, (Jkan Louis de) mem- ber of the French institute, and born at Turin in 1736, wrote a dissertation on the propagation of sound, which appeared in the first volume of the Me'moires de Turin, 1759. 1AHARPE, (J. F.) This celebrated ^ French homme de lettres, is the author of the°£yc&, ou Cours de Literature ancienne et moderne," torn, xii., Paris, 1801, gr. 8vo, In the twelfth volume of that work, he treats of every sort of opera, also of Italian music. He also examines the novel- ties in modern French music, and, in a supplement, especially considers the Mi- moires sur la Musique, of Gretry. LAHOUSSAYE, (Pierre) one of the best pupils of Tartini, was bom at Paris in 1735. Gifted with a happy organization for music, he instructed himself on the violin in early childhood, and at only seven years of age could play several tunes very agree- ably. Piffet, (called le grand nez) a musician at the grand opera at Paris, gave him his first instructions in music, and enabled him, when only nine years old, to make his debut at the concert spirt fuel. A short time after this, he was introduced at a musical party given by the count of Senneterre, where he heard the first vio- linists of the age, especially Pagin, Ga- viaies, Pugnani, Giardini, Vanmalder, and Domenico Ferrari. Each of these cele- brated men played a solo, and they all remarked the enthusiasm with which the jwmg Lahoussaye attended to their per- formance. Ferrari then gave the boy a violin, when he not only preluded in a brilliant style, but repeated from memory several passages in a sonata of Tartini, that Pagin had just before played, which pleased the latter so much, that he took the boy for his pupil ; he also immediately procured him the place of chamber-musician to the prince, count of Clermont. The good fortune which Lahoussaye was now enjoy- ing, did not, however, prevent his continuing to cherish a strong desire to see Tartini. He therefore attached himself to the suit of the prince of Monaco, and went with him to Italy, proceeding immediately to Padua, to pay his respects to his favourite master. He found him in the church, just about to commence a concerto, and it would be impossible to express the surprise and admiration of the young Frenchman, at the purity, accuracy, quality of tone and expres- sion of the great Tartini. He felt so hum- bled as scarcely to wish to hazard an introduction. He did so, however, when Tartini received him with kindness, and observing in his performance the manner of his own school, took him as a regular pupil. Lahoussaye was, however, to his great regret, soon recalled from Padua by the prince of Monaco, with whom he next went to Parma, where he much delighted the court. In this town, he received in- structions in composition from the celebrated Traetta, and composed many airs for ballets, which had the greatest success at Parma and Venice. After this, he found means to return to Tartini at Padua, and continued for a long time under his tuition, remaining in Italy, altogether, during fifteen years. He then, in 1769, came with P. Guglielmi to London, where he remained three years, and from hence returned to Paris. He was now nominated to the situation of chef- oT or chest re at the concert spirituel, and at the Italian opera. In 1789, he succeeded Mestrino as chef-d'orchestre of the theatre of Monsieur, and afterwards of the Feydeau. At the first establishment of the Paris con- servatory, he was appointed professor of the first class. He has published very little music for his instrument, though he has composed much, which is well known in manuscript. Lahoussaye died at Paris se- veral years since. LAIOLLE (Franc nE.) We meet with some of this composer's melodies in a col- n2 Digitized by Google L At lection of songs of various languages, printed in the Netherlands between the years 1530 and 1540. LAIRE (M. de) or DEL AIRE, a French artist, wrote " Trait* itAccotnpagnement," Paris, 1700. He was the first, after Rous- seau'in his dictionary, who made the French acquainted with the rigle de Voc- tave, or the harmony upon the ascending and descending scale. LAIS or LAYS, (Francois) first tenor of the grand opera in Paris, in 1798. He attracted the universal applause of French amateurs by his clear and agreeable voice and tasteful delivery. Chapel-master Rei- chardt says, that in expression he excelled even the celebrated David. Lais was born in 1758, and was equally celebrated as a church and theatrical singer. LALANDE, (Michael Richard de) LAM tivals, for one, two, and three voices, wit Ix a. thorough-bass. He died at Paris in 17^3, at the age of seventy -five. LAMARRE, (N. de) a French violon- cellist, was a pupil of Henri L«vasseur ; also took some lessons of the Duport. Lamarre was much Paris about the year 1800. LAMB, (Benjamin) organist of Eton college, and verger of the chapel of St. George, at Windsor. He composed many anthems, at the beginning of the seventeenth century. LAMBERT (G. L.) was born at Be- verley, in Yorkshire, in the year 1795, and received the rudiments of his musical edu- cation under his father, who was organist of the minster, the principal church in that town. The son was particularly well grounded in the rules of harmony, and in born at Paris in the year 1657, was the fif- playing upon die organ, and, at the age of inng teenth child of his parents, and discove in his infancy a strong propensity to music, he was entered as a chorister of the church of St. Germain l'Auxerrois, and was there distinguished for the fineness of his voice. At the age of about sixteen his voice left him, but before that time, by diligent ap- plication, and frequently spending whole nights in practice, he had attained to great perfection on various instruments ; on the violin in particular he played with great . facility and judgment. He enjoyed in suc- cession the. two offices of music-master of the king's chamber, and that of superin- tendent of music in the royal chapel. His motets, which were always performed before Louis XIV. and Louis XV. with great applause, have been collected and published in two volumes in folio. The Cantate, the Dixit, and the Miserere are principally ad- mired. He died at Versailles in 1726. LALOUETTE, (Jean - Francois) a pupil of Lully, successively conducted the music in the churches of St. Germain l'Auxerrois and Notre Dame. He composed many motets for a full choir/ which are much admired; but none of his composi- tions have been published, except some sixteen, was sent to London to complete his education : he was first placed under S. T. Lyon for two years, and lastly under Dr. Crotch. His earliest attempt at com- position was made a short time previously to leaving Lyon, when he composed a trio for the piano-forte, violin, and violoncello, and a sonata for the piano-forte ; the latter, in compliance with the wishes of bis friends, he published. During his studies under Dr. Crotch, he composed several fugues, overtures, &c. In 1818, he had the mis- fortune to lose his father, when his relations, wishing him to reside with them, he applied for the organist's situation at Beverley, and obtained it, since which time he has com- posed and published " A Duet for two Performers upon the Pianoforte," also "Three Trios for the Piano-forte, Violin.and Violoncello," "A Septet for the Piano-forte, Violin, Viola, Violoncello, two Horns, and Double Bass," (which was performed last season at the, Bristol coucerts in London) and is now composing an oratorio.' LAMBERT (Michael) was born in the year 1610 at AMvonne, a small village of Poitou. He is supposed to be the first who gave his countrymen a just notion of the Ztets for the principal anniversary fes- grace, of vocal music. His companions, 36 Digitized by Google LAM however, are not very numerous, consisting only of some little motets, music for lemons de t encores, and a collection, containing various airs of one, two, three, and four parts, with a thorough-bass. He died at Paris in 1690. LAMBERT, (M.) a composer in Paris j from whose works Pleyel has published, in 1799, a "Rondeau, didlti a Plantade." It is for the voice and piano-forte. His Op. 3, dedicated to Madame de Genlis, appeared in 1805. LAMBERT, (Johann Henry) a French architect. His treatise, which he read before the academy of Berlin in 1774, en- titled " Remarques sur le Temperament en Mnsique" was inserted in the Memoirs of the Academy of Berlin of the same year. The following excellent treatises on acou- stics of this mathematician deserve also to be named here: " Observations sur les Tons ties Flutes** It is a very interesting subject, and well treated in the Memoir es de [Acadtmie de Berlin, 1775. " Sur le Son des Corps Elastiques" in the Nov. Act, HeJvet. torn. i. p. 42. " Sur la Vitesse du Son,** in the Memoires de fAcade'mie de Berlin, 1768; and " Sur quelques Jnstru- mens Acoustiques," in the Memoires de I' Academe de Berlin, 1763. LAMBERTINI, (Giovanni ToMAso)a composer, who flourished in Venice about the middle of the sixteenth century. He printed there, in 1569, the seven penitential psalms, for four voices. In the elector's library, at Munich, are also to be found "Ma~ drigali a 4vod,** by him, Venice, 1560. LAMBO, (C.) organist of St. Nicholas church, Hamburgh, published, in 1754-1755, a collection of odes, set to music, which are much admired. LAMIA. The most celebrated female flute-player in antiquity, was Lamia; her beauty, wit, and abilities in her profession made her regarded as a prodigy. The honours she received, which are recorded by several authors, particularly by Plu- tarch and Atheneus, are sufficient testimo- nies of her great power over the passions of her hearers* Her claim to admiration from LAM her personal allurements, does not entirely depend, at present, upon the fidelity of his- torians ; since an exquisite engraving of her head, upon an amethyst, with the veil and bandage of her profession, is preserved in the king of France's collection, which, in some measure, authenticates the accounts of her beauty. As she was a great traveller, her reputa- tion soon became very extensive. Her first journey from Athens, the place of her birth, was into Egypt, whither she was drawn by the fame of the flute-players of that country. Her person and performance were not long unnoticed at the court of Alexandria ; how- ever, in the conflict between Ptolemy Soter and Demetrius for the island of Cyprus, about three hundred and twelve years before Christ, Ptolemy being defeated in a sea engagement, his wives, domestics, and military stores fell into the hands of De- metrius. Plutarch, in his life of this prince, tells us, that " the celebrated Lamia was among the female captives taken in this victory. She had been universally admired at first, on account of her talents, for she was a wonderful performer on the flute j but after- wards, her fortune became more splendid by the charms of her person, which pro- cured her many admirers of great rank." The prince, whose captive she became, and who, though a successful warrior, was said to have vanquished as many hearts as cities, conceived so violent a passion for Lamia, that, from a sovereign and a conqueror, he was instandy transformed into a slave ; though her beauty was now on the decline, and Demetrius, the handsomest prince of his time, was much younger than herself, At her instigation, he conferred such ex- traordinary benefits upon the Athenians, that they rendered him divine honours; and, as an acknowledgment of the influ- ence which she had exercised in their favour, they dedicated a temple to her, under the name of Venus Lamia. LAMIRAS, a poet and celebrated musi- cian of ancient Greece, was a native of Thrace. He flourished before Homer, and, 37 ed by Google LAM it is said, not only invented the Doric measure, but was the first who accompanied his voice with the harp. LAMMERHIRT (G.) lived, in 1797, as steward to count Erbach, at Erbach, from whence he gave publicity to the following compositions : uGr. Sonat.pour le P. F. avev Vr Op. 1, Offenbach, 1797, and "Deux Sonat. forties a quatre mains pour le Clav" Op, 20, 1798. LAMOTTE, (Francois) first violin at the imperial chapel at Vienna,* was born there in 1751. *At the age of twelve, he played a concerto of his own composition before the whole court. In 1767, the em- peror allowed him to travel. His talent at that time promised what Dr. Burney said of him five years afterwards, " That he would, some day, be the first violinist in Europe." He could play entire pages of music without changing his string. In 1779, he came to London, where he was imprisoned for debt, and escaped, with many others, at the time of lord George Gordon's riot. He then fled to Holland, where he died, in 1781, aged only thirty. His published works are, " Trots Concertos pour le Vio- Ion," Paris, 1770 ; " Six Solos pour le Vio- Ion" Loudon ; and " Airs varies pour le Violon" Paris. Lamotte was a remarkable sight-player, which Jarnowick was once desirous to put to the test, by proposing to perform with him a symphonic concertante ; to which offer Lamotte replied, " Quel est le virtuose fui peut se distinguer par lb? Jc vuus offre autre chose tnoij apportez un concerto de voire composition, fen opporte- rai un tic la mienne; vans jouercz le mien, et jejouerai le tnUreJ' Probably Jarnowick found this proposal un pete forte; at all events, it was never put in execution. LAMPADIUS, a singer in Luneburg, in the first half of the sixteenth century, pub- lished the following small work: " Com- pentlium Mitsices tarn fgurati quam Plant Cantits, ad formam diaUigi, in usutn inge- nuo? pubis ex crudUissimis Muiicorum Scriptis accurate' congestum^ quote antehdc * Some authors state that Lamotte was a Fle- ming by birth. LAN nunquam visum, et jam recens publicat^ Aajectis etiam regulis concordantiarum. et componendi cant** artijicio; summatim, omnia Musices pr&eeptu pulcherrinUs Eae- emplis iUustratay succinct e" et simpliciter complectens," Bernae, 1539. Walther quotes an edition of this treatise, Bernae, 1537. This latter work is still in the elec- toral library at Munich. LAMPARELLT, an Italian musician, resident at Paris in 1812. The following vocal productions have been published by him: " Romances, tiroes du Roman de Pauliska, avee Accompagnement pour le Piano- forte," Paris, 1798, eighth collection. " Six NouvcUes Romances, avec Accompa- gnement pour le Piano-forte" Paris, 1799, eleventh collection. To which belong also all the numbers not mentioned here. " JLe Diable emporte VAmoury** romance, Paris, 1799 ; and " Le Chieh de la Seine," ro- mance, Paris, 1799. LAMPE (John Frederick) was, as he affected to style himself, some time a student of music at Helmstadt, iu Saxony, and, arriving in England about the year 1725, obtained employment in the opera tand. About the year 1730, he was engaged by Rich, of Covent-garden theatre, to compose some dramatic music. In 1737, he pub- lished, in a quarto volume, " A plain and compendious Method of teaching Thorough- bass after the most rational Manner, with proper Rules for Practice.'* There are ex- tant many single songs, composed by Lampe at different times, some of which are printed in the Musical Miscellany, in six volumes, published by Watts. Lampe died in Lon- don, in the year 1751. LAMPUGNANI, (Giov. Battista) of Milan, was, in 1744 and 1745, in Lon- don, where some of his operas were per- formed, which, though not written in a grand style, contained some agreeable and lively melodies and songs. His principal works were "Alfonso,** 1744, and " Sine" 1755, besides some detached airs and pasticcios. LANCE (Le Chevalier de la) re- sided, in 1802, at Verdun. He was, pre- Digitized by Google LAN vious to the year 1790, an officer in the royal French guards, but, during the revo- lution, quitted both the service and hi* country, and resided for some time at Frankfort on the Maine, where he was tmder the necessity of seeking a subsistence by giving lessons on the piano-forte* After- wards he went to Silesia, where he lived on the estate of a nobleman, to whom he gave instruction on the piano-forte. He published the following compositions: *' Romances et autre* Chantes de Zilta" Paris. " Trois Sonates pour le Clave'cin, avec Violon," Op. 2, Paris. "Six Air* varies pour le Clavecin," Op. 3, Paris. Op. 4 is not known. " Sonate brilliante pour le Clavecin," Op. 5, Paris. " Trois donates pour le Clavdcin et Violon," Op. 6, Paris. Op. 7 is not known. " Trois Sonatespour le Clavecin, avec Violon et Bass," Op. 8, Offenbach. 1793. " Grand Concerto pour leClavicin," Op. 9., Frankfort, 1794. « Trois Trios pour le Clave'cin, Violon, et Bass," Op. 10, Offenbach, 1795. " Plainte de Venus sur la Mort a" Adonis, Cantate, avec Aceompagnement de Piano-forte, deux Vvt+ Ions, A., etBass" MenU, 1795. " Jiecueil des AUemandes, Angloites, &fc. pour le Cla- vicin;1 Vienna, .1798.. " Theme, avec douze Variations pour le Clave'cin," 1801, " Air Jiusse, avec sept Variations pour le Clave'cin" " Quartet pour le Clavecin, avec deux Violons et Violoncello," Op. 13. " Deux Grands Trios pour le Clave'cin, Vision, et Violoncello obligato" Op. 2, Augsburg, 1802. In the year 1788, a vio- linist, of the name of La Lance, was engaged at the Theatre Francais in Paris. LANCELOT, (Claude) a Benedictine monk, born at Paris in 1615, was master in Greek to the celebrated Racine. Amongst other works he published " Nouvelle Mi- thode pour af prendre le Plain-chant," Paris, 1668, and reprinted in 1685.. LANDI, (Stefpano) a composer, lived, about the year 1619, as mattre de cha- telle to the bishop of Padua, and after- wards, about 1634, was at Rome, as mem- ber of the pope's chapel. We possess in- formation of the following of his printed LAN works: "Madrigals," Venice, 1619 ; "L* Mort d'Orfeo," Venice, 1619 j and "7/5. Alessio, Dramma Musicale," Rome, 1634, LANDMANN, a German musician, is known, since the year 1770, by au oratorio of the passion, and three quatuors, in manu- script, of his composition. LANDRIAxNO (Carlo Aktonio) is considered a prodigy, as a sopranist, by Picinclli, in bis Aten. dei Letter ati, Milan, p. 106. His greatest triumph was at .the festivals celebrated on occasion of the marriage of the duke of Parma, Odoardo Faruese, where he procured great presents. He obtained afterwards the place of or- ganist at St. Raphael's church, and was appointed at the same time singer in the cathedral at. Milan. He died in the thirty- third year of his age. The following of his works is printed : " Mofetti a voce tola," Milan, 1655. LANETXI. This Italian musician pub- lished at Amsterdam, in 1762, six very agreeable violin trios. LANFR ANCO PA TlfRENTIO PAR. MEGIANO, (Giovan Mabia) a professor and musical author, lived in the beginning of the, sixteenth century, and was, in the opinion of Dr. Forkel, either singer or mattre de chapelle in the cathedral of Brescia. A work of his, highly esteemed by his con- temporaries, is entitled " Scintille di Mu' sica, che mostrano a leggere il canto fermo e figurato, gli accidenti delle note misur rate, le proportion*, i tuoni, il contrapunto e la divisione del monovhordo, con la accorda- tura da varii instrvmenti, della quale nasce un. motto, onde ciascun per se stesso impa- rare potra le voci di la, sol, fa, mi, re, ut," Brescia, 1533. This work is so rare, that neither Hawkins nor Burney; indeed not even Padre Martini, appear to have seen a copy of it. It is only now to be found in Germany, in the ducal library at Gotha, where Dr. Forkel saw it, and has conse- quently been enabled to give us not only the complete title of the work, but also much other interesting information respect- ing its author. LANG, (E. G. B.) a harpist and painter 39 Digitized by Google LAN at Nuremburg, died there in 1780, aged thirty-six. He composed much music for his instrument. LANGDON, (Richard) an English composer, in the middle of the last century. Among his works are " Songs, two Books" (London, Preston.) " Canzonets," Op. 7, (London, Preston.) " Divine Harmony, Book /." This contains about sixty psalms in score, with a part for the bassoon or vio- loncello. The second book of the same collection contains. "Anthems, Sfc." (Lon- don, Bland.) " Twelve Glees," (London, Bland.) LANGE or LANGIUS (Hieronimvs Georgius) was born in Havelburg, in the duchy of Brandenburg, and published " Cantiones Sacra;, 4, 5, 6, et 8 Voc, Pars I" Nuremburg, 1 580, and a second volume of the same, Nuremburg, 1584. Both volumes are inscribed to the council of Breslau, on which occasion the author mentions, that an unforeseen misfortune had compelled him to resign his employments. The misfortune he here alludes to, was a paralytic affection of the hands and feet, which put an end to his life in 1587. LANGE (Johann) flourished as a com- poser, in Germany, about the year 1651. He set several melodies in " Zesen's Dick- terischen Liebes Jlammen" i. e. poetical love -flames. LANGE, (Joh. Caspar) a vocalist at Hildesheim, in the latter half of the seven- teenth century, published " Mcthodus nova et perspicna in Artenx Musicam," i. e. " Rudiraental instructions for acquiring the noble art of music, with every thing belong- ing to it, in the easiest and surest way, and within a short time, according to the present manner. To which is added, an appendix of the musical terms most in use at present ; also forms for practice illustrative of the text," Hildesheim, 1688. The work is in question and answer. LANGE, (Joseph) a performer in the national theatre at Vienna, and dramatic composer, not without talents and science, was born in Wurtzburg, in 1752. He ap- peared on the stage for the first time in 40 LAN 1770, and afterwards married the celebrated vocalist, Maria Antonia Weber. He wrote, about the year 1796, the music for the opera "Adelheit von Pouthieu," which has been represented in several places in Ger- many. LANGE, (Louise) wife of the preceding, and sister to Madame Mozart, was born in Manheim. She made her ddbut on the stage in 1779, went afterwards to Vienna, and was engaged there at the grand opera. She afterwards sang at Schroder's theatre, in Hamburgh, from whence she went to Amsterdam in 1798. The German critics greatly admired her. LANGE, (Catharine) court singer and performer at Munich, born in Manheim in 1774, was a pupil of Madame Wendling, of Manheim, and appeared for the first time on the stage in 1792. Great praise was bestowed on her in Germany for her musical knowledge, her powerful aud pure voice, and tasteful execution. In the year 1793, she went to Italy with her father. LANGLE, (Honore Francois Marie) born at Monaco in 1741, was sent to Naples when sixteen years of age, by the prince of Monaco, that he might be instructed in music. He entered the conservatory of La Pieta, that he might study under Caffaro, who was considered the most learned pupil of the renowned • Leo. Here Langlfe re- mained eight years, till he became principal chapel-master of the institution. During this period, he composed several masses and motets, which were applauded by the first masters in Italy. In 1768, he went to Paris, and soon distinguished himself there, at the spiritual and other concerts, for which he composed several lyric scenas. In the year 1791, his opera of " Corisandre " was first represented at the royal academy of music : the success of this piece led him to compose others of the same description, which, however, were not performed. Langl6 also wrote several didactic mu- sical works, namely, " Traiti tfHarmonie et de Modulation" 1793 ; " Traiti de la Bass sous le Chant," 1797 ; " Traiti de la Fugue," 1800 j and*' NouveUe Mithode pour Digitized by Google L A-N \ chifrcr let *4tcords," 1801. Langl^ was master to the celebrated Dalayrac, who is I called, in France, the second Gretry of the comic opera. He was also a professor and librarian at the conservatory. He died at Paris, in 1807. LANGMAFIUS, (Gottpmed) a com- poser, and lastly, chamberlain and bass dager at the court of Eisenach, was born in Gufoen, in 1684. He remained six years at the academy at Leipsic, and in 1710 was called to Eisenach, and appointed to the above situation, which he still held in 1732. He composed some music for both the church and chamber. LANG SHAW, jsenior. This ingenious I organist and mechanic was engaged by the late Earl of Bute to set the barrels for his celebrated organ, and continued in his lordship's sole employ for above twelve years. The setting of these barrels is men- tioned in the following very flattering terms, in the lives of Handel and Smith. "He (Smith) was engaged at this time in arrang- ing music for some barrels belonging to a large organ , the property of the Earl of Bute. The barrels were set by an ingenious artist, of the name of Langshaw, in so masterly a manner, that the effect was equal to that produced by the most finished player." Langshaw wishing to reside in the coun- ts o try for the benefit of his health, accepted the situation of organist at Lancaster in 1772. LANGSHAW, (John) son of the pre- ceding, was born in London in 1763. He received his education chiefly at Lancaster, but did not devote much time to music till he was thirteen years of age, In bis six- teenth year he went to London, and there studied under Charles Wesley, from whom, as also from his brother, Samuel Wesley, he experienced the most unremitting kindness. To these instructions, and to the frequent opportunities he bad of hearing the Wes- ley*' performances in private, he attributes *H his subsequent improvement. After visiting London three times, he commenced bis career as a teacher of music, aad in 1798 succeeded his father, as organ- ic A N ist, at Lancaster. In discharging the pro- fessional duties of organist and teacher, occasionally varied by presiding at the piano- forte at local concerts, his life has since been chiefly spent. Republications, which are not numerous, consist chiefly of ** The Farewell, " an anonymous ballad, much sung by the late Mr. Meredith ; " Can joy that wretched bosom cheer" which is thought to convey much of the spirit and pathos of the words ; with several other songs, printed by Preston ; some choruses from the works of Handel, and the Creation of Haydn, arranged as duets, printed, some by Preston, and some by Goulding and Co. Also " A Theme, with Variation* for the Piano-fur te or Harp," originally composed for the countess ofDumnore. (Goulding.) His unpublished works are much more numerous, and perhaps more worthy of no- tice, than those which have been printed. They consist, for the most part, of volun- taries, original and arranged, from modern and ancient composers ; concertos, songs, hymns, chants, and duets ; and of an ar- rangement of the concertos of Geminiani (Corelli's as they are called) for the piano- forte, violin, and violoncello, which are now in Mr. Wesley's hands, and have met with his and several of his friends' appro- bation; but the ancient style of music is not so generally admired as to warrant either a printer or a professor to run the risk of publication, so that probably this work will never be printed. LAN1ERE, LANIER, or LANEARE, (Nicholas) was born in Italy, in the year 1568. In the early part of his life, how- ever, he came into England, and he con- tinued to reside in this country until the time of his death. . He was the composer of a masque, per- formed at lord Hay's, mentioned in Beu Jonson's works, and also joint composer with Coperario of another, performed on the marriage of the Earl of Somerset with lady Frances Howard. Many of his songs are to be found in different collections published during the reign of king Charles 41 Digitized by Google LAN I., but they have, in general, very little merit. Smith, in his Musica Antiqua, has inserted one of them, taken from the masque called " Lmninalia, or the Festival of Light*' performed at court, on the evening of Shrove Tuesday, 1637, in which the queen and her ladies were the masquers. Laniere, as well as musician, was] a painter and engraver. There is an excel- lent portrait of him, painted by himself, in the music school at Oxford. 1ANNOY, (Lx Comtessb di) probably an emigrant, was a good musical amateur, and resided some years in Germany. She published " Deux Romances Franc* avec Ace* de Piano-forte" Berlin, 1798. tiTrois So nates pour le Ciav.f avec Acc. tVuu Fio- lon et Violoncello," Berlin, 1798, " Ro- mances Acc. de Piano-forte ou delaHarpe," Part II. " Romances Ate. de Piano-forte ou de la Harped Part III., 1801. LAJtfUSSE, (fils.) Under this name have been printed in Paris, in 1800, " Quatre Romances avec Acc, de Piano-forte" LANZ, (J. M.) a German composer, is known by several works for the piano and for the voice, namely, "Lagenlieder," Dresden, 1788. *' Quatre Sonates pour le Clav. d'une Extent, facile," Op. 3, Brunswick, 1795. " Twenty-one Variations upon ' God save the King ,' for the Piano," Op. 4. " Twenty- one Variations upon ' God save the King,' for the Piano,'' 1795. " Sonate a quatre mains " Op. 5. " Sonate & quatre mains," 1796. " Eight Variations for the Piano- forte, upon « Freut euch des Lebens,' " Han- over, 1796. LANZA, (Giuseppb) an Italian composer, published at Naples, in 1793, "6 Arie Nottume con Accomp. di Chitarra Francese e V. a piacer." Lanza resided during many years in this country, and, for a considerable time, was resident in the family of the late marquis of Abercorn. He published in London several sets of very pleasing and tasteful canzonets, for one and two voices. The following of his works were printed by Birchall: "Six Trios," Op. 13, and "Six Canzonets, with Recita- tives" Op, 14, 42 L A ft LANZA, (Gebualdo) son of the pre* ceding, has resided in. this country from an early age. He is considered an excellent singing-master, and has published one of the best works on that art which has appeared in this country. It is entitled " The Elements of Singing familiarly exempli/led, ^c." (See Quarterly Musical Review, vol. i. p, 35L) LAPPI, (Pibtbo) an ecclesiastic and composer of Florence,- flourished about the beginning of the seventeenth century, as chapel-master in the church of St. Maria Gratiarum, of Brescia. He published much church music, of which we can only men* tion the following pieces : " Litanie della Madonna a 4, 5, 6, 7, et 8 voci; " V Salmi Concertati d. 5 voci " Misse d 3, 4, e 5 Chori," Venet. 1616 : these were burnt in 1794, in the castle of Copenhagen. "Sacraf Melodice, 1, 2, 3—6 wet decantandar, una cum Symphoniis et B. ad Organum," Fxankfort, 1621. " Compkta a 3 e 4 Chori," Op. 16, Venice, 1626. "Rosarium Musicale," Venice, 1629 : this last work contains a mass, psalms, Magnificats, litaniesi and Te Deums, for two and three choirs. - ■ ■ . f . LARBA, (Giov. Leonardo) a com- poser of the sixteenth century, published "Canzonette, Napotitane a 3, " Venice, 1565. LA ROCHE, a French composer of many songs which were popular at the court of Louis XIV. LAROON, (Mabcbllus) an amateur musician at Oxford, was a skilful per- former on the violoncello, and wrote several solos for his instrument. He died at Oxford in 1772. LARRIVEE, (Henri) born at Lyons in 1733, entered as a singer at the grand opera at Paris, in 1755. He was much admired, but sung with rather a nasal tone ; which caused a wit in the parterre to remark, on hearing him for the first time, "VoilA un nez qui a une belle voix I" He died in 1802. LARUE, (Piebkb db) a Frenchman by birth, called sometimes Petrus Platensis, was chapel-master at Antwerp. He corn- Digitized by Google li A $ posed some masses and motets about the year 1549,. LASCEUX, (Guillaume) an organist at Paris, was born at Poissy in 1740. Ue was a pupil of Noblet for composition, and published many works for the organ and harpsichord, between the years 1768 and 1806. LASKA, (Francis) one of the best organists in Bohemia, was born in 1750, and lived, in 1788, at Mokarzow, as an ex-Bene- dictine monk. LASSER, (John Baptist) court and private singer at Munich, was born at Steinkirchen, jn Lower Austria. About the year 1790, he was tenor singer aud per- former at the theatre of Gratz. He has not only given proofs of his activity and talents as an author and composer, but has made his son a distinguished pianist. The younger Lasser first performed in public in 1794, at the academy of music at Vienna, where he was greatly applauded. Among the father's works are the following operas: "Daswut- ktndt Heerr (The Mad Army.) "Die glnekticke Masherade." (The fortunate Masquerade.) "Der Kapellmeister." "Die Ktugc Wittwer " Die unruhige Nocki." (The boisterous Night.) "La Marchatuie de Modes." (The Milliner.) i(DerJude." (The Jew.) *' Die Huldigung der Treue." (The Homage to Fidelity.) He also wrote several masses. The following, however, is his only work which has become known through the press : " Volsiandige Anleitung tnr Singkunst, sowohl fur den Sopran als auchfur den Alt" i. e. " Complete Intrd- duction to the Vocal Art, for the Soprano as well as Alto." Munich, 1798. LASSO, (Orlando di) a native of Mons, in Hainault, born in the year 1520, was the contemporary of Cipriano Rore, and much resembled him in genius, abilities, and reputation. Orlando not only spent many years of his life in Italy, but had his musical education there, having been carried thither, surreptitiously, when a child, on account of his fine" voice. The historian Thuanus, who has given Orlando a place among the illus- trious men of his time, tells us that it was LAS a common practice for young singers to be forced away from their parents, and de- tamed in the service of princes ; and that Orlando was carried to Milan, Naples, and Sicily, by Ferdinand Gonzago, Afterwards, wheu he was grown up, and had probably lost his voice, he went to Rome, where he taught music during two years j at the ex- piration of which he travelled through different parts of Italy and France with Julius Oesar Brancatius, and at length, re- turning to Flanders, resided manv vears at Antwerp, till being invited %by the duke of Bavaria to Munich, he settled at that court, and married. He had afterwards an in*; vitation, accompanied with the promise of great emoluments, from Charles IX., king of France, to take upon him the office of mas- ter and director of his band, an honour which he accepted, but was stopped on the road to Paris by the news of that monarch's death. After this event, he returned to Munich, whither he was called by William, the son and successor of his patron Albert, to the same office which he had held under his rather. Orlando continued at this court until his death, iu the year .1693, at upwards of seventy years of age. His re- putation was so great that it was said of him, " Hie ilk Orlandus Lasntm qui re- creat orbem." As he lived to a considerable age, and never seems to have checked the fertility of his genius by indolence, his compositions exceed, in number, even those of Palestrina* There is a complete catalogue of them in Draudius, amounting to upwards of fifty different works, consisting of masses, Mag- nificats, passiones, motets, and psalms, with Latin, Italian, German, and French song*, printed in Italy, Germany, France, and the Netherlands. To form a comparative idea of the style of the two composers, Orlando and Cipriano, with that of Palestrina, the specific dif- ference seems to be this: that the two Netherlanders, by having spent the chief part of their time in the courts of princes, had acquired a lighter and more secular cast of melody than Palestrina, who, re- Digitized by Google LAS siding constantly at Rome, and writing chiefly for the church, had a natural and characteristic gravity in all his productions* Indeed, the compositions A capella of Ci- priano llore and Orlando Lasso are much inferior to those of Paiestrina, in this par- ticular ; for by striving to be grave and so- lemn they only become heavy and dull, and what is unaffected dignity in the Ro- man, is little better than the strut of a dwarf upon stilts in the Netherlanders. They were, however, gTeat masters of har- mony, and, out of the church, prepared the colours, and furnished the musician's palette with many new tints of harmony and modulation, which were of great use to subsequent composers, particularly in dra- matic painting. In the same collection of songs, printed in 1655, we have a Latin poem set by Orlando di Lasso in the manner of a ma- drigal, in which the modulation is curious, but, though elaborate and recherche', it is pleasing, and has had many imitators. Cipriano and Orlando were the first who hazarded what are now called chromatic passages. LASSO, (Rudolph von) eldest son of the preceding, born in Munich, was organ- ist to duke Maximilian, of Bavaria, and seems to have met with more encourage- ment, considering the number of his works, than his younger brother Ferdinand. We can mention the following of his composi- tions: "Cantiones, 4 vocum," Munich, 1606. " Circus SymphorUacus" Augsburg, 161 1 . " Modi sacri ad corwivium sacrum a 2, 3—6 voc" Munich, 1614. "Virginalia Encharittica, 2, 3—7 voc." 1615 : Walther supposes this to be the same work as the preceding. "Alphabetum Marianum tri- plici Cantionum serie ad multifariam, 2, 3, 4 vocum harmonium,' * Munich, 1621 : this work contains fifty-seven pieces, and is dedicated to the bishop of Freysingen. He had also probably the greatest share in the labour and care bestowed on collecting and arranging the Latin works of his father, which, after his death, were published by the two brothers, under the title of '.'Mag- 44 LAS nitm opus MuMcum Orlandi de Lasso, Ca- pella Bavaricte quondam Magistri complcc- teus omnes caiitioncs, quas Motctas vulgo vacant tarn antta edit as, quam hac~ tenus nondum publicatas a 2 — 12 voc. a Ferdinando , Serenissimi Bavaria Lhtcis Maximiliani Mustcorum Prafecto et Ru- dolpho, eidem Principi ab organis; Authoris Jiliis, summo studio collect urn, et impemis eorundemtypismandatum," Munich, 1604* LASSO or LASSUS, (Ferdinand) bro- ther of the preceding, was principal chapel- master to the duke Maxirailian^of Bavaria, at Munich. In the year 1588, he was in the service of count Hoheuzollern. By a work which he published in 1604, it would, how- ever, appear, that he must, before that year, have been resident at Munich as chapel - master, in which situation he probably con- tinued till his death. Besides the editions of his father's works, in which he was engaged in 1604, in Munich, conjointly with his bro- ther Rudolph, he also published the fol- lowing works of his own: " Cantiones Sacra; 6 vocum cum lustrum y" \b&%." Appa- ratus Musicus 8 vocum, varias casque sacra* et divinis officiis aptas complecteus odas concinnatus a Ferdinando di Lasso Sereniss. Maximiliani utriusque Bavaria* Principis supremo Musices Prafecto," 1622. LASUS, according to Suidas, was a na- tive of Hermione, a city of Peloponnesus, in the kingdom of Argos. He flourished in the fifty -eighth Olympiad, five hundred and forty-eight years before Christ, and was the most ancient author known who had written upon the theory of music. With respect to the musical discoveries of Lasus, both in theory and practice, all that we know of them may be reduced to three heads. 1. Aristoxenus, in speaking of the nature of sound, attributes to him, in common with certain Epigonians, an heterodox opi- nion, that sound had a latitude. Meibomius is perplexed by the passage, but is inclined to think it means only that, in sustaining a note, the voice varied a little up and down, and did not strictly keep to one mathematical line of tone. This explication, however, is Digitized by Google L A T not satisfactory ; for the expression naturally leads to the idea of a temperament, and seems to say, that the intonation of the scale admitted of some variety ; in other words, that the exact ratio of intervals might be departed from without offending the ear. And what is said of Lasus by Plutarch, in his dialogue on music, renders this idea still more probable. He is there mentioned as a great innovator, who imi- tated the compass and variety of wind in- struments, as well as Epigonius, who was the inventor of the instrument of forty strings. Among the corruptions complained of in the new music, the frequent and licen- tious transitions from one mode and genius to another, was not the least. If, therefore, the object of this multiplication of strings may be supposed to have been the convenience of having an instrument ready tuned for all the modes, like our harpsichords, it seems probable that both Lasus and Epigonius might have been temperers, and have ac- commodated their doctrine to their prac- tice. 2. Theon of Smyrna testifies that Lasus, as well as the Pythagorean Hippasus of Metapontus, made use of two vases of the same size and tone, in order to calculate tbe exact ratio or proportions of concords. For, by leaving one of the vases empty, and filling the other half full of water, they be- came octaves to each other; and filling one a fourth part full, and the other a third, the percussion of the two vessels produced the concords of fourth and fifth; from which process resulted the proportions of these three concords, contained in the numbers 1, 2, 3, 4. 3. Lasus, according to Plutarch, intro- duced a dithyrambic license or irregularity into musical measure, or rhythm, and upon his lyre imitated the compass and variety of the flute. LATES (John James) received his mu- sical instruction under the first masters iu Italy, and was considered an excellent per- former on the violin. He led the concerts at Oxford with credit to himself and great satisfaction to his employers. The late duke L AT of Marlborough honoured him with hi patronage, and gave him a lucrative profes- sional situation at Blenheim, which he en- joyed to the day of his death. He was mo- dest and unassuming in his manners, an affectionate husband and father, an honest and sincere friend, and died very much respected in 1777. He was the author of several violin solos, duets, and trios. LATES, (Charles) bachelor of music, Oxon, son of the preceding, received a regular cathedral education, under the late professor of music to the university of Ox- ford, Dr. Philip Hayes, and tbe first London masters. He was well known to be an able extempore fuguist on the organ, and a capi tal player on the piano-forte. In early life he published a ** Set of Sonatas for the Piano-forte," . " Songs in Sevres, tfc'* His experience in the science, and long practice as a professor, together with the approba. tion of the public, fully proved him to be a sound musician. LATILLA, (Gaetano) bora at Naples about 1710, distinguished himself by his talents, at a time when the school of Naples was most fertile in great masters. A friend of Pergolesi from their tenderest infancy, he did honour to the ties which bound him to the Orpheus of Ausonia, by the sincere attachment he showed to him, both in pros- perity and adversity, and be softened his last moments by the most tender consola- tion and the most lively grief. Latilla was moreover the maternal uncle of Piccini, and these titles to the consideration of the friends of harmony, did not fail to be in- creased by multiplied proofs of real talent. On quitting the conservatory, he first composed the serious opera of *rOrazio" and afterwards, "Madatna Ciana," a comic opera, thus showing himself almost simultaneously equally great in both styles. He set the second opera in conjunction with Galuppi, afterwards known under the title of Buranello, and the first master of the learned school of that city. We shall say nothing of the first of these works, but that it succeeded, and laid the foundation of the reputation of its author ; but we may 45 Digitized by Google L AT judge of the success of the second from the alliance of a good rising composer, of the Neapolitan school, with the most famous of the old masters of the rival school of Venice, Latilla, satisfied with having succeeded in both styles, did not change his method of composition. To " Madama Ciana" sue* ceeded " La Tarcntola," and to " Orazio," " L Olympiad*" '." Dcmofoonte, la Pasto- rella," and to " Merope" " La Giardi- niera Contessa." Afterwards devoting him- self exclusively to the comic opera, for which he probably felt a predilection, he composed «' La Commedia in Commedia," "Don Calascione," and "La Buona Fi- gliuola," a subject frequently employed by other composers. These operas, performed on the different theatres of Italy, were esteemed like those of the greatest masters. On the whole, it would even appear that the comic style was that in which Latilla was most distinguished. LATOUR. (T.) This elegant writer for the piano-forte is resident in London, where he has earned a substantial reputation by the composition of very numerous works, throughout which a refined taste and lively mind are always distinguishable. He holds the office of pianist to his majesty. The following list contains his principal works : Piano-forte: "Preludes:* "Progres- sive Sonatinas." " Progressive Sonatinas, fingered:* " First Sonata, Violin Accom- paniment:* " Military Concerto." '* Imi- tations:* first set. "New Imitations of eminent Composers, in fourteen Variations on an Air by Rossini" second set. " Di- vertimento, ' La Ripliquc: Flute Accompa- niment.*' " Divertimento, * Le Trouba- dour,* Ft. Ace'* " Divertimento, ' Le Ro- manesque/ Fl. Ace" " Divertimento, ' La Cocarde Blanche,* Fl. Ace" " " Di- vertimento, « Le Desire-,* Fl. Ace" "Di- vertimento from Airs in * Enrico IV.,' Fl. Ace*' " Divertimento, from Airs in ' II Barbiere,* Fl. Acer " Divertimento, ' Le Retour tTEspagne.' " " Divertimento, ' Alexandre le Grand."9 " Grand Sonata, with ' The Manly Heart: " « Grand Oc- 46 L AT tave Sonata." " Petit Sonata." uV*ria* tions on German Hymn, Fl. Ace" "Va- riations on Guaracha Dance, Figaro, FL Ace" "Variations on Guitar Dance, Fl. Ace" " Variations on Gavotte de Vestris, Fl. Ace" "Variations on 1 Hus- sar d et Tyrolien,* Fl. Ace" " Variations on *La Biondina,' Fl. Ace." *' Variations on P.F., and Fl." " Italian Air, No. I." " Ditto, No. 2." English songs : " O, wake no more that lay," and "The Knight and the Lady." LATRE, (Jean de, commonly called Petit Jean) a composer of the sixteenth century, published " Motetti a 5, 6, e 7 Voe./* Dusseldorf, 1666. LA TROBE, (Rev. Christian Igna- tius) eldest son of the Rev. Benjamin La Trobe, for many years superintendent of the congregations of the United Brethren in England, was born, in 1758, at Fulnec, near Leeds, in Yorkshire. He received his early education at the place of his nativity, and went to Germany in 1771, to prosecute his studies at the college of the United Bre- thren at Niesky, in Upper Lusatia. Re- turning in 1 784, he entered into holy orders in the same church, and has ever since re* sided in London. He has been usefully and honourably employed for nearly forty years, in the service of the church in gene- ral, and of its missions among the heathen in particular, and been enabled, by his pub- lic and private connections in various ways, to promote their welfare. He has never, of course, cultivated music as a profession, though, as a science, it has, from his earliest years, engaged his attention. In all his compositions, he has endeavoured to bear in mind the great and important use to which, in his opinion, music should be ap- plied; and, agreeably to his convictions upon this subject, not less than to the re- ceived ideas concerning the clerical charac- ter, he has confined himself, in vocal music, to sacred or devotional words. To en- 48 LAX courage the same application of this divil art in others, has also been one great ol ject of his publications. Among his earlier compositions we] several for instruments alone. Besides coz certos for single instruments, accompanie by a full -band, (which have never bee published) he occasionally wrote sonata for the piano-forte. A set of three sonata having met with the approbation of th< great Haydn, was published about the tim< of that master's second visit to England the circumstance of their dedication to him is mentioned by Haydn in a short memoii of himself. Mr. La Trobe's compositions for the "church, or for private devotion, are by no means few in number ; particularly when it is considered that they are the production of very irregular intervals between official en- gagements, which demand no ordinary share of time and labour. They consist of solos, anthems for several voices, and oratorios, only part of which have been as yet given to the public. It would be difficult to say- on what model these compositions have been formed. Mr. La Trobe is certainly no copyist, but in general displays a character of his own. His taste was originally grounded upon the simple yet majestic mo- dulations, and the rich harmonies, which characterise the psalmody of the Lutheran and Moravian churches. From these, the transition was easy to the works of the great masters of the German school, at the head of whom may be placed Hasse and Graun : the compositions of their mighty successors, Haydn and Mozart, who seemed to have carried that peculiar combination of natural and scientific beauty to its height, led him still further into the knowledge and prac- tice of the true ecclesiastical style of music. He has been heard frequently to observe, that the Tod Jesu (death of Jesus) of Graun, and the Stabat Mater of Haydn, first gave him the idea of the powers of vocal music, in the expression of every feeling of which a devotional mind is capa- ble. His acquaintance with the foreign masters, which increased with the gradual Digitized by Google L A tf acquisition of an extensive musical library, at length suggested the idea of a publica- tion, by which Mr. La Trobe's uame ha* become better known, than by his original compositions, and which has, according to the testimony of impartial judges, contri- buted, more perhaps than any other work, to the introduction into this country of a taste for the church music of Germany and Italy. uTheSetectian ofSacredMusic" commenced ! in the year 1806, has now extended to five volumes : and the approbation it has almost universally met with, wherever it has be- come known, may be considered as no unfair test of its merits. An idea has been enter- tained by some persons that this work was published in a spirit unfavourable to the re- putation of Handel ; as if admiration of the compositions which have assisted to form the taste of the most musical nations of Europe, were inconsistent with the full en- joyment of the works of that stublime com- poser. So far from this being correct, it may be affirmed, without hazard, that few among our countrymen, even of the most rigid Handelians, have viewed with more regret and surprise the increasing neglect, which seems to be the lot of some of the finest monuments of Handel's genius. One performance of the Messiah, and one of the Dcttingen Te Deum, in the course of the year, is indeed a meagre tribute, from a me- tropolis like London, to the memory of the greatest composer of whose residence Eng- land could ever boast. The following is a list of Mr. La Trobe's published compositions : " Three Sonatas for the Piano-forte" dedicated to Haydn.. M The Dies Ira" a hymn on the last judg- ment. " The Dawn of Glory'' a hymn on the bliss of the redeemed. " A Jubilee An- them'* for the fiftieth anniversary of the accession of king George III. "A Te Deum," as performed in the cathedral at York. " Miserere" (Ps. li.) Various an- thems published in a " Collection of An- thems in use among the United Brethren." " Six Airs" the words by Cowper and Miss Hannah More. LAUCHER, (Joseph Antoky) Musices VOL. n. Lao Director Delingat ad Danubium gtorxo- sissimm Domus Austriac*, published the following works: " 18 Vesper Htfmnen mit 4 gewiihnl : Singstimmrn, 2 Viol.Orget, Violcn und 2 Waldh'ornem, mil angchang tern volUtimmigen Te Deum uud Veui Sancte, etc." 1788. Sacrificium Mor- tuorum, seu 3 Mis see Solenues, breves ta- rn cn, de Reuuiem, occasione exequiarum felicissima* Memorial Josephi II., Lropotdi II., Romanorum Imperatorum, et Elisa- bethat Imperatrlcis, in insigni Ecclesia Collegiata D, Petri ibidem rite persoluta- rum decantatar, nunc vera in lucem publi- cum edita 4 vocib. ordin. concinnentibus, 2 VioliniSy Alto-Viola et Organo nccessa- fits, 2 Cotnibus vero, 2 Clarinettis vet Obois et Violone partim obligatis, par tint non obligatis" Op. 2, Speyer, 1792. LAUDUNO, (Nicolas de.) In the Bar- berini library is preserved a manuscript treatise on music by this author. LAUDLtS, (Victorius) chapel-master in the cathedral church at Messina, about the year 1597, was born at Alcar, in Sicily. He published " II Prima Libra de Madri- galia 5 Vod con Dialogo a 8 Voci," Pa- lermo, 1597. LAUER (J. F. L.) published at Gotha «' Klavierliedersammlung," 1786. LAUGIER, (M. A.) born at Manosque in 1613, was a Jesuit, and preacher to the king of France. He published the first musical journal which appeared in France, under the title "Sentiment f un ffarmoni- phile sur diferens Ouvrages de Musique" Lyons, 1756. LAURA (Dominico) flourished, accord- ing to Cerreto, as one of the best compo- sers in Italy, about the year 1600. LAUREMBERG, (Dr. Peter) a phy- sician and professor of poetry at Rostock, died there in 1639. In the title of a fourth edition of the " Musomachia," of 1642, he is called its principal contributor. He was also the author of a work published by Sartorius at Hamburgh, and entitled "Bel- lum Musicale," LA U RE NTT, (Laurentius) a chapel, master at Bremeu, died in 1722. His prin- . 49 Digitized by Google t A V cjpaJ yrqii bears the title ."Jfa>tto M+- hdioa" It consists of .spiritual songs and hymn*, arranged according the different gospels for Sundays and Jiolydays, and adapted to known melodies. Bremen, 1700. As a musician, be seems to have done little or nothing in this work* LAURENTI, (Pietro Paolo) of Bo- logna, set to music the following three operas : " Attilio Regolo in Africa" 1701 ; '"jjfpqrii fAmore in Filla" and i{ Esoru Ringiovenito," 1716. . LAURENTII, (GtnokAMo) an eccle- siastic of Bologna, flourished as one of the first violin players of Italy, about the year 1720. There have been published of his works «« 6 Conarti a 3 F., A„ Fc, e Or- TAUKENTIO, (Mamancs de) a priest and canon in Sicily, flourished as a com- poser, and published many works, about the year 1620. We can now only meet with the following : " Primo libra di Madrigali h 5 Foci con un Dialogo & 8," Venice, 1602; and " Salmi, Magnificat, Falsi Cprdoni e Mtssa, a 4 Foci con B. continue per tOrgano" Op. 5, Palermo, 1624. LAURIETTI, an Italian musician, pub- lished at Paris, in 1780, " Sis Quatuors pour U Fiolon" LAURUS, (Dominicus) leader of the orchestra at Mantua, was born at Padua. He flourished about 1550, and published many works. * LAUSKA, (Franc) chamber-musician \\o the elector palatine of Bavaria, and one of the best German pianists, travelled on the continent during many years. He re- mained, probably, the whole of the year 1794 in Hamburgh, whence his fame first began to spread over Germany. After this, he gathered equal praises at Copenhagen. In 1799, he went to Berlin, where he wrote and published a concerto for the piano. His works for that instrument are quite original, and are as follows: " Grande So* nate pour le Clavdcin," Op. 1, Hamburgh, '1795. " Nine German Songs, with Far Hations for the Piano," Op. 2, Hamburgh, 1792. " Rondo pour U Clavicin, pour let h A V Damss," 0^ 4, Munich, 1797. " Four Sonatas for the Pianoforte " (each sepa- rate) as Op. 4, Op, 6, Op. 7, and Op. 8, Hamburgh, 1797. " J)er Greis und sein Stab:' i. e. "The Old Man and his Staff/* Kouigsberg, 1797. " Eight Fariaiions for the Piano-forte on Reichardt*s Song, ' Jch kusse dich, Schleier,' " Munich, 1799. " Deux Grandes Sonates pour le Clave'cin," Ops. 9 and 10, Hamburgh. " Reus Pe~ tits Rondeaus pour Piano-forte," Berlin. The following of his works have been published by Kuhnel, of Leipsjc ; •« Si* Fariations pour Piano-forte," " Sonate pour Piano-forte," Op. 20, " frois Pe- ttis Rondeaus pour Piano-fbrtc," Op. 23. " Grande Sonate pour Piano forte " Op. 24. " Polonaise pour Pianoforte" Op. 25. " Dix-neuf Grandes Sonates pour Piano-forte," Op* 26. " Capricdo pour Piaw-forte," Op. 32. " Angenehme unfl nicht schwere Tonstucke mit applikatur f. d. Piano-forte" i. e. *' Pleasant and not difficult exercises, with applications, for the piano-forte," Op. 33. About the year 1804, he went to Vienna, to study counterpoint under the celebrated Albrechtsberger. Since that period he has resided in Berlin. JLAUXMIN, (Sioismvnc) a Polish Jesuit, from Samogitia, was rector of several colleges, and, lastly, vice-provincial of Ij*- tbuania, in which situation he died in 1670, in the seventy -first year of bis age, or, ac- cording to others, in his seventy-fourth. He wrote, amongst other works, " Are et Praxis Music*," Wilna, 1664. LAVIGNA, (Vincenzo) a Neapolitan musician, recommended by Paesiello, in 1802, to the directors of the theatre there, as a composer. He wrote in the same year, for the Theatre della Scala, the opera buffa "La Muta perAmore, ossia U Medico per Forxa" which obtained distiaguishiwl success. LAV1NETTA, (Bebnhardus de) a learned monk, about the year 1523, wrote " Compendiosa JExplicatio Artis Lvlliarur," in which he treats, in nine chapters, on musical subjects. Digitized by Google LAW XAVXT,(J. B. O.) formerly a pupil of the ieole poly technique at Paris, published there, ill 1808, " Tableau cotnparattfdu Systtme Harmonique de Pythagaro, et du Systcme des Modemes." LAVOCAT, (Pierre) a French com- pter, flourished about 1700, in Burgundy, wd t* known by the , following work : (t Concert des Dieux pour le Maringe de &. 4* S. Mgr.** Of this work, the text only, by Dewqueieyne, has been printed at JDijon. L4WAT2 published songs for the piano- forte, Altw*, 1790. LAWES, (William) the son ef Thomas Lawes, a vicar-choral of the church of Salisbury, ajtf % miVB 0f thaUity, having shown an early propensity to music, was, at the expense of Edward Earl of Hereford, placed under the tuition of Coperario, He was a member of the choir- of Chichester, and was called from thence, in 1603, to the office of gentleman of the chapel royal; but, afterwards, resigning that situation in favour of Ezekiel Wood, he became one of the private or chamber musician* to king Charles I. Fuller says, that " he was re- spected and beloved by all who cast any looks towards virtue and honour." His gratitude and loyalty for his master were such, that he took up arms in his cause ; and although, to exempt him from danger, lord Gerrard made him a commissary in the royal army, yet the activity of his spirit disdained this intended security, and at the siege of Chester, in 1646, he lost his life. The king is said to have been so much affected at his death, that he wore particular mourning for him. His compositions were, for the most part, fantasias for the viols and the organ ; but the chief of his printed works were " Choice Psalm* put into Music for throe Voices:' Many of his songs are to be met with in the collections of the dav, and several catches and rounds, and a few of his canons, are published in Hilton's Collection. LAWES, (Hbney) brother of the pre- ceding, was likewise a pupil of Coperario. He was a native of Salisbury, and born in the year 1600, In the month jof January, 1625, he was made pisteller, and, in Not vember following, a gentleman of the cha- pel royal. After this, he was appointed clerk of the check, and a gentleman of the private music, to king Charles L He is celebrated for having introduced the Italian style of music into this kingdom > but this rests upon no better foundation than hia having been educated under Cope* rario, and having composed a song 09 the story of Theseus and Ariadne, i* which there are some passages that a superficial peruser might mistake for- recitative. This song is published amoner his "Avres and Dialogues for one, two, and three Voices" printed in London in 1663. In the preface to this collection, the author mentions his having formerly composed some airs to Italian and Spanish words. He speaks of the Italians as being great masters of music, but, at the same time, that his own nation had produced as many able musicians as any in Europe. He censures the particularity of the age, for songs sung in a language which the hearers do not understand ; and, in ridicule of it, speaks of a song of his own compo- sition, printed at the end of the book, which was nothing more than an index of the initial words of some old Italian song or madrigal. He says that this index, which he had set to a varied air, and, when read together, was a strange medley of nonsense, passed with a great part of the world as an Italian song. The first composition in the above collec- tion is "The Complaint of Ariadne" (before- mentioned) the music to which is neither recitative nor air, but in such a medium between the two, that a name is wanting for it. The circumstance which contributed to recommend it to notice cannot now be discovered, but the applauses that attended the singing of it almost exceed belief. Lawes also composed tunes to Mr. San- dys's Paraphrase on the Psalms, published in 1638, and afterwards in 1676. These tunes are different from those composed jointly by the two brothers, and published in 1648. They arc for a single voice, with *2 $1 Digitized by Google LAW a bass, and were intended for private devo- tion. Milton's Comus was originally set to music by Lawes, and was first represented on Michaelmas night, 1634, at Ludlow castle, in Shropshire, for the entertainment of the family of the Earl of Bridgewater, and others of the neighbourhood. Lawes himself played in it the character of the at- tendant spirit, who, towards the middle of the drama, appears to the brothers habited like a shepherd. The music never appeared in print. The songs of Lawes, to a very great number, are to be found in the collection entitled " Select Musical Ayres and Dia- logues" by Dr. Wilson, Dr. Charles Col- roan, Henry Lawes, and William Webb, published in 1662 ; u Ayres and Dialogues** published by himself in the year following ; " The Treasury of Music" 1669; and several others printed about that time. In these are contained the songs of Waller, all, or nearly all, of which were set to music by Lawes, and, as an acknowledgment of the obligation, that poet has celebrated his skill in the following lines : " Let those who only warble long, And gargle in their throats a song, Content themselves with ut, re, mi j Let words of sense be set by thee." Lawes continued in the service of the king no longer than the breaking out of the rebellion. From that time he employed himself in teaching ladies to sing. He, however, retained his place in the chapel royal, and composed the coronation anthem for king Charles IL He died in 1662, and was interred in Westminster abbey. Were we to judge of the merits of Lawes as a musician, from the numerous testimo- nies of contemporary writers, we should be compelled to rank him amongst the first which this country has ever produced ; but if we examine his works, his title to fame will not appear quite so well grounded. He was engaged in the service of the church, but contributed nothing towards the increase of its stores. His talent lay chiefly in the com- position of songs for a single voice, and iu 52 IEB these his greatest excellence consisted in the correspondence which he kept np be- tween the accent of the music and the quantity of the verse. Dr. Burney says, that the greater part of. his productions are " languid and insipid, and equally devoid of learning and genius." LAYOLLE, (Aleman) organist at Lyons, about the middle of the sixteenth century, published *' Chansons et Voix-dc- ville d quatre wis" Lyons, 1561. LAYS. See Lais. LAZARI (Alberto) published at Ve- nice, in 1637, " Gloria di Fenetia, e altre Musiche d Voce sola, tfa** Op. 3. LEAL, (Miguel) a friar of the Cister- tian order, and a good composer, was born in Lisbon, and entered into the order at Alcobaca in 1645. Among the works which he has left behind, there is one par- ticularly distinguished, namely, " Missa a nove coros.' ' Leal became, at last, prior of a Convent in Lisbon. • LEANDER, two brothers, performers on the French horn, resided many years in London up to about 1805. They were excellent virtuosi on their instrument, and were engaged in the orchestra of the King's theatre, and at most of the public concerts. One of the brothers composed a very pleas- ing" duet for two voices, " By those eyes, whose sweet expression." (BirchaH's Cat.) LEBRUN. See Brun. LEBRUN, (Louis Sebastian) a French dramatic composer and singer, was born at Paris about the year 1765. He was, in childhood, admitted as a chorister at the cathedral of Notre Dame, in which situation he remained twelve years. He was there taught composition, and the practice of mu- sic, by the abbe* Dugu£, chapel-master of the cathedral. Lebrun was next appointed chapel-master to the church of St. Germain l'Auxerrois; after two years, however, he resolved to make his dibut% as a singer, at the royal academy of music, where he first appeared, in 1787, in the part of Polynice, in (Edipc. He next came, before the public at the concert spirituel, iu the double capacity of composer and singer. His corn- Digitized by Google L E C m Dili! nn m m 1 m m m ^ ■ m J *^ aamamaI positions fortius concert consistea in several seen as ana grana cnoruses irom ordionos. In 1790, he produced his first dramatic work at the Theatre Montansier; it was entitled " VArt Maimer au Villager He next gave, at the Theatre Louvois, " Ermlie et Melcovr," " Un Moment tt Hu- mour " and t( La Veuve Americaine" At the Theatre des Varies, " Les petits Aveu- glest" and " La Suite de la Cinquantaine ' * At the Theatre Feydeau, " Le bon Fits" " Plus de peur que de mat," " L' Astro- nomer "Le Ma$on," and " MarceUine." After being engaged at the Theatre Fey- deau during several years, Lebron reentered at the grand opera, as one of the principal singers. He was afterwards first tenor singer at the chapel royal of Napoleon, and also chamber singer to the emperor. In 1809, a grand " Te Deum" of his compo- sition was executed at the cathedral of Notre Dame, in honour of the victories of Wagram and EnzerdotT. LEBSDEFF, a Russian composer, came to London in 1798, with a squadron from India. He was engaged, at that time, in writing a collection of airs in the style of the music of Hindostan and Bengal. As \ he was fully master of the eastern lan- guages, as well as of their musical expres- sion, he was much looked to at the time for the explanation of modern oriental music, which, even yet, has not been fully made known. The airs are, in the opinion of connoisseurs, very melodious and pathetic, and are a medium between Scottish and Italian music (Gerber's Dictionary.) We have not been able to obtain any further infor- mation respecting this musician or his works. LEBUGLE (Abbe) published much mu- sic of his composition for the harpsichord, at Paris, subsequently to the year 1783. I*ECCIO, (Scozzese Agostino di) a composer of the sixteenth century, of whose works there is yet preserved in the Munich library " Canzonette Neapolitan a 3, 4, e 5 rod," Venice, 1*9. : LECLAIR, (J. M.) See Clair. LECLERC, (J. B.) deputy for the de- partment of the Maine et Loire, in the legis- L E D lative assembly at Paris, in 1796. He had been a member of the convention, and was obliged to leave Paris, to escape persecu- tion and imprisonment. During his retire- ment from public business, he laid the plan of a great musical work, and submitted it to the committee for public instruction in France. As, however, this body took no notice of it, the author published it in 1796, (improved aud enlarged) under the title of "Essai sur la Propagation de la Afusiquc en France^ sa Conservation, et ses Rapports avec le Gouvernement." This treatise begins with a brief history of music among the Chinese, Egyptians, Greeks, and other ancient na- tions, amongst whom it was considered as a foundation of religion and morality. Then he proceeds to the influence which it has had upon modern nations ; on which sub- ject he says, that Gluck's music in Paris laid the foundation of the revolution, as the want of church music gave rise to the civil war in La Vendee. He endeavours to prove the necessity of music to the French nation, amongst other arguments, by the conduct of certain peasants in Lower Poitou, whose only business is to sing incessantly, whilst the oxen are drawing the plough. From this, he proceeds further, and endeavours to prove that the cultivation of the science of music leads us to the practice of every pub- lic and private virtue, by means of the satis- faction and calmness which it imparts to the mind ; and that, for this reason, all govern- ments ought particularly to take it under their observation, and to fix its use and abuse by proper laws. He examines, further, how far the then existing operas, aud other pub- lic musical performances in France, either may tend to promote or to diminish human perfectibility. LECOICK. See Coicx. LEDERER, (Joseph) an Augustine monk, in St. Michael's convent at Ulm, and professor of divinity there, was born in Suabia in 1733, and published the follow- ing musical works, practical as well as theoretical : " Neue und erleichttrte art su Solmisiren," Ulm, 1756. Second edition under the title «' Neue und erkickterte art 63 Digitized by Google LED uitl Solmisite*, nebet andern Torthilm, die Singkvnst in kurser acit tu erlernen" Ulm, 1796i A song, " Aus den frohen Liebeshvnd." 41 6 Mess en, kurtt, Mckt und sangbar, hauptsachlich sum Gebrauch der Chore aus dent Lnnde und der Fraucn- hVieter aufgesetst" Augsburg, 1776. uEt~ 7vas aus C'Aina," operetta, Ulm, 1777. " 5 Vespemt sammt 5 andern PsaUnen, welche das Jahf hindurch vorkotnmen, einem besondern Magnificat, und einem Stabat Mater, kurz, leicht, singbar," Ulm, 1780. « Musikalischer Forrath, bestehend aus 18 Vtrien, 17 Preambulen, Menuettcn, Irio, 3 Sonaten und tin* Arte in Purtfr tur," Augsburg, 1781. « Die jungen Re- kruten, cine Momische operetta," Ulm, 1781. This worthy divine and excellent artist died iu 1796. LEDERZ, (Paulus) a bookseller at Strasburg* published " Kirchengesangbitch, darinne die fUmehmsten und besten, auch gtbra uchlicksten Lieder und Gesange zu finden," Strasburg, 1616. LEDUC, (Simon, l'alne) one of the directors of the concert spiritual at Paris, was born in 1746. He was a violin pupil of Gavinies. There are known, of his compositions, two books of sonatas for one ▼iolin, and Several concertos and sympho- nies. About a month after the decease of Leduc, in 1777, there was a rehearsal of one of his symphonies for the concert dee amateurs. In the middle of the adagio, the chevalier de Saint-Georges was so af- fected by the expression of the movement, joined to the recollection of the death of his friend, that he let his bow rail, and burst into tears. LEDUC, (PiEfcRfi) brother ahd pupil of the preceding, was born in 1765. He was a violinist at the spiritual and amateur concerts at Paris, and subsequently en- gaged in the music trade. LED WICK, (E.) an Irish author* pub- lished "Antiquities of Ireland," Dublin' and London, 1790. Part of this work; treats Of the music of the ancient Irish, as it wW cultivated by their bards. The au- thor states^ thai the music of the ancient 64 IE F inhabitants of Ireland consisted merely in the tunes of their poems and songs, which they called pheateath or priieagh9 that U, relating in music; They had also some knowledge of wind instruments, some of which were the goll-trompo, or the foreign trumpet. This was the metal horn which the Danes, Normans, and English made use of* 2dly, The trompa, which resembled the modern trumpet. This was the war instrument of the Saxons, Gauls, and Nor- mans. 3dly, piobamaU, or harp, which, according to our author, is either of Scy- thian or Teutonic origin. They miy per- haps have earlier known the tiompan, Or drum, and the crotalin. Their oldest and most celebrated harp-players, about the year 1330, were O'Carrol and Cruise, who had probably learnt from the christian clergy to tune their harps according to the eight diatonic notes, on the principles of harmony. LEEDER, (Joiiawn Wilhelm) chapel- master at Hildesheim, died in 1785. He published, at Amsterdam, some music for the flute and violin. LEEVES, (Rev. W.) of Wrlngton, in Somersetshire, is the composer of the still prevailing melody of " Auld Robin Grey," which has been erroneously attributed to lady Anne Lindsey. He also published a volume of glees, about the year 1790, in conjunction with Dr. Harrington, of Bath, and Edmund Broderip, the organist of Wells cathedral. LEFEBURE DE WELEY, (Antoikb) a composer at Paris. Among his works may be mentioned, " Nouveau Sblfige,*' Venise et Paris, 1780. It is an easy me- thod of SOlmisation. " Quatre Sonat.pour le Clav" Op. 2, Paris. *' Premier, d*uxi~ ^m«, et troisitme Recueil a" Airs, pour le Piano-forte," OpS. 3; 4, 6* Paris. In 1801, he read, in a public sitting of the national institute* a treatise on the effects of music on the nerves. LEFEBURE, (Jacoo) violinist in the chapel of prince Henry $1 Prussia* at Ber- lin, was born in 1723. He studied mesic under Graun and Emmanuel Bach, He composed much music for his instrument. Digitized by Google tEfe LEFITVlfcE, organist at the church of St. Louis, in Paris, in the year 1760. He executed at the concert spirituet several of lis motets, of which " Quam bonus** "Conserva mc,"and " Coronate'* have been engraved. LEFEVRE, (Jacques) chamber-musi- cian to the king of France in 1613. He composed about the same time several works for three, four, five, and seven voices, of which Laborde has given two airs in his second volume. LEFEVRE, (Xavier) an excellent per- former on the clarionet, and composer for his instrument, stands, in 1798, as first clarionet at the grand opera in Paris. He has published a variety of music for his instrument, of which, however, only the following can be mentioned : " Duos Con- certin. pour 2 Clav." Ops. 1, 3, 4, and 10 ; " Pettis Duosfacil. Liv." Ops. A and B, 1 and 2 ; each work contains six pieces, Pa- ris, 1791 to 1798. " Trios pour deux Clar. et Fagotte,*' Ops. 5 and 9, each six pieces, Paris, 1793 to 1797. '« Recueil de Mar- ches et Pas redouble's suivi (Cune Marche religieuse de Gossec," Paris, 1793. « Sin- fon. Concert, it Clarinet/e et Fagot/' Paris. " 5 Concert. & Clarinette," Paris, from 1793 till 1799, Nos. 1, 2, 3, 4, 5, each separate. The pupil who played on the clarionet in 1799, at the national institute of Paris, gained the prize with No. 5 of the foregoing. " Mithode de Clarinette, par A. Lefevre, adoptie par le Conserva- toire*' Paris, 1803. It is uncertain whether the initial of A. to the last work indicates another author, probably it is only a second christian name of X. Le- fevTe. LEFFLOTH, (JohannMathias) organ- ist at Nuremburg. He published many instrumental works, among which are: " Sonate et Fugue pour le Clav." Nurem- burg. " Divertimento Music ale, consis- tente in 1 Partita da Cembalo," Nurem- burg. He died in 17o3. LEGARE (Claude) published at Ge- neva, in 1657, " Les Pseaumes de David rcduits sur une seule clef." LEA LEGAT DE FURCI (Antoine) was born at Maubeuge. He published " Seconds Solpgcs avec basse chijfrie, contenant des lecons duns tons les genres des duos et des ariettes, avec paroles" Paris, 1790. He was organist to the church of St. Croix de la Bretonniere in Paris, and assisted La- borde in writing his essay on music. He also composed several dramatic pieces, which, however, were not successful. LEGRENZI (Giovanni) was organist of the church of Santa Maria Maggiore, in Bergamo, afterwards chapel-master in the church Delia Spirito Santa, in Ferrara, and in bis later years, chapel-master of the church of St. Mark, at Venice. His works consist of masses, motets, sonata per chiesa ede camera, psalms, lita- nies, and cantatas. LEGROS, (Joseph) a French musician, born in 1739. In 1777, he was manager of the concert spiritual at Paris. LEHMAN, (Fredebicx Adolph von) counsellor of legation at Dessau, in the year 1801, was previously in the elector's infantry. Although but an amateur, he has proved try his published works that he has not only made unusual progress in the art of playing the piano-forte, but has also acquired a familiarity with counterpoint and the rules of strict composition. The following of his works have appeared in print : " Gesange am Klavier, in MuMk gesetzt" Dessau, 1793. " Des Madchcns Klange von Schiller, fur* Klavier in Mu- sik ges." 1801. " Onze VariaU pour le Piano-forte," Augsburg, 1802. "Gesange am Klavier," Leipsic, 1802. " Kleine Gesange, in Klav." Op. 4. "Six Marches, qui peuvent exe'cuter aussi bien en en- tr'actes & plein orch; qu'en harmonie pour Cinstr. it vent" Op. 4. *' Six Marches pour le Piano-forte," Op. 4. LEHMKE, (Christine Wilhelme Catharine) wife of Christian Lehmke, singer to the duke of Mecklenburg-Schwe- rin at Ludwigslust, was born at Minden, in Prussia, about the year 1774. She was engaged by the duke, in 1796, as singer, in consequence of her great talents, and after- 55 Digitized by Google L E I wards became the great attraction of the chapel there. The compass of her voice was very considerable* Her melting soft- ness in the adagio , and charming style of taking bravura passages, caused her to be considered in Germany as one of the first singers of the age. She was likewise an excellent pianist, and possessed much knowledge of the science of music. Her husband was an actor, and together with his wife performed the first parts in every good opera (comic and tragic) that was given at the court theatre. They are still living, but have nearly retired from public singing. LI^JEUNE, a Parisian composer, has become known by a " Recueil de Romances et Chansons," Op. 1, published in Paris in 1792. LEIGHTON, (Sir William) knight, one of the honourable band of gentleman- pensioners, published in 1614, in conjunc- tion with some other persons, a work en- titled " The Teares or Lamentations of a sorrowful Soul, composed with musical Ayres and Songs, both for Voices and divers Instruments.*' LEISRING (Volckmar) was born at Gebstadt, near Buttstadt, in Thuringia. He pursued his studies at Jena, and about the year 1617 was appointed rector at Schkolen, near Naumburg. In the year 1619, he became pastor at Nohra, near Weimar; and lastly, in 1626, pastor at Buchfarth, where he died in 1637. His practical works are, according to Walther : " Brautlied aus dem 26 Cap. Syrachs," Jena, 1609. « Cymbalum Davidicum 4, 5, 6, et 8 vocum," Jena, 161 1. " Taedae Nuptiales, in 16 lutein und deutschen Hoch- zeitgesangen von 4, 5, und 8 Stimmcn," Erfurt, 1624. " Strenophonia, in 21 latein und deutschen Neujahrs Ges&ngen;' Erfurt, 1628. LEIST, a young Hungarian, aged only eleven. This child already displays talents of the first order as a pianist ; but the exe- cution of young Leist is not only distin- guished for the rapidity of fingering, which is what is admired in a number of perform- era, he unites to a perfection of lightness So- li E M and firmness of hand, an expression which has been wanting in other performers, whose reputation is nevertheless very high. This, however, is what is least astonishing in the talents of this extraordinary child. He composes in the style of the greatest masters, and he improves on lessons given him with a facility so much the more mar- vellous, as the force and grace of ideas never fail him. Since Mozart, who asto- nished several courts of Europe at the age of eight years, the musical world has cer- tainly witnessed nothing so surprising as young Leist. We must not forget to notice a characteristic feature which completes his fame as a real prodigy; this is, that though he has only recently begun to learn the French language, he already expresses himself in it with a distinctness, and sometimes with an elegance, which would do credit to many youths of sixteen or eighteen years of age. LEITNER (Peter) published, in 1800, the opera " Eduard" in two acts. He is probably an Austrian. LEM, (Peter) first violin at the royal chapel in Copenhagen, was born there about the year 1753. He had first a pen- sion of one hundred rix-dollars, and was dispensed with, playing in the orchestra. After the death of the chamber-musician Hartmann, his pension was increased to twenty dollars, and the title of professor was given to him. From that time, he played only solos at concerts, and instructed the pupils, who from time to time were ap- pointed to the royal chapel. Traeg men- tions a " Rondo pour le Clav.** in manu- script, written by this musician. LE MAIRE. This French musician was singing-master in Paris in the year 1660, and contributed much to the propagation and general adoption of the seventh note of the octave (sU He seems also to have been a vocal composer, as will appear from the following of his printed works : " Les quatre Saisons ou Cantates, JAb. 1," Paris. " 1, 2, 3, 4, 5, 6 Recueil oVAirs a chanter," Paris. In the year 1798, there was also a Le Maire, a violinist in the orchestra of the grand opera at Paris* Digitized by Google LEM LEMDERE, (FbbdericA.) * director of the conservatory of music in Paris, since 17% was a pupil of Berton. He brought out at the Theatre des Amis des Arts, " Les deux Orphelins," « Les dense Crispins," with the poetry, " La Paix et V Amour" All three printed in Paris in 1798. " La Reprise de Toulon." The overture of which, a grand orch., was printed at Paris in 1797. te Andros et Almoin?' 1794, and u Le Tombeau de Mirabeau." Most of the above little pieces were successful. He also published " Sept Romanc. avec Acc, de Clew.," Op. 14, and " Deuxiime Duo Come pour Harp et Piano," Paris, 1803. LEMLIN, (Laurentinus) a contrapun- tist about the middle of the sixteenth cen- tury. Of his works are still to be found some melodies, in a collection of songs for four voices made in 1548, and yet preserved in the Zwickau library. LEMOYNE or MOINE, (Jean-Bap- tistx) a French musician, was born at Eymet in 1751. In his youth, he went to Germany, and studied composition under the celebrated masters, Graun and Kirn- berger. Whilst at Berlin, he composed a storm chorus for an old opera, u Toinon and Toinette," which had the greatest suc- cess, so much so, that the prince royal of Prussia gave biro, as a reward for its com- position, a superb gold snuffbox filled with ducats. He was then nominated director of the music at the theatre of this prince, and had the honour of giving several lessons to Frederick the Great, by whom he was much esteemed. After this he produced, at Warsaw, " Le Banquet de Colette," an opera in one act, in which Madame St. Huberty performed, who afterwards, by Lemoyne 's instructions, became a celebrated actress and singer at Paris. On his re- turn to France, he composed for the royal academy of music, " Electre" an opera in three acts, 1783 ; " Phidre," in three acts, 1786 ; " Nephte" in three acts, and " Les Prdtendus," in two acts, 1789. " Louis IX.," in three acts, and " Les Pommiers et le Moulin" in one act, 1790. Subse- quently to this, he gay*, at the same thea- L EN tore, « mitiade h Marathon." The above works were all successful, especially" Phe- dre," " Nephte;" and •« Les Prttendus* Lemoyne was the first composer who had the honour of being called on the stage by the public at the grand opera. This took place on the first representation of his " Nephte'" Lemoyne also composed several operas for the Theatre Feydeau, namely, " Elfrida," " Le petit BateUer," and " Le Mensonge ojficieux." He was the only French composer of his time whose works succeeded by the side of those of Gluck, Piccini, Sacchini, &c He died at Paris in 1796. LEMOYNE, (G.) son of the preceding, was born at Berlin in 1772. He is an ex* cellent pianist, and has composed much music for his instrument, as also a great number of romances, amongst which is the admired one if Le Tombeau de Myrthe" LENAIN published at Paris, in 1766, a work entitled " Des Elemens de Musique*' LENCLOS, (De) chamber-musician to Louis XIV., was a guitarist and theorbist. He died in 1630. He was the father of the celebrated Ninon de Lenclos. LENTON, (John) one of the band of king William and queen Mary, was a pro- fessor of the flute. He composed and pub- lished, in conjunction with Mr. Tollit, a work entitled «« A Concert of Music, in three parts" Some catches of his composition are printed in the Pleasant Musical Com- panion, LENTZ, (H. G.) a German composer and professor of the piano-forte, seems to have resided some time in London, between the years 1784 and 1794. He then went to Hamburgh, where he styled himself a mem- ber of the society of arts and sciences at Paris, and played two new concertos for the piano-forte, and symphonies, which com- positions were distinguished for so much genius, art, aod taste, that they obtained the approbation of all connoisseurs. He published various pieces, of which we may mention the following ; " Trois Concertos pour le Clan." Nos. 1, 2, 3 ; " Neuf Trios pour le Piano, avec V." Op. 5 ; " Neuf 57 Digitized by Google L B O Trios pour le Piano, avtc V. si A,M Op. 8 ; " NsttfJYios pour Is Piano, avec V.," Op. 9, Pari*; the last alto at Offenbach, 1793 and 1794; "Airs varies pour Is Clav,,*' No. 70, Paris, 1792 ; " Thtse Trios for Pianoforte" London, 1795 ; " 6 Deutsche liedcr," Hamburgh, 1796; "Preludes for the Pianoforte" London, abont 1794; '* Air varii, * O ma tsndre Musette, pour PiahO'forie" Leipsic. LENZT, (Carlo) formerly chef d' or- chestrc at Bergamo. It is said that he obtained no small degree of fame as an artist in Italy. He retired, probably on account of his old age, in 1802. LEO, (Leonardo) born at Naples in 1694, was, after Durante, one of the most laborious, brilliant, and sublime composers of Italy. Like Durante, a pupil of Alessandro Scarlatti, he did not adopt all the severity of the style of the latter in the opera, nor of the former in church music ; he preserved all their dignity, which he blended with pa- thos, his peculiar excellence. Flexibility was the source of the talent of this composer j he adapted his style with equal success to the serious and to the comic opera. He was alike brilliant in each, and his first opera, " Cio*," in the latter species, was received by the Neapolitans with such ap- plause, that it was represented in several of the other Italian theatres. The subject of this piece, is a man who has the habit of adding " that is to say," to every thing he says, and who, in endeavouring to be ex- plicit, is only the more obscure. His serious operas were approved as much as the "Cioi," for their expression, grace, truth, and melody. Emulous of Vinci and Porpora in dra- matic composition, Leo was equally desirous Of rivalling Durante in sacred music, and as in the ono he had been by turns pathetic and gay, scientific and natural, so in the other he was imposing and elevated, grand, and at times sublime. Amongst his conipo- sitions for the church, his "Miserere*' is particularly celebrated for its profound knowledge of counterpoint, its grandeur and purity of style, and its natural and inge* Dions employment of modulation and imi* L E 0 tation | it hat even been judged 'eqftjl to that of Jomelli. Leo invented that species of air called, by the Italian*, arid d'osnna- zione, or obligato airs ; his compositions in this style are highly classical, particularly that beginning " Ombra diletta e cdr'a," which is yet sting throughout Italy. L«o was the founder of a school of sing- ing in Naples, which tended to increase the fame of his country as a nursery for those celebrated singers, which have filled the Italian theatres of the different European courts. The solfeggi he composed for his scholars are still eagerly sought and studied. Leo was in every respect eminently ser- viceable to the progress of his art. That which Alessandro Scarlatti began, he con- tinued; that which Porpora and Sarrahad only indicated, he completed. By his assistance, melody was greatly released from those element* which destroyed its power ; it was purified on leaving his hand ; without any injury to expression, he gave it its delightful alliance with ' grace and truth ; his style was always elevated with- out affectation, expressive without extrava- gance, and grand without inflation. Leo died at Naples in 1745, aged fifty-one. The following list comprises his principal works : Sacred music : " Santa Elena;1 ora- torio ; " La Morte d> Abels," oratorio ; " Aw Maria Stella," «« Miserere alia Capella," for eight voices ; " Hen nos miser os, Motetta alia Capella a 5 voci," "Missa d 2 Sopr., A., T,t e B," " 3 Misse d 5 voci," " 3 Dixit," " Te Deum a 4 voci," " Credo a 4 voci," " Magnificat A 5 voci," ** Magnificat £ 4 voc. con* 2 T, e B." *' Cantata per il glorioso S. Vincenso Ferreri, ossia Motet to a 5 voc, con Strom" " Cantata per U Miracolo del glorioso S, Gennaro a 5 voc. e grande orch," " Motetta Jam sur- rexit dies gloriosa, a 5 voc," " Miserere mei ct 4 voc, sdH col Basso," Operas : " Caio Gracco," 1720 ; " fam&rlano," 1722; " Timocrate," 1723; " Catone in Vtica," 1726 ; «' Argone" 1728; " La Clemens di Tito," 1736 ; "Siface," 1737 ; " Ciro riconosoiuto," 1739 ; 44 Achille in Siria," 1740; « Fobgetof 1744* " So- Digitized by Google ISO flfdsU," 1716 ; «ris, fuawdin* 16 Df* Barney, was Leo^j first opera. "Artaaerstt* Dr. Burney could 6nly find in Italy one air from this Opera. " Arianne e Testo," " Otimpiad*,'* " Demofoonte," ** Andro* mocha," " Le Noze di Psiche con Amore," " Festo Tcfitrale," 1739 } " La Zingarella," intermezzo, 1781 ; and " It CW," opera buffa. Other vocal works i u Sere- nata pet Spagna, 2 parte*' and " Compo- rtmento pastorale, 2 parte'* LEONACCINI, born at Modena, was reekoned by Piccini among the principal Italian masters in music. He flourished from the year 1600 till 1650. LEONARDI, (Giovanni) a composer in the beginning of the sixteenth cen- tury, some of whose works are yet to be round in a collection of songs tor four voices, printed in 1548. A copy of this work may be seen in the Zwickau library. LEONE, (Ea a sif); a Carmelite mordt, pro- bably at Turin, published " The Lamenta- tions of Jeremiah set to Music," Turin, 1798. LEONETtI, (Grov. Battista) an Italian composer of the last century, pub- lished " Litanie a 4, 5, 6, 7, et 8 voci." LEONI, (Leo) chapel-master of the cathedral at Vienna, published " Salmi a 8 voci," Venice, 1623, also some works of motets and other music, early in the seven- teenth century. LEONI, a Jew, was considered, in 1777, as one of the best singers in England. He was engaged both at concerts and at the opera. In 1778, he went to Dublin. Be- fore this period he had sung at synagogues in London, where people of the first rank went to hear him. The Jews, however, afterwards dismissed him from their church service, because he had sung In the Mes- siah of Handel, and at the theatres. The Jews of Berlin did not evince the same intolerance in 1786, when thirteen per- sons of their persuasion sang in the Mes- siah, at the church of St. Nicholas in that town. LEOPOLD, (G*o. Atro. Juiitrs) born at teimbach in 1755, published « Gdanhcn LES und Conjecture* tur Geschichte der Af«- sik," Stendal, 1780. This work is easily discovered to be a youthful attempt. LEPIN. Under this name was published in Paris, in 1794, " Concerto pour le Ckw* avec deux P., A., et B.t" also " Acys et Galathe'e," an operetta by the same com- poser, was represented in 1787. L'EPINE. See Ep INF. LEPKINCE, a French violi nist, died in 1781. On his voyage from Holland to St. Petersburg, the vessel he was in was taken by an English privateer, when he continued to play so cheerfully on bis violin, that the English made him play to their dancing* and gave him back all his property. LEROI, a composer at Paris, published there, previously to the year 1798, four works of sonatas for the piano -forte. LEROY, (Abeien) an excellent lutist, was the first establisher of musical printing in France, and published, in 4 583, a- treatise on music. LE8COT, singer at the Theatre Italien in Paris, in 1788, is the composer of the printed operetta *' La Mgrcsse" 1789. LESGU, a French composer, lived in the year 1678. LESSEL, (V. F.) a musician at Vienna, published there " Ariettepour le Clav. avec Var." 1797. LESSING, (GomoLn EpnnAiM) coun- sellor at Bninswick-Wolfenbuttel, and librarian, was born at Pasewalk, in Pome^ rania, in 1729. Though he never under- stood the science of music, he, by his genius and learning, acquired such deep insight into what is really beautiful, that, even to professional musioians, he could give hints and excellent rules for the use and application of their art. The proofs of this are to be found in the following: of his writings : " Ueber die RcgelH der Wlssen- schaflen cum Fergnfigen besonders der Poesie und Musik ;" this is a small in* structive poem, Berlin, 1753 1756. " Vt- her die Musihalischen Zwischenspitle bet/ Schauspielen," 1767 ; this is in his " Hamb. Dramaturgic," 1769. " Scriptures rerum, Brunsviccnsium , Hanover, 1770, three 59 Digitized by Google lb a volumes folio. This is an historical work. He died in 1761. LESUEUR, (Jean Frakcois) cheva- lier of the legion of honour, and conductor of the emperor Napoleon's chamber music, was born about the year 1766. He first studied music at Amiens, where he was educated. He was appointed in early life chapel-master of several cathedrals, among others of Notre Dame at Paris, for which he composed many oratorios, masses, and motets. The extraordinary success of these pieces at Notre Dame, the chapel royal, and the concerts spirituel, and the favourable critiques on them, written in the journals by such men as Sacchini, Piccini, Philli- dor, and Gretry, placed Lesueur, during the space of thirty years, in the very first rank of the church composers of Europe. As early as the year 1785, before Lesueur was twenty years of age, Sacchini said of him, " Je He connais en Italic que deux vxaxtres de chapelle capables de Ve'galer.u " I know only two chapel- masters in Italy who can equal him." Lesueur not only wrote for the church, but he also composed five operas, which are considered in the highest order of dramatic compositions. His first opera was " La Caverne" in three acts, represented at the Theatre Feydeau, in 1793. The second, " Paul et Virginse," in three acts, also performed at the Fey- deau, in 1794. The hymn to the sun in this piece was greatly admired, and has frequently been sung at concerts. Third, " Tetemaque" in three acts, Theatre Fey- deau, in 1796. Fourth, " Les Bardes" five acts, performed at the royal academy of music, in 1804. French critics have agreed, in speaking of this opera, that the sublime is the true characteristic of Lesueur's music. He always writes with simplicity, but still forms his taste on the antique. In his opera of "Les Bardes," he had proposed to himself to renew the impressions which many of the audience must have felt on reading the works of Ossian, and, in fact, the extraordinary character of his melodies produced the effect he expected. He has borrowed many of the musical ideas from 60 LET his sacred compositions. There are two choruses of bards in it, of very different character, and in two different scenes; these in a third scene he joins together in one piece, so as to form some highly wrought and striking contrasts. Fifth, " La Mort a" Adam" in three acts* This was first represented at the royal academy of music in 1809. The character of the music is said, by the editor of the French dictionary of musicians, to be truly biblical, simple, and sublime. The emperor Napoleon ap- pointed Lesueur his chaDel-master on the return of Paisiello to. Italy, accompanying the order of appointment with a gold snuff- box, inscribed " L'Empereur des Francois a fAuteur des Bardes." In 1787, Lesueur published a volume in 8vo., entitled " Ex- pose' ditaiUi d'une Musique, une, imitative, et particuliire a chaque solennite'." Among his other works, we should also name, " Lettre en riponse ft Guillard sur V Opera de la Mort aVAdam, dent le tour de mise arrive pour la troisiime fois au Thid.tr e des Arts, et sur plusieurs points d'utilite relatifs aux Arts et aux Lettres," 1802. The subject of this pamphlet is the differences which had arisen between Lesueur and the then director, or rather despot, of the Paris conservatory, Sarette. In this con- troversy, another work appeared, entitled " Memoire pour J. F. Lesueur, con tenant quelques vues a" ameliorations et d'affermis- sement dont le Conservatoire par ait suscep- tible, par CP, Ducancel, defenseur officieux et ami de Lesueur," 1803. Inconsequence of this last pamphlet, Napoleon interfered, and Sarette was deprived of his situation in the conservatory, whilst Lesueur obtained much favour and reappointment to his situation in the national institute, of which he had been before deprived. It was about this period that he was appointed chapel- master to the emperor, as before stated. LETENDART, (N.) a pianist, born at Paris in 1770, was considered in France as the best pupil of Balbatre. He has com- posed some music for his instrument* LETTEBIO, (Marino) an instrument- alist, probably from Italy, acquired noto- Digitized by Google LEV riety some time since in Paris, by hit " Sis Duos facile* et progress, pour deux Haut- bois," Op. 2, Paris, 1801. USCTHARD, (Johank Daniel) cham- berlain to the crown prince of Rudolstadt, bora at Kerlsberg, near Rudolstadt, in 1706, was taught the piano-forte by the celebrated Vogler, and, in 1727, the violin by chapel-master Graff. After this he en- tered, in 1730, as musician in the service of the duke of Weimar. Here he composed several instrumental works for the court band, till, at length, he obtained the above- mentioned situation at Rudolstadt in 1735. The following of his works have been printed, " 6 Klaviersonaten," Op. 1 ; " 6 Arien und 6 Menuetten furs klavier'* LEVASSEUR, (Pierrb Francois) called Levasseur the elder, was born at Abbeville in 1753. He was a celebrated violoncellist, and, at the beginning of the present century, was still a performer in the orchestra of the grand opera at Paris. LEVASSEUR, (Jeajt Henri) called the younger, was chamber-musi- to Napoleon, and first violoncellist at the grand opera. He is still professor of his instrument at the conservatory in Paris, and has composed much music for the violoncello and piano-forte. L'EVEQUE, (Jon ann Wilhelm) royal chapel-master at Hanover, was born at Cologne in 1759. He left his native town when he was only three years old, and was taken by his parents to Paris, where he was intended for the learned profession, in order to obtain afterwards the prebendary stall of his uncle, who lived there. At Paris he first learnt to play the violin for his amusement. But the great progress he made so increased his passion for music, that at last he resolved to devote himself entirely to this science, and quitted his Other's bouse in consequence. His first engagement was with the reigning prince of Xassau-Weilburg. This prince, however, wis soon obliged, in consequence Vof the French revolution, to dismiss the ftusic in his chapel, when L'Eveque went 'to Swit- zerland, where he remained t^o years. ■• i LEV Afterwards, he travelled through Austria and Hungary, and returned from thence to Passau, where the reigning bishop appointed him his chapel-master. After having filled this station for three years, the situation of chapel-master in Hanover was offered him, which he accepted immediately, and still remained there in 1801. His compositions consist of solos, duets, trios, concertos, and quartets, for the violin, &cc. They are much admired ; few of them, however* have been published. LEVE1UDGE (Richard) was a bass singer at the theatre in Lincoln's-ina fields, where he made himself useful in performing such characters as Pluto, Fan** tust and Merlin, in the pantomimicaj exhi- bitions contrived by Mr. Rich. He had a taste both for poetical and musical compo- sition. The first appears from several jo vial songs written by him, and adapted to well- v known airs, the latter by the songs in the play of " The Indian Princess," altered by Motteaux, which have considerable merit, and some others. His singing consisted chiefly in strength and compass of voice, without much grace or elegance. In 1730, he thought his voice so good, that he offered, for a wager of a hundred guineas, to sing a bass song with any man in England. About the year 1726, he opened a coffee- house in Tavistock-strect, Coven t -gar den, and published a collection of his songs in two pocket volumes, neatly engraved. In Howe's edition of Shakspeare, the music of the second act of Macbeth is said to have been set by Leveridge; but the editor has not mistaken the of Matthew Lock for his, may deserve inquiry. His manners were coarse, but the humour of his songs and conversation ob- tained for him a welcome at all clubs and assemblies, where the avowed purpose of meeting was an oblivion of care ; and being ever ready to aid in the promotion of social mirth, he acquired many friends, from whose bounty he derived all the comforts that, in extreme old age, he was capable of enjoying. A physician in the city procured from a number of persons an annual con- Digitized by Google LIB titration, which Levtridge continued to receive until the time of his death. This took place about the year 1768, at the age of nearly ninety years. LEVESQUE, a musician in Paris about 1790, published, conjointly with Bech, " Sulfeges d'ltalie, avec la Basse chijfre'e par Leo, Durante, Scarlatti, Haste, Por~ pora, ice." Paris. LEVETT, an English composer, pub- lished the following works : u Introductory Lessons on Singing, particularly Psalmody, to which are annexed several Psalm Tunes, in four Parts, proper for practice," u New , Year's Anthem," " Hymn for Easter Day," «« Hymn for Christmas Day," and " Hymn for WiitsundayJ* (Preston's Cat 1797.) LEVI, (Stefvano) formerly organist in the church of St. Blasius, at Codogno, in the Milanese, published "Salmi,** Milano, 1647. - LEVIS, (Antonio) an artist, placed among the composers of the first rank in the " Indicc de SpettacJ* 1791. He was, in 1788, at Novi, in Italy, and the follow- ing of his compositions had then been pro- duced on the stage, " La Contadina in Corte," opera baffa, and "Isabella e Rod- r*go," opera buffa, 1788. * I/HOYER, (A.) formerly a member of the French company of performers to prince Henry at Rheinsberg, and afterwards, from the year 1800, a guitarist in Hamburgh, published there " Six Adagios pour la Guitare, avec Acc. d'un Violon oblige'" 1797 5 M Grande Sonate pour la Gidtare," 1799 ; " Six Romances pour la Guitare," Op. 14, 1799. LIBERATI, (Ant i mo) daring his youth, was a singer of the imperial chapel of Ferdinand III., and afterwards in the pon- tifical chapel. When arrived at man- hood, he was appointed chapel-master and organist of the church Delia Santissima Trinita de Pellegrini, and also chapel-mas- ter and organist of the church Di Santi Maria dell' Anima della Natione Tentonica at Rome. During the time he held the latter situation, the place of chapel-master of the metropolitical church of Milan be- came vacant, and Liberati was requested to LIC give his opinion of the respective merits of five persons, who were candidates for it. In consequence of this request, he wrote a letter, dated the 15th of October, 1684, which he afterwards published under the title of t*Lettera scritta da I Sig. Aniimo Liberati, in Riposta ad una del Sig. Qvido Persagi" In this, he discusses the merits of the compositions presented by the can* ditates in evidence of their abilities, and then traces the riae au4 progress of music, from the time of Pythagora* downward*, and giv es his opinion respecting moat of the eminent musicians who had lived both before and during his own time. This letter ob- tains many curious particulars of musipaj history, but is written jn such a vein* of general panegyric, that it if much more likely to produce scepticism than ponviction in the minds of modern readers. L1BLER, (Jowann.) Under this name there were published in Hamburgh, about 1796, "Two Songs for the Piano-forte" No, 12, third collection. - ♦ • < LICHNOWSSY, (Count) an amateur at Vienna, printed there, in 1798, "Sept Fa* nations pwrle Piano-forte sur I'Air 'Nelcor piu non, Sfc' " Intheyear 1796, there was a prince of this name in Vienna, who wasoon- sidered one of the first pianists of that city. UCHTENSTEIN, (Babow von) of Lahm and Heiligersdorf, formerly intendant of the court theatre, and chamberlain to the prince of Dessau, obtained a high rank among German amateurs, both as a dra- matic poet, composer, and singer. When a student in the university of Gottingen, he first appeared as a performer on the violin, in Forkel's concerts which were held there. After this time, he became page to the elector of Hanover, in which capacity he wrote the words of the following operas, in 1795, at Bamberg, composing the music for them, and appearing on the stage in the principal characters. About 1798, he en- tered upon his first-named situation at Dessau, where he not only immediately enriched the orchestra with several able artists for almost every different instrument, but invtod also a select number of the best Digitized by Google vocal parjbrmers in Germany, of both sexes. Jn the mean time he had composed the opera *(Bathmendi" for the opening of the theatre PA .the. 2(Hh December, 1 798, In hi* folio wi ng opera " Der Steinemen Braut," i. e. "The Stone Bride/' he and his wife performed the two principal characters, with univer- sal approbation* By his great activity. Von Xjcbtenstein at length brought to such per- fection the personate of the Dessau theatre, and the singing even of the most difficult ano^ intricate finales of grand operas, that the musical public of Leipsic were not a little surprised, when he brought his com- pany to their town in the beginning of the year 1800. Notwithstanding this success, however^ he, resigned his situation in Au- gust of the same year, and after having, for the first time in Leipsic, introduced his own compositions, in the musical pieces "Mitgr/Uhl," and the operetta *' Ende gut alles gut," i, e. " All's well that ends well," he went to Vienna, where the baron VonBraun gave him the direction of the court theatre and its orchestra, reserving only the financial part of the concern to himself. In 1802, VonJUuch- Jenstein was still in this capacity at Vienna. His .most known works are, " KttaU und Fall," i. e, "Crash and Fall," an operetta in two acts, poetry and music, Bamberg, 1 795. This was first performed privately for the nobility, and afterwards publicly for the benefit of the hospital for sick servants. "JBathmendi," an opera, 1798. Tl us opera was in the following year entirely re-written, not only all the words, but also the subject and contents being entirely changed, and absolutely nothing but the name left. It gained greatly in interest by the change. "Die Stehternen Braut," Dessau, 1799 ; " MitgefSM," a musical piece, the words of the songs by favourite poets, Dessau, 1800 ; and " JEnde gut alks gut," an operetta, Dessau, 1800. LICHTENTHAL, (Peteb) probably a physician at Vienna, published " Der Mu~ siiaUsche urzt oder UbhandJung von dem Einftusse der Musik an/ dm Kipper, fyc" Vienna, 1907, LIB LICINO, (Agostino) an Italian contra- puntist of the sixteenth century, of whose works the following are still preserved in the elector's library at Munich, " Duo Cro- niatici, Libri 2," Venet. 1545 and 1546. LICKL, (F. Geokge) a musician at Vienna, has composed much music, among which the following may be named. " Der Zauberfiel," i. e. " The Magical Arrow," an operetta for the Schikaneder theatre at Vienna, 1792. This has been repeatedly represented. " Trois Quatuorsta2 F„ A.,et B." Op. 1, Offenbach, 1797 ; " Trois Sonat, pourle Clav. avec V. et Vc" Nos. 1/2, 3; " Six Far* pour le Clw. sur Gotterhalte Franz f 8fc" Vienna, 1798 j " Cassatiopour Oboa, Clarinetto, Fag., e Corno" Vienna ; " 12 Far. p, il cemb. sopra Mcin Steffd ist ja em" Vienna; "Trois Quat. pour F(,9 F.t A., et Fc.," Op. 5, Vienna, 1798 j " 9 Far.p,U cemb" Vienna ; " Trois So* nafes pour le Piano-forte" Vienna, 1799 j • " 1'rois Duos pour 2 Fl" No. 4, Vienna, 1799 ; " 3 Tertetti a Clar.t Corn,, eFag. 1 Mst. bey Traeg," and " Trois Trios pour F., A., et J?." Op. )7, Augsburg, 1800. L1DL, (Anton.) Dr. Burney states him to have been an abje and tasteful viol da gambist. He also made many improvements on an instrument called the baritono, which was invented about the year 1700, and much resembled the viol da gamba. Lidl was a native of Vienna, He was still living in 1700, according to Choron. Dr. Burney however, states, thai he died before the year 1789. LIEBERT, chapel-master to the prince of Tburn and Taxis, at Regensburg, in 1796, was a pupil of the able Riepeh He was also a good composer. UEBESKIND, (GEono Gottii»lp) a celebrated flutist, in the service of the margrave of Anspach, was born in 1732, He was the favourite pupil of Quartz. L1EBESKIND, (Joiiann Heinkick) probably a son of the late celebrated flutist at Anspach, lived, in 1807, at Bamberg, being a doctor of laws and chief-justice to the king of Bavaria. He is one of those amateurs, says Gerber, of whom it is to be 63 Digitized by Google Lit wished there were many in our science, who not only seek for entertainment in music, because it gratifies- their senses, but because they can employ their abilities for the benefit of the science. He is equally familiar with musical literature, and with the nature and powers of the flute. Of this he gave a convincing proof in 1807 and 1808, in the Leipsic Mus. Zeit., in which he published a learned, ingenious, and instruc- tive treatise on the notes of the flute, under the title of " Bruchstucke aus einem noch ungedruckten philosophisch-prahtischen Ver- suche uber die Natur und das Tonspiel der deutschen Ffote." He was probably the son of the preceding. LIEBICH, (Gotfried Siegmund) cha- pel-master and private secretary to the count of Reuss-Planischen, was born at Fran- kenberg, in Meissen, in 1672. He received a good foundation in musical education ' from his father, who was a singer in the same chapel, and went afterwards to the school at Bautzen, and from thence to Jena, to study medicine. Here, however, he did not remain more than a year, when he pro- ceeded to Dresden, where he devoted him- self entirely to music, in which profession his beautiful tenor voice afforded him a great advantage. About the year 1695, he obtained the office of notary in Schlaitz, in Voigtland, and afterwards the chapel-mas- ter's situation above-mentioned, inwhich he died in 1727. Among various other works, there are manuscripts of his entitled " Einen Jahrgang uber die Evangelien, fur 1 Sing- it imme, 2 Biolinen, 2 V., et B." and " Einen dergleichen Jahrgang, fur 4 Singstimmen mit verschiedenen Instrumenten" LIGNE (Prinz Karl de) published at Vienna, of his own composition, " Re- cueil 1, 2, 3, de Six Airs Francois pour le Clavecin** Vienna, 1791. UGOU, (Pierre) an abbe, born at Avig- non in 1749, was appointed to the organist's situation at Alais, in 1769. He composed several operettas, also some church music, which had much success. LILIEN, (Baronesse Antoinette de) an amateur at Vienna, whose compositions 64 are praised for their powerful style. She published, in 1799, " Huit Variations pour le Piano-forte sur le Theme du Trio ' Pria ck' io fimpegno," Vienna ; " Sept Variations sur un Theme dans le Ballet d'Alcine," Op. 2, Vienna ; and " Neuf Variations pour le Piano-forte," Vienna. LILIEN', (BaTonesse Josephine de) pro- bably sister to the preceding, has published " Dix Variations pour le Clav. sur une Ro- mance," Vienna, 1800, and "Dix Varia- tions pour le Clav. sur CAir La Nachelina," Op. 2, Vienna, 1800. LINC or LINK, (Wenzel) a cooperatbf with Luther in the Reformation, was bom at Colditz, in the year 1483. He was first a monk of the order of St. Augustine, in the convent at Meisnisch^ near Waldheim, be- came in his twenty-eighth year a preacher, and lastly, in consequence of his thorough acquaintance with the holy Scriptures, pro- fessor, in 1512. From thence he was, in 1518, appointed first as friar, and after- wards, in 1525, as first Lutheran minister, in the hospital at Waldheim, Where he died in 1547. Among his numerous writ- ings is to be mentioned, " Die let z ten 3 Psalmen von Orgeln, Pauken, Glocken und dergleichen ausserlichen Gottesdienst, ob und wie Gott darinnen gelobet wird, terteutscht durch W. Link, zu Altenburgk? Zwickau, 1523. UND LEY, (Robert) born at Rotheram, in Yorkshire, in the year 1777, was from early infancy extremely fond of music, so that even at the age of four years his father could not please him so much as by playing to him on the violoncello. Shortly after- wards, his father, who was an amateur per- former, commenced teaching his son the violin, and as soon as he attained the age of nine, also the violoncello, which instruc- tion he continued for the space of seven years, when the celebrated Cervetto heard the youth play, and undertook in the most friendly manner, and gratuitously, to give him lessons. A short time after his arrival in the south of England, he was engaged at the Brighton theatre, when his present majesty, then prince of Wales, honoured him with Digitized by Google LIN his commands to perform at the pavilion, and expressed himself highly gratified with his playing. In 1794, he succeeded Sperati as first violoncello at the King's theatre, whicii situation he has ever since held. We need hardly add, that Lindley is almost universally considered as second to no violoncellist in Europe. He has com- posed several concertos and other works for his instrument. LINDLEY, (William) son of the pre- ceding, was born in the year 1802, and commenced the study of music under the instruction of his father, and first performed on the violoncello in public, at the age of fifteen, on which occasion he was presented with very flattering testimonials from sir George Smart and other professors. The performance was at the King's theatre, for the benefit of the Musical Fund, in the year 1817, since which time W. Lindley has regularly played at the Philharmonic, Ancient, and other concerts, and been en- gaged in the orchestra of the King's theatre since the year 1819. LINDNER, (FuiEDRicn) singer at Nu- remburg, was born in Silesia, and was e ..ered in his youth as chorister in the chapel of the elector Augustus, at Dresden. He was educated at the expense of the elector, and first went to school in Dresden, and afterwards to the university at Leipsic ; on leaving which, he entered the service of count George Frederick, at Anspach, in whose employ he remained ten years, when he 'received, in 1574, his appointment at Nuremburg. He published several of his own compositions, as appears from the following list : " Cantiones Sacra," Nu- remburg, 1583 ; " 2 Pars Cantionum Sacra* ntm" Nuremburg, 1588 ; " Missa*, 5 vo- am," Nuremburg, 1591 ; also works of various other composers, under the title, 41 Gemma Musicalis" vol. i. Nuremburg, 1588. This work contains sixty-four Italian madrigals, by the following among other com- posers, Lelio Bartani,Iona de Macque, Jaches Werth, Joan. Mar. Nanino, Joan. Baptist Moscog, Franc Soriano, Annibal Zoilo, Ginnetto da Palestnna, Alfonso Ferabosco, VOL. XI. L I N Cipriano de Bore, Baldassaro Donato, and Huberto Waelrent. " Gemma Musical**," vol. ii. 1589. " Gemma Music a Us" vol. iii. 1590. He has also published " Corol- larium Cantionum Sacrar. 5, 6, 7, 8, et plurium voc. dc festis prafcipuis anni, quorum antea a prastantissimis nostra? atatis musicis Italia separation editor sunt, qua dam vero nuperrime concinnatat nec us- piam typis excuses at nunc in unum (/nasi cor- pus reducta studio et opera Friderici L,ind- neri," Norimbergae, 1590. The works of the following composers are to be found in this last-mentioned volume, Marcus Anton Ingignerius, Bernard Klingenstein, Jacob Corsini, Jacobus Florus, Orlandus de Lasso, Annibal Stabilis, Ant. Scandelli, Oratius Columbanus, Julianus Cartarius. " Corot- larium, Sfc" being the same work continued. This contains fifty-six Latin songs, amongst which are to be found some by the follow- ing contrapuntists, Constantius Porta, Don Ferdinand de las Infantas, Vecentius Ruf- fus, Nicolaus Parma, Jul. Caes. Gabutius, Jacobus Ant. Cardilli, and Felix Anerius. XING, (W.) a musician in London, about the year 1790, published " Three Sonatas for the Piano-forte, with a Flute Obligate to one and two, with a Violin Accompaniment," Op. 1, London; " Duets for the German Flute" Op. 2, London ; " The Rising of the Lark, with Variations for the Piano-forte," London ; " Grand March," inscribed to the gentle- men of the London royal association, Lon- don. (Broderip and Rolfe's Cat.) LINGKE, (Georg Friederich) coun- sellor of the mines to the king of Poland and elector of Saxony, published at Leipsic, in 1779, " Kurze Musiklchre, Sfc" L1NIKE, (Jon. G.) a composer of vocal music, violinist, and excellent chef-d'orches- tre, learnt the art of composition of the celebrated Johann Theil, of Berlin, and be- came afterwards a member of the chapel royal in that city, and chamber-musician, where, on the occasion of a public funeral, he was first obliged to take the place of the maitre de chapelle, who happened to be absent In the year 1713, he was called to p 65 Digitized by Google L I N the court of Weissenfels, in the capacity of chapel-master, from whence he came to England, after having obtained leave from the duke. In this country he remained three years, and went afterwards to Ham- burgh, as chef-tTorchcstre in the opera there. He wrote in that town, small pieces for the theatre and several concertos. We can mention the following of his composi- tions : " Cantata, Lungi da me pensier, %c. a Sopr.t 2 V, Viola, e Ccmbal." Mauuscript in Breitkopfs collection. "Cantata, Ho una pena intorno al Core, a Sopr., 2 P., Viola, e B." Manuscript in Breitkopfs collection. " Cantata, Crudo Amore, a Sopr. e Cemb." Manuscript in Breitkopfs collection. LINLEY, (Thomas) a distinguished vocal composer, received the rudiments of his musical education from Thomas Chill- cott, organist to the abbey church at Bath ; and it was completed afterwards by the celebrated Venetian, Paradies, a composer, whose twelve admirable sonatas would have alone immortalized him had he written nothing else. Linley was for many years the conductor of the oratorios and concerts, then regularly performed at Bath, and might with great truth be considered as having restored the music of Handel, and the performance of it, to the notice and patronage of the public, as Garrick restored the plays of Shakspeare. Through his taste and ability as a manager, assisted greatly by the exquisite singing of his two eldest daughters, afterwards Mrs. Sheridan and Mrs.Tickell, music was cultivated generally at Bath and its vicinity, and concerts and oratorios were successfully performed, not only there, but in the metropolis, beyond all former precedent since the death of the illustrious Handel himself. As a singing- master and a composer, Linley possessed a taste and style peculiarly his own, but still modelled on the principles of that pure English school, which, however oversha- dowed at present by the foreign structure that has been opposed to it, can never be totally eclipsed while there are any feelings of nature and good sense remaining among us, 66 LIN Linley left Bath to reside withhis family in London, in consequence of becoming joint patentee with his son-in-law, Mr. Sheridan, of Drury-lane theatre. Here he conducted, for many years, the musical department, and gratified the public, from time to time, with many beautiful operas. " The Duenna" had been previously brought out at Covent-garden theatre, and was the joint production of Linley and his eldest son. The operas and musical entertainments which Linley set for Drury-lane were "The Carnival of Venice," " Selima and the Royal Merchant," "The Camp," " The Spanish Maid" " The Stranger at Home" "Love in the East," and many minor pieces. They all, particularly " The Duenna," " The Carnival of Venice," and "Selima and Azor" possess proofs of a rich and cultivated fancy, a sound judgment, and scientific construction. Among those which may be considered the minor pieces, the music in the first act of the pantomime of 44 Robinson Crusoe " must not be passed over in silence j it is strikingly original and characteristic. But one of the most delightful efforts of this charming composer's mind, whilst connected with the theatre, was the harmonies and accompaniments he added to the songs, &c. of " The Beggar's Opera" Instead of the treble only, and a meagre, and sometimes incorrect ba3S, the piece is now performed with the advantage of a full orchestra, wind instruments being introduced so as to give to many of the airs the most effective variety. It is impossible to listen to the songs of " O, ponder well," " When my hero in court," and the air, "Would I might be hanged," and not be struck with the effect produced by the horns and clarionets, to the pizzicato acccompaniment of the stringed instruments. Linley's six elegies were composed at Bath, in 'the' meridian of his life, and it would be diffi- cult to place any compositions of the same description in competition with them, for originality of conception, elegance, and tenderness. The late Dr. Burney the elder, who, in his history of music, has classed our Digitized by Google LIN English masters rather too much in the lump, (indeed he was no very great admirer of his native school) has yet particularly distinguished these, as well as the elegies of the late Mr. Jackson. Mr. Sheridan's monody on the death^of Garrick, was originally recited by Mrs. Yates the actress, at Drury-lane theatre, in the month of March, 1779, parts of it having been previously set to music by Linley, and introduced in songs, duets, and choruses at occasional pauses of the recita- tion. The style of these, though necessarily funereal, is at the same time tenderly melo- dious, and pathetic in the highest degree. It is greatly to be regretted that this beau- tiful composition was never published. The twelve ballads were published not long after the untimely death of his eldest son, and the first sweetly sorrowing strain, "/ sing of the days that are gone" de- cidedly refers to that melancholy event. These ballads are too purely^too entirely English to promise, were they republished, any gTeat attraction at the present time; but it is impossible to name any compositions, on so simple a construction, which unite so much pathos, spirit, and originality. The posthumous works of Linley and T. Linley were presented to the public not many years after the father's death. (See Preston's Cat.) The two volumes contain a rich variety of songs, madrigals, elegies, and cantatas, which are unknown, and conse- quently neglected, only because English music is no longer fashionable, nor com- positions indeed of any kind sought after but Italian, or such as are close imitations of the Italian and German schools. There is, however, one production of the eider Linley in this work, which no variation ojfr taste, and no lapse of time, will ever consign to oblivion. This is his madrigal for five voices, to Cowley's beautiful words, " Let me, careless and unihoughtful lying, Hear the soft winds above me flying." The upper part is for a soprano voice, and was evidently intended to display, in their fullest perfection, the taste and feeling of Mrs. Sheridan. There is nothing superior, and very few of the old madrigals equal, to L I N this charming specimen of vocal harmony : the almost imperceptible change of the time, which introduces a new subject in the upper part, and which the other voices echo and reply to in accompaniment, is a thought not more strikingly beautiful, than singularly original. This fine madrigal is still per- formed annually at the Ancient and other concerts, as well as at the catch and glee clubs, and \ seems to acquire strength by repetition. Linley died at bis residence in Southampton-street, Covent-garden, in 1795, and was buried in Wells cathedral, in the same vault with his beloved daughters, Mrs. Sheridan and Mrs. Tickell. A monu- ment was soon after erected to their memory, near the spot, by William Linley, Mr. Linley*s youngest son. LINLEY, (Thomas) eldest son of the preceding, was a highly gifted man, and an accomplished musician, both practical and theoretical. If he was inferior to his father in the purity and pathos of his melodies, he was perhaps superior to him in his know- ledge of orchestral effect, and instrumental compositions generally. He was born at Bath, in the year 1756, and displayed, at a very early age, extraordinary powers on the violin. When he was eight years old only, he performed a concerto on that instru- ment in public, and at seventeen composed an anthem in full score to the words, " Let God arise" which was sung in Worcester cathedral, at the meeting of the three choirs, on the 8th of September, 1773. Linley senior soon discovered the extra- ordinary genius and capacity of his son ;and with the view, in consequence, of instruct- ing him for the profession, sent him to London to complete his theoretical know- ledge, under the able tuition of Dr. Boyce, thus laying the foundation, on which an elegant structure was afterwards to be built, from the studies of the Italian and German masters. He was accordingly, in due time, sent to Florence, principally to make him- self master of his favourite instrument, under the celebrated Nardini. This distinguished instructor, who had been himself a scholar of Tartini's, proud of his pupil, and desirous of his receiving every aid by his associating f2 67 Digitized by Google LIN with the rising genius of the age, introduced him to the great Mozart, then a youth him- self, and a warm friendship immediately commenced between them; so attached indeed was Mozart to the young Thomasino, (as young Linley was called) discovering in him, as he did, so much of his own fire and fancy, and so gratefully was that attach- ment returned, that their separation, when they parted at Florence, was attended with tears on both sides. On Linley junior's return from the con- tinent, he repaired to Bath, to lead his father's concerts and oratorios, which he did with such precision and animation as astonished and delighted every hearer. In the masterly manner of his performance of the concertos of Handel and Geminiani, no English violin player had ever excelled him, and in the neatness and delicacy of his execution he stood unrivalled . His own solos and concertos, which he occasionally introduced, also gave evident tokens of his continental studies, being full of imagination and spirit, but requiring in almost every bar the touch of the finished master to do justice to their merit. The comic opera of " The Duenna" was brought out at Covent- garden theatre in the year 1776, the music to which was composed and selected by Linley senior chiefly, but Thomas contri- buted some charming pieces; the spirited overture in his composition, and the air in D, of the opening, serenade j the following songs : " Could I each fault remember," " Friendship is the bond of reason" and that very fine one, " Sharp is the woe ;"* the little duet, " Turn thee round, I pray thee," and the trio which concludes the first act. On the revival of "The Tempest " at Drury-lane theatre, he introduced the chorus of spirits that raise the storm, one of the most effective, as well as scientific, compositions in this or any other country : the brilliant and highly fanciful airs, " O bid your faithful Ariel fly," and " Ere you can say come and go" are so com- pletely in character, that they could suit * It it not unpardonable in the managers of the theatre to allow of this song (the most spirited in the opera) being invariably omitted i 68 LIN no other being but the u dainty AtieV himself, and are fairly entitled to stand by the side of Furcell and Arne. But the most delightful production of bis genius was an " Ode on the Witches and Fairies of Shakspeare," written by the late Dr. Lau- rence. It was performed at Drury-lane theatre in 1776, when he led the band himself, and his two sisters, Mary (after- wards Mrs. Tickell) and Maria, sustained the principal soprano parts, for Mrs. Sheri- dan never sang in public after her marriage. Neither Purcell nor Mozart ever gave stronger proofs of original genius than could be traced in this charming ode. The rich variety of the contrast in the witch and fairy music, the wild solemnity of the one, and the sportive exuberance of the other, keep the attention alive from the first bar of the overture to the close of the ode : much is it to be deplored, and indeed to be wondered at, that this extraordinary pro- duction was not, at the time of its success, given to the public : now, it is too late. In imitation of his father, T. Linley added parts for wind instruments to the music in "Macbeth" Dr. Boyce having previously sup- plied the other orchestral accompaniments. The wind instruments are made to produce a very fine characteristic effect, but the parts were unfortunately destroyed when Drury-lane theatre was burnt down. Besides the anthem previously mentioned, he some years after composed a sacred oratorio in one act, " The Song of Moses " which was also performed at Drury-lane theatre. It is replete with admirable specimens of fugue and choral harmony, occasionally in the style of Handel, but interspersed with much of that grace and variety which he had gleaned from the Italian masters. This fine production is also unpublished. The greatest part of his miscellaneous music, consisting of songs, elegies, and cantatas, will be found in the posthumous works,* published by Preston. Among these, the cantata of " Daughter of Heaven, fair art thou," from Ossian, and the beautiful ma- * Wilt it be believed that these volumes, so rich in every species of vocal composition, are known by a few only to be in existence ? Digitized by Google LIN drigals, " Hark, the birds,'* and " AUnda's Form," are to be particularly distinguished. He composed these for Mrs. Sheridan, after her marriage. Melancholy indeed was the untimely fate of this young man. The late duke of An- c aster had patronised him from a child, and after bis return from the continent, he used annually, with his sisters, to visit the duke and duchess at Grimsthorpe, in Lin- colnshire. On the 7th of August, 1778, and during one of those annual visits, at which time there were several young peo- ple besides themselves assembled, it was proposed, either by Thomas himself, or one of his young friends, to have a sail on the canal of the park, in a pleasure-boat belong- ing to the duke. It does not appear that either the duke or the duchess was aware of the young men's intention, or that Mrs. Sheridan, or her sister, or any of the females of the family, had been invited to be of the party ; had it been otherwise, the sad catas- trophe which is to be recorded might have been prevented, by the observance of that caution which young men, left by them- selves, are too apt to disregard. Possibly, too, the boatmen might not have been with them to direct the management of the sails: however this might have been, tha. wind, though not very high, came on in occasional gusts, and it was one of these that, in the very middle of the canal, and before there was time to take in the sail, up3et the boat. Two, if not three, of the young gen- tlemen saved themselves by clinging to the "keel, Iinley, who was an excellent swimmer, making for the shore in order to obtain assistance. It was a vain and fatal experi- ment ! He was encumbered with his clothes and his boots ; deceived, too, in the breadth of the canal, the bank of which he had, nevertheless, nearly obtained, when he sank exhausted, to arise, alas! with life, no more, in the sight of his distressed companions ! Over the grief of his parents and his brothers and sisters on this occasion a veil must be drawn, for it cannot be described. The unhappy father's tearless anguish, which of all griefs is the most terrible, terminated LIN in a brain fever, from which he slowly recovered indeed, but never again to the enjoyment of his former health and happi- ness. The sudden and untimely fate of such a son, the pride of his life, the com- panion of his studies and recreations, and the admiration of all who knew him, he never ceased to deplore to the last hour of his existence. His highly accomplished sister, Mrs. Sheridan, wrote some beautiful verses on this sad occasion, and her address to her brother's violin are too well known, for their exquisite pathos and elegance, to require further comment. Thomas Linley junior died at the age of twenty-two only, deeply regretted by his illustrious patron, in whose ancestorial vault his remains are deposited. LINLEY, (William) the youngest of Mr. Thomas Linley's children, was sent at an early age to Harrow school, from whence he was removed, to finish his classical edu- cation, to St. Paul's, in order that he might reap advantage at the same time from his father's instructions in his favourite art. Mr. Linley's time, as patentee and acting manager of Drury-lane theatre, was, how- ever, too much occupied to allow of his bestowing any regular attention upon the youth, and he was, consequently, placed with the celebrated Abel, under whom he studied counterpoint for some time, receiv- ing: occasional lessons from his father in harpsichord playing and singing. It does not appear that Mr. Linley intended his son William for the profession, but he had always expressed his determination, that as many of his numerous family as evinced any musical talent, should receive the bene- Et of a musical education ;* and William had, from a child, been distinguished for the accuracy of his ear, the sweetness of his voice, and the facility with which he re- membered and played favourite passages of songs and lessons. But though the young gentleman loved music, and dearly delighted « Mr. Linley had twelve children, ail born at Bath. Hi* first child, a ton, was christened George Frederick, in honour of Handel, but died an in- fant. 69 Digitized by Google L I N to ramble over the organ or harpsichord keys, as fancy chose to guide him, he was no great admirer of the plodding part. The crude digest of double counterpoint, canon, and fugue, under a peppery instructor, (for Abel, like most other German masters, was very impatient and not very clear in his ex- planations) was not so much to his taste as frequenting the Drury-lane orchestra, to hear his father's, Arne's, or Dibdin's charm- ing operas. Mr. Linley saw this, and there- fore, whatever might have been his previous intention, he subsequently embraced an opportunity which presented itself of send- ing William to Gibraltar with the late duke of Kent, who at that time commanded the royal fusileers, and to whom his brother-in- law, Mr. Sheridan, promised to introduce the young man, and obtain for him the dis- tinction of one of his royal highness's aides- de-camp. About the same time, however, a far more eligible appointment was offered to his acceptance by the great statesman Charles Fox ; this was a writership to Ma- dras, which William was wise enough to prefer to the aide-de-camp's regimentals, and for Madras he sailed accordingly, in the spring of 1790. His career in the East India Company's service received a severe check in the year 1796, when ill health, and every tendency to consumption, obliged him to return to England, where he arrived just in time to see his venerable father, and to close his eyes. William resumed his situation at Madras in the year 1800, and during a re- sidence of seven years longer in India, dis- charged^ very satisfactorily, the duties of two situations of equal labour and responsi- bility ; viz. provincial paymaster at Vellore, and that of sub-treasurer at the presidency, Fort St. George. It was while abroad, that his hours of leisure and relaxation were em- ployed in retracing his musical studies under his old master Abel, and perfecting himself in the knowledge of the science. He had given specimens of his taste and fancy during his visit to England in 1795, in the production of two comic operas, namely, " The Honey Moon" and "Pavilion;* besides supplying 70 LIN some exceedingly ingenious aud character- istic music to a very popular pantomime* called " The Magic Fire." In all these pieces there were to be discovered marks of genius, but not to be mentioned, in point of scientific construction, to what be after- wards produced. A collection of fairy glees, which were published in 1797, possess ima- gination indeed, but are very faulty in the vocal arrangement ; and there are disallowed intervals in the harmonies evidently the consequence of neglect. In the year 1809, Birchall published a set of William Linley *s songs of a very superior order ; the melo- dies are elegant and original, and the ac- companiments, though rather exuberant, very ingenious. The last song, "Ariel's Adim" would be a sparkling gem even among the brilliants in the witches and fairies of his incomparable brother. Two sets of canzonets, published at different periods, are composed in a similar style, and it is unquestionably a style of his own ; the subjects, if not all striking, are at least new. That these songs and canzonets of William Iinley's are not more generally known, can only be attributed to the over- whelming preference that is now given to foreign compositions of every description. But his chief musical undertaking, and, be- yond all comparison his best, is " The Dra- matic Songs of Shakspeare,*' published in the year 1816, by Preston, in the Strand. It is a work that, had it made its appear- ance fifty years ago, would have attracted general admiration ; and the songs, so cha- racteristically applicable as they are to the scenes of Shakspeare, would, by Garrick, beyond a doubt, have been introduced, ac- cording to the intention of the composer, upon the stage. The title runs thus, uShak- speare's Dramatic Songs, in two Volumes, consisting of ail the Songs, Duets, Trios, and Choruses in Character, as introduced by him in his various Dramas, the Music partly new and partly selected, with new Symphonies and Accompaniments for the Piano-Forte, from the Works of PurceU, Fielding, Drs. Boyce, Nares, Arne, and Cooke, Messrs, J. Smith, J, S. Smith, Digitized by Google LIN Thomas Littley,jun,t and R.J. S* Stevens. To which are prefixed a General Introduc- tion of the Subject, and explanatory lie- n larks to each Play'* To this most interesting title, the author adds, in his introduction, that it will be his great endeavour to dramatize, with preci- sion, the music intended by Shakspeare to be introduced in his plays ; that is to say, to identify it with the characters, taking care that the songs, duets, or whatever description of piece it may be specified to be by our immortal bard, should be sung as such, and that the music, whether composed or selected for the occasion, should be strictly of the old English school, and as closely characteristic as possible. W. Iinley has attended to this plan most accurately throughout the work ; evidently compiling wherever he could consistently therewith, and composing only when it was found necessary ; blending, however, in his compositions, science with the liveliest ima- gination, and adhering, as closely as pos- sible, without absolute plagiarism, to the style of those great masters under whose banner he was sheltering himself* The songs which he has given to the fools in King Lear and Twelfth Night, namely, '* Fool* had ne'er less grace in a year," and " O mistress mine" are as completely ori- ginal as they are characteristic : and who that had ever heard "Orpheus with his lute," or " The poor soul sat sighing," as they are to be found in the second Shakspeare volume, would attempt the resetting of the poetry ? The reader is referred, for a very full and entertaining critique of this ingenious work, to the European Magazines of 1816. It is also reviewed and much distinguished in the Monthly Review and Acherman's Re- pository, W. Linley's manuscript music is very various. He has composed, and they have been performed in private, many excellent glees and songs, besides several anthems and church services in the good old style, which have, for many years, been regularly performed at the abbey of his na- tive city, and the chapel there, of which he u a proprietor. He has never published any of LIN his glees or elegies, probably because the only safe way of publishing such music in the pre- sent day, that is, by subscription, is not agreeable to his feelings ; but it is much to be regretted, for they are full of that spirit, and at the same time elegance, which so peculiarly distinguishes the Iinley school. LIN LEY, (Francis) though blind from his birth, became an excellent performer on the organ. Nor were his abilities con- fined merely to the science of music ; he was a charming companion, an acute rea- soner, aud well acquainted with the works of the most eminent authors, ancient and modern. Having completed his musical studies under Dr. Miller, of Doncaster, he went to London, and was the successful candidate, among seventeen competitors, for the place of organist of Pentonville chapel, Clerkenwell. He was soon after married to a blind lady of large fortune ; but having sustained great losses by the treachery of a friend, and being deserted by his wife, he made a voyage to America, where his performance and compositions soon brought him into notice. He returned to England a short time previous to his death, which took place in London in the year 1800. LINUS. Diodorus Siculus, who is very diffuse in his account of Linus, tells us, from Dionysius of Mitylene the historian, who was contemporary with Cicero, that Linus was the first among the Greeks who invented verse and music, as Cadmus first taught them the use of letters. The same writer likewise attributes to him an account of the exploits of the first Bacchus,and a trea- tise upon Greek mythology written in Pelas- gian characters,which were also those used by Orpheus, and by Pronapides, the preceptor of Homer. Diodorus says that he added the string tichanos to the Mercurian lyre, and gives to him the invention of rhythm and melody, which Suidas, who regards him as the most ancient of lyric poets, confirms. He is said by many ancient writers to have had several disciples of great renown, among whom were Hercules, Thamyris, and, ac- cording to some, Orpheus. 71 Digitized by Google LIP Hercules, says Diodorus, in learning of Linus to play upon the lyre, being extremely dull and obstinate, provoked his master to strike him, which so enraged the young' hero, that, instantly seizing the lyre of the musician, he beat out his brains with his own instrument. LIONS, (Jean des) a French divine, particularly well acquainted with the reli- gious customs of the middle ages, was born at Pontoise in 1615. He wrote, among other works, "Critique d'un Docteur de Sorbonne sur les deux Lettres de Messieurs Deslyons et de Bragelonge touchant la Symphonic et les Instruments, rju'on a vottlu introduire dans leur Eg Use aux Lemons de Ttnibres," 1689. LIPAWSKY, (Joseph) a teacher of the piano- forte and composer, in Vienna, about the year 1796, had made himself known, some years previously, by his compositions, of which we shall mention the following : " Douze Farias, pour il Cembal, dediie a S.Mozart," Op. I, Vienna, 1791. " Neuf Vars. pour le Clav. sur VAir * Eine Rose hold und rein," " Vienna, 1798. " Dix Vars. pour le Clav.," Vienna, 1799. " 3 Klaviersonaten mit Violin;' "Neuf Vars. pour le Clav. sur VAir * Die Milch ist ge- sitnder;" "Vars. pour le Clav. sur le Bal- let 'LaFille retrouve'e,' " Vienna. "SixVar. pour le Clav. sur * Gott erhalte Frans,'" Op. 4, Vienna. " Jfuit Vars. pour le Clav. sur un Danse Russe" Op. 5, Vienna. "Douze Vars. pom- le Clav. sur Terzetto di Camilla;* Vienna. " Neuf Var. sur une Polon. de rOp.'Lodoiska;" 1802. " Grande Sonate pour le Clav. avec V.," Op. 9. " Grande Sonate pour le Clav., V., et Vc." Op. 10. "Eine dergir Op. 11. " Six Polonaises pour le Clav.," Op. 13, 1803. '* Vars. pour le Clav. sur VAir de Cherubim, ' Guide vies pas,' " Op. 14. " Mina, Gedicht mit Klavierbegleit" Op. 15. " Trois Ro- mances ou Andante pour le Clav.," Op. 19. " Onze Vars. pour le Clav. sur VAir de Dalayrac, 'La Tour de Neustadt;" Op. 20, Vienna, 1803. "Grande Sonate pathiti- que pour le P. F. composie et de'die'e d M. Ant. Salieri," Op. 27, Leipsic. 72 LIS LIPPARINO, (Guilielmo) a monk of the order of St. Augustino, and an industri- ous composer of sacred music, was born at Bologna. He flourished in the beginning of the seventeenth century, as chapel-mas- ter in the cathedral church of Como. He published the following works : Madri- gali a 5 Fori," Venice, 1614. " Misse d 8 e 9 Voci con Te Deum laudatnus d 8 Voci." "Motetti," Venice, 1635. "Salmi- a 8 Voci," Venice, 1637. " Concerti e Litanie de B. Virgine d 1,2, e 3 Voci," "Litanie d 3—8 Voci" Venice. UPPIUS, (Joannes.) According to Von Blankenburg, in the appendix to Sulzer'a Art Musik, the "Themata Musica" of Lip- pius, Jena, 1610, are nothing but three musical disputations which he held in Wit- tenberg, in June and September, 1609, and on the 27th of October, 1B10. Lippius was a professor of theology at Strasburg, and died in 1612. L1ROU, (Jean Francois Espic, Che- valier de) an officer in the French army, was born in 1740. He was an enthusiastic amateur of music and poetry, and produced in 1784, at the royal academy of music, in conjunction with Piccini, the opera of "Diane et Endymion" which was suc- cessful. The following year he published, at Paris, his " Systeme de V Harmonic" in one volume 8vo., a work which is considered as obscure, but founded on good princi- ples. He died at Paris in 1806. LIST, a German student in divinity, announced, in 1797, the edition of a choral book for the Lutheran church of Schaum- burg, possessing the following advantages : 1. The chords fully written. 2. Interludes. 3. About sixteen new melodies composed by himself. 4. Several corrections of the old melodies. 5. A short introduction to thorough bass, and a short treatise on choral playing. LISTE, (Anthony) professor of the piano-forte and composer, born at Hildes- heim in 1774, studied at Vienna under Mozart and Albrechtsberger, and was after- wards a teacher of music in the family of the count of Westphalia. He also gave Digitized by Google LIS private instructions in 1804, in Heidelberg, where he made his first dtfbut as an extra- ordinary composer for the piano -forte, by his two sonatas for that instrument, to be found in No. 9 of Nageli's, "Repertoire ties Clave'cinistea" According to the opinion of connoisseurs, his last compositions are excellent, as well in regard to the origiual and correct arrangement, as to their attrac- tive style. L1STENIUS, (Nicolaus) a professor of music in the beginning of the sixteenth century. His small introductory work on music has, in the course of fifty years, gone through seventeen editions, an almost un- rivalled number for a musical publication, and a proof of the value which was placed on its merit and utility. Gerber has but little information of the comparative value of the different editions of this work. Not- withstanding the merit of Listenius, the ungrateful indifference of his contempora- ries towards him went so far, that all which is at present known about him consists merely in this, that he was a native of Brandenburg, (which he accidentally had mentioned in his dedication to John George, hereditary prince to the elector Joachim II. of Brandenburg.) As soon as his little work issued from the press, the booksellers all considered it as their property, and printed and reprinted the same, as often as it suited their interests, without taking any further notice of the author. They did not even do him the honour, in the later edi- tions of his work, to reprint the well-written preface of Dr. Bugenhagen, which speaks highly of the merits of the author. " But," says Gerber, " why should I feel indignant at the ingratitude of the sixteenth century ? Have I not sufficiently experienced the in- gratitude of the eighteenth century to- wards their most useful and talented au- thors, even in the course of my writing this dictionary! I should advise, therefore, every man of merit, whenever he has an opportunity, to write at least something about himself, and to speak well of himself when necessary, despising the sneers of envy. If they do not thus gain the good- L I V will and respect of their contemporaries, posterity will at least not deny them that boon." The first edition of listenius ap- peared under the following title, " Rudi- ment a Music (e in gr attain studiosee juvcn~ tut is diligenttr comportata," Wittenberg, 1533 and 1537. A new edition followed, with the addition to the title of " Ab autore denuo recognita, multUque novis re- sults et exempli* adducta," Wittenberg, 1542, 1544, and 1554. It was also printed in Leipsic, by Michael Blum, 1543, 1546, and 1533, also in Frankfort on the Oder, without date, and in Breslau, 1573, and lastly, at Nuremburg, by Joh. Petreio, in 1540, 1548, 1653, 1557, 1588, and 1600, with the addition " Ac correcting quam antta edita." This last is probably also the last edition, as, in the beginning of the seventeenth century, the subjects which it contained began partly to be useless. LIVERATI (Giovanni) was born in 1772 at Bologna, in the pontifical states. Giuseppe and Ferdinand Tibbaldi, cele- brated composers, gave him his first lessons in the rudiments of music : they died when he was about fourteen years of age. He then began and continued, during the space of thirteen years, to be a pupil for the piano, organ, thorough-bass, and compo- sition of the renowned master, Padre S. Mattei, successor to Padre Martini, which latter eminent musician was to have been his master, had he lived. Finally, he took lessons of singing from Lorenzo Gibelli, justly celebrated for his church music, as his many compositions and beautiful fugues will testify, and who was one of the first masters in the renowned Bo- loguese school of singing, which has since produced Crescentini, Babbini, Iloncaglio, Concialini, and many others. Having per- fected himself in that school also, Liverati was able to take the part of first tenor, with the best performers in the music at the Italian churches, as also in concerts and oratorios, both public and private. His country still remembers with delight, the success he met with in an oratorio by the Padre Mattei, and in another by GugU- 73 Digitized by Google L I V elmi, in the parts of Giovanni and Sisaro. Liverati next refused a pressing invitation to the Venetian theatre from the celebrated Pacchiarotti, who came as far as Bologna to treat with him ; he likewise declined se- veral other similar theatrical oilers in Italy, and went as first tenor to Barcelona and Madrid, continuing at the same time his studies in composition* Before he quitted Italy, he was elected a member of the Phil- harmonic academy of Bologna, and of other musical societies. Some psalms were the first of his compositions, ami were per- formed at the Bolognese church of San Francesco, in the year 1789. In 1790, he wrote, at Bologna, his first theatrical piece, " 11 Divertimento in Campagna," a little opera in one act, which was successfully performed by his scholars. He composed about the same time a mass for two voices, with an organ accompaniment; also "The Seven Words of Jesus Christ on the Cross" for three voices, with wind instruments; and, finally, " A Grand Requiem Mass" He next produced three instrumental quartets, by an order of his majesty the king of Prussia, obtained through the interest of our artist's father, Matteo Liverati, a dis- tinguished professor of music at that court, and director of the theatre at Potsdam. In consequence of these productions, Giovanni liverati was called to the court of Berlin, as successor to Carl Fasch, the celebrated contrapuntist and composer to the above the- atre. He arrived in Prussia in 1799, and was soon ordered to compose a grand cantata with choruses, but had not time for the comple- tion of it before the king's death. In 1800, he became composer to the Italian theatre of Prague, where, during the space of three years, he brought out several short pieces, airs, duets, finales, &c. for the stage j also a grand cantata for his highness prince "Winski, entitled " // Trionfo rCAmore," and a grand mass by order of the same prince. In 1804, he went to Trieste, where he produced his first complete opera, "11 Maes- tro di Musica" in two acts. Encouraged by the success of that work, he immedi- ately undertook some others. He had be- 74 LI V fore attempted that style in his "Maestro Fanatico," an operetta, performed with great effect in Vienna and Prague. The year after this, he went to Vienns, where he es- tablished himself, and remained fourteen years. He was there intimate with the dis- tinguished masters Haydn, Beethoven, Ko- zeluch, and Salieri, taking their instrumental compositions for his models, particularly those of the last-named composer, to whom he owed much instruction concerning the clear pronunciation of his words in singing. Liverati has composed the following operas : 1. "David" a grand opera, with twelve choruses, in two acts. 2. " Eneas in Cartagine," with choruses, in two acts. 3. " La Prova Generate " in two acts. 4. " La Presa tTEgea," grand opera, twelve choruses, in two acts. These four operas were performed in the imperial and royal palaces. 6. "7/ Serto Disputato," one act. 6. " Gonsaho in Cordova," grand opera, choruses, in two acts. These two operas ordered by the prince of Lobcowitx. 7. " II Ternpio del? Eternita," twelve choruses, in two acts. 8. " II Convito degli Dei? in two acts. 9. " // Trionfo tf A ussonia," with choruses, in two acts. 10. " Milti- ade" in two acts. 11. " V Adoration* dei Past or i e dei Magi al Presepe" a grand oratorio, with twelve choruses, ordered by her majesty Maria Theresa of Naples, em- press of Austria, who herself condescended to sing the part of Maria, at its performance before the court. 12. " Grand Mass" or- dered by his highness prince Esterhazy. Besides No. 25, a cantata of one, two, and three pieces. Music published : Five num- bers of "La Lion tTOrfee," a periodical work, with airs, duets, sestets, and quartets, vocal, and some instrumental pieces. Two arias in " Ginevra di Scopia." " Three Duets," dedicated to Count Palffi. " Three Terzetti," dedicated to the Countess Wa- renfeld. " Three Ariettas" dedicated to the Princess of Himski. " Three Ariettas" dedicated to Count de Fries. Romances Francoises : " Two Ariettas" collected from many authors who composed the air "In quella tomba oscura." Different Digitized by Google L I V pieces from David, from which signors Ma- scek and Gelinck took many passages in composing their variations on the piano- forte. Lastly, different pieces from " La prova ge- nerate** In 1814, he came to London as a com- poser to the King's theatre, in which situation he remained three years, and brought out the following operas : I. " / Selvaggi" grand opera, with choruses, &c, two acts. 2. "// Trionfo di Cesare," with choruses, two acts. 3. " II Gaston* eBajardo," grand opera, with choruses, two acts. 4. "Gli am- anti Panatici" two acts: this opera was not performed. 5. " // Trionfo d*AOnone," twelve choruses, two acts, likewise not per- formed. The following music has also been published by him in London: "Three Ariettas," dedicated to Mr. Dragonetti, Op. 2, (Lavenu.) " Duet in Dama Sol- data" (Lavenu.) " Cantata on the Death of Princess Charlotte" Op. 3, (Goulding.) " Three small Ariettas** dedicated to Miss Culling Smith, (Liverati.) Duetto, "O Ueta cara," Op. 5. Air, " Rendi agli am- plessi watt," composed for Mrs. Salmon, Op. 6. " Three Ariettas,** dedicated to Asioli,Op.7,;(Liverati.) "Recit. and Duet,** dedicated to Miss Cox, Op. 8. "Duet," dedicated to Lady Gordon, Op. 9, (Liverati.) " Tre Notturni e Terzetti," dedicated to the Duke of Leeds, Op. 10, (Liverati.) " Tre Canzonetti," dedicated to Mrs. Antrobus, Op. 11, (Liverati.) " Tre Dtsetti," dedicated to Mrs. Bellocbi, Op.12, (Liverati.) " Three Ariettas," dedicated to Lady Fane, Op. 13, (Liverati) Terzetto, "Proteggese," Op. 14, (Birchall.) " Recit. and Air," Op. 15, (BirchaU.) "Terzetto in David,** Op. 16, (Birchall.) Polacca, " Chi a voi o uomin," Op. 17, (Birchall.) Grand duet in an opera (Op. 18) not yet pub- lished, (Birchall.) "First Set ItalianDuets," Op. 19, (Birchall.) "Second Set Italian Duets," Op. 20, (Birchall.) "Three Duets," dedicated to His Royal Highness Prince of Saxe-Cobourg, Op. 21, (Liverati.) Differ- ent passages of the opera " / Selvaggi." Some passages from " Gastone e Bajardo" " Cantata in two parts" performed at the LOC house of his friend signor Boldl Many other fugitive pieces written for Madame Campo- rese, Miss Stephens, Miss Paton, and others. LOCATELLI (Pietro) was born at Bergamo in 1690. In his infancy he was sent to Rome, where he took lessons on the violin from Corelli. After having travelled much, he settled in Holland, and established a public concert in Amsterdam. He died in 1764. Dr. Burney says, that " Locatelli had more hand, caprice, and fancy than any violinist of his time." He was a vo- lunHQOUft coinposcr of conccrti^ cspricci^ sonate, &c, many of which were published at Amsterdam. His Op. 10 of sonatas is considered his masterpiece, and has been greatly admired. IX3CCH1NI, chapel-master to the con- servatory of the Ospedaletto at Venice, was born at Naples. His opera seria, " Scipio in Carthago," was performed at Padua in 1770. LOCHNER, (Joachim) a composer of the sixteenth century, published "Magni- ficats, von 4 Stimmen, uber die 8 Kirchen- tone gerichtet," Nuremburg, 1578. LOCHNER, (Carlo) a violoncellist in the orchestra of Manheim, died in con- sequence of a spitting of blood, in the year 1795, just as he had begun to make pro- gress in composition. Reichardt, however, says, in his Almanach, that he was yet far from perfection. He published, in conjunc- tion with J. A. Andre, "12 Lieder," Offen- bach, 1792 ; also of his own composition, "6 Lieder, Iste Satnml," Manheim, 1793. " 6 Dergleichen, 2te Samml" Manheim, 1793. "Lieder von J. B. Rech, dte Samml," Heilbronn, 1794. "Zechlied von Rech," Heilbronn, 1794. "Lieder, 4/c Samml," Manheim, 1795} also " Or- pheus" a melodrame. LOCHON, a French composer of the seventeenth century, born at Tours, pub- lished some Latin motets. LOCHON, (Charles) a French violin- ist at Pans, about the year 1788. LOCK (Matthew) was originally a cho- rister in the cathedral church of Exeter, and a pupil of Edward Gibbons. Very 75 Digitized by Google LOC early in life he attained a considerable de- gree of eminence in his profession. He was employed to compose the music for the pub- He entry of king Charles II., and not long afterwards was appointed composer in or- dinary to that monarch. Dramatic music was that in which he chiefly excelled, but there are likewise ex- tant many valuable compositions for the church. Amongst others is a morning service, composed for the chapel royal, in which the prayer after each of the com- mandments is set in a different way. This was deemed by many persons an inexcusa- ble innovation, and, on the whole, was so much censured, that he was compelled to publish the entire service in score, with a vindication by way of preface. Lock appears to have been a man of an unpleasant and quarrelsome disposition, and consequently he involved himself in almost continual broils. About the year 1672, he was engaged in a controversy with Thomas Salmon, A. M. of Trinity college, Oxford, on the subject of a book written by him, and entitled " An Essay to the Advance- ment of Music, by casting away the Per- plexity of different Cliffs, and uniting all sorts of Music into one universal Charac- ter.** Lock could not refrain from attacking this work. Accordingly he published "Ob- servations upon a late Booh, entitled an Essay, tfc." which lying immoveable upon the booksellers' shelves, he afterwards re- published it with a new title. Salmon an- swered it in " A Vindication of an Essay to the Advancement of Music from Mr. Loch*s Observations.** The subject matter of this dispute is not of sufficient import- ance to demand from us any detail of the arguments ; suffice it to say, that, under a studied affectation of wit and humour, the pamphlets, on both sides, are replete with the most scurrilous invective and abuse. The musical world is indebted to Lock for the first rules that were ever published in this kingdom on the subject oflhorough- bass. A collection of these were inserted in a book entitled Melothesia, which also contains some lessons for the harpsichord 76 L O D and organ, by himself and other masters. It is well known that Lock was the com- poser of the music to Shakspeare's plays of Macbeth and The Tempest, as altered by Sir William Davenant, and, in conjunction with Draghi, to Shadwell's opera of Psyche. He was also author of a collection of airs, published in 1657, entitled " A little Con- sort of Three Parts, for Viola and Violins,*' and of the music to several songs printed in The Treasury of Music, The Theatre of Music, and other collections. In the latter there is a dialogue by him, " When death shall part us from these hids,** which may be rauked among the best vocal composi- tions of the time. The music in Macbeth has lately been rearranged for the voice and piano-forte, and published by Jacobs, organist of the Surrey chapel. LOCKMANN, (Johann) an English poet of the eighteenth century, wrote "Some Rejections concerning Operas, Sfc. pre- fixed to Rodelinda, a Musical Drama,*' 1740. This essay treats of the origin and progress of operas in general. LODI, (Demetrio) a monk, born at Verona, flourished as a composer of church and instrumental music in the beginning of the seventeenth century. Of three of his works for the church, only one is known, entitled " Canzoni o Sonate Concert ate per Chiesa, a 1, 2, e 3 voci." Another opera of his sonatas has been printed at Venice, in 1623. LODI, (Giov. Luioi, called Sterkel.) Through one of his works, he became known in Germany, in 1798, as an excel- lent and original composer for the piano- forte. He seems, however, to have followed sometimes too much the impulse of his en- thusiastic feelings, according to the opinion of a reviewer of the Mus. Zeit., 1799, p. 28. His works, of which the successive or- der is but incorrectly known, were, up to the year 1799, as follows: "Sonate pour le Clav.," Op. 9, Augsburg, 1796. " Grand Concer. pour le Clav., a 14/' Op. 10, Augsburg, 1797. «' Capricch p. il P. F." Op. 16, Leipsic, 1798. " Sonate pour le Clave'cin," Op, 18, Leipsic, 1798. "La Digitized by Google L O E Marie di Mozart, Sin/on. pour le Clav., Op. 27, Leipsic. LOEBEIl, (Johann Ernst) town or- ganist at Weimar about the year 1730, was born at Erfurt. He published " Hochzelt- Conzert von 2 Stimmen und General" Bass," Erfurt, 1632. LOEFGRON, (Anton) a Swede, was the editor of an academical work, published under the tide « De Basso fundamental*," Upsal, 1728. LOEHLEIN (Georo Simon) was born at Dantzic in 1727. The first part of his " Kiavierschule," 1765, wus reprinted in 1772; again in 1779, with improvements; for the fourth time in 1781 ; and for the fifth time, revised and enlarged by J. G. Witthauer, in 1797. His instructions for the violin appeared first in 1774 ; a second time in 1781 ; and a third edition improved and with additions, also with twelve ballet- pieces from the opera Brenno, was pub- lished by J. Fr. Reichardt, in 1797. Loeh- lein was a chapel-master at Dantzic, and died there in the year 1782. He served for some time in the Prussian army, and at the battle of Collin was left for dead on the field. The Austrians, however, who were con- querors in that engagement, discovering some signs of life iu him, had him taken to their hospital ; from whence, a few months afterwards, he returned to his native coun- try, where he found all his family in mourn- ing for his supposed death. LOEHNER, (Johann) a favourite com- poser and organist at Nuremburg, was born there in 1645. He published several col- lections of music betweeu the years 1682 and 1700. LOEILLET, (JeanBaptiste) of Ghent, a famous master of the flute, and the author of four operas of solos for that instrument. He was also a celebrated performer on the harpsichord. He played io the opera band in London, at the same time with Corbett and others. He died about the year 1728, having, by his industry, acquired a fortune of sixteen thousand pounds. LOEWE, (Frieoricii Aug. Leopold) born at Scliwedt in 1777. He was a cele- L O E brated performer on the tenor; he also composed an operetta, called " Die insel der Verfiihrung," which was performed at Brunswick in 1797. LOEWE, (J. Heinrich) an instrumental composer and performer on the violin, tenor, and the piano-forte, resident in Bremen, was born at- Berlin in 1766. He received his education under the celebrated concert- master Haack, went afterwards into the service of the viscount Von Schwedt, then gave private instructions in Hamburgh, and finally settled at Bremen, where the place of chef-aVorchcstre was offered to bun by Dr. Schulte, of the amateur concert of that town. It is said that Loewe was particu- larly happy in entering into the spirit of Haydn's quartets. He had written before the year 1794, " Die Pfarrers Techier von Taubenhehn," for the piano-forte ; also several sonatas for the piano-forte, and concertos for the violin and bassoon, with several smaller operas of variations. Since 1794, there have been printed of his works : " Concert pour le Violon," Op. 1, Offen- bach, 1795. " 3 Grosse Sonaten /Sr das Piano/or t mitBegl., einer B.t und eines Vc** Op. 2, Offenbach, 1798. " Concert pour le Vioion," Op. 3, Offenbach, 1798. LOEWE, (Johann Jacob) a musician, highly celebrated in his time, was born at Eisenach. He was formed under the auspices of the first professors of the art at Vienna, and afterwards in Italy, under several great masters. In 1660, he was chcf-oTorchestre at the court of Brunswick, and, some years later, at that of the duke of Zeitz. Amongst his works are the follow- ing: " Sinfonen, Intraden, Gagliarden, Arien, Balletten, Couranten, und Saraban- den, mit 3 oder 5 Instruments," Bre- men, 1657. " 12 Neue geistUche Concer- ten mit 1, 2, 3 Stimmen zu singen und 2 Violinen nebst der Grundstimme fur die Orgel," Wolfenbuttel, 1660. " Canones, 1, 2, 3, 4 bis 8 Stimmig, theils fur Instru- mente und theils fur Sunger, theils Icicht und theils schwer, fiber M. Mart Ktmpens Arien," 1664; with a dedication to his patron duke Maurice, and a preface, in 77 Digitized by Google LOG ■which he complains of the great labour which these canons had cost him. The worthy Henry Schutz has published an eu- logiuui on this work, in which he calls its author, " Edltr, vester, gbinr ticker, inson- ders, ttnd a Is suhn rdelgeliebter freund;" i. e. noble, faithful, able, particular friend, and beloved like a son, &c. LOEWENSTERN, (Matth. Apelles von) a musician, born in Polnisch-Neustadt, in Silesia, in 1594, was, in the beginning of 1625, treasurer and music director to the prince of Bernstadt; afterwards, in 1626, president of the school there ; and, lastly, chamberlain to the prince. Afterwards he entered the service of the emperors Ferdi- nand II. and III., when the latter raised him to the rank of a noble. Finally, he was made counsellor of state to the duke of Oels, where he died, in 1648, after having left proof behind him, that a musical artist may also ably fulfil other weighty occupa- tions in life. LOFEIER, (Joseph Friedrich) super- intendent of the public buildings at Sulz- bach, was born in 1766. He distinguished himself as an amateur by his active study of the piano and the tenor, the latter being his favourite instrument, which be plays with taste and correctness. He has also made himself acquainted with the theory of music, and has written several symphonies, overtures, some sacred music, and several minuets and dances. Some of his composi- tions are printed, among which are *' 12 Varia, in D,fiirs Nuremburg, 1801. LOGIER (John Bernard) is descended from a family of French refugees, who, like many of their unfortunate countrymen, during the reign of Louis XIV., were obliged, in consequence of religious perse- cutions, to fly their native country, and seek an asylum in Germany. His ancestors settled in Kaisers Lautern, a town in the electorate palatine, where his grandfather was music director and organist, and from whom his father received his musical educa- tion. The latter played, as is customary in Germany, on several instruments, and was esteemed an excellent organist. The violin 78 LOG was, however, his principal instrument, upon which he was a great performer, inso- much that the director of Hesse-Cassel, in the year 1796, offered him the situation of first violin in his capelia, which he accepted. In the above town, the subject of this memoir was born, in the year 1780. He had one sister, who died at the age of sixteen, and was an excellent piano-forte player for her years ; and his only brother is at this time a bookseller in Berlin. Some time after the death of the elector, consider- able retrenchments in the expense of the court were proposed by his successor; in this arrangement the members of the ca- pelia had their choice, either to have their salaries reduced, or to seek for situations elsewhere. Logier's father resigned, and, about the same time, the celebrated Dr. Forkel invited him to Gottingen, and offered him the situation of leader in his concerts, which he accepted, and retained till his death. At this time young Logier was in his ninth year, and had received from his father the first lessons on the piano-forte, and a few rules on composition. His favourite instrument, however, was the flute, on which he made considerable pro- gress under the tuition of Weidner, the father of the celebrated flute-player, now residing in Dublin. On this in- strument, in his tenth year, he performed with young Weidner a double concerto in public. His inclination decidedly leading him to make music his profession, he now received instructions from a person named Queake, from which he bene- fited but little. Shortly after this his mother died. The person appointed as his guardian would not hear of his becoming a professional musician, but desired him to choose some other occupation. Seeing that nothing could induce his guar- dian to accede to his wishes on this point, young Logier left Gottingen, and took refuge with an uncle in Marburg. His guardian insisted on his being sent back, which, however, was frustrated by the fol- lowing circumstance. An English gentle- man, then on his travels, happening to hear Digitized by Google LOG Logier play at one of the concert!, proposed that he should accompany him to England: happy at such an opportunity of escaping the persecution of his guardian, he instantly consented, and the next day set out for England. During two years this gentleman treated Logier as his son, and the only duty he required from him was to play on the flute and the piano-forte, on which latter in- strument he had him instructed by baron de GrifFe. At this time, the marquis of Aber- corn was desirous of raising a band for his regiment, then quartered in the north of Ireland, and Logier being tired of the mono- tonous life which he led, and desirous of enlarging his sphere of action, obtained, with much entreaty, his patron's con- sent to his becoming one of its mem- bers, and departed with three others for Ireland. Here he met, in the director of the band, his trwn countryman, (Will- man, the father of the celebrated clarionet player of that name in London) whose daughter he married, being then only in his sixteenth year. From this period he was chiefly engaged in instructing and com- posing for military bands, and, at the same time, in giving lessons on the piano-forte to the inhabitants of the different towns where he occasionally resided. It was during this time that the possibility suggested itself to bim of considerably facilitating the ac- quirement of music, both practically and theoretically, and that he formed the basis of the system which he afterwards so successfully carried into effect. At the conclusion of the war, his regiment being disbanded, he accepted the proposal of lord Altamont to become organist of the church atWestport, in Ireland. Here his pro- fessional engagements frequently interfering with his duty as organist, he determined to try if it were not possible to teach his daughter, a child of seven years old, sufficiently to un- dertake the duty of organist in his absence. In this, however, he found a great obstacle from her intractability of hand, which seemed to bid defiance to all his exertions ; and being unavoidably so frequently from home, he saw no probability of succeeding LOG in his object, unless some means could be adopted which would compel her, during his absence, to retain a proper position of the hands. Execution on the piano-forte being purely mechanical, he considered that mechanical assistance might be afforded to facilitate or remove those diffi- culties which naturally present them- selves to every beginner on that instru- ment/and this led him to the invention of the chiroplast. He now succeeded rapidly in his object, and in six months his daughter was enabled to perform the duty of organist, and, in a year afterwards, she played a sonata in public, on which occasion T. Cooke (now of Drury-lane theatre) accom- panied her on the violin. Having now resolved to settle in Dublin, and being con- sidered one of the first teachers of military bands, many were sent to him from various parts of the country by their colonels to be instructed. This employment was so much more profitable than the tuition of private pupils on the piano-forte, that he totally gave up the latter. Soon after his arrival, be was employed by the corporation of the city of Dublin to compose an ode in com- memoration of the entrance of his late ma- jesty into the fiftieth year of his reign, which was performed before the lord lieu- tenant, the corporation, and upwards of a thousand persons. The same year he was engaged by H. Johnstone, as composer aud director of music for his theatre in Peter-street, where he remained till its dis- solution. Logier now determined no longer to postpone the plan he had formed of in- troducing his system of musical education to the public ; but being deeply engaged in mercantile affaiis, which would not allow him to dedicate that attention to it which such an undertaking required, he proposed to several professors then in Dublin, that if they would teach on his plan he would communicate it to them without any remuneration. This was declined.* Be- * It it curiotw here to obserre, that the person who was the first to refuse wa» also the first after- wards to apply for it, and to pay one hundred guinea* for the communication, 79 Digitized by Google LOG lieving that he had nothing to hope from the professors in the promulgation of his system, he set seriously about introducing it himself. Every thing had already been prepared for this event. A patent for the chiroplast had been obtained, and having given the year before (1814) two courses of lectures on harmony, a certain degree of public atten- tion was excited towards his object. He took a few young children, who had never learned before, and three months afterwards held a public examination of them; the result of which was, that several of the professors in Dublin immediately adopted the system, and their academies being soon filled with pupils, others followed their example. In the following year it made its way into England and Scotland. Pro- fessors from various parts came to Dublin to be initiated j and academies were soon established in Liverpool, Manchester, Ches- ter, Glasgow, Preston, &c. &c. In July, 1816, Samuel Webbe, of London, paid Ix>gier a visit, in order to form his own judgment of the merits of his plan, which he immediately adopted, and introduced into the metropolis of England. About this time an anonymous pamphlet appeared in Edinburgh, the object of which was, if possible, to put a stop to the progress of this system. This pamphlet being indus- triously circulated in England, and being likely to be prejudicial to him in the eye of the public if allowed to go unrefuted, Mr. Logier considered it advisable to repair to London, and in person counteract its effects. His first object was to invite the Philhar- monic society to an examination of the pupils taught by Webbe, as also of three others from Dublin, that they might form an impartial judgment of the nature of his plan. This examination took place on the fc 17th of November, when he experienced very warm opposition. Notwithstanding this, his system continued its successful career. His academy was resorted to by the first nobility, and it was adopted by upwards of eighty professors in different parts of the united kingdom. Among these was Kalkbrenner, at that time member and 80 LOG director of the Philharmonic society. This gentleman and Webbe united with I/>gier in conducting his extensive academy, and the increase of pupils soon obliged them to open a second, and many others rapidly followed. In 1821, the Prussian government sent a gentleman from Berlin to London, to ascer* tain the merits of the system, of which much had been heard, and with a view to its introduction into the Prussian states. The result was, that in the same year Logier received an iuvitation from that government, through his excellency baron Altenstein, minister for public education, to reside some time in Berlin, and undertake in person its promulgation. He was too happy in such an opportunity of disseminating his system in a country so justly celebrated for musical knowledge to hesitate, though the accept- ance of the proposal was attended with considerable difficulty. On the 16th of August, 1822, he arrived in Berlin, and in the same month commenced an academy. Five months after, at the desire of govern- ment, he held an examination of the pupils, to which were officially invited several of the best musicians in Berlin, in order to investigate the plan. The result was that Logier received a proposal from the minister, by order of the king, to instruct twenty professors, through whom it was to be disseminated through the Prussian domi- nions. This was accompanied by a pecu- niary offer, and also of a handsome house and academy. Logier has now accepted the invitation to remain there three years, being allowed three months in each year to devote to his affairs in London. It may therefore be considered that this has now established the national system of musical education throughout the Prussian domi- nions, and it is gradually spreading in other countries, there being already several aca- demies in Saxony, Spain, America, and the East and West Indies. The following list comprises almost the whole of Logier's works published in the united kingdom : " The first Companion to the Chiroplast" with a description of that Digitized by Google LOG invention, and an explanation of its use; the rudiments of music, and the art of piano- forte playing simplified; with a series of progressive lessons, adapted to the capacity of. the youngest pupil. " A Sequel to the first Companion," being a series of new lessons, similarly constructed to those in the first book, but chiefly in the minor mode, and completing the practical exemplifica- tion of all the characters used in musical notation; with the diatonic scales in all the keys, major and minor, ascending and descending, for both hands ; also the chro- matic scale, plain and in octaves. " A Sequel to the second Companion** contain- ing lessons, to be played either in concert with the exercises in that book, or as single lessons, completiug the exemplification of the different styles of variation on a given progression of harmonies. The above four works are published at Cadiz in the Spanish language, at Berlin in the German language, and at Paris in the French language ; and arrangements are now making to have these editions also in Ixradon. " Juvenile Duets and Trios" for two and three performers on one piano-forte, constructed chiefly on five notes for each hand, so that the chiroplast may be used where the pupil is not suffi- ciently confident without it. " Exercises for the Hands" in a familiar style, chiefly on modulations through all the keys, as an intermediate step to those by Cramer, Kalk- brenner, &c, dedicated to Miss Ouseley. " Military Duets** for two performers on one piano -forte, dedicated to the Ladies Paget, (Book I.) " A second Set," dedi- cated to Lady Flora Hastings, (Book II.) " Logier's Theoretical and Practical Study for the Piano-forte** consisting of classical works, ancient and modern, with inverted and fundamental basses, fingered. " No. 1, Corelii's First Concerto." " No. 2, Corelli*s Eighth Concerto.** «« No. 3, HandeVs oc- casional Overture.** " No. 4, Handets Overture to Esther" " Nos. 5 and 6, Haydn's Symphony in D." " No. 7, Mo- zart* s Overture to ZauberflGte.** " No. 8, Mozart's Overture to Figaro.** u No. 9, Clementis Sonata in D." " No. 10, Scar- VOL. II. LOG latti, with the Cat*s Fugue.** "Nos. 11 and 12, Beethoven's Trio arranged for two Piano-fortes." " Logier's Practical Tho- rough-bass" being studies on the works of modern composers ; with a separate figured bass, having a space above for the addition of the playable harmonies. " No. \tKalk- brenner*s Sonata in C, and Andante.*' No. 2, ditto, ditto." " A Trio in E,for two Performers on one Piano-forte" with an accompaniment for another piano-forte, dedicated to the Marchioness of Anglesea, Op. 16. " A Second Trio in At arranged as the above,'* dedicated to Major P* Haw- ker, with ad. lib. accompaniments for violin and violoncello, Op. 17. " A Third Grande Sonate a quatre mains.'* " Thirty- four Lessons" arranged as pleasing accom- paniments to Logier's first and second Companions, so as to be played by another performer on the same piano-forte. " A Concerto in E fiat" dedicated to the Prince Regent, with a piano-forte accompaniment; also with accompaniments for a full band, if required, Op. 13. " An easy Sonata, with the Irish Air, « Oh, breathe not his name,' " and " A Polacca, fingered," Op. 10. " Sonata in Bfiat, and Rondo on an Irish Air, with Accompaniments for the Flute and Violoncello;* Op. 7. " Sonata in E flat, with Accompaniments ad. lib. for the Flute and Violoncello,** dedicated to J. B. Cramer. " Sonata in D, with ' Blue Bells of Scotland,* and Accompaniment for a Flute,** Op. 8. " Introduction, Fugue, and two Canons, for two Performers on one Piano-forte," " Ditto, and Grand March," dedicated to Ladies G. and A . Paget, (duet.) " Strains of other Days, five Numbers, as Rondos and Airs with Variations;" containing " No. 1, O blame not the Bard," and " The Legacy.*' " No.2p Gramachree" and " Eveleens Bower.** " No. 3, The Young Man's Dream," and " Fly not yet." " No. 4, Haleendhas Crootheenamoe," and " Oh, 'tis sweet to think," with an accompaniment for the flute. " No. 5, Savourna Delish" " Heigh~ho, my Jockey," and " Robin Adair." *' Bugle Andante, with Varia- o 81 Digitized by Google LOG Hons** " English Military Air, with Varia- tions." " Spanish Bolero, from the Ballet of « Z>on Quichotte.' " " ^rfm*W #*woott>, JSn^/wA ^tr, with Variations." " Believe me I never can rove" song. " Ten favour- ite Irish Melodies for two Flutes:* " Set of Pieces" Op. 7. " Irish Melodies" Op. 8. " Original Pieces for two keyed Bugles Obligato" " Haydn's Sonata" Op. 40. " God save the King, as a Po~ lacca." 4t Sterkel's Duet and Spanish Bolero" " Sacred Music" ** Music in Macbeth." u Overture to ZauberflSte" " Country Dance, as Quick Steps" ** Seven Italian Pieces." " The last Battle," dedicated to the King. Military sonatas for the piano-forte: " Battle of Trafalgar," " Battle of. Vittoria," and "Surrender of Paris." uTen favourite Irish Melodies, for two Flutes." "Thirteen Sets of Military Pieces, arranged for a full Band." From Mr. Green, of Soho-square, who is sole proprietor of the chiroplast, and pub- lisher of Logier's works connected with his system, we have been able to ascertain, that there have been already published of the elementary works upwards of fifty thou- sand copies, and of the chiroplast nearly sixteen hundred have been sold. He further informs us, that about one hundred professors have paid Logier one hundred guineas each to be initiated in his method. LOGROSCINO (Nicolo) was born at Naples, towards the end of the seventeenth century. Leo, in his Cioi, had skilfully arrayed Euterpe in the mask and buskins of Thalia, but without aiming at the sardonic grin of Aristophanes. Logroscino, whose comic name appears to reveal his facetious genius, endeavoured, on his first entrance in his musical career, to enrich the comic muse by new subjects. He threw such gaiety into his compositions, selected such agree- able and burlesque subjects, that his fellow - citizens, on the first appearance of his works, surnamed him // Dio delV Opera Buffa, (the god of the comic opera.) To Logroscino is due the merit of the invention of the finale ; and this single fact would 82 LOL suffice to assign to him an honourable place in the history of his art. None of his works are now in existence, and he is but little known- out of his own country, as he would only compose in the Neapolitan dialect. LOHMANN was organist at Osterode probably in the year 1740. Gerber is in possession of a concerto for the piano-forte by this master. "LOHR, (Michael) singer at Dresden, in the first part of the seventeenth century, was born at Marienburg, and published " Neue Teutsche und Lateinische Kirchen- Gesangeund Concerten infunfzehn 7 u?xdS stimmigen Motetten," Dresden, 1637. LOKKENBURG, (Joannes a) a con- trapuntist of the sixteenth century, of whose works there are yet in the library of Munich (Cod. 51 and 54) two masses. He has also, as Walther informs us, published a "Missa a 5 roc." LOLLI or LOLLY, (Antonio) a cele- brated violinist, was born at Bergamo in 1728. From the year 1762 to 1773, he was concert-master to the duke of Wurtem- burg. He afterwards went to Russia, where he so excited the admiration of the empress Catherine II. that she ordered a violin-bow to be made for him, on which she wrote, with her own hand, " Archet fait par ordre de Catherine II., pour V incomparable LollV* In 1785, he came to England, and from hence visited Spain. He then proceeded to Paris, where he performed at the spiritual and other concerts. In 1788, returned to Italy. He was most celebrated for plac- ing quick movements, and being once re- quested to perform an adagio, positively refused, saying, "Je suis de Bergame, et leg habitant de cette ville sont trop fous pour pouvoir jouer f adagio." We will now give some further information, from Gerber, respecting the unsettled life of this musician. When he entered on his engagements at Stuttgard, in 1762, he found Nardini there, who excelled him by far in ability. He therefore requested the duke to allow him a year's leave of absence to travel ; instead of which, he retired to a secluded village, Digitized by Google LOL •and applied himself with indefatigable ex- ertions to his instrument. After having been absent for this period, he returned from his pretended journey, and excited such universal admiration, that Nardini gave up the contest, and returned to Italy. His en- gagement at St. Petersburg seems to have taken place between 1775 and 1778. After remaining there three years, he requested of the empress a year's leave of absence ; at die same time he declared to Von Ditters- dorf, in Johannisbcrg, that he did not wish to remain any longer in Russia, and that his intention was never to return ; that through the friendship of a physician (who had promised him a certificate of the weak state of his breath) he, however, hoped to obtain an honourable discharge from the empress. That he then would visit all the principal towns in Europe, add the profits which he might thus make to ten thousand guil- ders which he had already realized, and place these sums together in one of the banks of Europe, living afterwards on the interest. In 1788, A. Lolli was residing in Italy, and entitled himself there concert- master to the empress of Russia. In the year 1791, he went to Berlin with his son, then a child of only eight years old, when the latter received from the king a present of one hundred fViedrichs-d'or for his ready and correct performance on the violoncello : the child also gave a concert in the same year at Copenhagen; but no mention is made in any of these places of the perform- ance of the father. In the year 1794, both father and son were in Vienna, where the former styled himself first concert-master to the king of Naples : only the son, however, performed in public. In the year 1796, Romberg found the father in Naples, where he played to him ; but to Romberg's utter astonishment, not a trace was left of those excellent performances which had established his former fame. He had then become a feeble old man, whose power and energy were all gone. Sic transit gloria mundi. That he was once a great artist on the violin is proved by Schultz in various docu- LOO ments which he sent to Gerber. LolK gave a striking instance of the command which he had over his instrument in the presence of Schultz and Kirnberger. His bow happening to be too short for a long continued note, he turned it, to their great astonishment, so ably and quickly, that, with the greatest attention, they were un- able to observe the slightest stop in the sound. Dittersdorf mentions Lolli, in his biography, as a man of prepossessing ap- pearance, gentlemanly in his manners, and an agreeable and social companion. He died, after a lingering illness, in Naples, in 1802. Respecting his works, it is known that he never wrote more than the theme, and then desired one of his friends to write the bass or the parts for the different instru- ments. Three collections of his solos have been printed by Hummel, at Berlin, Ops. 1, 2, and 3. In Vienna there have also been printed two sets of six solos, Ops. 9 and 10. There are also editions in Paris of his "Ecole pour le Fiohn," Op. 11, and also in Offen- bach, 1794. "YLVar.vAlVc.tV? Vienna, 1801. These last are, perhaps, his son's compositions. LOLLI, (probably Piulippo) son of the preceding, performed on the violoncello at a concert in Berlin ; also shortly after- wards at Copenhagen, and, in 1794, in Vienna. At this last town were printed "12 Var. p. il Vc. con Acc. del JUatso" Op. 2, 1799 which probably are from the pen of this composer. LOMBARDO, (Girolamo) a celebrated contrapuntist, flourished in Sicily about the year 1600, and published, amongst other works,"4 A/*«r d 4 c 5 voci, col Beontin." LONGHI, (Leopoldo) a Neapolitan musician, was mentioned among the opera composers in the Indict de Spectac. Theatr. of 1790. LOOS, (Johakn) schoolmaster and organist at a small town near Prague in 1768. He wrote various masses and operas* He died previously to the year 1788. LOOSEMOKE, (Henry) bachelor of mu:ic in Cambridge in 1640, and organist, first of King's college, Cambridge, and after- o2 83 Digitized by Google LOR wards of the cathedral of Exeter. He com- posed some services and anthems. LOPEZ or LOBO LUPUS, (Edvardus) beneficiarius and maitre de chapelle in the cathedral church at Lisbon, in the year 1600. He published, or left in manuscript, the following works: " Natalitia noctis Responsoria, 4—8 roc." " Missa ejusdem noctis, 8 voc" " B. Maria Virginia Anti- phonee, 8 vocum." " B. Maria Virginis Salve*1 for eleven voices in three choirs. " B. Maria Canticum Magnificat, 4 voc." Antwerp, 1605. "Canticum Magnificat, 4 voc.1' Antwerp, 1605, gr. fol. containing six- teen Magnificats, in different tones. " Missa 4, 5, 6, et 8 voc.11 Antwerp, 1639. "Offi. cium Defunctorum em canto chao," Lisbon, 1 603. " Liber Processionum, et Stationum Ecclesia Olyssiponensis in nieliorem for- mam redact us," Lisbon, 1607. "Dez PsaU inos de Vesper as de diversas Vozes." "Cbico Missas & 4 lAcoens de Defuntos, e a Se- qucncia da Missa a 4, 6, 8, 9e mais Vozes.1* uMotetes de Defuntos.11 "Duos Vilhancicos «c Santissimimo Sacramento." Most of the latter are in manuscript. Towards the end of his life, when in his one' hundred and third year, he was made rector of the archiepiscopal seminary. His master in music was Manoel Mendes, of Evora, and his countrymen speak in the highest terms of his musical talents. LORD, (John, sen.) is a native of Wilt- shire. He came to London many years since, and studied under Messrs. C. and S. Wesley, becoming, at length, a good organ and piano-forte player. He has always held some situation of organist in the church of England, and has written some piano-forte music. LORD, (John, jun.) a native of London, and the eldest son of the above, was made to play the piano -forte before he was six years of age. He studied with his father and Mr. Dance on the piano-forte, and under Dr. Crotch in theory. He is now a teacher in the highest circles, and is employed as the assistant professor to Dr. Crotch, in the royal academy of music, London; he is likewise an organist. He has composed 84 Lor sonatas, rondos, and duets for the piano- forte. LORD, (William) also a native o London, second son of J. Lord senior, ii a piano-forte player, and has likewise ap< peared in public as a harpist, on which oc- casions he was well received. He studied the harp under Dizi, and at present makes it his principal instrument. He teaches in some of the first families. LORELLI, father and son, both mu- sicians at Naples in 1791, composed music for the ballet called " Ruggiero e , LORENTE, (Andreas) organist of the principal church at Alcala, published, in the year 1673, a work in the Spanish language, entitled *'El Porque de la Musica." The first book contains the elements of plain song; the second treats of consonance and the cant us mensurabilis ; the third of coun- terpoint ; and the fourth of the composition of music. Of this work Geminiani has been heard to declare that it was not to be equalled in any of the modern languages ; that it is a musical institute, and may be said to con- tain all that is necessary for a practical com- poser to know. In the course of the work are interspersed hymns and offices for the church, and some motets, composed by the author himself and others, which possess great merit. LORENTZ, (A. W.) professor at the royal college in Berlin, in 1798, was a musical amateur of good taste, and well acquainted with harmony. He published " Eginhard und Emma, eine Ballade von Langbein, durchatts in Musik gesetzt," Berlin, 1799. He also published " Ode an die nachtigall von Rosegarten," Berlin, 1798. "Sinna und Selmar, eine Romanze von Rosegarten," Berlin, 1798. (It is not certain whether the other twelve songs of various poets, which have been published in 1792 without a christian name, are of his composition, or by the following Lorentz.) And lastly, « Der Sieg der Unsckuld, eine Ballade, in Musik," Berlin, 1801. LORENTZ, (J.F.) probably an organist Digitized by Coogle LOS at Halle, published "8 Choralvorspiele," Halle, 1796. LORENZANI, (Paolo) a Roman by birth, and a pupil of Oratio Benevoli, was chapel-master, first in the Jesuits* church at Rome, and afterwards in the cathedral of Messina, in Sicily, from whence he was in* vited by Louis XIV. to Paris. He composed and published in that city a collection of excellent motets. LORENZITI, (Bernharo) violi mst in the orchestra of the grand opera at Paris, published several instrumental works in that city, towards the end of the last cen- tury. It is difficult to know his precise works, owing to the bad custom of music- sellers in suppressing the christian names of authors, and there being another, and contemporary Antonio Lorenziti, who pub- lished works of nearly the same description, in contest, as it were, with the subject of this article. Gerbers list of Lorentztti's works is as follows : " Six Trios pour deux VtolonsetB." Op. 2, Paris, 1780. "Six Duos 4 Vxolon et A" Op. 3, London, 1792. " Six Trio* d deux Violons et 2?." Op. 4, Paris. " Six Duos & deux Violons,'* Op. 5, Paris. "Six Quatuors Concert. d deux V., A., et B" Paris. ,(Airs varies d V. avec deuxiime Violon," Paris, 1 798. 4 Premier Concerto pour A.y' Paris, 1787. "Principes, ou Nouvelle Mdthode de Musique pour ap- prendre d jouer facilement du Violon, suivies de douze Duos progressifs," Paris, 1798 and 1800. "Six Duos d deux V. (tune difficult* progressive," Paris, 1798. LORENZO, (Diego) by birth a Spani- ard, was a celebrated contrapuntist in the sixteenth century. He lived chiefly in Italy. LORENZO. Under this name were published, in Germany, some Italian airs with accompaniments, about the year 1793. The author was an Italian sopranist. LOSSIUS, (Lucas) during more than fifty years rector at Luneburg, was born at Bacha, in Hesse, in 1508. He not only collected a complete and correct Protestant psalmody, such as Luther left it at his death, but published the tame, which is LOS perhaps the only classic work of the kind, joining to it Melanchthon's eulogium of music in general, and his encouragement to similar undertakings, for the improve- ment of vocal church music. He also tried to promote the amelioration of church sing- ing in a separate small work. He died uni- versally esteemed in 1582. The titles of his works are, "Psalmodia, hoc est, Cantica Sacra veteris ecclesiee selecta. Quo or dine, et mclodiis per totius anni curriculum can- tar i usitate solent in templis de Deo, et de filio ejus Jesu Christ o, de regno ipsius, doc trina, vita, passione^resurrectione, et ascen- sione, et de Spirit u Sancto. Item de Sanctis et eorum in Christum fide et cruce* J am primum ad ecclesiarum, et scholarum usum diligenter collecta, et brevibus ac pits scholiis illustrata, per Lucam Lossium Luneburgensem. Cum prafatione Philippi Melanchthonis" Nuremburg, 1553. The first edition is in folio, and contains Melanchthon's preface. A second edition appeared with the following alteration in the title after the word cruet : "Ad eccle- siarum et scholarum usum diligenter olim collecta, et brevibus ac piis scholiis illustrata. Nunc autcm recens accurata diligentia et fide recognita, et multis utilibus'ac piis cantionibus aucta per Luc, Lossium, cum prat/atione P. Melanchthonis," Witten- berg, 1569, without a table of contents or preface. Gerber is in possession of this latter copy. It contains, in four volumes, four hundred and thirty-eight songs, with their melodies, in notes, among which there are only four in the German language. AH the rest are in Latin. The first song of each festival is ornamented with a wood-cut. A third edition of the same appeared,with only a few alterations in the title. His second work is " Erotetnata Afusica? practices, ex pro- batissimis hvjus dulcissiinee artis scriptori~ bus accurate et breviter selecta, et exemplis puerili institutions accommodis illustrata, jam primum ad usum scholar Lune- burg rru is et aliarum puerilium in lucem edita. Item melodic sex generum car- minum usitatiorum imprimis suaves in gratiam puerorum selcctat et edit*," Nu» 85 Digitized by Google LOT remburg, 1663. Then a second edition, in 1570, with some alterations and additions by the singer, Christoff Praetorius, of Luneburg. Further editions appeared in 1679 and 1580. LOTH, (Urbanus) a church composer in the beginning of the seventeenth century, published *' Mtisica Melica, oder 1,2, und 3 stimmige Fest-Concerten" Passau, 1616. LOTHERUS, (Melchior) a German composer in the beginning of the sixteenth century, published *' Responsoria" Leipsic, 1522. LOTICHIUS, (Jacob) a German author, probably belonging to the ancient Hanau family of that uame, wrote " Oratio de Mu- sica," Dorpati Livonorum, 1640. LOTTI, (Antonio) a pupil of Legrenzi, and master of Marcello, Galuppi, and Prescetti, was organist, and afterwards chapel-master, of St. Mark's church, at Venice, and one of the most able men in his profession. To all the science and learned regularity of the old school, he united grace and pathos. Hasse is said to have regarded his compositions as the most perfect of their kind. His choral music is at once solemn and touching.* Between the years 1698 and 1717, he composed fifteen dramas for the Venetian theatre. His cantatas also furnished specimens of recitative which do honour to his profes- sional character. In the year 1718, he was opera composer to the court of Dresden, and in 1720 returned to Venice, where he was living in 1732. LOTTIN, (Denis) a violinist at Or- leans, was born there in 1773. At the age of twelve, he studied music for his amuse- ment, when be improved so rapidly that his friends procured him the best masters of the neighbourhood, and took him several times to Paris, where he received lessons from Grasset. He is author of the following works: " Mitkode de Fiolon." "Trots grands Duos Cancer tans." " Concerto dedii a son amiDemar." "Six Duo*.1 * "Trois * Mr. La Trobe has published some specimens of it in his very excellent collection of sacred music. 86 LOU grands' Duos." " Deuxihne Concert*? "Si* Duos faciles" " Recucil de Walscs pout deux r.," and " RecueU tCAir* varies pour V" LOUETTE, an amateur at Paris about the year 1786, published several operas of chamber music, also the following operetta, "La double Clef, ou Colombine Commit* saire. LOUETTE. See La LOUETTE. LOUIS FERDINAND. See Ferdi- nand. LOUIS, (Pn.) Under this name is found, in Traeg's music warehouse at Vienna, the following works: "Yonder Fingersetsung, den Manieren und dem Geiste de* Vortregs aufdem Klaviere" " Grundriss turn Lthr+ begriffe des Accompagncments" (manu- script) Vienna, 1799. LOUIS, (Mad.) Under this name, which is probably that of a Parisian amateur, have been published, "Six Sonates pour Ic Clav. seul" Paris. " Recueil dAriettes choisis, avecAcc, deClav" Paris. "Fleur oVEpine" an operetta. LOULIE, (Francois) a French musician, was the author of an ingenious and useful book, published, in 1698, by Estienne Roger of Amsterdam, entitled " Eltmcns ou Prin- cipe* de Musique mis dans un nuuvel ordre." LOUVET or LOUVE, (Alexandre) a composer and pianist atParis,published there, about 1796, "Instructions theoriques et pra- tiques sur V accord du Piano-forte, oui>ragc qui apprend en tris-peu de terns au.v per son- net les mains exerce'es a accorder parfaite- ment cet Instrument" one vol., Paris, 1798. "Amelia," an opera, in three acts, by this author, was represented in Paris, for the first time, at the Thl&tre de l'Opera Comique. The music is deemed more scientific than agreeable. The rest of his works are, " Trois Sonat. pour le Clav, avec V" Ops. 1, 2, 3, 4, Paris, from 1794 to 1796. "Quatre Sonat. pour le Clav, avec V" Op. 6, Paris, 1796. LOUYS, (Maitrb Jean) a French coi* trapunist of the sixteenth century, of whose writings there are still preserved, in tho Digitized by Google LUC Munich library, "Pseaumcs 60 de David," Anvers, 1555. LOW, (Edward) origiually a chorister in Salisbury cathedral, was organist of Christchurh, Oxford, and professor of music in that university. He died in 1782. He published, in 1661, " Short Direc- tion* for the Performance of the Cathedral Service. LOYSEAU, a French composer, flourish- ed, about the year 1679, as organist of St. Martin's church at Tours. LOZEK the elder, organist at Prague in the year 1800, is described as an excel- lent musical theorist, organist, and teacher. It is also said that he is equally as familiar with Tacitus, Horace, and Cicero as with Haydn and Mozart. JLUBI, (Marians) probably an amateur, has published, in Germany, " 12 Lieder furs Klavier," 1801, and " 12 neue deutsche Lieder f&rs Klavier" 1803. LLC A, (Ssvero de) a Roman composer, flourished in the year 1700, in which year his oratorio, " II Martirio di S. Erasmo," was performed in the church Delia Fieta, at LUCATELLO (Giov. Battista) be- longed, according to Terreto, to the cele- brated composers of Italy at the eiid of the sixteenth century. Some of his works are still to be found in the Fab, Constantini Select* Cantiones exceUentiss. Auctorum) Rome, 1614. LUCCHESI,(Andrea.) His opera/ *Ade- tnira" was represented at Venice in 1775. LUCCHESI (J. M.) made himself known some time since by the following pieces of instrumental music : " Trois Duos a deux vr Op. 1, Vienna, 1794. " Trois Duos a deux vr Op. 2, Augsburg, 1796. "Six Duos a deux V." Op. 1, Basil, 1795. "Six Sonatines your le Clav. dont trois avec V." Op. 3, 1796. LUCCHINI (Antonio Maria) flou- rished, in 1730, at Venice, as one of the first composers for the theatre there. (See Bur- ney, vol. iv. p. 538.) A concert-master of this name was also celebrated at Milan about the year 1750. L U I LUCELBURGER or LUCELBURGI- US, (Andreas.) Nothing more is known of him than that he is the author of the " Musicat Practicee, lib. 2," Cobourg and Jena, 1604. LUCHESI. See Lucchesi. LUCINDA, (F kancesco) chapel-master to the king of Sicily, was born in that island. He composed, in 1692, the opera " Geff- daura," for the theatre at Venice. (See Burney, vol. iv. p. 79.) LUCINI, (Francesco.) Walther calls him a bass singer, and mentions the following of his works: " Concerti diversi, a 2, 3, e 4, con Partitura," Milan, 1616; and the sequel to this work, Milan, 1617. LUDOYICI, (Thomas) a contrapuntist of the sixteenth century, seems to have re- sided in Italy, where there has been printed of his works, " 4 Psalmi pratcipuis fcs- tivitatibus, 8 voc." Rome, 1591. LU1DERS, a good violinist, was first in the service of prince Ferdinand of Prussia, in Berlin. He then went, in 1785, to Mos- cow ; and having remained about five years in that city, continued his travels, intending, after bis return, to have established him- self at Moscow, in a music warehouse. We know nothing further of him. LUIGI, an Italian composer, of whose composition the opera buffa, "UAlberga- trice vivace,*1 was represented at Dresden in 1782. LUIJA, (C. F.) an artisan in Paris, pub- lished, in the year 1791, " Trois Sonata pour le V." Op. 1, Paris. LUITGERT, (F. H.) a musician in Ham- burgh, published the following works : " 12 deutsche Lieder am Klavier zu sin gen, in Musih gesetzt" Hamburgh, 1797. " Six Variat.sur rAir iContre les chagrins de la vie,' pour le Piano-forte," Op. 2, Hamburgh, 1798. He edited also the following musical selection, which is much admired : " Musi- halisches Journal, aus den neuesten deuts- chen und franz. Opern ausgezogen und furs Klavier eingerichUt. Erster Jahrgang, in 12 Monatsheftenyjeder a 4 Bo gen" Ham- burgh, 1798. LUITTICH, (Johann) a musician of the 87 Digitized by Google L U L seventeenth century, born in Plauen, pub lished " FenusgEcklein, oder nette welt- liche Ges&nge," Jena, 1610. LUIZ, (Francisco) a Portuguese monk and chapel-master in the cathedral church at Lisbon, died there in 1693. He was eminent both for his theoretical knowledge and practical talents in music. He left the following works in manuscript : " Texto da Paixao de Dominga de Ramos, e de aesta feira mayor, it 4 Votes," and " Psalmos e Vilhancios d diversas Voses** LULLO, (Antonio) a musician and contemporary of Zarlino, flourished in 1550. He wf ote a treatise entitled "UArte intiera della Musica** Zarlino was doubtful whe- ther this work had ever been printed, as all his endeavours to obtain a copy of it were in vain. LULLY (Jean Baptist e) was born of obscure parents at Florence, in the year 1734. Having, whilst a child, showed great taste for music, a cordelier, from no other consideration than the hope of his some time becoming eminent in the art, under- took to teach him the guitar. While Lully was under the tuition of this benevolent ecclesiastic, a French gentleman, the chevalier Guise, then on his travels, ar- rived at Florence. This person had been requested by Mile, de Montpensier, a niece of Louis XIV., to find out for and bring her some pretty little Italian boy as a page. The countenance of Lully did not answer to the instructions, but his vivacity and ready wit, in addition to his skill on an instrument, as much the favourite of the French as of the Italians, determined the chevalier to engage him ; and then, about ten years of age, he was sent to Paris. On his arrival, he was presented to the lady; but his figure obtained for him so cool a re- ception, that, instead of making him her page, she commanded the officers of her household to enter bis name in their books as her under-scullion. Neither the disappointment he experienc- ed, nor the employment to which he was destined, affected the spirits of Lully. In the moments of his leisure from the kitchen, 83 L U L he used to scrape upon a wretched fiddle, which he had contrived to procure, A per- son employed about the court happening one day to hear him, informed the princess he had an excellent taste for music She immediately directed that a master should be employed to teach him the violin ; and, in the course of a few months, he became so great a proficient, that he was elevated to the rank of court-musician. In conse- quence of an unlucky accident that took place, Lully was dismissed from this situa- tion ; he afterwards, however, found means to get admitted into the king's band of violins, and applied himself so closely to the study of music, that in a little time he began to compose. Some of his airs having been noticed by the king, the author was sent for, and his performance of them was thought so excellent, that a new band was formed, called Us petits violons, and he was placed at the head of it. Under his direction they soon passed the famous band of twenty-four, till that time so much cele- brated throughout Europe. This was about the year 1660, at which time the favourite entertainments at the French court were dramatic representations, called ballots. These consisted of dancing intermixed with singing and speaking in recitative ; and to many of them Lully was employed to com- pose the music. An academy had been established at Venice for the performance of operas, and Louis wished to have one in France that should excel it. Accordingly, in 1669, he granted to the abbe Perrin, master of the ceremonies to the duke of Orleans, a pri- vilege for the conducting of an opera after the model of that at Venice, but to be per- formed in the French language, Cambert,the organist of St. Honore's, was engaged to compose the music ; but after a little while Lully, who had risen high in the king's favour, contrived to get him to be removed, and himself to be appointed in his stead. Possessing now the situation of composer and joint director of the opera, he not only left his former band and instituted one of his own, but formed the design of Digitized by Google L U L building a new theatre near the Luxem- burg palace, which he afterwards accom- plished. This was opened in November, 1670, with a musical entertainment, con- sisting of a variety of detached pieces, in- cluded under the title of " Le Combat de C Amour et de Bacchus" Lully, some time previous to this, had been appointed superintendent to the king's pri- vate music, and had neglected almost en- tirely the practice of the violin ; yet, when- ever he could-be prevailed with to play, his excellence astonished all who heard him. For the guitar, though so trifling and insig- nificant an instrument, he, throughout his whole life, entertained the greatest partiality. In the year 1686, the king was seized with an indisposition that threatened his life; but recovering from it, Lully was required to compose a " Te Deum," Ac- cordingly he wrote one, which was not more remarkable for its excellence than the un- happy accident with which its performance was attended. Nothing had been neglected in the composition, nor in the preparations for the execution of it, and the more to de- monstrate his zeal, he himself beat the time. With the cane that he used for this purpose, in the heat of action, (from the difficulty of tbe band together) he struck his t, which caused such considerable in- flammation, that his physician soon advised him to have his little toe taken off ; and, after a delay of some days, his foot ; and at length the whole limb. At this dreadful juncture, an empiric offered to perform a cure without amputation. Two thousand pistoles were promised him if he should ac- complish it ; but all his efforts were in vain. Lully died in 1687, and was interred in the church of the Discalceat Augustines, at Paris, where an elegant monument had been erected to his memory. A singular story of conversation betwixt Lully and his confessor in his last illness is related, which, even at so critical a mo- ment, shows the natural archness of his dis- position, at the same time that it exposes the weakness and folly of the priest. Hav- ing been, for many years, in the habit of LUL composing for the opera, the priest, as a testimony of his sincere repentance, and the conditions of his absolution, required of him to throw the last of his compositions into the fire. Lully, after some excuses, at length acquiesced, and pointing to a drawer in which the rough draft of "Achilles and PolLrenes" was deposited, it was taken out and burnt, and the confessor went away satisfied. Lully grew better and was thought out of danger, when one of the young princes came to visit him. " What, Baptiste," says he to him, " have you thrown your opera into the fire ? You were a fool for thus giving credit to a gloomy Jansenist, and burning good music." "Hush! hush! my lord," answered Lully, in a whisper, " I knew well what I was about, I have another copy of it!" Unhappily this ill- timed pleasantry was followed by a relapse ; the gangrene increased, and the prospect of inevitable death threw him into such pangs of remorse, that he submitted to belaid on a heap of ashes with a cord round his neck ; and in this situation he expressed a deep sense of his late transgression. On being replaced in his bed, he became composed, and died shortly afterwards. At the time when Lully was placed at the head of Us petits violons, not half the musicians in France were able to play at sight. A person was esteemed an excel- lent master who could play thorough-bass on the harpsichord or the theorbo in accompa- niment to a scholar ; and, with respect to composition, nothing can be conceived more inartificial than most of the sonatas and airs for violins at that time. The treble part contained the whole of the melody ; the bass and the tenor parts were mere accom- paniments j and the whole was a gross and sullen counterpoint. The combination of sounds then allowed were too few to admit of sufficient variety ; and the art of prepar- ing and resolving discords was a secret con- fined to few. Lully contributed greatly to the improvement of French music. In his overtures he introduced fugues, and was the first who, in the choruses, made use of the side and kettle drums. 89 Digitized by Google LU L It is somewhat difficult to characterise his style. It seems, however, to have been completely original, and derived from no other source than the copious fountain of his own invention. His compositions were chiefly operas and other dramatic entertainments : these, though excellent in their kind, would give but little pleasure at the present day ; the airs being short, formed of regular measures, and too frequently interrupted by recita- tives. Louis XIV. was fond of dancing, and had not taste for any music but airs, in the composition of which, a stated number of bars was the chief rule to be observed. Of harmony or fine melody, or of the rela- tion between poetry and music, he seems to have had no conception ; and these, of course, were all so many restraints upon Lully's talents. The merits of Lully ought to be estimated from his overtures and works of a more se- rious nature than his operas. There are extant several of his motets, and some other good compositions for the church, though not in print. His operas and other theatri- cal performances, which were very nume- rous, have been nearly all published. He composed symphonies for violins in three parts j but these are not to be met with in print. He is said to have been the inventor of that species of composition, the overture j and more particularly that spirited move- ment, the largo, which is the general intro- duction to the fugue : for, though it may be said that the symphonies or preludes of Carissimi, Colonna, and others, are in effect overtures, yet the difference between them and those of Lully is very evident ; the for- mer were compositions of a mild and placid kind, the latter are animated and full of energy. LULLY, (Louis) and LULLY, (Jean Louis) sons of the preceding, were also musicians. They composed, in conjunction , the music to the opera of " ZJphirc ct Flore?* written by Michael du Boullai, secretary to the grand prior of Venddme, and represented in the acadlmie royale in 90 L U P 1688. They also set the opera of "Orphetu," written by the same person, and an opera called " Alcide." • LUFI, (Didier) a French contrapuntist of the sixteenth century. Of his works the following are yet extant : " Chansons Spi- rituelles," 1548. Chanion, SpiriiurUet & quatre," Paris, 1571. "Pnaumes 30 deDa- vid a quatre wir," Lyon, 1549. LUPI, (Lupus) a Flemish contrapuntist nourished abqut the year 1550. He was a composer of great eminence among his contemporaries, but no entire work can be pointed out of his composition. Many single songs and motets by him are to be found in collections, especially in *' Salblinger Con' cent** 4, 5, 6 et 8 voc." Augsburg, 1545. LUPPACHINI, (Bernardino del Vasto) an Italian composer, about the year 1550, published " MadrigaH £ 4 voci," Venice, 1546, and " Madrigal* h 5 voci," Venice, 1547. XUPPINO, (T. W.) organist of Ware, Herts. At about nine years old, Francis Cramer, from friendship to Luppinos father, (an English artist) took the son as a violin pu- pil; atthesarae time, and from a similar kind motive, Frank Lanza, a son of the singing- master, commenced teaching him the piano- forte. After studyingthree yean, hisparents then being called to the continent, F.Cramer took him entirely under his roof, and intro- duced him as a violin ripieno, at the Vocal and other concerts. In another three years the celebrated J. B. Cramer received him into his house as a piano -forte pupil, with whom he remained till 1808. To these gentlemen, particularly to Messrs. Cramer, Luppino is known to feel the warmest gratitude, not only for his musical educa- tion, but for nearly all the good which has since accompanied his career in life. In 1808, with the advice of his friends, Luppino accepted a proposal to assist C. Bridgeman, (many years established in Hertford) as teacher, tuner, and organist. In 1812, an organ having been erected in the neigh- bouring town of Ware, he and Bridgeman became joint organists of both places. In the following year Luppino's marriage Digitized by Gqpgle L U S severed the above connection j since which time Luppino alone has retained the Ware organist's situation j and now, at the age of thirty-one, possesses a tolerably extended conncctionof teaching, lie has onlv hitherto published "A Selection of Psalms and Hymns for the use of Ware Church" part of which are adapted, and part composed by himself. This volume is pub- lished at Goulding's, in the small octavo form, and is remarkable both for the tasteful selection of its contents and neatness of the editing. LUSCINIUS, properly NACHTIGALL, (Ottomarus) a learned Benedictine friar, born at Strasburg, studied music first in his native town, and then at Vienna, where he first became known as a teacher of music, lie was afterwards a preacher in St. Mau- rice's church, at Augsburg, and at the same time lecturer on the Greek language, in the Benedictine convent of St. Ulrich and Afra. Thence he was called to Basil, and lastly again to his native place, as canon of St. Stephen's church. According to Le Long, he died in the year 1535. An estimate may be formed of his learning, by his trans- lation into German of the book of psalms, from the original Hebrew text, also by his translations of the symriosiaka of Plutarch, and the orations of Isocrates, together with several other learned works. Luscinius was early in life a great friend of Erasmus, but became afterwards his roost violent adversary. He was also concerned in the controversies with the famous Ulrich von Hutten, whom he attacked with such power- ful satire, that, at last, Melanchthon gave him to understand, by an epigram, that bis name could not possibly be Nightingale, but that he ought rather to be called Vul- ture. The following works by Luscinius, give him the greatest claim to the admira- tion of posterity, " Music* Institutions 1515, and" Musurgia, sen Praxis Musica," Strasburg, 1536 and 1542. The most in- teresting part of the Utter work is the correct representation of all the instruments then in use. These, as well as the whole book.would have been as good as lost to us, after a lapse LUT of about three hundred years, had not Haw- kins fortunately given (vol. ii. p. 441 of his history) correct representations of all these instruments to the number of forty-nine. LUSITANO, (Vincentino) a musician at Rome, about the middle of the sixteenth century. His principal work is entitled " Jntroduzione faciUssima et novissima di Canto fermo e fgurato contrapunio sem- plice," Rome, 1553; Venice, 1558 and 1561. LUSTRINI (Abbate) flourished it 1755 at Rome, as one of the first chapel- tn asters. LUTHER, (Dr. Martin.) This cele- brated reformer and professor was born at Isleben, in Saxony, in 1483. His "Emhgium on Music " has been published by Dr. Forkel, in the second volume of his History of Music. Luther also wrote several choral melodies. The following are the titles of some of those which he either com- posed entirely, or corrected : these titles are taken from the "P/lichten eines Organis- ten," i.e. "The Duties of an Organist," by the Music Direct. Turk, p. 42. 1. " Wir glauben all an einen Gott, Sfc" 2. "Jesaia demPropheten das," 3. " Ein peste Burg ist unser Gott, SfC." 4. «« Erhalt u?is Herr bey deinem Wort." 5. " Es woll tins Gott genadig seyn." 6. " Ach Gott vom Himmel sieh darein," 7. " Es ist gneiss- lick an der Zeit," 8. " Dies rind die heilgen xehn Gebot" 9. "Nun bitten wir den heilgen Geist." 10. " Gelabet sn/ st du Jesu Christ.'* 11. " Vom Himmel hoch da komm ich her" 12. " Komm, heiliger Geist, Herre Gott." 13. "Mitten wir im Leben rind." 14. " Gott der Voter wohn uns bey." 15. " Vater unser im Him* melreich." And 16. " Christ unser Herr sum Jordan." The music of some of these works is, with much probability, attributed to Luther, especially of the hymn called "Das grosse glauben," No. 1. Also of No. 2, "Jesaia dan Prophetcn," concerning which Johann Waltber, in his epistle, speaks with particular praise, especially as to the manner in which Luther has adapted the notes to the text. On the other hand, the 91 Digitized by Google LUT melodies, Not. 7, 8, 9, 10, 11, 12, 13, 14, were known long before Luther. To these ancient melodies may also be added, " Ein . Kindelein so ISbeUch," "In duki Jubilo," " Christ fuhr gen Himmel" and " Erstan- den ist der heilge." Luther preferred these beautiful melodies to all the translations and adaptations from the Latin church. Gerber is not certain whether the old litany to God and all the saints, (No. 14) was not originally a Catholic hymn. What, aowever, is certain is, that the melody was known before Luther. Nor does No. 15 belong to Luther. It was what is called in Germany a bergkreyen wets, that is, a melody used in singing histories in rhyme, something in the style of the romances or ballads of our day. There were, however, in the fifteenth century, spiritual as well as worldly bergkreyen. Thus, for instance, a certain Rotenbacher claims the following psalms, from Luther's first psalm book, in his collection of " Bergkreyen," printed in 1551, namely, " Sie ist mir Ueb die werthe Magd" and "Ein neues Lied wir heben an." Three hundred years ago no difficulty was made in introducing the melodies of profane songs in churches. This plainly appears from Joh. Isaack's melody to "Inspruck,ich muss dick lassen," "Inspruck, I must leave thee," which afterwards became more known as a hymn, to the words, " O welt ich muss dich lassen*9 and after that, again became popular to the profane words, "JVmi ruhen alle w alder." From the ballet ti of Gastoldi, " Viver lieto voglio, Sfc." and "A lieta vita Amor ci, fyc.*' were also intro- duced into the church with the text, " In dir ist Freude" and " Jesu wollst uns weisen," i. e. " In thee is joy," and " O Jesus, wilt thou show me." The melody No. 16, " Christ unser Herr," is not Luther's, but composed by Wolf Heinz, with whose name it was printed in 1544. We are also, perhaps, indebted to Joh. Walther and Ludwig Senfl for many melodies in Luther's collection. Luther's psalm book was at first very small, and in 1524 con- tained only three sheets, which sheets were also printed separately. They together 92 LUT contained eight psalms, but with only three melodies* Of these, are yet sung in Ger- many, No. 1, " Nun freut euch liebcr Christen" i. e. " Now, Christians, fill your hearts with joy," but much altered, and u Es ist das heil uns kommen her,* i. e. "Salvation now is come to us." The me- lody of the eleventh psalm, " Salvum m* fac, SfcJ* is likewise in the first edition, of Luther, as the psalm is yet found in Ger- man choral books. The songs in that collection, " Ach Gott von Himmel sieJk," i. e. " O God, from Heaven look," «* JSs spricht der unweisen mund tool" i.e. " The lips of fools will speak," and " Aus tief. Mart. Lutheri und an- derer/rommer Christen, allesampt mit den Noten und ihren rechten Melodeyen, dess- gleichen etliche mit 4 Stimmen kunstUch abgesettt," Dresden, 1593. " Geystliche Lieder, mit einer neuen vorrede D, Af. Luther" Nuremburg, 1558. " Ausserlesene Psalmen vnnd Geissliche Lieder,** Pom- mern, 1593. " Teutsch Psalmen und Ges- angbuch D, Lutheri mit 4 Stimmen componirt, und auff den oblichen Choral gerichtet," Eissleben, 1598. Luther was equally fond of figurate descant, which he endeavoured also to promote in the church. This appears from a printed collection of motets, with a preface, by him, which well deserves to be made public in some musical periodical work. The title is, " Symphoniat Jucundat 4 vocum, sen Mo- tettat 52, cum prafatione Mart. Lutheri,*' Wittenberg, 1538. In the fourth year of the Leipzm Mus. Zeit, p. 497, is to be found an arrangement of Luther's interesting Digitized by Google M A A thoughts on music and science in general ; also his remarkable letter to Ludw. Senfel, translated from the Latin into German. (See also Mus. Zeit. An. 12, p. 35.) LUTTICHIUS, (Johann) a German composer in the beginning of the seven- teenth century, published "Sales Venere Musicales, oder newe teutsche Politische Cesunge mit 4 und 5 Stimmen, ouch lustigr Jntraden Sfc. mit 3$ti?nmenf" Leipsic,1610. LUYTON, (Carolcs) court-organist to the emperor Rudolph II. in 1600. He published " Cantiones Sacra? 5 voc," Prague, 1603. " Opus Musicum in La- mentation** Jeremia?" Prague, 1603. Miss* 7 vocum," Prague, 1609. "Lib. 1 Missarum;' Frankfort, 1621. " Madri- gaU, a 5," Venice, 1582. LUZZASCHI or LUZZASCO. This musician was considered one of the greatest organists of his time in Italy, being second only to Claudio Merula. He belongs to the four whom Gallilei calls musicicns par excellence. He published, among other works, " Madrigali," Naples, 1576, which excited universal admiration. Luzzaschi was a native of Ferrara, and concert-master and organist to duke Alphonso II. He died in his sixty-second year. His publica- tion of madrigals above-mentioned, may still be found in the library at Munich. LUZZO, (Francesco) an Italian com- poser for the church, published " Motetti Concertati d 2 e 3 t»ci," Venice, 1650. LYON (Samukl Thomas) was born in the year 1776. He received instructions in the practical part of his profession from his father, who was a very excellent performer MA A on various instruments, and especially emi- nent on the bassoon. In the theory of music, he was a pupil of the late learned and ingenious Possin. When thirteen years of age, he performed in public the tenor part in an obligate quartet of Pleyel's, when the approbation he received caused him to be patronised by Attwood, who invited him to his house, where at that period Bridgetower was an inmate, having been placed under Attwood's care by his present majesty. At his music parties Lyon became familiar with the works of Haydn and Mozart, authors at that period comparatively but little known. In the year 1798, he was unanimously elected a member of the royal society of musicians, and in 1819, elected as one of the court of assistants or perpetual governors of that institution. When the schism took place in the Philharmonic society, and two concerts were established, Lyon was engaged to play the tenor, and made his ddbut in the septet of Beethoven. The applause he received obtained him the honour of being selected by Weichsel, Spagnoletti, Mori, Scc.to per- form in quartets and quintets, in seven concerts during that season. On January 2, 1824, Lyon was unanimously elected an associate of the Philharmonic society. His publications are exclusively for the piano-forte, and principally composed for the use of juvenile performers : they have extended to sixteen operas, besides a great number of airs that he has arranged as rondos, and adaptations of the works of Handel and other authors. M MAASS, (J oh ann Gbbhard Ehren- reich) magistrate, and (since 1791) pro- fessor of philosophy at Halle, was born in Krottorf, near Halberstadt, in 1766. He has, besides several other works, written the following: " Ueber die Instrumental Afusik, (in der Neuen BibL des sch&n Wissensch) B. 48," 1792. " Zusatz zu dem Artik Accent, itn Suiter, in Hinsicht aufdie Musik," i.e. "Appendix to Sul- zer's article Accent, as relates to Music." In the NachtrUg zu Sulzer Theor. der sch. W.t Maass has also written a paper, under the title " Charaktere der vomekmsten Digitized by Google MAC Dichfet otter Nat. von einer Gtsellsch. v. Gel." t. e. " Character of the principal Poets of all Natious, by a Society of learned Men." In this paper, he answers to a question proposed, " By what means can the oratorical and pathetic accents be expressed in music 1" MACARI, (Giacomo) a Roman dra- matic composer, produced the following operas : •* Adaloaldo furioso" 1727. Arts tide" 1736. " Ottaviano trionfante di Marco Antonio** 1735. " La Confes- sing" 1743. MACCHI, (G.) an Italian dramatic composer, resident at Venice about the year 1750. MACDONALD, (Phelps.) This gen- tleman is of Irish extraction, and under the name of Phelps was highly celebrated in London, in the early years of the present century, as an amateur singer and vocal composer. He subsequently held the si- tuation of private secretary to lord Burg- heTsh, British ambassador at Florence. His works are principally in the *tyle of Jack- son, of Exeter, but modernized and im- proved by a due mixture of the Italian school. Amongst them are the following : " Bring me an urn of work divine" duet. " An age is each hour" canzonet. " From thy arms, my dear Fanny," canzonet. u Hither, gentle zephyr" canzonet. *' / tohisper'd her my last adieu," canzonet. Not soft falling showers" canzonet. " The heart that warm'd," canzonet "Tho* thine eyes, my sweet girl,** canzonet. " Whene'er the howling tempest," canzo- net. *' When fancy strews" canzonet. " When the maid that possesses" canzonet. " Close by the Wellantfs," duet. " Haste, ye gales," duet, and " O linger yet," duet. MACE, (Thomas) born in the year 1613, was one of the clerks of Trinity college. Cambridge, and is distinguished, among the writers on music, by a work entitled " Mu- sic's Monument, or a Remembrancer of the best practical Music, both Divine and Civil, that has ever been krtown to be in the World;" published in folio in 1676. Under whom he was educated, or by what means 94 MAC he became possessed of so much skill in the science of music as to be able to fur- nish matter for the above work, he has no where informed us. We may collect from it that he was enthusiastically fond of mu- sic, and of a devout and serious disposition, though cheerful and good-humoured even under the infirmities of age and the pres- sure of misfortunes. His knowledge of music seems to have been chiefly confined to the practice of the lute, (his favourite instrument) and to so much of the princi- ples of the science as enabled him to com- pose for it. As to the above work, a singular vein of dry humour runs through it, which is far from being disgusting, since it exhibits a lively portrait of a good-natured old man. The four first chapters are an eulogium on psalmody and parochial music; the fifth contains a recommendation of the organ for that purpose. The sixth treats of " How to procure an organist." In the eleventh and twelfth chapters he treats of cathedral music, and laments seriously its decline in this kingdom. In parochial psalmody the author recom- mends what he calls short, square, even, and uniform ayres, and is " bold to say that many of our psalm tunes are so ex- celkntly good, that art cannot mend them or make them better." In speaking of the difficulty of singing in tune, even with a good voice, he observes, that, "with an un- skillful,inharmonious, coarse grained, harsh voice, it is impossible." " Tis sad to hear what whining, toling, yelling, or screening, there is in our country congregations, where, if there be no organ to compel them to harmonical unity, the people seem af- frighted or distracted." The liberal use of compounds by the ingenious master Mace, gives his language a very Greciau appear- ance. The second part of the work treats of the lute, and professes to lay open all the secrets relating to that instrument, which, till the author's time, had only been known to the masters of the science. The third part is on the viol and music Digitized by Google MAC in general; and in this he censures the abuse of music, in the disproportionate number of bass and treble instruments in the concerts of his time, in which he says it was not unusual to have but one small weak-sounding bass-viol to two or three scolding violins, as he calls them. He gives directions for procuring and maintaining the best music imaginable, and exhibits first the plan of a music-room con- trived by himself for concerts, with galle- ries for auditors, capable of holding two hundred persons. The instruments are a table-organ, (an invention of his own) and a chest of viols, two violins, and basses of strength sufficient " that they may not out- cry the rest of the music." To these he adds two theorbos, three " full-sized lyra- viols, lusty and smart speaking; because that in consort they often retort against the treble, imitating and often standing instead of that part, second treble." ** And being thus stored, you have a ready entertainment for the greatest prince in the world." He afterwards gives directions for play- ing the viol, with a few lessons by way of example; and concludes with a chapter on music in general, which, however, contains nothing more than some reflections of the author on the mysteries of music, which, he says, have a tendency to strengthen faith, and are a security against the sin of atheism. Mace does not appear to have held any considerable rank among musicians, nor is he celebrated either as a composer for, or a performer on the lute. His book, however, proves him to have been an excellent judge of the instrument, and contains such a va- riety of directions, as to render it a work of great utility. We find in it many curious observations on the choice of stringed in- struments, the various kinds of wood of which they are made, the method of pre- serving them, and the mode of choosing strings. MACHARINI, (Stefeano)] a Roman patrician, published, in 1720, " 12 Senates h V. Solo e Continue? Op. 1. MACHAULT, (Gvillaume de) a French composer, born about the year MAC 1284. In 1301, he was in the service of the queen of Philippe-le-Bel, king of France, till, in 1307, he became vakt-dt- chambre to the prince himself. Some time after this, Henry, king of Navarre, placed Machault as secretary to John of Luxem- burg, king of Bohemia, who was killed, in 1346, at the battle of Crecy. With this prince Machault remained more than thirty years* He was still Hying in 1370, since he wrote a work entitled " The Siege of the City of Alexandria? in which he relates the assassination of Pierre de Lu- signan, king of Jerusalem and of Cyprus, which event did not take place till near the end of the year 1369. Amongst other music, Machault composed some French and Latin motets, roundelays, and ballads, also a mass for four voices, which is thought to have been sung in 1364, at the corona- tion of Charles V., king of France. Fran* cois Perne, of Paris, has reproduced this mass, which is a great curiosity, with a modern score. MACHICOURT, (Petrus de) first singer at the church of Tours, in France, about the year 1656. He published at Paris nineteen songs, with music, and was a composer, much esteemed in the age of which he lived. MACHOLDUS, (Johannes) a contra- puntist of the sixteenth century, probably from Thuringia, published " Die Historic vom Leiden und Sterben Christi mit 6 Stimmen compontrt," Erfurt, 1693, i. e. " The History of the Passion and Death of Christ, composed for five voices;" and " five Motet ten auf die T&rhen-Gefahr gerichtet," Erfurt, 1695. MACHOLDT, (J. H. C.) organist at Luneburg, published " Arien und Licder in Mus. gesetzt," Rintel, 1793. He has not, however, by his publication, raised a very honourable monument to his talents. MACK, (Heinrich) chapel-master at Stuttgard and an able composer, flourished in 1670. MACKENZIE, (J.) professor of music at Bampton, in Oxfordshire, is a native of Exeter, and finished his musical education Digitized by Google MAD in London under the celebrated J. Field, I pupil of Clementi. Mackenzie is a good pianist, and so smooth in his method of fingering, that he once performed with a wine-glass of water on the back of each hand. He has published some music for his instrument, amongst which is " Varia- tions on the Copenhagen Waltz" MACKEY, (IsacJ.) a Swedish philo- sopher, wrote " Diss. Orchestra, sive de Saltationibus Veter." Upsal, 1685. MACQUE, (Giovanni di) a contra- puntist and organist in the service of the king of Naples, about the middle of the sixteenth century, published " Canzonette alia Napolitana," 1555, and " Madriga- leiti a 6 voci," Antwerp, 1600. MACROBIUS, (Ambhosius Aurelius Thxodosius) a domestic of the emperor Theodosius, who held him in high esteem, was a foreigner, and flourished in the year 420 before Christ. Among his writings the following belongs to musical literature : " Comment ariorum in Somniuin Scipionis a Cicerone descriptumt lib. 2," in which he treats of the music of the spheres, accord- ing to the Pythagorean doctrines. MADIN, (Henri) of an Irish family, was born at Verdun, in France, in 1698. In 1737, he quitted the situation of chapel- master to the cathedral at Tours, which he then held, and was nominated chapel- master to the king of France. He soon after also succeeded Campra, as master of the choristers in the chapel royal at Ver- sailles, in which town he died in 1748. The motets of abbe* Madin were much esteemed in France, and sung, long after his death, in the chapel royal. They have remained in manuscript. In 1742, Madin published a work entitled " Traiti duCon- trepoint simple" which is considered but a mediocre performance. MADONIS, (Giovanni) an excellent violinist, born at Venice. Quartz and several other writers speak very highly of his talent. In 1731, he was invited to St. Petersburg, with a salary of- one thousand rubles, and in 1744 was still resident there. Several concertos and 96 MAE sonatas of his composition were published at Paris. MADRE DE DEOS, (Antonio da) a Carmelite friar of Lisbon, studied music under the two celebrated Portuguese com- posers, Duarte Lobo and Manuel Cardoso, and became afterwards vicar of the choir of his convent in Lisbon, where he died in 1690. He composed several psalms, motets, responsoria, and other church music, which is partly distributed among indivi- dual amateurs, and partly preserved in the royal musical library at Lisbon, where they are held in high estimation. MADRE DE DEOS, (Fa. Filippb i>a) a canon and composer, born in Lisbon, flourished about the year 1620. He was chamber-musician to king Alphonsus VL of Portugal, and teacher to king John IV.> who became afterwards so celebrated in musical science. He left, at his death, several musical works in manuscript, which are preserved in the royal library at Lisbon. MAELZEL. This very ingenious me- chanic was born at Regensburg in 1776. He resided, in 1800, in Vienna, where he constructed an instrument, which, by means of a wheel drawn by a weight, performed pieces of Turkish music, as if played by a band of flutes, pipes, four trumpets, cym- bals, triangle, and double drum. A double bellows furuished the wind. The sound of the trumpets was particularly admired. It was produced by ordinary trumpets blown by the machinery, with a power not to be excelled by any trumpeter. Maelzel sold this instrument, in the year of its invention, to an Hungarian nobleman for three thou- sand florins. Since that time he has been assiduously engaged in bringing this sort of mechanical production to the greatest pos- sible perfection, and in trying to increase the number of instruments by two clario- nets, and, if possible, also by two stringed instruments. This second instrument, which he called the Panharmonicon, was sold, as Gerber has' been assured, for twenty-five thousand dollars, in Paris. Lastly, he brought to Vienna a new invented automa- ton, which raised, if possible, still greater Digitized by Google M A F admiration and satisfaction than his pre- ceding inventions. He first gave in Munich a concert to the court with this machinery, and afterwards a public one with extraor- dinary success. Jn the Journal des Modes for 1809, p. 251, is found the following description of his automaton. " From a tent Mr. Maelzel led out a fine manly-loot- ing martial figure, in the uniform of a trumpeter of the Austrian dragoon regiment Albert, his trumpet being in his mouth. After having pressed the figure on the left shoulder, it played not only the Austrian cavalry march, as also all the signals for the manoeuvres of that army, but also a march and an allegro by Weigl, which was ac- companied by the whole orchestra. After this, the dress of the figure was completely changed into that of a French trumpeter of the guard ; it then began to play the French cavalry march, also all the signals of the French cavalry manoeuvres, and lastly a march of Dussek's, and an allegro of Pleyel, accompanied again by the full or- chestra. The sound of this trumpet is pure, and more agreeable than even the ablest musician could produce from that in- strument, because the breath of a man gives the inside of the trumpet a moisture which is prejudicial to the purity of the tone. Maelzel publicly wound up his in- strument only twice, and this was on the left hip." Maelzel is also the inventor of the celebrated automaton chess-player ; likewise of the metronomes, for counting time in music : the latter are sold by Green in Soho-square. MAERK (G. J.) published at Altona, in 1761, his first collection of canticles, with new melodies. MAERTENS, probably an amateur, published about the year 1790, in Dresden, an air, with piano-forte accompaniment, called " An die Sonne beyin Aufgange" i.e. "To the rising Sun." MAFFEI, (Giov. Camillo) a Neapoli- tan philosopher, born at Solofra, published, amongst other works, " Discorso Filosofico delta Voce, e del Modo d'imparare di Cantar, di Garganta, raccolto da D. Va- VOL. II. M A Cr lerio de Paolo di Limosinanot" Naples, 1563. MAFFOU, (Vikcekzo) one of the first tenor singers of his time in Italy, whose person and voice were equally agreeable. He joined to these talents great strength, facility, and much energy and feeling, in his dramatic representations. In the year 1737, he sang in the theatre Aliberti at Rome, where the audience were filled with admiration, and called out to him " Maffo- lo ! Maffolissimo /" He sang also, in 1790, at Reggio, Sienna, and Turin; shortly after which, he was invited to Vienna, to perform at the great theatre there, where he played the more serious parts in the opera buffa. He seems to have quitted Vienna about the year 1794. MAGALHAENS, (Filippe de) court chapel-master at Lisbon, was born at Azei- tam, a village within the patriarchate of Lisbon. Manoel Mendes was his master in music, in whose school he became so well informed, that shortly after his instructions were ended, he was appointed court chapel- master. He is ranked among the best com- posers of his country, and left, at his death, the following works: ** Can tic a. Beatissi- nus Virginia?' Lisbon, 1636. " Misses 4, 5, et 6 vocibusr Lisbon, 1636. " Cantus Ecclesiasticus commendandi animas cor- poraque sepeliendi de/unctorum; Missa et Stationes juxta Ritum sacrosanct* Ro- man* Ecclesiar Breviarii Musalisqve Romani dementis FIJI, et Urbani VIII. recognitionem ordinata," Lisbon, 1614, also Antwerp, 1691. Besides these, there are still in the royal library at Lisbon a considerable collection of masses, mo- tets, &c. by this master. MAGE, (Du) organist of St. Quentin's church, at Paris, about the year 1740, pub- lished a collection of music, in the first ecclesiastical tone, for the organ. MAGERIUS, (Steffi n us) a composer at the end of the sixteenth century, set to music " Schertzer's Symbolum," Nurera- burg, 1569 or 1699. MAGGHIELS, (Jean) a French com- poser in the beginning of the seventeenth Digitized by Google m a a century, published u Chansons k 4, 6, ei 6 voixy" Douay, 1600. MAGGI, (Nat. Thom.) a musician, died in London in 1787. He was probably not destitute of fame in his art, as bis por- trait has been engraved by the celebrated Bartolozzi. MAGGIORE, (Francesco) a Neapoli- tan dramatic composer, wrote several operas for different towns in Europe. He died in Holland about the year 1780. MAGHERINI, (Giuseppe Mahia) a Milanese composer, born about the year 1752, brought out, in 1770, an oratorio called " The Judgment of Solomon." In 1780, an opera of violin trios, by Maghe- rini, were published in London. Another musician of this name lived at Rome at the beginning of the eighteenth century. MAGIELLUS, (Do^ixtcrs) a contra- puntist of the sixteenth century, published 4t MadrigaU a 5 voci," Venice, 1567, and «* MadngaK it 5 rod," Venice, 1568. Both works are yet in the elector's library at Munich. He was a native of Valeggio. MAGINI, a vocal composer of the good Italian school, flourished about the year 1700. The following of his solo cantatas are yet extant in manuscript : " Cantata : Jo non so, ouando vi miro, h Sopr. e Vemb." " Cantata : Vo mi negate amore, h Sopr. e Ceinb." ,( Cantata : Da che vidde il duo, ffc, it Sopr., 2 P., e Cemb." MAGIUS, (Franciscus) a Sicilian com- poser, born at Castro Vetrano, published " Sacra Armonia, eMusicali Concenli d 2, 3, 4, e 5 voci, con Una Messa it 5 concer- tata? Milan, 1670. MAGNASCO (Lodovico da Santa Fiora) flourished, about 1550, as composer and singer in the papal chapel. He was afterwards made bishop of Assisi. MAGNI, (Benedetto) an Italian com- poser in the beginning of the seventeenth century, published " Motetti," Venice, 1616. w Messe Concertate a 8 voci,'* Ve- nice, 1616. " Concerti h 1, 2, 3—8 voci," Ops. 1,2, and 3, Venice, 1616. MAGNI, (Giuskvpe) chapel-master of the cathedral church at Foligno, was bom 98 there* He may be reckoned among ttie good composers of his time, that is, about the year 1700. He composed, amongst other works, " Decio in Foligno," a melo- drama, represented in the church of the above town in 1697. He also composed the opera " Teuzzonc," Milan, 1706. MAGNI, (Paolo) chapel-master at Milan, towards the end of the seventeenth century. MAGNUS, organist of the church of St. Giles in the Fields, in the first half of the last century; he was esteemed a great master of harmony, and had a style which none could imitate. Excessive stndy and application brought on a disorder ia his mind, and he died a young man. MAHAUT, (Antoine) a good composer and flutist, lived at Amsterdam from the year 1740 to 1760, when he fled from Iris creditors to a convent in France, and about the same time published a work entitled " Nouvelle mithode pour apprendte, en pen de terns, it jouer de la Jtttte traverticYe, A t usage des commencans et des personmes plus avance's" Some years afterwards a second edition of this work appeared. There have further been printed of the works of Mahaut nine operas of solos, duos, concertos, &c. for the flute, also some sym- phonies, and three operas of Dutch, French, and Italian ariettes. MA HON, a celebrated darionetist in London, in the latter half of the last century. MAHU, (Stephan) on able Germati contrapuntist about the year 1520. Of his labours there still exist some choral melo- dies in Hans Walther's " CantionaUr There are also some profane songs by hhn, in a collection printed at Nuremburg in 1544. Of these, a five-part song has been inserted by Dr.Forkel, in the second volume Of his History of Music, p. 686-691. The song begins with the following words : " ]&» wok ein alt mail auf die Bultchaft gan, Da legt er, seine beste Kleider an." In the Munich library are also found " Vffieia;* by Mahu, in manuscript. Digitized by Google M A I MAICHE, (De) probably a guitarist at IHuts, published there " Canom tl 3,4, et 6 voix, avec Acc. de Lyre ou de Guitar e" Paris, 1803. MAICHELBECK, (F.A.) director of the concerts at Freyburg, published there, in 1736 and 1738, two operas of sonatas for the harpsichord. MAIER, (G reoorius) a composer, about the middle of the sixteenth century, of whose productions Jacob Pair has intro- duced several pieces in his fugues, pub- lished in 1687. MAIER, (J. F. B. G.) singer and or- ganist at Halle, in Suabia, published there, in 1732, a didactic work called " Museum Mitsicum, theorctico-practicum, Sec.'* MA1FIELD (Ludwio) published " 30 lAeder," Leipsic, 1793. MAILLA, (P. Joseph Anna Maria dr Mostac na) a Jesuit, was, during forty- five years, a missionary at Pekin, in China, and died there in 1748. He published " Hiatoire ginirale de la Chine, ou Annates de cet Empire, traduites du Tong-Kicn- Kang-Mou, et publie'es par t Abb4 Gro- sser," Paris, 1777. In this work, he speaks of the Chinese practical music, and of the musical books of the Chinese. MAILLA RD, (Gilles) a composer at Lyons towards the end of the sixteenth century, was born at Terwanen, in Flanders. He wrote many musical works, of which only the following has become known through the medium of the press : " La Mtisique, contenant plusieurs Chansons Francoises a quatre, cinq, et six parties/' Lyons, 1531. MA I LLA RD or MAG LI ARD, (P i e n r e) a Jesuit, born at Ypres in 1585, applied himself to the study of music, as well as to that of the sciences, for which purpose he followed his master, Gregorius de la Hele, to Spain, when the latter was invited to Madrid as chapel-master to king Philip II. He returned afterwards to Dornick, where he had previously been a singer in the cathedral church, and was then made a prebendary, and lastly rector at Herzogen- busch, where he died in 1640. His treatise MA 3 " De Toni* Musicis," in French, must have been printed, but is only known to Gerber by the title, which is as follows: " Les Tens, ou Discours sur les Modes de Mu- sique, et les Tons de FEglise, et la Dis- tinction entre eux," Tournay, 1610. MAILLERIE, (M. or la) a French musician, lived about 1710. He published at Amsterdam, " Trio pour toutes Sortes a" Instruments," and " Six Sonates a deux Ft. e B. Cr MAINBERGER, (J. C.) chapel-master at Nuremburg, was born in 1750. He was successor to Gruber in this office. It is said, however, that he was neither a com- poser nor vocalist, and that he played no other instrument than the organ, which he had learnt of Gruber. MAINDROITE, a French composer, has published the following compositions : " Chansons libres avec* Acc. de Piano- forte/* Paris, 1800. MA INZER, chamber-musician and cla- rionetist to the margrave of Schwedt, pub- lished at Offenbach, about the year 1785, some instrumental music for the flute and violin. MAIRAN, (Jean Jacques d'Ortous de) permanent secretary to the academy of sciences, was born at Blziers in 1678. He published, in 1737, in the memoirs of the above academy, " Discours sur la pro- pagation du son dans les different tons qui le modi/tent;" also, in the following number, " Eclaircissements sur le Discours prdcl- dent." MAJO, (Giuseppe de) born at Naples about the year 1698, after having studied in one of the conservatories of Naples, and given many successful proofs of his abili- ties, he was appointed master of the royal chapel, as successor of Durante. Majo filled this situation \o the satisfaction both of the court and public, who, on occasions of solemnity, repaired in crowds to the ehapel royal. His reputation did not suffer from the contrast with that of his great predecessor, and he enjoyed the applause and esteem of his fellow-citizens. It appears, however, that Majo chiefly excelled as an instructor, as h 2 99 Digitized by Google MAI he has left few compositions, and many ex- cellent pupils. MAJO (Francesco or Ciccio ni) was the son of an obscure musician. From bis youth he was educated for the bar, and did not begin to learn music till he was twenty years of age. He then went to Bologna to hear Padre Martini, and, by the advice of this learned theorist, together with the study of the works of Jomelli, which he had always before him, he was not long before be became known as a musician. He was first invited professionally to Rome, where he wrote the music to the opera " Demofoonte," in which several airs, full of fire and expression, excited universal admiration; for instance, " Sono in mar, non veggo sponde, Sfc." and " Per lei fra far mi dove guerriero especially, however, the soliloquy of 2'imantes, in the third act, beginning with " Misero me, 8fc" He afterwards wrote the opera " Montezuma,'* which was received with extraordinary applause, particularly the air "A morir se mi condanna," which produced tears in every spectator. His sublime and enraptur- ing songs were not sacrificed to instru- mental accompaniment, as is now but too commonly the case. Afterwards he went to Naples, where he wrote several operas, among which is " Ipermnestra," but, strange to say, in his own country alone he met with but little encouragement. He died at Naples in 1773, under thirty years of age. The following is a list of his pnncipal works : "Artaserse," opera, words by Me- tastasio, 1762. "Ipermnestra," 1762. "C«- tone in Utica,*' words by Metastasio, 1763. "Montezuma," 1765. "Antigono" of Me- tastasio, 1768. i% Didone abbandonnata," of Metastasio, 1769. "Allessandro nelV Indie," also of Metastasio, 1774. " Eu- mene," first act only. " Ifigenia in Tau- ride." Sacred music : " Salve Regitia this was performed with great applause at the concert spirituel at Paris in 1782. " Dixit Dominus Domino meo." MAJORANO, (Gaetano.) See Ca- FAKELLI. t MAIZIER, (Carl Wilhelm, M. D.) 100 M AL , an amateur musician at Burg, near Mag- deburg, published at Leipsic " Musicaliseht Bagatellen furs Klavier," first part, 1797. A review of the same is to be found in the Leipz. Mus. Zeit, Jahrg 1, p. 851. MAKOWECZKY, chamber-musician to the Prussian court, was born in Bohemia ; he was a pupil, on the horn, of the celebrated Punto. He published, about the year 1802, several operas of music for his instrument at Leipsic. MALCOLM (Alexander) published at Edinburgh, in the year 1721, " A Treatise of Music, speculative, practical, and histo- rical." This work is divided into fourteen chapters. The first chapter contains an account of the object and end of music, and of the na- ture of the science. The author begins by explaining the nature of sound. He then inquires into the various affections of sounds, so far as they relate to music, of which he makes two divisions : first, the knowledge of the materia medica ; secondly, the art of composition. The second chapter treats of tune, or the relation of acuteness and gravity in sounds. The third chapter contains an inquiry into the nature of concord and discord, and is concluded with a relation of some remarkable phenomena respecting them. The fourth chapter is on the subject of harmonical arithmetic, and contains an ex- planation of the nature of arithmetical, geometrical, and harmonical proportions, with rules for the addition, subtraction, multiplication, and division of ratios and intervals. The fifth chapter contains the uses and application of the preceding theory, explain- ing the nature of the original concords, and also of the compound ones. The sixth chapter explains the geometrical part of music, and the method of dividing right lines, so as their sections or parts, one with another, or with the whole, shall* con- tain any given interval of sounds. The seventh chapter treats of harmony, and explains the nature and variety of it, as Digitized by Google MAL it depends upon the various combinations of concording sounds. The eighth chapter treats of concinnous intervals, and the scale of music ; and in this are shown the necessity and use of dis- cords, and their original dependence on the concords. It explains farther the use of degrees, in the construction of the scale of music. The ninth chapter is on the mode or kev in music, and of the office of the scale of music. The tenth chapter treats of the defects of instruments, and the remedy for these in general, by means of sharps and flats. This chapter is concluded by a general approba- tion of the semitonic division, and the pre- sent practice of tuning the organ or harp- sichord, corresponding as nearly to that as the judgment of the ear will allow. As to the pretences of nicer kinds of musicians, he demonstrates that they tend to introduce more errors than those under which the pre- sent system labours. The eleventh chapter describes the me- thod and art of writing music, and shows how the differences in tune are represented. Under this head, the author explains the nature and use of the cliffs, and the nature of transposition. He explains, also, the practice of solmisau'on. Lastly, he enters into an examination of Salmon's proposal for reducing all music to one cliff, as delivered in his Essay to the Advancement of Music, of which he approves. The twelfth chapter is on the time or duration of sounds in music. The thirteenth chapter contains the ge- neral rules and principles of harmonic com- position. These are such as are to be found in almost every book on the subject of musical composition. The account given, in the fourteenth chapter, of the ancient music, is, consider- ing its brevity, very entertaining and satis- factory. In a short history of the improvements in music, which makes part of this last chap- ter, the author particularly notices the re- formation of the ancient scale of Guido, MAL and adopts respecting it the sentiment of a very ingenious man, who says that it is " crux tenellorum ingeniorum.*1 In the comparison between ancient and modern music, the author gives a decided preference to the latter ; and on the con- troverted question, Whether the ancients were acquainted with music in consonance or not ? he cites a variety of passages from Aristotle, Seneca, and Cassiodorus, to deter- mine the negative. This work is replete with musical erudi- tion ; and, extensive as the subject is, the author has contrived to bring under consi- deration all the essential parts of the science. His knowledge of mathematics has enabled him to discuss, with great clearness and perspicuity, the doctrine of ratios, and other abstract speculations, in the language of a philosopher and a scholar. In short, it is a work from which a student may derive great advantage ; and it may be justly deemed one of the most valuable treatises on the subject of theoretical and practical music, that is to be found in any of the modern languages. MALETTI, (Jean db) a French com- poser of the sixteenth century, born at St. Maximin, in Provence. He published" " Amours duRonsarda huit parties** Paris 1578. MALVEZZI, (Cristofoho) chapel-mas- ter at the court of the Medicis, in the mid- dle of the sixteenth century. MALZAT,(Joii ann Michel.) InTraeg's Musical Catalogue, Vienna, 1799, a num- ber of manuscript works by this composer are mentioned, which are mostly written for the English horn, (obligato) or for the haut- boy. They consist of « 3 Conzertirende Sin/on,** " 2 Conzerte fur Hoboe," " 2 DergUfur das Engl. Horn," "ZDergl. filr den Fagott," « \ DergL fSrs Violon- cello;* « I Septettoftirs EngLHorn,** "3 Sestetti fur Hoboe," "4 Quintetti, theils filr Hoboe und theils ftir Flote" "11 Qunr- tetti, in welchcn das Hauptinstrument bald Flote, bald Hoboe, ein Engl Horn oder Fagott ist," and " 2 Doppelkonterte fur Hoboe und Fagott." 101 Digitized by Google MAN MANCHICOURT, (Pierre) a native of Bethune, and director of the music in the cathedral church of Dornick, who flou- rished about the year 1580, was a composer of songs and motets. From his composi- tions that are yet extant, he seems to have been not only a dry but a clumsy contra- puntist. MANCINELLI, (Dom.) an Italian com- poser, published much flute music in Paris, London, and Berlin, about the year 1775. MANCINI, (Giov. Battista) one of the most celebrated pupils of Bernachi, pub- lished at Vienna, in 1774, a work entitled " Pensieri e rifiesaioni praiiche sopra il canto Jigurato" This book has been trans- lated into French twice, in one volume, octavo, and is considered to be a publica- tion eminently classical. Mancini died at Vienna in 1800, in the eighty-fourth year of his age. In the latter part of his life, he retired on a pension, as singing-master to the court. MANCINI, (Francesco) a pupil of Leonardo Vinci, was born at Naples in 1691. If not the heir of his master's ta- lents, he inherited at least his manners and principles. He first studied his art in the conservatory of Loretto, of which he became one of the directors, on the completion of his studies. He excelled as much in com- position as in tuition. The numerous and excellent scholars, and the works he has produced, are so many proofs of his merit. Amongst his operas, both in the serious and comic style, " // Cavaliere Bretonc" and "Maurizio" are the most distinguished. J The genius of Mancini was equally adapted to both styles. Brilliant, gay, light, and agreeable, full of truth and expression, he delighted in the comic opera ; noble, ele- vated, grave, and even sublime, he charmed in the serious. The character of his melody, in both species, was always appropriate ; and this propriety reigned alike in his airs and in his accompaniments. He composed but little; but the works which remain to us are marked by taste and delicacy, grace and truth. He continued the labours of his predecessors, with the view of making MAN the school of Naples the greatest in Italy* Hasse regarded Mancini among the best masters of the art. MANDINI, (Paolo) a singer at Venice in 1787, was at Paris in 1790, where he performed at the opera buffa with great success. His wife was* also an excellent singer. MANELLI, (Francesco) of Tivoli, composed the music of the first opera that was given at Venice, in 1637 ; its title was "Andromeda." In 1638, he gave there "La Maga fulminata." The novelty of the singing, which replaced the declama- tion till then in use at Venice, had so great an effect, that the Venetians immediately began to build proper theatres for these performances. Manelli afterwards composed for them several other operas. MANELLI, (Ca r lo) a violinist at Rome, born at Pistoja, published there, in 1682, a work of sonatas for his instrument. MANELLI, (Pietro) an Italian comic singer, towards the middle of the eighteenth century. His performances at Paris, in the buffo style of his country, are said to have prepared the French for a better style of comic music than they had previously practised. MANENTI (Giov. Pietro) is ranked by Cerreto, in 1601, among the most emi- nent musicians. MANFREDI, (Ludovico) a miuorite and composer of church music, in the seven- teenth century. Of his works have been printed, " Motetti" Venice, 1638, and " Concerti a 5 Voci, Libro 1, *2, 3, 4." MANFREDI, (Filippo) born at Lucca, was a pupil of Tartini. He published at Paris, in 1768, "Six Solos pour riolon,1 Op.l. MANFREDI, (Mutio) an Italian poser, called // Formo Academico, lived in the beginning of the seventeenth century. There have been printed of his works **Ma- drigali," Venice, 1606. MANFREDINI, (Vincenzo) chapel- master to the court of Russia, was born at Bologna, and studied composition under Peru and Fioroni. Jn 1766, he »> Digitized by Google MAN Russia, and in 1769 returned from that country, having amassed a considerable fortune. In 1775, he published a didactic work, of no great merit, under the title of " Regale Armoniche." The rest of his com- positions consist of sonatas for the harpsi- ehord and violin, operas and motets, hardly any of which are known out of Russia. MANGEAN, a French violinist at the concert tpirituel at Paris, in 175Q. He published, about the same time, several operas of solos, duos, and trios for his in- str unisii t • MANGONI, (Antonio) a composer of the seventeenth century, born at Cara- vaggio, published " Aftwa e Salmi," Milan, 1623. MANIERE, (Exupere ns la) a pro- fessor of the harp and piano-forte at Paris, published there, in 1786, " Sixihue Becueil dc» Air* var, pouf la Harpe" ' 'Sep tieme Bee. ditto," and " Premier Bee, de /wit Pre- lude*, troi* Cham, et Horn. Ace* de Harpe, Parol, et Mm*, du mime" Op. 9, 1785. MAM INI, an Italian dramatic composer, wrote about 1733 in Rome, for the theatre there. MANKELL, a German musician, has made himself known by the following in- strumental music ; " Serenata a dew Cla- rinett,, deux Cor*, et deux Boston*, " 1799. •* Six petite* Pile** tri* facil. pour deux Clar., deux Cor*, un Bawn, et unFl." 1799. " Divert, a deux Clar., deux Cor*, et deux Fag, Part, I," Hamburgh, 1800. MANN, (Johann Cbistoph) a pro- fessor of the harpsichord at Vienna, about the year 1766. He wrote much music for his instrument. MANNA, (Genako) a Neapolitan mu- sician, and nephew of P. Sarro, In 1751 he gave, at Venice, the opera " La Didone abbandonnata," of Metastasio ; and in 1753, « Sir 90," of the same poet. He retired from public life about the year 1780. MANNI, (DominicvsMabia) a learned writer at Florence, in the beginning of the eighteenth century. He published " De Florentine Inventi* Commentary," Fer- ram, 1731, in whieh he speaks of the part MAN of the opera. MANNL, (Joseph) first violin in the imperial chapel at Vienna, about the year 1766, died in that city in 1777. MANOIR, (Guillaume »u) a cele- brated violinist in the service of Louis XIII., was nominated by the king, in 1630, after the death of the violinist Constantino, ro$ ties violon*, ma\tre de* mdne'triers, i. e. king of the violins, and master of the minstrels. He published " Lt Mariage de la Musique et de la Dante** Paris, 1604. MANSARO, (Dom. dello) a composer of the sixteenth century, many of whose works have been published in the De Anti- quis prima libra a 2 Foci de diversi Autari di Bari, Venice, 1585. MANSUI, (Fbancois Charles) born at Amsterdam in 1785, is considered a good instrumental composer. He has published much music in France and Germany, for the piano-forte and violin. MANZIA, (Luioi de) a musician and composer at Dusseldorf, about the year 1650. MANZOLI (Giovanni) was born at Florence about the year 1725. Having attained much celebrity in Italy as a singer, he was engaged by Farinelli, in 1753, for the opera at Madrid, where be obtained a salary of one thousand six hundred ducats. In 1764> he arrived in England, and Dr. Buroey thus describes his ddkut, " The expectations which the great reputation of this performer had excited were so great, that at the opening of the theatre in Novem- ber, with the pasticcio of Ktio, it was with great difficulty I obtained a place, after waiting two hours at the door. Manzoli's voice was the most powerful and volumir nous soprano that bad been heard on our stage since the time of Farinelli ; and hie manner of singing was grand, and full of dignity. In this first opera, he had three songs, composed by Pescelli, in three dif- ferent styles, all of which he executed ad- mirably. The lovers of music in London were more unanimous in approving bis 109 Digitized by Google MAR voice and talents, than those of any other singer within my memory. " The applause was hearty, unequivocal, and free from all suspicion of artificial zeal : it was a universal thunder of acclamation. His voice alone was commanding from native strength and sweetness ; for it seems as if subsequent singers had possessed more art and feeling : and as to execution he had none. He was, however, a good actor, though unwieldy in figure, and not well made; neither was he young when he arrived in London ; yet the sensations he excited seem to have been more irresistible and universal, than I have ever been wit- ness to in any theatre." Manzoli had for his benefit II Re Pastore, an opera, of which the music was chiefly by Giardini, and with the exception of the songs composed for Manzoli, had been per- formed in 1755. The public, however, were more delighted with this great singer's performance in Ezio, than in any other opera that was brought on the stage during his residence in this country, which was only one season, at the end of which he returned to Italy, and was succeeded here by Elisi, who arrived in London, for the second time, in the autumn of 1756. MAPPES, (Petbr) a clerk of the ex- cise at Berlin, in 1798. He was an able violinist and piano-forte player, and pub- lished, about 1788, " 2 Sonaten fur das Klavier zum Beaten der Armen" Berlin. They are written in the Bacchanalian style. MARA (Madame) was born at Cassel in 1750, and it is stated, on the authority of a foreign correspondent of Dr. Burney, that her early years were devoted to the study of the violin, which, as a child, she played in England, but quitted that instrument, and became singer, by the advice of the English ladies, who disliked a " female fiddler." It may, therefore, have hap- pened, that to this prejudice we owe the delight experienced from the various excel- lencies of the most sublime singer the world ever saw. Nor was the objection of the 104 MAR English ladies the only prejudice which' Miss Schmelling had to encounter ; for, on her arrival at Berlin, at the age of twenty- four, Frederick the Great, king of Prussia, who affected as high a skill in music as in war, could scarcely be prevailed upon to hear her, his majesty declaring, that he should as soon expect pleasure from the neighiug of his horse, as from a German singer. One song, however, convinced him of her ability, which he immediately put to the severest trial, by selecting the most difficult airs in his collection, and which Miss Schmelling executed at sight, as perfectly as if she had practised each of these compositions all her life. Her earliest singing-master was an old man of the name of Paradisi, and at fourteen she sung before her late majesty with the greatest success. From 1767 to 1783, she passed through Germany and Switzerland j she visited Na- ples at a period subsequent to her appear- ance in England. Although it is related that Madame Mara's first impressions led her to songs of agility, yet her intonation was fixed by the incessant practice of plain notes. We know, from her own assurance, that to confirm the true foundation of all good singing, by the purest enunciation, and the most precise intonation of the scale, was the study of her life, and the part of her voicing upon which she most valued herself. The late Dr. Arnold told the writer of this article, that he had, by way of experiment, seen Mara dance, and assume the mast violent gesticulations, while going up and down the scale ; yet such was her power of chest, that the tone was as undisturbed and free, as if she had stood in the customary quiet position of the orchestra. The Italians say, that ■ " of the hundred requisites to make a singer, he who has a fine voice has ninety-nine." Madame Mara had certainly the ninety-nine in one. Her voice was in compass from G to E in altissimo, and all its notes were alike even and strong ; but if we may be permitted to supply the hundredth, she had that also in a supereminent degree, in the grandest and most sublime conception. At the early age Digitized by Google MAR of twenty-four, when she was at Berlin, in the immaturity of her judgment and her voice, the best critics admitted her to have exceeded Cuzzoni, Faustina, and indeed all those who had preceded her. Our age has since seen Billington and Catalan], and we still believe, that, in majesty and truth of expression, (that term comprehending the most exalted gifts and requisites of vocal science) Mara retains her superiority. From her we deduce all that has been learned concerning the great style of sing- ing. The memory of her performance of Handel's sublime work, " / know that my Redeemer liveth" is immortalized, together with the air itself. Often as we have since heard it, we have never witnessed* even an approach to the simple majesty of Mara : it is to this air alone that she owes her highest preeminence ; and they who, not having heard her, would picture to them- selves a just portraiture of her performance, must image a singer who is fully equal to the truest expression of the inspired words, and the scarcely less inspired music of the loftiest of all possible compositions. But Mara was the child of sensibility : every thing she did was directed to the heart ; her tone, in itself pure, sweet, rich, and powerful, took all its various colourings from the passion of the words j and she was not less true to nature and feeling in "The Soldier tir'd," and in the more exquisite, "Hope told a flattering tale** than in "J know that my Redeemer liveth:* Her tone, per- haps, was neither so sweet nor so clear as Billington's, nor so rich and powerful as Catalani's, but it was the roost touching language of the soul. It was on the mas- tery of the feelings of her audience that Mara set her claims to fame. She left sur- prise to others, and was wisely content with an apparently (but not really) humbler style ; and she thus chose the part of genuine greatness. The elocution of Mara must be taken rather as universal than as national; for although she passed some time in England when a child, and retained some knowledge of the language, her pronunciation was MAR continually marred by a foreign accent, and those mutilations of our words which are inseparable from the constant use of foreign languages, during a long residence abroad. Notwithstanding this drawback, the impres- sion she made, even upon uneducated per- sons, always extremely alive to the ridicu- lous effects of mispronunciation, and upon the unskilled in music, was irresistible. The fire, dignity, and tenderness of her vocal appeal could never be misunderstood ; it spoke the language of all nations, for it spoke to the feelings of the human heart. Her acquaintance with the science of music was considerable, and her facility in reading notes astonishing. The anecdote related above, will prove how completely all music was alike easy to her comprehen- sion. Perhaps she is indebted to her fiddle for a faculty, at that time not very common. We have observed, that all players on stringed instruments enjoy the power of reading and writing music beyond most others: they derive it from the apprehen- sion of the coming note, or distance, which must necessarily reside in the mind, and direct the finger to its formation. The two branches of art are thus acquired by the violinist in conjunction ; and to her know- ledge of the violin we attribute Madame Mara's early superiority in reading difficult passages. Mara's execution was certainly very great; and though it differs mate- rially from the agility of the present fashion, it may be considered as more true, neat, and legitimate, inasmuch as it was less quaint and extravagant, and deviated less from the main purpose of vocal art expres- sion. Mrs. Billington, with a modesty be- coming her great acquirements, voluntarily declared, that she considered Mara's exe- cution to be superior to her own in genuine effect, though not in extent, compass, ra- pidity, and complication. Mara's divisions always seemed to convey a meaning, they were vocal, not instrumental; they had light and shade, and variety of tone ; they relaxed from or increased upon the time, according to the sentiment of which they 105 Digitized by Google MAR always appeared to partake : these attri- bute! were always remarkable, in her open, true, and liquid shake, which was certainly full of expression. Neither in ornaments, learned and graceful as they were, nor in her cadences, did she ever lose sight of the appropriate characteristics of the sense of melody. She was, by turns, majestic, ten- der, pathetic, and elegant, but the one or the other, not a note was breathed in vain. 8be justly held every species of ornamental execution to be subordinate to the grand end of uniting the effects of sound sense in their operations upon the feelings of her hearers. True to this principle, if any one commended the agility of a singer, Mara would ask, " Can she sing six plain notes?" We place Madame Mara at the very summit of her profession, because, in majesty and simplicity, in grace, tenderness, aud pathos, in the loftiest attributes of art, in the elements of the great style, she far transcended all her competitors in the list of fame. She gave to Handel's composi* tions their natural grandeur and effect, which is, in our minds, the very highest degree of praise that we can bestow. Han- del is heawi sav the musical fashion-monerers of the day. Milton would be heavy beyond endurance, from the mouth of a reader of talents even above mediocrity. The fact is, that to wield such arms, demands the strength of giants. Mara possessed this heaven-gifted strength. It was in the per- formance of Handel, that her finer mind fixed its expression, and called to its aid all the powers of her voice, and all the acqui- sitions of her science. Madame Mara left England in 1802, with powers astonishingly preserved, con- sidering her long professional labours. Her last performance was on the 3d of June in that year, when Mrs. Billington sung a duet with her, a test of power from which she came off with undiminished reputation. Since that period, Mara has resided prin- cipally in Russia, and at the conflagration of Moscow suffered severely in her property. Towards the close of the year 1819, or the beginning of 1820, she returned to London, 100 MAR on presenting herself one* more to the judgment of the English public, who had reverenced her name so highly and so long. She, consequently, had a concert at the Opera-house, but her powers were so diminished that it proved unsuc- cessful. MARA (Iokaz) was born at Teutsch- brod, in Bohemia, where he also received bis first musical education. He was cham- ber violoncellist to the king of Prussia, about the year 1766. He died in 1783. MARA, (Johann) son of the preceding, and husband of the celebrated Madame Mara, was bom at Berlin in 1744. In the French dictionary of musicians, his death was stated to have taken place in 1789 ; but Gerber says, that the account of his death in that year was what the Germans call ship neivs, and that he was, in 1799, still living near Berlin, in very low>circunv* stauces. Gerber adds, that he was never a very talented violoncellist, and that much of the praise formerly lavished on him was exaggeration. " Still," adds Gerber, " when I became acquainted with him in 1801, in Sondershausen, he still played an adagio of his own composition so well, that no orchestra need have been ashamed of himj and when, in his allegro, he missed bow and then a note, it was not so much the fault of his hand, as of his instrument, which was a bad one. He conducted himself, during his stay here, like a sedate, well- informed, gentlemanly man, nor did he ever show the least symptoms of that inclinatioa to intemperance, which has been, the bane of his life. He was, however, in very great dis- tress, notwithstanding his noble-minded wife furnished him, from time to time, with con- siderable sums of money. About this time," continues Gerber, " be went to Holland, where he indulged to such a degree his fatal inclination to drunkenness, that, after having lost every feeling of propriety, he was seen day and night in the lowest pot- houses, playing the fiddle for sailors to dance & till at last death overtook him in the summer of 1808, and delivered him bis wretched existence, in Digitized by Googl MAR Rotterdam. Such was the melancholy end of a man possessed of talent, great know- ledge of mankind, and formed by nature to have been an ornament to society. MARA, (Raobttan) uncle to the pre- ceding, was a composer and excellent or- ganist. He was a monk of the order of St. Augustine, and chapel-master to St. Wen- zel's church, in the Newstadt, at Prague. He was born in 1719, and after having gone through his course of philosophy, &c. entered, in 1739, the order in which, after a few years, he became a priest. In the mean time, he was not idle as a musician, having previously been appointed chapel- master to the church «of his order in his native city ; thirteen years after which, he was called to Prague in the same capacity, in St. Wenzel's church. Here he was unremitting in the study of the scores of the great masters, of which he co- pied no less than three hundred masses with his own hand ; at the same time, be formed a great many pupils in thorough- bass, and composed some music for the church and chamber. Ignaz Mara was not a little active in adding to his brother's collection of music. Thus this indefatigable man spent his time during nineteen years, till the Augustine convent at Prague was dissolved, and he wss compelled to return to his birthplace, where he was found, in 1788, by the worthy philosopher Dlabaci, lame from an apoplectic stroke. Dlabacz received the above particulars of his life from his own lips ; whilst he added to him, that he greatly bewailed the sudden loss of his faculties to such an extent, as it deprived him of the power of pouring forth his praises to his Creator on the organ. MARAIN. See Marin. MARAIS, (Marin) born at Paris in 1656 : he made so rapid a progress in the art of playing on the viol, that Sainte-Co* lombe, his master, at the end of six months, would give him no further instructions. He carried the art of playing on this instrument to the highest pitch of perfection, and was appointed one of the chamber-musicians to the kiner. He composed several pieces for INI A It the viol, and sundry operas. HU works bear the pregnant marks of a fertile genius, united to an exquisite taste and judgment* This celebrated musician died in 1728. MARASTONI, (Antonio) an Italian organist and composer at IUasi, in the be- ginning of the seventeenth century. He published "Alotctti," Venice, 1625. MARATSCHECK, (Carl.) There were to be procured, of his composition, in 1799, at Traeg's, in Vienna, in manuscript, " 6 Quart, d 2 V., Viola, t tf." MARBECK (Joun) was organist to the chapel of St. George, at Windsor, and a person to whom church music is under greater obligation than the world in general has been inclined to allow. It is a common, but mistaken opinion, that Tallis was the first composer of the cathedral service of the church of England ; Marbeck certainly pre- ceded him in this labour ; and in the ori- ginal musical notes to the prtces, the suffer* ages and responses were undoubtedly of his composition. His " Te Ueum' is inserted in the first volume of Smith's Musica At* tiqua. The history of Marbeck, which has en* titled him to a place in the Martyrology of the zealous and laborious John Fox, is as follows. About the year 1544, a number of per- sons living at Windsor, who favoured the Reformation, had formed themselves into a society. Among them were Anthony Per- son, a priest, Robert Testwood, a singing man in the choir of Windsor, John Mar- beck, and Henry Fulmer. On intimation being given that these persons held frequent and improper meetings, the bishop of Win* Chester procured a commission from the king to search the suspected houses, and the above-mentioned four persons were appre- hended, and their books and papers seized. Among other things, there were found some papers of notes on the Bible, and an English concordance, in the handwriting of Mar- beck. Upon his examination before the commissioners of the statute of the six ar- ticles, he gave the following account of himself. He said, respecting the notes, that 107 Digitized by Google MAR as he was in the habit of reading much, in order to understand the Scriptures, it was his practice, whenever he met with any ex- planation of an abstruse or difficult passage, to extract it into his note-book, and there place under the name of the author. As to the concordance, he told them, that be- ing a poor man, and not able to buy a copy of the English Bible, then lately published by Matthew, he had set about transcribing one, and had proceeded as far as the book of Joshua, when an acquaintance of the name of Turner, knowing his industry, sug- gested to him also the plan of writing a concordance, and for this purpose supplied him with a Latin concordance and an Eng- lish Bible. He said, in conclusion, that by the assistance of these, as his papers would show, he had been able to proceed in his Work as far as the letter L. The story seemed altogether so strange that the commissioners scarcely knew how to credit it. Marbeck, however, desired that they would so far indulge him as to take any words under the letter M, and give him his concordance and Bible, and he would endeavour to convince them of its truth. In a single day he filled three sheets of paper with the continuation of his work, and had got as far as the words given him would allow. His ingenuity and industry were much applauded even by his enemies, and Dr. Oking, one of the commissioners who examined him, said, that he " seemed to have been much better employed than some of his accusers." Neither his iugenuity nor his industry, however, could prevent his being brought to trial for heresy along with his associates. Person and Filmer were indicted for irrever- ent expressions concerning the mass ; and the charge brought against Marbeck was for copying, with his own hand, an epistle of Calvin against it. They were all found guilty, and condemned to be burnt ; and the sentence was executed on all except Marbeck the day after the trial. Three of the witnesses on this trial were, however, afterwards accused and convicted of per- jury. 108 A R Marbeck, being a man of harmless dis- position, was afterwards given up to the bishop of Winchester, who, from his perse- cutor, became his patron. The Catholics held out to him many temptations, but he steadily refused to betray any of the persons with whom his party had been concerned ; and at last, through the intercession of sir Humphrey Foster, one of the commissioners, he obtained the king's free pardon. Having thus escaped martyrdom, he ap- plied himself to the study of his profession ; and not having been required to make any public recantation of his opinions, he in- dulged them in secret till the death of Henry VIII., when he found himself at liberty to make an open profession of his faith; and accordingly he finished, and in 1500 published his concordance. He wrote also, amongst other things, " The Lives of holy Saints, Prophets, Patriarchs, and others,** published in 1574 ; " A Book of Notes and Common-places, with their Expo- sitions, collected and gathered together out of the Works of divers singular Writers,** in 1801 ; and " The Ripping up of the Pope's Fardels'* The musical service composed by Mar- beck was formed on the model of the Rom- ish ritual, and first published in quarto, in the year 1550, with this title, '« A Boke of Common Praier, noted." The Lord's prayer, the creed, and such other parts as were proper to be read, are written so as to be sung in a certain key or pitch, in a kind of recitative. To the other parts are given me- lodies of a grave and solemn construction, and nearly as restrained as those of the old Gregorian chant These have each an har- monical relation with the whole, the domi- nant of each being in unison with the key- note in which the whole is to be sung. MARCELLO DI CAPUA. See Ber- NARDINI. MARCELLO, (Alessandro) elder bro- ther to Benedetto, was of a noble family in Venice. He was educated according to his distinguished station in life, and was well grounded in the arts and sciences. Among the latter, he particularly studied Digitized by Google MAR mathematics, philosophy, and music. He resided constantly at Venice, where he held a weekly musical meeting, at which his own compositions were almost exclu- sively performed. These meetings were open to every distinguished stranger. The following of his works were printed, but all under his assumed name, Eterio Stinfalico : *' Cantate da Camera h Voce sola," Venice, 1715. " 6 Concerti a due Ft. trav. o V. principali, due V. ripieni, Viola, b Vc. Oblig., e Cembalo," Augsburg, 1738. "La Cetera, Concerti di Eter. Stinfalico, Aca- demico Arcade, Parte Prima, Oboe 1, b Traversiere col V, principale, publicati da Gio. Christians Leopold," Augsburg, 1 738. MARCELLO, (Benedetto) a noble Venetian, was born in 1686. His father, Agostino Marcello, was a senator of Venice ; his mother, Faolino, was of the honourable family of Capello. The male issue of these two persons were Alessandro, a son next to him, whose chris- tian name is unknown, and the above-men- tioned Benedetto Marcello: the elder of them addicted himself to the study of na- tural philosophy and the mathematical sciences, as also to music, to which he at- tained to great proficiency ; his younger brother, Benedetto, had been well instructed in classical literature, and having gone through a regular course of education un- der proper masters, was committed to the tuition of his elder brother, and by him taken into his house with a view to his farther improvement in philosophy and the liberal arts. Alessandro Marcello dwelt at Venice; he had a musical academy in his house, held regularly on a certain day in every week, in which were frequently performed his own compositions. Being a man of rank, and eminent for his great endowments, his house was the resort of all strangers who came to visit the city. It once happened that the princes of Brunswick were there, who, being invited to a musical performance in the academy above-mentioned, took par- ticular notice of Benedetto, at that time very young, and, among other questions, MAR asked him, in the hearing of his brother, what were the studies that most engaged his attention 1 " O," said his brother, " he is a very useful little fellow to me, for he fetches my books and papers, the fittest employment for such a one as he is." The boy was nettled at this answer, which re- flected as much upon his supposed waut of genius as his youth : he therefore resolved to apply himself to music and poetry ; which his brother seeing, committed him to the care of Francesco Gasparini, to be in- structed in the principles of music; for poetry he had other assistances, and at length became a great proficient in both arts. In the year 1716, the birth of the first son of the emperor Charles VI. was cele- brated at Vienna with great magnificence ; and upon this occasion a serenata, composed by Benedetto Marcello, was performed there with great applause. Two cantatas of his, the one entitled " // Timoieo," the other "La Cassandra," are also much esteemed. Marcello, after this, composed a mass, which is highly celebrated, and was per- formed for the first time in the church of Santa Maria della Calestia, on occasion of Donna Alessandro Maria Marcello, his brother's daughter, taking the veil in that monastery. He also set to music " The Lamentations of Jeremiah," the "Miserere," and the " Salve'." These, with many other sacred compositions, he gave to the clergy of the church of Santa Sophia, and was at the pains of instructing them in the manner in which they were to be performed. For many years Marcello was a constant member of a musical academy held at the house of Agostino Coletti, organist of the church of the Holy Apostles, in which he always sat at the harpsichord, and by his authority, which every one acquiesced in, directed and regulated the whole perform- ance. In the year 1724 were brought out the first four volumes of the " Paraphrase of the Psalms, by Ciustiniardi, in Italian, set to Music for one, two, and three Voices, by 109 Digitized by Google MAR Benedetto Marcello;" and in the two sub- sequent years four more, including the whole first fifty of the psalms. In the year 1726, this great work was completed by the publication of four volumes more, containing a paraphrase of the second twenty-five psalms ; and, as an evidence of the author's skill in that kind of composition, in which some of the most eminent musi- cians have endeavoured to excel, namely, canon, he has, at the end of the last volume, given one of a very elaborate contexture. Mattheson, of Hamburgh, in a letter to Marcello, prefixed to the sixth volume, says, that the music to some of the psalms had been adapted to words in the German language, and had been performed with great applause in the cathedral of that city. And we are far- ther told, that for the satisfaction of hearing these compositions, the Russians had made a translation of the Italian paraphrase into their own language, associating it to the original music of Marcello, and that some sheets of the work had been transmitted to the author in his lifetime. At Rome, these compositions were held in the highest esti- mation by all who professed either to un- derstand or love music. At the palace of cardinal Ottoboni was a musical academy, held on Monday in every week, in which Corelli performed ; at this musical assembly one of the psalms of Marcello made con- stantly a part of the entertainment ; and for the purpose of performing there, the author composed to them instrumental parts. When the news of Marcello's death arrived at Rome, his eminence, as a public testimony of affection for his memory, ordered that, on a day appointed for the usual assembly, there should be a solemn musical perform- ance. The room was hung with black, and the performers and all present were in deep mourning ; Father Santo Canal, a Jesuit, made the oration ; and the most eminent of the learned of that time rehearsed their re- spective compositions upon the occasion in various languages, in the presence of the many considerable personages there assem- bled. Nor has this country been wanting in respect for the abilities of this great man. 110 MAR Charles Avlson, organist in Newcastle, had celebrated this work in an Essay ore. Musical Expression, and had given out pro- posals for publishing, by subscription, aa edition of it, revised by himself ; but it seems that the execution of this design devolved to another person, John Garth, of Dur- ham, who was at the pains of adapting to the music of Marcello suitable words from our own prose translation of the psalms, with a view to their being performed as an- thems in cathedrals ; and with the assistance of a numerous subscription, the work was completed in eight folio volumes. Marcello was for many years a judge in the council of forty ; from thence he was removed to the charge of proveditor of Pol a, in Istria. Afterwards, he was appointed to the office of chamberlain or treasurer of the city of Brescia. He died at Brescia in the year 1739, and was buried in the church of the fathers. Minor Observants of St. Joseph of Brescia, with a degree of funeral pomp suitable to his rank. MARCESSO, (Bartolom«o) an Italian composer, published motets for two and three voices/under the title of - Sacra Co- rona" Venice, 1656. MARCH AL or MARECHAL, (P. A.) probably a German, resident at Paris. In 1795, he began to publish there, a " Maga- zine de Musique** from which the following- pieces were published, by Imbault, between 1796 and 1797. " Segadilla de t Optra de la Cosa rarat avec Var. pour P. F*9 Op. 9. " Six Rondos pour le Clav. avec Acc* de Fl. ou Violon** Op. 10. " Marlborough en Var, pour P. F** Op. 11. " Sonaie fa- vorite arrange' e pour P, F, et Violon *' Op. 12 ; and " Duo Concert ant pour le P. F, et Violon** Op. 13. MARCHAL, (Francois) master of the band of the thirteenth regiment of French light infantry, published at Leipsic, "Marchefunibre, exec, a f occasion de fen- terr. du Giniral Macon, pour P. F." and "Pas redouble's Francois et Waists, pour p. f:* MARCHAND (Jean Louis) was a Digitized by Google MAR native of Lyons, and an organist of some church in that city. When very young, he went to Paris, and strolling, as by accident, into the chapel of the college of St. Louis le Grand, a few minutes before service was to begin, he obtained permission to play the organ ; and so well did he acquit himself, that the Jesuits, taking pains to find him out, retained him amongst them, and provided him with every requisite to perfect him in his art. He died at Paris in 1732, aged sixty-three, and left, of his com- position, two books of lessons for the harp- sichord, which are greatly admired. MARCHAND, (H.) pianist to the prince of Thurn and Taxis, was born at Mentz in 1769. He was a pupil of Mozart and "Winter, and gave a concert, in 1798, at Hamburgh, where he was ranked amongst the most tasteful and brilliant performers. He is probably the author of the following printed pieces : " Dix Varint. pour le Clav, sur un Thime de Haydn" Op. 1, Mu- nich, 1800 ; and " Marche des Marstillois, varie'e pour le Clav.*' Op. 2, Munich, 1802. MARCHESI, called also MARCHESI- NI, (Lvioi) a celebrated Italian sopranist, was born at Milan about the year 1756. His first dibut on the stage was at Rome, in 1774, in a female character, the usual in- troduction of a young and promising singer, with a soprano voice and elegant person. In 1775, he performed the second man's part at Milan with Pacchierotti, and at Venice with Millico ; but the same year he was advanced to the principal character at Treviso. In 1776 and 1777, he sung as first man at Munich and Padua ; and in 1778 at the great theatre of Sari Carlo, at Naples, which is the post of honour of an opera singer. There he continued two sea- sons : and has since performed with in- creasing celebrity at Pisa, Genoa, Florence, Milan, Rome, St Petersburg, Vienna, and Turin. The first opera in which he appeared on our stage was the Qiuho Sabino of Sarti, in 1788. The elegant and beautiful music of this drama did not here obtain the applause MAR which it deserved, and had already received in other parts of Europe. Marchesi's style of singing was not only elegant and refined to an uncommon degree, but frequently grand and dignified, particularly in his recitatives and occasional low notes. His variety of embellishments, and facility of running ex- tempore divisions, were at that time consider- ed truly marvellous. Many of his graces were new, elegant, and of his own invention ; and he must have studied with intense ap- plication to execute the divisions and running shakes from the bottom of his compass to the top, even in a rapid series of semitones or half notes. Independently of his vocal powers, his performance on the stage was ex- tremely embellished by the beauty of his person, and the gTace and propriety of his gestures. "We expected an exquisite singer," says Dr.Burney, "and were agreeably sur- prised by a fine actor." In 1790, Marchesi returned to Italy. We have not heard of his death. MARCH ETTO , of Padua, the celebrated commentator of Franco, and the first author who treated extensively of the chromatic and enharmonic genera, lett two works, tirst, jAiciaai mm in surie jtiusicce piana?y inchoatum Cesnup, per/ectum Verona*? 1274, and " Pomarium in Arte Music* mensural*)" dedicated to Robert, king of Naples, about the year 1783. These are the most ancient treatises that make men- tion of sharps, chromatic counterpoint, and discords. Several of the harmonic com- binations proposed by Marchetto are still in use, others again have been rejected . (See the Introduction to this Dictionary.) MARCOU, formerly chamber-musician to the king of France, was, in 1798, one of the first violinists, in the orchestra of the Theatre Lyrique, at Paris. He published " Elemens theoriquci el pratiques de Mu- sique," London and Paris, 1781. MARCUORI, (Adamo) born at Areao, was^chapel-master to the cathedral of Pisa. He died at Montenero in 1808. MARCUS, (Joachim) a German con- trapuntist of the fifteenth century, pub- lished "Sacra- Cantiones, 5, 6, 7, 8, 9, et 111 Digitized by Google MAR pluriuni vocum" Stetin j and a second edi- tion, Leipsic, 1608. MARD (Tocssaint Raymond de St.) was born in Paris in 1682, and died there in 1757. The original title of his treatise is "Reflexions sur C Opera" Haag, 1741, and is found in his " Rifiexions sur la Poe'sie en giniral," a work which was republished at Amsterdam in 1749. MARENZIO, (Luca.) This ingenious, elegant, and, in his line, unrivalled composer, was born at Coccagha, in the diocese of Brescia, in the early part of the sixteenth century. lib natural inclination leading him very early to the composition of madrigals, like his contemporary Pales- trina, he obtained an acknowledged supe- riority over all his predecessors; and the number also of his publications is prodigious. Nine books of his madrigals for five voices were printed at Venice between the years 1587 and 1601. Besides these, he com- posed six books of madrigals in six parts ; madrigals for three voices ; another set for five; and another for six voices, different from all the former. Canzonets for the lute, "Motettit\4t" and "Sacras Cantiones 5, 6, ac 7 Vocibus Modulandas." All these works were printed at Venice, and after- wards at Antwerp, and many of them in London to English words. (See Mttsica Transalpina, two books ; and A Collection of Italian Madrigals, with English Words , published, in 1589, by Thomas Watson.) In the madrigal style, Luca Marenzio was called, by hi&coxintTyvaen, II Pitt dolceCigno. He was some time chapel-master to cardinal Luigi d'Este ; and, according to Adami and others, was caressed and patronised by many princes and eminent personages, particularly by the king of Poland. Upon his return to Rome, after quitting Poland, he was admitted into the pope's chapel ; and dying in that city in 1599, he was buried in the church of St. Lorenzo, in Luciua. Our countryman, Peacham, (See Com- plete Gentleman, p. 101, edition of 1634) speaks of his delicious aire and sweet in- vention'in madrigals, and says, that* 'he 112 MAR excelled all others whatsoever, having pub* lished more sets than any author else, and without an ill song," Adding, that his first, second, and third parts of Thyrsis, " Veggo dolce il mio ben, 6fc," are songs, " the Muses themselves might not have been ashamed to have composed." To this we may readily subscribe, and will not dis- pute his stature, or the colour of his hair, when he further tells us, " that he was a little black man ;" but when he asserts that " he was organist of the pope's chapel at Rome a good while, where there never was an organ, we can no longer credit his report ; nor is it likely, however great the musical merit of this little black man may have been, that the niece of any reigning pope could have been sent for to Poland, as Peacham tells us, with so little cere- mony, in the character of lutenist and singer, in order to gratify the curiosity of his Polish majesty, and the affection of Luca Marenzio. In short, the whole account is compiled from hearsay evidence, and abounds in absurdities, and is so much the more incredible, as no other musical writers, eager as they were to record every memo- rial they could procure concerning this ce- lebrated musician, have ventured to relate these strange circumstances. There are no madrigals so agreeable to the ear, or amus- ing to the eye, as those of this ingenious and fertile composer. The subjects of fugue, imitation, and attack, are traits of elegant and pleasing melody; which, though they seem selected with the utmost care, for the sake of the words they are to express, yet so artful are the texture and disposition of the parts, that the general harmony and effect of the whole are as complete and unembarrassed, as if he had been writing in plain counterpoint, without poetry or contrivance. MARESCALCHI, (Luioi) a composer and proprietor of a music warehouse at maples, studied counterpoint under Padre Martini, at Bologna. His principal works are as follows : " Meleagro" a ballet, Florence, 1780. " I Disertorifetici" opera, Placenza, 1784. " Andromeda e Perseo,** ■ Digitized by Google MAR opera seria. Rome, 1784. uLe Rtvolu- aioni del Seraglio" ballet, Naples, 1788 ; and *' OiuUetta e Romeo," ballet, Rome, 1789. The authors of the French dictionary of musicians state, that the Op. 7 of the en- graved works of Boccherini, consisting of trios for two. violins and violoncello, is really the work of Marescalchi, and nothing but a trading trick. MARESCH, (J. A.) born in Bohemia in 1719, was the inventor of the hunting music performed on horns, which has been brought to such perfection in Russia. These horns are all of different lengths and curvature, but each of them is meant to produce only a single tone. To execute the most simple piece of harmony or even a melody, at least twenty musicians are necessary, but the execution is not com- plete without forty performers, and often many more are employed. Each of them has only to think of his single tone and to blow it in precise time, and with a force and shading, proper to give effect to the passage. This music more resembles the sound of a large organ than any other instrument. In a calm and fine night, it has often been distinctly heard at above four English miles distance. It has, when far off, an effect analogous to that which is produced by the sound of the harmonica when near. . MARESSE, (J. P.) Under this name were published, in 1790, at Paris, " Petits Airs & 4 mains," also " Symphon. pour le Clav. avec V.et B" Paris, 1800. MARET. Probably a member of the society of belles Uttres at Dijon, read to the society, and afterwards printed, "Ehge Historique de M. Rameau" 1767. MARGGRAFF, (Andreas) singer in the school at Schwandorff, in the sixteenth century, and born at Eger, published the 128th psalm, for five voices. MARIA, (Dohenico del la.) See" Della Maria. MARIA, (D, Jo a de St.) a Portuguese priest of the order of St. Augustine, and chapel-master of St. Vicente, in Lisbon, was born at Terena, in the province of Transta- TOL, II. Mar gana, and died at Grijo, in the convent of St Salvador, in 1654. He left the follow- ing works : " Tret IAvros de Contraponto" inscribed to king John IV. They are still to be found in the royal library at Lisbon. MARIANI (Giov. Batt.) composed at Viterbo, in 1659, a beautiful opera entitled "Amor vuol Gioventh" MARIN, (Fabric e) a French composer of the sixteenth century, set to music for four voices, some poetry of Ronsard, Baif, Jamin, and Desportes, which was published at Paris in 1578. MARIN, (Guillaume Marcel de) born in Guadaloupe in the year 1737, was of the family of the Marini, some of which were doges of the republic of Genoa. M. de Marin came to Paris at about twelve years of age, and studied at the college of Louis-le-Grand. When fourteen years old, he embraced the profession of arms, and at fifteen devoted himself to the study of mathematics and music. He then under- took, without a master, the study of the violin, learnt composition of Rameau, and at length placed himself under Gavini£s, as a finishing master for the violin. He composed a " Stabat Mater," which was published. MARIN, (Marie Martin Martel Viscomte de) son of the preceding, was born at Saint Jean de Luz, near Bayonne, in 1769. He learnt music of his father from the early age of four, and at seven composed a sonata for the piano. Nardini gave him lessons on the violin, and stated him to be his best pupil. He also studied the harp under Hosbruker, but, after about thirty lessons, the pupil apparently feeling an impulse to improve upon the style of his master, desisted from receiving further instructions, and continued his practice on that instrument, entirely unaided. M. de Marin might have bad rivals in his violin playing, but it is generally acknowledged that he was soon without an equal on the harp. In 1783, he was received and crowned by the musical academicians at Rome. He there extemporized on the harp, and followed up subjects for fugue which s 113 Digitized by Google MAR were giren to him, in a manner till then ] quite unknown on that instrument. He played on the harp at first sight, from the scores of Seb. Bach's fugues, arid from those of Jomelli, and achieved on the harp what could scarcely be done by another on the piano-forte. Such an impression did bis performance at the academy at Rome make on his audience, that the celebrated Corinna, who was present, rehearsed ex- temporary verses in his honour. On his return from Italy, De Marin, then only fifteen years of age, commenced his military education at the cavalry school at Versailles. He quitted it at seventeen, as captain of dragoons, obtaining at the same time leave of absence to continue his travels ; in the course of which, the French revolu- tion closed the doors of his country against him, and he was placed on the list of emigrants. He then proceeded to this country, where his performance on the harp was universally admired. As it is rare that modern musicians have been honoured by the first poets of the age, we cannot resist copying the following lines, by the celebrated abbe* DeliUe, which he wrote on Marin, when they were both in England as emigrants. H&asl plus d'un Frai^ais, dans ce« moment fancstes, Se montra des Francais 1' implacable ennemi. Tel ne fut pas ton cceur, tot, courageux ami De ceux que poursvivait la fortune inhnmaine ; Toi, que chent Bellone, ain.i que Melpomene; Qui, paranl la vertu par d'aimables dehors, Joins la beaut 6" de l'ame a la beaute" du corps. Qu'on ne me vante pint lechantre de la Thrace, Des tigres, des lions appriroisant l'audace. Ton art, qui dans la Grece aurait eu des autels, O Marin! sut dompter des monstres plus craels; Le desespoir affreuxt la hidcuse indigence. Que de fois au plaisir melant la bienfaisance, Sterile pour toi seul, ton talent genereux If it son noble salaire aux mains des malheureux ! Alnsi, par le contours de brillantes raerveilles, Charmant le cceur, l'esprit, les yeux et le* oretlles, On te *it tour a tour vouer a nos malheura, Ta lyre et ton £p£e, et ton sang et tes pleura, Le concert de Term, de grace et de genie, Ah 1 vollata plus belle et plus douce harmonic 1 Tel, bean, jeune et rainqueur, le dieu de l'Helicon, Chantait, touchait sa lyre, et combattait Python. M. de Marin has composed much music, 114 MAR chiefly for the harp, which has been pub- lished in Paris and London. Several of his compositions were so much esteemed by dementi, that he arranged them for the piano-forte. We know not the exact period of M. de Marin's return to France, since which time, however, he has been no more heard on his instrument, but as an amateur. MARINELLI, (P. Giulio Cesare) da monte Cicardo Servita, lived in the latter half of the seventeenth century, and wrote " Via retta delta Voce Corale, owero Osser* vazioni del Canto fermo," Bologna, 1671. Buononcini, p. 1 1 , c. 21 , of his Musico Prmtt. says, that in the third and fourth volumes of this work, are to be found much informa- tion respecting tne canto jermo. MARINELLI, (Gaetano) a dramatic composer from Naples, was, about the year 1790, in the elector of Bavaria's service at Munich. Several of his airs in nianuscript are well known to amateurs. He composed " Li tre RivaU, ossia il Matrimonio inaspet- t*totn opera bufla, Rome, 1784, and " Gii Uccellatori," opera buffa, Florence, 1785. MARINI, (Alessandro) Canonicus Later anensis and composer, flourished at Venice about the year 1666, where he pub- lished several works. Of these we can only mention ** Vesper Psalms, for four voices,1* Venice, 1587, and " Motetti & 6 t»ci," Venice, 1688* MARINI, (Biaoio) church and cham- ber composer, and also violinist, born at Brescia, was first chapel-master in the ca- thedral church of Brescia. He afterwards went to Germany, and held the same em- ployment in 1624, in the service of the count palatine, who granted him the title of chevalier. The period of his return to his native country is not known. Ail that we know, from the Cotsando Uhraria Bresciana, is, that he died in 1660 at Padua. Coiiando also mentions the fol- lowing works : "Arte, MadrigaU, t Correnti a 1, 2, e 3 uoci," Venice, 1620. "Sahm * 4 voci." " Musiche da Camera, A 2, 3, e 4 rod." -Mserere a 2, 3, e 4 voci con V." « Composition* varie, Madrigati h 3, 4, 5, c 7 voci con Y** '* Madrigali Sinfonit d Digitized by Google MAS. 3, 3, e 4." "Arie d 1, 2, 3 ; Munch: * h 2, 3, 4, e 5, lib. 4, 5, 7 and " Sonate, Congo**, PassemezMi, Balletti, Correnti, Gagliarde, BitornelU d 1, 2, 3, 4, 5, e 6." MARINI, (Caklo Antonio) a violinist and composerforhU instrument in the church ofSt.MariaMaggiore, at Bergamo, was born there, and flourished in the latter end of the seventeenth century. He published eight works, of which we can mention the follow- ing: " 12 Sonate," Op. 3; "Balletti a la Frances* d 3," Op, 5, Venice, 1699 ; " 12 So- note," Op. 6 ; "12 Sonate a 2 V.t Vc.t e Con//' Op.7; and " 12 Sonate d V. solo e Cont." Op. 8. MARINI, (Gioseffo) chapel-master at Pordenone, in the Venetian states, in the beginning of the seventeenth century, pub- lished " Madrigali," Venice, 1618. MARINI, (P. L.) a musician, probably resident at Paris, published there, in 1797, "Romances avec AccU de P. F." Op. 1. MARINIS, (Giovannx db) a composer of the sixteenth century, of whose works mention is made wDe Antiquis Prima Lib. d 2 voci dediv. Autori di Bari, Venice, 1585. MARINO, (Giov. Battist.) a Neapo- litan chevalier and celebrated poet, born in 1569, resided some time at Rome, after- wards at Turin and Paris, and again in Rome. He died at Naples in 1625. Amongst other works, he wrote " Dicerie Saeretre*f Turin, 1618 and 1620. The title of the second piece is " La Musica sopra le Sette Parole dette da Chrxsto in Croce." MARINOTTI, (Sionoba) a very good Italian singer, at present resident in Eng- land. She sings at the Spanish ambassador's chapel in London, and is also frequently heard in the orchestras of the best concerts. Marinotti is a singer of taste, and her voice is powerful and flexible. MARIO. "Motetti del Dot (or Mario Uri 6," Venice, 1649. Under this title, a printed work was found in the musical archives at Copenhagen, It was destroyed by the fire there in 1794. MARIOTTE£LUS,(*iaviue) a learned MAR pecdia," Rome, 1624. This is an intro- duction to the sciences, and to music among the rest. MARIOTTINI, chamber singer to the elector at Dresden, published there " \% Lieder" words by Blumauer, for the piano, Dresden, 1790. A specimen of this work is to be found in the fourteenth music page of the Music. Correspondenz, 1790. There are also known by this author, "8 Duet- tint p. 2 Sopr." MARISSAL, (Anionius) Baccalaureus Juris Pontificii in the beginning of the seventeenth century, was born at Douay, he published " Flares mehdici," Douay, 1611. MARONI, (Giov.) chapel-master of the cathedral church at Lodi, where he was sidered, in 1620, as an industrious com] was born at Ferrara. He wrote a of motets and madrigals. MAROTTA, (Ebasmus) Jesuit and rector of Colleg.Menensis, was, at the same time, an able musician and composer, in the first half of the seventeenth century. He was born at Randazzo, a town in Switier- land, and was made a Jesuit in 1612, by which means he obtained the above situa- tion. He died at Palermo in 1641. His published works are, " Cantos pii musicis tnoduUs expressi," and "Aminta," a toral, the words by Torquato Tasso. MARPALU, (Db) a French of the seventeenth century. His is found to the following two treatises: " Trait ds de 1' Origins rde V Harmonic, et de ceux qui I'ont invente'e, de son usage et de ses effets." MARPURG, (F bibdbbicb Wilhilm.) The following account of this celebrated musician was published by Gerber, in the year 1814. "Marpurg, too, is gone, this venerable veteran amongst the literati of ! What tragic scenes have been pre- to the Muses during the last ten years of the eighteenth century. Not one of these years has passed by, without leav- ing the Muses in mourning. The unhappy effects of war on many of the chapels of . . ~ ~ vw*"°> «*c*iueu enects of war on many of the chapels of writer in the beginning of the seventeenth the German princes I shall here pass over century, bora at Perugia, published "Nee- j especially as I have, in my < History of 1 2 115 Digitized by Google M A ft Music for the year 1794/ (see Annalen Teutschlands des J. 1794) found, alas ! but too much of such matter to render it requi- site again to touch on the same subject. Death, then, has within this period snatched away from us our first professor in musical science, our Marpurg ! and just at a time when he spontaneously, with a warm love for the arts, and with an experience of more than fifty years, had begun to write in his own manner, that is, rudimentally, fully, and with excellent arrangement, his 'History of the Organ* a work well worthy the wish that he might have lived •to complete it, and an undertaking to which I might myself have possibly contributed something. It was in November, 1793, when I passed five weeks at Berlin, that I was received in Marpurg's house almost daily, with the most friendly and hospitable attention. He then still showed the lively, jovial, and witty temper of youth ; was cor- pulent, ate and drank well, and enjoyed perfect health. Only once, and just as be had returned from his lottery business, I found him reserved and dejected: *My friend/ said he, « we have had an unlucky day, we have lost much/ With the ex- ception of this single instance, I found him every day more cheerful. When he had company he was the soul of it, and by ourselves, our usual subject of conversation was ancient and modern music, dead and living artists. Many delightful hours have I passed with him in this manner. In one of those, he made me acquainted with the whole history of his life ; but unfortunately the satisfaction which the enjoyment of his society procured me, as well as the many agreeable diversions and new subjects which presented themselves to me at every moment, in the beautiful and hospitable city of Berlin, allowed me so little time, that I could neither store these particulars in my memory, nor write them down. All that I can recollect is, that he was born at Seehausen,in Prussia, in 1718; that after his return from Paris, where he resided many months, he acted for some time as secretary to a minister at Berlin; that he afterwards M A ft resided some time in Hamburgh, after which he was presented with the direction of the lotteries at Berlin. I found on the long table in his study, a quantity of books dispersed about, and some detached leaves of music : from these I concluded, that he still thought much of and wrote music. I once requested him not to leave his pen inactive, but to take it up again for the benefit of musical literature. 'Perhaps/ said he, *I shall soon be able to publish another volume of legends* I replied gratefully, which he seemed to observe, but never touched upon the subject again. On the day of my departure, he called his amiable daughter, then between fifteen and sixteen years old, to the piano, when she played a masterly grand sonata, by chapel- master Schutz, with an expression and firmness which denoted any thing rather than a female hand. After she had with- drawn from the instrument, the worthy man brought the bound copy of the second volume of his « Chorals and Fugues,' and played to me himself a choral and part of a fugue, with those hands so long accus- tomed to labour for the benefit of the art ; he then wrote a few flattering lines under the title, and presented me with the book as a remembrance. I parted from him with a heart greatly affected, full of love, esteem, and gratitude, and not long after was informed by my friends in Berlin how actively he was engaged in finishing his ' History of the Organ/ which was to be published in 1795. What might we not have expected on this subject from a Mar- purg, if it had pleased Providence to grant him one year more of life! but I soon, alas! received the melancholy news that his faculties began visibly to weaken, and that probably he was labouring under consump- tion. His disease, whatever it was, ex- hausted so quickly the powers of life, that he died early in 1795. " It was probably by his order," continues Gerber, " that Madame Marpurg, his excel- lent wife, every way so worthy of him, sent roe the materials, writings, and drawings which he bad .prepared for his work on the Digitized by Google MAR organ. By this means I am enabled to gi re the reader further information respecting this worthy man's undertaking. None of the parts belonging to the history were left in a finished state, but in all of them im- portant progress was made by the author. The treatise on the hydraulic instruments of the Greeks, is beyond dispute the most learned part of the work, and at the same time the most advanced. It is treated in a manner indicative of the author's own inge nuity united to extraordinary learning. In his treatise on the first wind organs of the middle ages, I have found several interest- ing remarks, and much information on the history of the organs of modern times. He seems to have occupied himself parti- cularly in explaining the construction and the notes of the French organs, for which purpose he appears to have had recourse to the great work of Bedos dc Celles." The following list contains the principal works of this celebrated author. Theoreti- cal : "Der kritische musicus an dcr Spree," " The critical musician of the Spree," fifty numbers, 1749, &c. " Die kunst das Wa- vier xu spielen,'* i. e. " The art of playing the harpsichord," first volume in 1750; second volume, containing thorough-bass, in 1755. This work was translated into French, and the third edition of the trans- lation appeared in 1 760. " Anleitung zum klavierspeilen" This is the second and improved edition of the preceding work. " Abhandlung von der fuge," i. e. " Trea- tise on fugue," Part I., Berlin, 1753, and Part II., 1754. A French translation of it was published at Berlin in 1756. Koll- raan states this to be the most profound and masterly work of the kind in the German language. " Historich kritische beytrage zur avfnahine der musik" i. e. " Historical and critical memoirs to promote the knowledge of musical history." This is a periodical work, the whole of which is contained in five volumes, octavo, published at Berlin between the years 1754 and 1760. " Handbuck bey dem generalbass, und der composition" i. e. " A manual of thorough-bass and composition," Parts I. MAR and TI., published at Berlin in 1756; Part III., with an index, in 1758; and an appen- dix in 1760. Kollman says, this work treats on harmony in a masterly but according to Rameau's system, cerning which it is certain, that the more harmony is explained by it, the more per- plexing it becomes. " Anfangsgrunde der tkeoretiscken musik,1' i. e. "Elements of the theory of music," 1757. " D'Alem- berths systematische einneitung, £fc,v i. e. "Systematic introduction to composition, according to the principles of Rameau, by D'Alembert, translated from the French, with notes," 1758. " Anleitung zur sing- kunst," i. e. "Introduction to the art of singing," 1759. "Kritische einleitung, Sfc." i. e. "A critical introduction to the history and to the principles of ancient and modern music," 1756. "Kritische briefs uber die tonkunst" i. e. "Critical letters on music," Berlin, 1760 and 1763, in two volumes, each consisting of four parts. This work is, according to the com- pilers of the French musical dictionary, filled with interesting matter, and contains many dissertations from the pens of such great masters as Agricola, Kirnberger, &c. " Anleitung zur musik Qberhaupt, Sfc." " Introduction to music in general, and to the art of singing in particular," 1763. " Sorgens anleitung zum generalbass, ^•c." "Instructions in thorough-bass and the art of composition, by Sorge, with addi- tional notes," 1760. " Versuch Uber die musikalische temper a tur, Sfc" " Essay on musical temperament," Breslau, 1776. This work demonstrates different equal and unequal temperaments, by harmonica! cal- culations ; and to it is added, an appendix on Rameau's and Kirnberger's fundamental bass. " Legende einiger musik heiligen" " Legends of several saints, in music," Co- logne, 1786. Practical works: besides a vast number of single songs, published either in his memoirs, his letters, or in the collections of German songs he printed between 1756 and 1762, "Five Sets of Odes:* Also the following: «' RaccoUa delle piU nuove Compositioni di Clavicem- 117 v Digitized by Google MAR halo, per tanno 1756, and Raecolta 2, per Panno, 1757." " Klavierst&cke fur an- fUnger, tfc" three volumes, Berlin, 1762 : the above is an interesting and useful work* *' Set Sonate per il Cembalo" Nuremburg, 1766. " Pughe e Caprici per Clavicembalo e per rOrgano," Op. 1, Berlin, 1777 ; and " Fugensammlung,** 1758. Thin collection of fugues contains the chef-dfauvrcs of Graun, Kirnberger, &c MARPURG, (Jon. Fred.) son of the preceding, was born at Hamburgh in 1766. He was, in 1814, chamber-musician to the duke of Mecklenburg, at Ludwigslust, and had previously been first violin in the orchestra of the German theatre at Berlin, also employed by the count of Schwedt. He entered the service of the duke of Meck- lenburg in 1790 j still, however, in 1791, he was giving several concerts at Ham* burgh ; soon after which he seems to have given up solo playing, as his father, in- deed, told Gerber in 1793. Probably the occupations required for his extensive mu- sical duties did not allow him time for the cultivation of practical music. MARQUE, (Augusts) a musician, and probably a performer on the piano, at Paris, published there, in 1798, " V Alienee," a romance. u VOrigine de la troisieme Grace** " Six Airs et Romance* avec Ac- compagnement de Piano-forte.** " L*A- tnant trahi, Romance, avec Clavecin" 1802. MARQUE, (Joannes de) a native of the Netherlands, was chapel -master to the king of Naples in 1616. MARQUEZ, (Antonio Lesbio) royal chapel -master at Lisbon, and born there, was not only considered one of the first contrapuntists of his time, but also, by the publication of several oratorios, poems, and other works, showed that he was possessed of extraordinary knowledge, not in music alone, but also in poetry and languages. He obtained, in 1698, his office of chapel- master, in the possession of which he died in 1709. Of his compositions there has only been printed " Filhandos que se can- farad na Igreja de iV. Senhora de Nata- 118 MAR reth das Religiosas Descalcas de S. Bet* nardo cm as Matinas e Festa do glorioso S, Goncalo" Lisbon, 1708. A great number of his other works, as masses, magnificats, misereres, responsories, (all in manuscript) are in the royal library at Lisbon, and highly esteemed. MARRE, (La.) See Lam arrr. M ARSCHALL, (Samuel) born at Dor- nick, in Flanders, in 1667, was a notary- public, university musician, and organist, at Basil, where he was living in 1627, being then seventy years of age. He pub- lished " Der gantae Psalter, H. Ambrosii Lobwassers, mil 4 Stimmen" Leipsic, 1594, and " Psalmen Davids, Kirthen gesang und Geistliche Ueder von Dr. M. Luther's und anderer Gottesgclehrtcn Manncm ges- tellt, mil 4 Stimmen, ver/ertiget dutch, 8fc.*' Basil, 1606. MARS, (St.) See Saint-Mar d. MARSH (Alphonsub) was a gentle- man of the chapel in the reign of Charles II. Various songs of his composition, as also of a son of his, having both his names, are extaut in the Treasury of Music, and other collections of that time. MARSH, an English divine, who died a bishop in 1713, wrote a "Discourse on Acuu- sticks:* (See Hawkins, vol. iv. p. 443.) MARSH, (J., Esq.) This celebrated amateur was born at Dorking, in Surrey, in 1752, being the eldest son of captain H. Marsh, of the royal navy, who, in 1758, removed with his family to Greenwich, on being appointed to command one of the royal yachts at Deptford. At this time the attachment of young Marsh to musical sounds began j he being so fascinated with the organ in the hospital chapel, then played by Lupton Relfe, that it was not without some degree of force he could be removed from the pew whilst the last voluntary was playing, to which he was afterwards only reconciled by being reminded, that by not staying till it finished, he should hear it all the way he went down stairs. That he had an innate musical ear, may be evinced by the following circumstance. Having been sent, when in his eighth year, to Greenwich Digitized by Google MAR academy, he then went with the other boys to the parish church, where, besides the organ, his attention was invited to the bells, t>f which he had heard there were eight. It being, however, the custom, as soon as the chiming to church had ceased, to raise the little bell, and to begin tolling the largest when the minister entered the church; by comparing the two sounds of these together, he perceived they exceeded the octave, and, in fact, formed the interval of a tenth, not that he had then ever heard or was aware of there being any such terms. On his mentioning his discovery, that the peal consisted of ten bells, to some of the boys, it was quite unintelligible to any of them how he could possibly ascertain this without hearing them altogether and count- ing them. The fact, however, turned out to be just as he had inferred. In the sum- mer of 1761, his father being dispatched in the Catherine yacht toHelvoetsluys, to bring back the Dutch ambassador, he took his son with him, where, in a trip to Amsterdam, they were gratified with hearing the famous organ at Haerlem, which made an impres- sion on the boy never to be eradicated. As a few of the boys at his school learnt to scrape a little on the violin, Marsh was now desirous of following their example; but his father foreseeing that it would be apt to divert his attention from his other studies, wisely determined on not letting him learn till he had left school. He, how- ever, whilst there, from the simple inspec- tion of a ballad, set to music, that came in his way, discovered the method of musical notation, and wrote a song he then occa- sionally sung, in similar notes, which his father, who played a little on the flute, told him was accurately written, except that, not then knowing any thingof the time table, he had made the notes all crotchets. Having left school at the end of the year 1766, his father, who then resided at Gos- port, consented to his learning, not indeed on the organ, which he would have pre- ferred, but on the violin, as being a portable instrument, and with which he could accom- pany his sister, then learning, on the piano- M A R forte. Having practised this for a year* under the tuition of Wafer the organist, he accompanied his master to a weekly practice of amateurs and others,where he began taking a ripieno part at sight, which he soon also did at the concerts at Portsmouth. Hearing there the popular concertos of the ancient school, and the then modern symphonies of Abel, Bach, &c., he now began attempting to compose pieces in both styles, and showed them to his master, when he gave him a few hints as to the avoidance of consecutive fifths and eighths, which, with a year and a halfs learning on the violin, was all the musical learning of any kind he ever had* being sent, in August, 1768, to Rorasey, to be articled for five years to a solicitor there, where he was much disconcerted at finding no organ in the church, and, of course, no organist. Being now the chief musician of the place, the only method he had of ob- taining any further improvement, during five years, was by occasionally attending and performing at the concert at Winchester, and the then annual oratorios there. In the year 1772, his father, then a captain in Greenwich hospital, died ; and, in 1774, the subject of our memoir married the daughter of Dr. Brown, a physician of Salisbury, who had then retired to Rorasey : within two years after which, they all removed to Salisbury, where the fortnight subscription concerts were under the direction of Mr. Harris, (known by the name of Hermes Harris) and were reckoned the best musical per- formances of the kind in the kingdom. There being several amateur performers in the orchestra, Mr. Marsh was immediately appointed to a respectable station in it, and had thus an opportunity of improving him? self on the violin and tenor, and had a few manuscript symphonies he had then com- posed, so well executed, as to induce him to continue that style of composition. He also, by private practice of an evening, and sometimes on one of the church organs, acquired such a proficiency on the latter, as to be able occasionally to officiate for the organist at the churches of St. Thomas and St. Edmund ; but finding the printed |J* Digitized by Google MAR voluntaries he met with, to be too difficult, find few of them to his taste in other respects, he began composing a series of short volun- taries, some of which he selected for his first set of voluntaries for young practitioners on the organ, published in 1791. On the death of Tewksbury, the leader of the con- certs, in 1780, Mr. Marsh was requested by Mr. Harris and the principal amateurs to take his place, which he continued to hold whilst he remained at Salisbury. In August, 1781, by the death of Mr. Winchester, a tenant for life, Mr. Marsh became possessed of a landed estate in East Kent. He therefore, soon afterwards, quitted the dry and husky study of the law, to which he was never much attached, and, in 1783, removed with his wife and four children to his mansion-bouse of Nether- sole, near Barham Downs, which he imme- diately furnished with a large organ, placing it between the entrance-hall and the dining-parlour, with a front to each, and playable in both rooms. In the fol- lowing winter the subscription concert at Canterbury was put under his direction, which he led all the time he remained there, and it was attended by the prin- cipal families in the neighbourhood. Finding it, however, necessary to keep up a larger establishment at Nethersole than he could conveniently afford with his increasing family, he, after remaining three years, determined on disposing of that house, and bought a large one, with a lofty and suitable room in it for his organ, and a good garden, of Mr. Hay ley, at Chichester, for the sake of being in the neighbourhood of Portsea, where his sister, then married, was settled ; but, as the house would not be untenanted till Michaelmas, 1786, and some repairs and alterations would then be wanting in it, he took one of the prebendal houses at Canterbury for a year, from the preceding Lady-day, where he now found himself able to officiate occasionally for the organist at the cathedral. He had before composed an anthem from the one hundred and fiftieth psalm, with symphonies, to show off the stops of the new organ erected there by 120 MAR Green, in 1784 ; and, whilst resident at Canterbury, he composed a verse service* which, at the request of the dean, was per* formed at archbishop Moore's primary visit- ation, in 1786, also two other anthems ; a style of composition he would probably have cultivated more than any other, had he afterwards met with the same encou- ragement that he did on the above occa- sions. In April, 1787, he removed to Chiches- ter, the subscription concert in which town he managed and led more than a quarter of a century, and where, having a very respecta- ble amateur and professional band at his com- mand, he continued his career of composing overtures in the ancient, and symphonies in the modern style, one of which, under the signature of J. M., was generally put into the concert bill. He also composed several glees, another service, and some more anthems, and occasionally officiated for the organist of the cathedral, as he used to do at Canterbury. For the last eight or ten years of his life, his principal, and almost only public, musical performance has been, taking the morning duty at St. John's free chapel for Mr. Bennett, who, being organist also of the cathedral, could only do the chapel evening duty himself. He still, however, takes a violin or tenor at private musical parties, the practice on which in- struments he now continues, principally for the sake of joining in a domestic evening trio with his eldest son, a solicitor of Chi- chester, who also practises on the violin and tenor with his eldest son, who plays on the violoncello. Having mentioned this domestic trio, it may, in conclusion, be noticed, that once, when his brother Wil- liam (also a musical amateur and performer on the violin and flute) was staying with him at Chichester, a quintette, composed by Mr. Marsh, for two violins, flute, tenor, and bass, was performed at the subscription concert, by himself, brother, and three sons, the composer and five performers being thus all of the same name. It must not, however, be supposed that, gTeat as was his attachment to it, music was Mr. Digitized by Google MAR Marsh's only pursuit since he quitted the practice of the law, as he subsequently became much attached to the science of astronomy, being the author of the " Astra- rium improved, and Vertical Planetarium*" published by Messrs. Cary, London ; and, as a matter of duty more than inclination, he was induced to acquire some knowledge of military tactics, having, in 1803, been ap- pointed first captain of a battalion of volun- teers at Chichester, whence he was after- wards promoted to the majority. The following, among other music, has been composed by Mr. Marsh. For instru- ments, published works: "Eight Sympho- nies, in several Parts." u One Symphony for two Orchestras*'* " Three Finales in several Parts," " One Quartet to in imita- tion of Haydn's first Set" " Three Over- tures in five Parts, for private musical parties'1 Organ music : " An Overture and Six Pieces." " Five Sets of Volun- taries for young Practitioners" " Four Duets." Military music : " Overture and Ten Pieces for Military Bands." Vocal music: " Eleven Songs" " Fourteen Glees." Sacred music : " Nine Anthems." " Sixteen Psalm Tunes and Hymns." " Twenty four Chants." " Walter Scott's Hymn for the Dead." " Hymn of Benedic- tion to the Bible Society," (Hayley.) " Ten Sacred Melodies, and New Zealander's Welcome." Treatises: " Rudiments of Thorough-bass" " Thorough-bass Cate- chism" " Hints to young Composers," ** Essay on Harmonies," " Sixteen Move- ments from different Composers in Score for the use of Musical Students," " Tables of Transposition and Consonant Intervals" " Instructions and Progressive Lessons for the Testor." In manuscript: " Twenty- eight Overtures and Symphonies, in Parts," " One Concerto for the Violin," « One Concertante" " Twelve full Concertos in the ancient style," One Overture in five Parts," " Two Quintettes," " Four Quarlettos," " Three Trios," «' Three Duets for Violins" Organ music : ■* Con- certo, with Accompaniments" ft Short Voluntaries." Military music : " Several Manuscript Pieces," "Military Troop, Sfc" MAR Vocal music: «' Four Songs," " Five Glees" " First Part of Colons' s Ode on the Passions, with full Accompaniments." Sacred music: "Morning and Evening Service in D" "Verse ditto in G," " Sane tuj and Kyrie Eleisons," u Four Anthems," " Six Chants," *' Eight Psalm Tunes ami Hymns." Treatises Musical Defi- " Description of the Organ." Piano-forte music : «« Two Sonatinas," " Overture and Eight Sonatinas" " Four Marches." MARSHALL (James) was born at Olting, in Buckinghamshire, in the year 1770. He first took up music, early in life, merely as an amusement, his instruments being the violin and violoncello, till evinc- ing a talent for the art, his friends advised him to make it his profession. He was accordingly placed under a master at Ox- ford, with whom he studied the violin, vio- loncello, piano-forte, and organ. After this, through the kind patronage of the Earl of Dartmouth, grandfather to the present earl, he was sent to London, and placed with the late John Ashley, assistant conduc- tor at the Westminster-abbey meetings. In addition to the before-named instruments, Marshall practised the double bass and tenor. After some little time, through Ashley's kindness, he got an engagement to play the double bass at the abbey meeting, in the year 1790; also at several of the provincial meetings, among which was that at Worcester, upon the late king's recovery, when his majesty was present. Since that time Marshall has regularly attended the meetings of the three choirs, namely, Glou- cester, Hereford, and Worcester. After a residence in London of about a year, Marshall went to Northampton, where he was married. He then commenced teaching music, and continued in that place three years and a half. From thence he moved to Rugby, being appointed organist of the church in that town. Here be re- mained eight years and a half, when, in the year 1801, the situation of organist to St. Mary's church, Warwick, becoming vacant, Marshall was proposed as a candidate, and was elected. In the April following, he 121 Digitized by Google MAR with his family went to reside at Warwick, where they have ever since continued. MARSHALL* (Fbbdxbxck) eldest son of the preceding, has been for some years assistant to his father. His instruments are the organ and piano-forte. In the year 1821, a new organ was erected in the chapel at Rugby school, when F. Marshall was ap- pointed organist. He has composed some music for the piano-forte, also hymns and songs, (Clementi's Goulding's Greea's, and Harmonic Institution's Cat.) " Preludes in various Keys for the Piano-forte,'* " Fes- tival Hymns,*' as sung at St. Nicholas' church, Warwick ; " Dulce Domum," ar- ranged with variations for the piano-forte; ** Britain with unaffected grief '," " Hymn on the Death of hit late Majesty. Song : " Can a rosy lip," " Harmonious Black- smith,'* arranged for the harp, piano-forte, flute, and violoncello j " Rondo,*' in an easy style, for the piano-forte. MARSOLO (Pietko Maria) is men- tioned by Ceretto, in 1600, as one of the first musicians of Italy. He lived at Ferrar a. MARSYAS, a player on the flute, was still more unfortunate than either Pan, or his admirer Midas. Having engaged in a musical dispute with Apollo, he chose the people of Nysa for judges. Apollo played at first a simple air upon his instrument; but Marsyas, taking up his pipe, struck the audience so much by the novelty of its tone, and the art of his performance, that he seemed to be heard with more pleasure than his rival. Having agreed upon a second trial of skill, it is said that the performance of Apollo, by accompanying the lyre with his voice, was allowed greatly to excel that of Marsyas upon the flute alone. Marsyas, with indignation, protested against the decision of his judges, urging that he had not been fairly vanquished according to the rules stipulated, because the dispute was concerning the excellence of their several instruments, not their voices, and that it was wholly unjust to employ two arts against one. Apollo denied that he had taken any un- fair advantage of his antagonist, since Mar - syas had employed both his mouth and fingers 122 MAR in performing upon his instrument; so that if he was denied the use of his mouth, he would be still more disqualified for the contention. The judges approved of Apol- lo's reasoning, and ordered a third trial. Marsyas was again vanquished ; and Apollo, inflamed by the violence of the dispute. Head him alive for his presumption. Mar- syas was of Celtenae, a town in Phrygia, and son of Hyagnis, who nourished, accord- ing to the Oxford marbles, 1506 years be- fore Jesus Christ. Plato tells us that we are indebted to Marsyas and Olympus for wind music ; and to these two musicians is likewise attributed the invention of the Phrygian and Lydian measure. Marsyas is also said by some to have been the inventor of the double flute, though others give it to his father Hyagnis. MARTELLI, chapel-master, in 1790, at Munster, set to music, "Die Reisenden nach Holland," " Dcr Tempel der Danh- barkeit," and " Der KSning Rabe." MARTENNE, (Edmond) a celebrated Benedictine monk, bora in 1654, published at Paris, in 1719, " Traiti de fancienne Discipline de I'Eglise dans la CiUbration de V Office Divin," There are some interesting details in this work respecting church music. Martenne died at Paris in 1739. MARTIN the younger, a French com- poser, who published several chansons, flourished in 1678 as a performer on the harpsichord, viol da gamba, and violin. MARTIN, a musician at Paris about the year 1750. His symphonies, which were published in that city, were much admired, as were also some of his motets, which were sung at the concert spiritueL MARTIN, (Nicolas) a composer, born at Morienne, in Savoy, composed several hymns on the birth of Christ, both in French and the Savoy dialect, and published them under the title of " Patoyes," Lyons, 1566. MARTIN, (Claude) born at Autun, in Burgundy, published, about the year 1550, two works entitled ** Institution Musicals " and " Etemcns de Musi que" MARTIN, (Jonathan) organist of St, George's, Hanover-square, in 1736. He composed the song in Tamerlane, " To thee, MAR 0 gentle sleep:* He died of consumption I at an early age. MARTIN, (Vincekzo, called also Sfao- nuolo) Russian imperial counsellor, thef- d'orchestre, and composer to the Russian theatre at St. Petersburg, had rendered himself, as early as the year 1782, celebrated in Italy by the composition of several operas and ballets. He went afterwards to Yienna, where, in 1785, he wrote his " // Barbero di buon core,*' which was particularly esteemed by connoisseurs, though his " Cosa Rarar 1786, and " Ar- bor e di Diana" 1787, more generally pleased. In 1788, he proceeded to St. Petersburg, where he was immediately appointed thcf'd*orthestre and composer in the Russian opera : he gave at the same time instructions in music. In 1798, the emperor made him counsellor. Of his printed and manuscript works, we can mention the following : *' Una Cosa Rara,'* Vienna ; " VArbore di Diana" Vienna, 1787 ; " Qli Sposi in Contrasto,*' Vienna, 1794 ; " // Sogno Cantata a 3 voci," 1793 ; " 12 Arieite Itattane con Accomp. di Cemb., * Arfid,oChitarra,** Vienna ; " 12 Canoni per Cembalo,** Vienna ; " La Dora/esteg- giante, Prologo eerio,*' Turin, 1783 ; " L'Actorta Cameriera" op. buffa, Turin, 1783 ; " La capricciosa correUa," trans- lated into German in 1800. MARTIN, (N.) an excellent tenor singer at the Theatre Feydeau at Paris, was born there about the year 1770. In 1788, he made his dibut at the Theatre de Monsieur in the character of the Marquis Tulip aiio, with unparalleled success. Dur- ing two years, this performance, with the delightful airs Martin sang, attracted all ranks of society in Paris. His songs " Jc troy ate ma belle,* ** Pauvre d* at ours," *' Je le jure a toute la terre,** &c. will very long be remembered. Martin was the first singer who established at Paris the Italian style of singing to French words. The other operas in which Martin has princi- pally shone are, « L*Oncle et le Valet,** « Les Confident*," " Una FoUe," " Gulistan,*' " L'Habit du Chevalier de Grammont," MAR " KouUntf" " La Ruee inutile," « PUaroi et Diego,*' " L*Ir*to9" " Jadis et Aujour- d*hui,** and " Maison a vendre." Martin was still performing at Paris in the year 1822, where he continued attract- ing crowded audiences to the Feydeau. His singing also at the chapel royal in the TuilerieB was still greatly admired. We should add, that he is known as a composer by several collections of romances, and by a comic opera, *' Les Oistaux de Mer" per- formed in 1796. MARTINELLI, (Vincbkzo) doctor of laws, resided some years in London, 1750. He afterwards went to P in 1762, he inserted several articles in the patriotic writings of the day. The follow- ing original works are his: " Lettere Fami- Hare e Critiche,** London, 1758. Among which are Letter 27. " Al Milady Ncwdi- gate a Arbury, invltandola a venire a Londra per veder Z1 Opera del Siroe." — 28. tl sexes, fought and loved like a man, anc resisted and fell like a woman. Hex ad- ventures are of a very romantic kind. S>hc married a young husband, who was sooe obliged to absent himself from her, to emtej on an office he had obtained in Provence : she then ran away with a fencing-mast er4 of whom she learned the small-sword, and became an excellent fencer, which was afterwards a useful qualification to her on several occasions. The lovers first retreated from persecution to Marseilles, but necessity soon obliged them to solicit employment at the opera there; and, as both had by nature good voices, they were received without difficulty. But soon after this she was seized with a passion for a young per- son of her own sex, whom she seduced; but the object of her whimsical affection being pursued by her friends and taken, was thrown into a convent at Avignon, where Maupin soon followed her, and, having presented herself as a novice, obtained ad- mission. Some time after, she set fire to the convent, and availing herself of the con- fusion she had occasioned, carried off her favourite ; but being pursued and taken, she was condemned to the flames for con- tumacy ; a sentence, however* which was not executed, as the young Marseillaise was found and restored to her friends. She then went to Paris, and made her first appearance on the opera stage in 1695, when she performed the part of Pallas, in Cadmus, with the greatest success. The applause was so violent, that she was obliged, in her car, to take off her casque to salute the public, which redoubled their marks of approbation. From that time her success was uninterrupted. Dumesnil the singer having affronted her, she put on man's clothes, watched for him in the Place des Victoires, and insisted on his drawing his sword and fighting her, which he refusing, she caned him, and took from him his watch and snuffbox. Next day, Dumesnil having boasted at the opera-house that he had de- fended himself agaiust three men who Digitized by Google MAU f attempted to rob him, she related the whole story, and produced his watch and snuff- box in proof of her having caned htm for his cowardice. Thevenard was nearly treated in the same manner, and had no other way of escaping her chastisement, than by pub- licly asking her pardon, after hiding himself in the Palais Royal during three weeks. At a ball given by Monsieur, the brother of Louis XIV., she again put on man's clothes, and having behaved impertinently to a lady, three of her friends, supposing Maupin to be a man, called her out. She might easily have avoided the combat by disco- vering her sex, but she instantly drew, and killed them all three. Afterwards, return- ing very coolly to the ball, she told the story to Monsieur, who obtained her pardon. After other adventures she went to Brussels, and there became the mistress of the elector of Bavaria* This prince, quitting her for the countess of Arcos, sent her by the count, husband of that lady, a purse of forty thou- sand livres, with an order to quit Brussels. This extraordinary heroine threw the purse at the count's head, telling him, it was a recompense worthy of such a scoundrel and ■ as himself. After this, she returned to the* opera stage, which she quitted in 1705. Being at length seized with a fit of devotion, she recalled her husband, who had remained in Provence, and passed with him the last years of her life in a very pious manner, dying in 1707, at the age of thirty- four. MAURICE, landgrave of Hesse-Cassel, is said to have composed eight or ten sets of motets, and other pieces of solemn music, for the use of his own chapel, the organ of which, on the great festivals, he frequently played himself. He completed and pub- lished a work, begun by Valentine Guckins, entitled " Opera metrici sacri Sanctorum, Domimcalium et Ferariunu" MAURO D'ALAY or MAURINI, an instrumental composer, published, in 1710, *' 12 Concerti d V. princip., 2 V.t A., Vc, t Cembalo" Op. 1, Amsterdam. MAURUS, a monk, belonging to the convent St, Martini de Scalis, bora at Pa- M A V lenmo, flourished as a composer in the six-* teenth century. He published " Cantioncs Sacra*" Venice, 1590, for voices and in- struments. MAVIUS, (Charles, junior) musical professor at Leicester, was born at Bedford in the year 1800. His father (a professor of music, now residing at Kettering, in Northamptonshire) is a German, and came to this country at the period of the French revolution. Though bom at Bedford, the first ten years of the life of the subject of this memoir were spent at Windsor, where, at an early period, considerable natural talent for music was discovered in him; in consequence of which, when about six years old, his father commenced giving him instruction upon the violin. After paying some attention to this instrument, he became anxious to attempt the piano-forte ; and accordingly, when little more than seven years of age, he began the study of that instrument, under the daily attention of his father, and made very considerable pro- gress, both in the practical and theoretical branches of the science, insomuch that, in his twelfth year, he was appointed organist to the church at Kettering. At the age of fourteen he commenced the study of composition, and subsequently received lessons under some of the most eminent professors in Loudon ; viz. M. P. King, ou theory and singing, Griffin, on practical piano-forte playing, etc About this period (1814) Mavius wrote an intro- duction and rondo, which was not published till 1816. This was well received, and favour- ably spoken of by the musical reviewers, (see Monthly Magazine, September 1817 or 1818) who were entirely unacquainted with the age of the author. Several other publications by him have since ap- peared. Mavius has resided at Leicester since 1820, where he now is in considerable practice as a teacher. The principal com- positions he has at present published are, " La Promenade" an air with varia- tions, dedicated to Miss Simpson ; " La Reconnaissance,** an air with variations, and flute accompaniment, dedicated to 137 Digitized by Google MAY Miss Stopford ; and "A Themnf&r the Piano- forte," dedicated to Miss Mary and Miss Lavinia Eyles. (Preston.) MAXWELL, (Franc. Kelly) doctor of divinity, and chaplain of the Asylum, died in 1782. He published " Essay uponTune, being an attempt to free the Scale of Mu- sic and the Tune of Instruments from, iwt- perfection," with sixteen plates, Edinburgh, 1781. MAYER, a vocal composer, was, in 1790, director of the music of the Bohemian dramatic society. In 1795, he was at Cologne, and belonged to one of the choirs of the church. In the Gotha Theatrical Calendar, the following of his compositions are mentioned: " Das Irrlicht," " Die Lufthugcl," " Marlborough," and "Die Bechcr." The last three are ballets. MAYER, (G-.) a contrapuntist of the sixteenth century, of whose works are printed " 8 Cantiones Dewtta," 1577. MAYER, (J. P.) a musical amateur, published, in 1602, at Carlsruhe, " 12 JUeder." MAYER, (Simon) a very pleasing dra- matic composer, was born at Sandersdorf, in Bavaria, about the year 1760. He has, since 1796, resided alternately in Italy and Germany, but chiefly in Italy, where he has written much for the theatre, with great success. In 1802, he was appointed chapel-master* in the plaee of Carlo Lenzi, in the church of Maria Maggiore, at Ber* gamo. He obtained much honour by this appointment, a great number of competitors being opposed -to him. In less than a year, however, he was again in Vienna, where he represented his "Equivoco" Of his compo- sitions we can mention the following : " Sisara" oratorio, 1795. " Arid*,'* opera 8eria, 1795. "tin Pazzore fa Cento " opera buffa, 1798. "Lodoisca," opera seria, Vienna and Dresden, 1796. " I Misteri Eleusini," drama, 1802. « Ginevra," opera seria, 1802. " Der Essigkramer," operetta, W02. " V Equivoco," opera buffa, Vienna, 1802. « Htrcok in Lidiaf Vienna, 1803. * Alonso e Cora," opera, Vienna; and "Die Burgschafi" operetta, Mayer is MAY ranked, by the French critics, as a dramatic composer nearly equal to either Mozart or Rossini. He shines principally in harmony. MAYERBEER, a pupil of the abtxS Vogler, and composer of a successful opera, called " Romilda e Costanza," performed, at Munich in 1823. MAYERHOFER, (M.) a musician, probably resident at Vienna, of whose works Traeg mentions, in his Catalogue for 1799, besides two collections of dances, a " Sestetto, h 2 FL, 2 P., A.t e Basse," in manuscript. MAYNARD, (John) a performer on and composer for the lute, was the author of " The Twelve Wonders of the World, set and composed for the Violl de Gam 6a, the Lute, and the Voyce, to sing the Verse, all three jointly and none several: also Lessons for the Lute and Basse Violl, to pla? alone t with some Lessons to play lyra- wayes alone, or, if you toiU, to Jill up the Parts with another Violl set lutc-wtty," published in folio in the year 1611. these twelve wonders are so many songs, exhi- biting the characters of a courtier, divine, soldier, lawyer, physician, merchant, coun- try gentleman, bachelor, married man, wife, widow, and maid. MAYNI, (Johannes) a contrapuntist of the sixteenth century, of whose works have been printed "Cantiones Sacra*, 3 voc." Munich, 1567. MAYR (Jon. Simon) published "Lieder beym Klavier zu singen," Regensburg,l 786. MAYSEDER, (Joseph) a German violinist of the highest order, is also an original composer, of acknowledged merit in a certain line. He is one of the new names that have risen up rather suddenly, and acquired a considerable share of po- pularity in a comparatively short time. He is settled at Vienna, and is spoken of as a performer that has no rival in his own particular style. Among his works are the following. Concertos : " First Violin Con- certo (Odeon, No. 5J" Op. 22. " Second ditto." " Third ditto," Op. 28. Quin- tuors : « First Polonaise," Op. 10. " Se- cond Polonaise," Op. 11. "Third Polo- Digitized by Google M A "Z naise," Op. IS. "Fourth Polonaise," Op. I 17. "Variations," Op. 18. u Variations in F," Op. 25. " New Variation* in F," Op. 38. Quatuor*: " Quatuor for two Viols, Ten., and Violoncello" Op. 3, No. 1. "Quahtor for two Viols, Ten., and Violon- celh," No. 2. *iQuatuor for two Viols, Ten., rnnd Violoncello," No. 3. "Fourth Brilliant Quatuor," Op. 8. "Fifth Quatuor in D," Op. 9. " Sixth Quatuor in D," dedicated to Mr. Neuling. " Variations to a Greek Theme, for a Violin Solo, with Acc. of second V., T„ and Violoncello." " P«« riatwns for ditto," Op. 15. Trios: "Air in E, varied for V., with Acc. of Ten. and rwtoncello." Duets : " First Duet," Op. 30. "Second Duet," Op. 81. " Third Duet," Op. 32. Solos : "Six Studies," Op. 29. (Wessel's Cat.) MAZAS, (Jacques Ferioi.) a violin pu- pil 0f Baillot, gained the accessit for the violin, adjudged by the Paris conservatory in 1804. MAZI, (Luioi) a composer of the seven- teenth century at the court of Ferrara. He composed madrigals and psalms. MAZZAFERRATA, (Giov. Battista) chapel-master at the Academia della Morte, in Ferrara, He flourished in the latter half of the seventeenth century. Of several works written by him we can mention the following: "Cantute da Camera a voce sola," Bologna, 1677. " Salmi Concertati a 3 e 4 voci con V." Op. 5, Venice, 1684. MAZZANTI, (Fermi* ando) a cele- brated composer, violinist, and singer, re- sided, in 1770, at Rome. Dr. Burney speaks highly of his talent. He composed dramatic, sacred, and violin music. MAZZINOHI, (Joseph) born in London, is descended from the ancient Corsican family of the chevalier Tedice Maiiinghi, who, iu the year 1697, was attached in a diplomatic situation to the court of Naples. Other branches of the same family settled at Florence, Pisa, and Leghorn. Tbmaso Mazzinghi, father of Joseph, ap- pears, in the year 1766, to have been esta- blished in London, as a merchant. He married Madame Frederick, sister to Ma- M A Z dame Cassandra Wynne, the wife of Tho- mas Wynne, Esq., a gentleman of con- siderable landed property in South Wales. This latter lady, whose rare musical talents, as an amateur, were highly appreciated at the court of Versailles, and particularly so by the late queen, Maria Antoinette, as also by our celebrated Handel, early dis- covered in her infant nephew evident proof of a musical disposition, • as did also his the violin; and, inconsequence, he was placed under the celebrated John Christian Bach, who, at that period, was music- master to the late queen Charlotte. The progress of the young tyro was such, that, on the demise of his father, being then but ten years of age, he was appointed organist at the Portuguese chapel, and subsequently received instructions from three celebrated composers, (at the time in England) Ber- tolini, Sacchini, and Anfossi. At the age of nineteen, be obtained the distinguished situation of composer and director of music at the King's theatre, which situation he held for several years, and during that period brought out the Italian opera entitled «* // Tesoro" and introduced, in various other operas, swigs, duets, trios, &c. &c. ; all of which were sung by signor Pacchierotti, Marchesi, Madame Mara, Mrs. Billington, &c. &c. He likewise com- posed several opera ballets, amongst which, his " L' Amour et Pyschc " was much no- ticed. After remaining for several sea- sons at the Opera-house, we find he com- posed several English operas for the theatres royal Drury-lane and Covent-garden. (See Catalogue.) His other instrumental works are very numerous. (See also Catalogue.) He likewise was appointed music-master to the late queen Caroline when princess of Wales. The original subscription Sunday con- certs, which were held alternately for se- veral seasons at the houses of the principal nobility, were entirely under his direction ; for which he not only composed various vocal and instrumental pieces of music, but likewise performed on the piano-forte. 139 Digitized by Google M A Z Independently of being for many years so much occupied as a composer, he has con- tinned an extensive practice as a teacher of the piano-forte, and his works testify, by the distinguished names to his dedications, that his pupils have been chiefly among the principal nobility. We cannot conclude without mentioning that when the Opera- house was consumed by fire, in June, 1789, the favourite opera by Paesiello, entitled " La Locanda" had but recently been per- formed, the entire score of which, as like- wise the whole of the musical library, was destroyed by that melancholy catastrophe. The performances were afterwards continued at the little theatre in the Haymarket, and subsequently at Covent-garden theatre ; but this favourite opera being burnt, it was rendered almost impossible to perform it again without sending to the composer, who was then in Naples, but Mazzingbi under- took to reproduce, by memory, the whole of the instrumental accompaniment : and he so far succeeded, that, with very few excep- tions, they were considered to be almost the same, certainly so in effect, as the original. The following is a catalogue of Mazzinghi's principal works. Sets of sonatas for the piano-forte : Op. 1, " Three Sonatas" dedi- cated to his grace the duke of Queensbury.— 2. " Three Sonatas," dedicated to ber grace the duchess of Devonshire.— 9. "Three So- natas," inscribed to the right honourable viscount Hampden. — 10. uThree Sonatas," dedicated to Mrs Concannon. — 14. " Three Sonatas," dedicated to Mrs. Iligby. — 15. llThree Sonatas," dedicated to Mrs. Trot- ter.—16. "Three Sonatas," dedicated to her serene highness the margravine of Ans- pach.— 18. " Six easy Sonatas."— 19. Three Sonatas," dedicated to her royal highness the princess of Wales. — 28. "Three Sonatas," dedicated to Miss Porter. — 29. " Three Sonatas," dedicated to the right honourable the countess of Cholmondeley. — 30. " Three Sonatas for Harp or Piano-' forte," dedicated to Miss Kiggs. — 34. " Four Sonatas," dedicated to Mrs. Brand- ling.—38. "Twelve Airs, with Flute and Tambourine Accompaniment," inscribed to 140 M A Z I Mrs. Henderson. — 39. " Two Grand So- natas," inscribed to Miss O. Bager. — 45. " Three Grand Sonatas." — 46. " Three Grand Sonatas," dedicated to Miss Big- land. — "Easy Sonatas," Book I., dedicated to lady C. Cholmondeley. Book II. "Lusus Hamwniaf Mutabilis, or Musical Games." 51. " Twelve Lessons."— 63. " Three So- natas:'—59. " Three Airs."— 60. "Three Sonatas."— 61. "Twelve Juvenile Lessons." " Preludes, I to A each." Single sonatas: " Sonata," Op. 4. " Sonata, 1 to 3, Flute or Violin" Op. 14. "Ditto, ditto," Op. 16. " Ditto, ditto," Op. 19. " Ditto, ditto," Op. 29* "Sonata in Commemoration of the glorious 1st of August, 1798." "Ditto," dedicated to Miss Rigby, Op. 52. " Ditto, with * Blue Bell.* " " Ditto, with * Cory Owen.1 " "Pleyef s Concertante arranged." " SteibeWs Sonata, Flute, arranged." Ron- dos, airs with variations, etc.: No. 1. " Bavarian Air, with Variations and Flute Accompaniment" — 2. "Huntsman, rest, ditto."— 3. "Aria, ditto."— A. "Ave Maria, ditto"— "Venetian Air, ditto? 6. " Theme from < Creation, ' ditto."— 7. "Sclavonian Air, ditto." — 8. " Silesian Air, ditto."— 9. " Robin Adair, ditto." 10. "Asturian ditto, ditto." — 11. "Bos- nian ditto, ditto." — 12. " Swiss ditto, ditto"— 13. "Pray, Goody, ditto, ditto." 14. "Irish ditto, ditto." —-15. "Ah! perdonna ditto." — 16. "Military Air, ditto." — 17. " Cisalpine Air, ditto." — 18. " Tuscan Air, ditto." — 19. " Cir- cassian Air, ditto." — 20. " Jstrian Air, ditto." — 21. "John of Paris, ditto, ditto." — 22. "Boatie rows, ditto, dit- to." — 23. " Batti, Batti, ditto, ditto." "Select Airs from Mozart's Opera « La Clemenza de Tito,* with Flute and Violon- cello Accompaniment, No. 1 to 5, ditto." "Con fan tutte, ditto." "II Flmtto Magico, No. 1 to 6, ditto." "It Don. Giovanni, No. 1 to 6, ditto." ° Le Nozze di Figaro, No. 1 to 5." "Airs Grotesque, No. 1 to 6." "Medley Divertimentos, No. 1 to &." "Nel cor piu, with Variations?' " Princess of Wales's Strathspey, ditto*" "Hussion Air, ditto.!* "Romance d'utt Digitized by Google MA 55 Folic, No. V "Ditto, ditto, No. 2." "Three Scotch Air* as Rondos." "Welsh Air, with Variations." " Cossack Minuet, Hungarian Quick-step, Sfc" " Folies tPEspagne." "Handel's Jive Airs." "Han- del's six Airs." "Handel's seven Airs." "Mr. and Mrs. Lobski, with Variations." "Pray, Goody, ditto" " Polonese March and Waltz." "Robin Adair." "HandePs Chorus, 'And he shall purify: " " Ditto, 'And with his stripes.*" "Ditto, mice vun.es. aj tnc iTTu&UTeu goto, three voices. "I seek my shepherd gone astray" "John of Brent;' three voices. "Lady beware," three voices. "Lillo lee," three voices, "Lochgyle." "March in the Occasional Oratorio." "Minstrel's Sum- mans," three voices. "Negroes* Glee, 'A'o, 'twas neither shape nor feature.' " " 0, Brig- n a I banks," three voices. "O Snake, O stay," three voices. "Pastoral Rondo" "Roderick tick Alpine.'* "Rosy smiles her cheek adorning.0 "Soldier, rest," three voices. "Strangers, pray this way bend you," four voices. "Sweetly in life's jocund morning," three voices "Wake, maid of love," three voices. "When order in this land commenced.'' ''When tell-tale echoes." "Where shall the lover rest." "The Wreath," three voices, " Young Lochinvar," three voices. Duets: "All I wish in her ob- taining" " Deprived of thee *t were only woe." ''Don Antonio's come." "Give me a female soft and kind." "He's gone on the mountain;' "How eon you thus cruel." "If blue eyes frown." "In fairness I speak." "O virgins, tell me." "See from ocean rising." "What is grandeur" "When bleeding nature droops to die." " Winter of Life. " English songs : " A blessing on brandy and beer." "A bloom- ing flower my Julia chose" "Adieu, my fair." "Ah, could my faltering tongue." "Ah, teach thy breast." "Allcn-a-dale.' ' "AU hands unmoor." "A moment yet." "A pretty gemman once I saw." "A shepherd one day." "A soldier to his own fireside." "A youth took a wife." "Ban- nocks o' barley meal, arranged." " Be- Ueve fh# vows." "Calm the winds." MAZ "Captive to his bird." " Crazed Bride*! " The Departure. " " Each throbbing heart." "Elfin King." "Ella." "Ellen Bhoyochd, or the Beautiful." "Farmer's Treasurer " Flora's Wreath.9* " Gale of Love" " Go to my dying sister's bed.'' "Happy were the days." " HarrU the Brave." The harp: " I was a wild and wayward boy." "Harper's first Song" "Harper's second Song." " The Heath, this night." " He has left me." " Henry's Return." "Sequel to Crazy Jane." "Hope told a flattering tale:' "How often will proud memory trace," " How wretched is the captive's lot." « Huntsman, rest." "Husk thee, poor maiden.*' "Inconstant Sue." "In days of yore;* "LaUeugh." " Lament. " " Lay of the imprisoned Hu?itsman." " Let our halls and towers decay." "Let the song and dance." "Lillo lee." "Lonely Isle." "Lovely Catherine;9 "Lovers, your vows we don't believe.*9 "Lovely Woman.'* "Low before thy altar bending.'* "Lowly humble was our lot.*' "Lowland Maid." "Loyal Soldier." Bosom of Snow." " the western sky." " mournful nightingale." "Merrily, merrily goes the bark." " Merry it is in good Greenwood. " " Minstrel Summons. " "Mock Italian Medley." "Never tiU Now, vengeance, like the tight- now »» it tiing,Jty." "O'er my cottage near yon wood." "Oft wealth or ambition.'* "O, what can match the pleasure. " " Once on a time." t( On the high and snowy moun- tains." "O, time's a false friend" "O, wake while the dawn." "Poor Ben.'* "Poor Richard." " Poor Zulema." "Pray, » tt Goody , arranged." 'Free Knights.' " Boy's Gratitude." " See Auroral rays ex- tending." "Ship on Fire." "Siege." "Soldier, rest." "Sound of Rokeby Woods." "Steady she goes, alTs well" " Strains of joy." "Sure the rose.'9 "Sure woman*s to be pitied" " Sweet charm of loveliness." "Sweetly in Ufs jocund morning." " The other day when I was dancing.'* " The Poplar Grove." « Those ruby lips." 143 Digitized by Google If A 2 ''Through icy valUes." • " *Tis courage charms'* " *Tis merry in fairy land." tt merry in good Greenwood." "Tr/m Starboard." " 7b sleep's embrace with Joy I Jly" ** Vast is the swelling tide." " Wake, Edith, wake." *< Wahe, maid of Lorn." "Well-a-day." " What pleasure past expressing." " What sounds strihe my ear." " When I get to town." " When order in this land." " When placid night." "Where does the urchin love." « While sorrow befriending:* « Who'll buy, who'll buy J' "Why dares the eagle." "With hap- less tears." "With trembling steps." "With well-earned laurels.** "You think to talk,'' "Young Lobski." Hymns: "JSix Hymns." Opera : " La Bella Arsene." Canzonets : " Millico's Eight Canzonets, with new Accompaniments." Italian songs, duets, trios, &c : "Ah, se pieta pur senti.'* i(As- cobtate quel chioson." " Che belspassetto." " Come pub* quel tuo bel Core" "La Donna eun gran Male." "Liberia desio deW alma," trio. "Misenoechefaro." "Xontemcr." "Per che dovra languire il cor." " Signo- rina nolsperate," duo. "Ti r amenta amato bene." « Un Aria piu brilliante," and " Un cor armante," trio. MAZZOCCHI, (Domekico) one of the Old masters of the Roman school, con- tributed much to the improvement of the style of music prevalent in his time. Dr. Burney praises in particular his ma- drigals, (1638.) Kircher also speaks highly of these madrigals, (vol. i. p. 660, of his Musurgia) but particularly of one of his pathetic recitatives, which he calls "Thranen der Maria Magdalena," i. e. "The Tears of Maria Magdalena." This is printed in Dr. Burney's history, vol. iv. p. 96. Of his published works we can enumerate the fol- lowing: "Catena tfAdone," Venice, 1626 ; 4(Il Martirio dc Santi Abundio prete, Abbundanzio Diacono, Marziano, e Gio- vanni suo figliuolo, Dramma," Rome, 1631; "Madrigali," Rome, 1638 j and "Dialog hi t Sonnetti," Rome, 1638. MAZZOCCHI (Viroilio) was chapel- master at St. Peter's church, in Rome, in 1636, and professor at the college for the M4 M A Z education of the vocalists of the papal chapel. Bontempi, who was a pupil of his, gives, in the second volume of his history, a particular description of this school, which leaves no slight impression on the mind of its useful arrangements. It 'is as follows : " One hour in the morning was set apart for exercises on difficult passages * another for the practice of the shake; another for singing before a mirror, in the presence of the master, in order to acquire a good position of the mouth, and pleasing attitudes in singing. In the afternoon, a short time was devoted to the study of the theory of music ; then, an hour was employed to put counterpoint to a canto fermo ; and in another, again, the master explained ver- bally the rules of counterpoint, whilst the pupils put them in practice by writing. In a third hour reading was practised. The rest of the day was spent in practice on the harpsichord, or in the composition of a psalm, motet, or canzonet, according to the capacity of the pupil. On the days that the pupils were allowed to go out, they used to pass through the tower gate, called An- gelica, near the Monte Mario, where there is an echo ; there they used to sing, whilst the echo returned their errors to their own hearing. At other times, they went to church, either tftkear the music or to take a part in the performance ; after which, on their return to, the college, they were to acquaint their master with the observations they had made." Delia Valle makes men- tion, also, (1640) of a young Mazzocchi, who, a short time before, had published in the Roman college motets for six choirs, with great art, and afterwards, for St. Peter's church, a mass for from twelve to sixteen choirs, of which one choir was placed on the very top of the cupola to act as an echo. This, it is said, produced a most admirable effect. Probably by the younger Mazzocchi, Delia Valle meant Virgilio. MAZZOLENI, (Giacomo) a Roman pro- fessor of music, gave with much success at Rome, in 1694, the opera entitled "La Costanza in Amor vince ring anno," Digitized by Google M ED MAZZONI, (Alfonso) chapel-master Id the cathedral church of the Holy Ghost, at Ferrara, published some motets at Veuice, in 1640. MAZZONI, (Antonio) chapel-master en second of the cathedral at Bologna, and .dramatic composer, was born in that town about the year 1710. He composed there, in 1770, in his capacity of member of the Philharmonic society, a Magnificat, con- sisting entirely of choruses. Mazzoni studied counterpoint in his youth under the chapel-master Perdiera, and subsequently travelled, during several years, to Naples, Madrid; and as far as St. Petersburg. In 1756, he brought out at Parma the comic opera, "/ Viaggiatori ridicoli," words by .Goldoni. This piece was eminently suc- cessful. MAZZONI, (Giovanni) chapel-master of the cathedral of Lodi, flourished about the year 1600 as one of the first contra- puntists. MAZZUCHELLI, an Italian musician at Paris, published there " Recueil des plus agriables Arte ties des Operas arr an jr. pour deux Mandolines, llec. 1 et 2, " Paris, 1792. "Recueil d'Ariettes des Operas now veaux, avec Acc. de Guitare, Rc 1, 2, et 3," Paris, 1793. . MECHEL, a Frenc#. composer at the beginning of the eighteenth century, pub- lished " 7 BScher Sonaten fur die Violine," 1729. MECHI, (Giov. Battista) organist at Bologna, published at Venice, in 1611, "Motettid5, 6, 7, 8 voc." MECHTLER, (F.) probably a German harpist at Paris, published there, about the year 1794, "Petit* Airs conntts varies pour la Harper MECK, (Josbph) a violinist, belonged, in 1730, to the chapel in Mentz. He pub- lished "13 Concerti per il V. a 5 r 6 Strom .w Amsterdam . Besides these, several of his concertos and solos in manuscript were known at that time. MEDER, (Johann Valentin) a cele- brated chapel-master at Dantzic, was born in 1650. He composed many operas and TOL. II. MED cantatas, and much church music,- but only one of his works- was published, namely, " Capricci a 2 VioHni col Basso," 1698. MEDER, (Johann Gabriel) son of a schoolmaster in Gotha, published " Sin- fonie pour VOrchestre," Op. 4, Berlin ; 6 Marches pour 2 Clar^ 2 Cors, et Fag." Berlin, 1795; "L Illusion du Printers, Sonate pour le Clav. avec. V. et Vc." Op. 6, Berlin, 1797 ; " Principe* de Musique pour le Chant, avec 12 Solfiges et B. cont." Berlin, 1800. There is also a manuscript opera in his name at Breitkopf's in Leipsic. MEDERITSCH or MEDRITSCH (Johann, called Gallus) was, in 1794, engaged as conductor of the orchestra at the theatre at Ofen, in Hungary. He seems to have resided there only a short time, for, in 1796, he was at Vienna, where he wrote the first act of his " Pyramid™ von Baby- lon" Of his operettas and other works, all of which met with a favourable reception at Vienna, we can mention the following : " Der Scefahrer," operetta; " Die Rckru- tent" operetta, 1794 ; " Der letste Rausch," operetta in two acts; " Makbeth, unit Ge- sang, " «• Chor der Banditen, d 4 voci; " t(Chor derTempelherrn, d 4 voci, 2 Fl., 2 C/ar., Fag., 2 Tromboni, et Organi." The first act of *' Pyramiden von Babylon" being the second part to the " Zauber/Ste." Also the second act of Winter's composi- tion, arranged for the piano-forte, Vienna, Offenbach, and Leipsic, 1798. This piece was performed for the first time at the Schikane- derschen. theatre at Vienna, in 1797. The following instrumental music is also his : " 2 Son. pour le Clav. Nos. 1 et 2," Vienna, 1791 ; " 2 Quintet ti pour le Clav., FL, V., A., e Vc," Vienna, 1792; "24 Vars. auf den Barcntanz, furs Klav" Vienna, 1792; "3 Son. pour le Clav. avec V." Vienna, 1797 ; " 6 Vars. pour le Clav." Vienna, 1797 ; " 6 Vars. sur le Tkime de r Introduction de fOuverture de C Optra, Babylon's Pyramiden," Vienna, 1798; " 9 Vars.surfAir Kin gutes kind," Vienna, 1798; "3 Sons, dialog, pour le Clav. et V., Liv. 1," Op. 1, Vienna, 1799 ; " 4 Con* etrti d Cembalo" (manuscript); " 4 Son. d l 145 Digitized by Google M E H 4 mttnl," (manuscript) ; " 6 WMW A7«t*er ^brtttfwt," (manuscript) ; "3 7>to jh>kt 2 Viohns et Pc.H Op. 12, Vienna, 1800; ** 3 CapHtes facil. pottr li Ciav. wee V. obi" Vienna, 1802* Oerber has also seen the following church compositions by this master : «« *$too- *n**tf,° (manuscript); "Missa solennis m D, A itmci co*t. con Sttnmenti" (manuscript); and •* t» C, ifyrte, * Gtoria." MEGfcLlN, (Heikrich) violoncellist in the chapel of the elector of Saxony, at Dresden, subsequently to the year 1774. He was an excellent performer, ana com- posed much music for his instrument. MEHRSCHEIDT, a German musician, resident at Paris. His work, under the fol- lowing title, met with a good reception: *' Table raisonne*e des Principes de Musi que et de T Ifarmonie; contenant ee qui est le plus essentiel tt observer dans la Musique pottr cenx qui veulent travailler d la Com- positloii) arrange? d'une mttniere aist'e pour que chaque nnisicien puisse voir d*un seul coup- (Fail tout ee qu'U pent tt doit fain concemant PHarmonie* Paris, 1780. MMUL, (Eine»ne HENfci) member of the institute, also one of the three inspectors of instruction, and professor of composition, at the Paris conservatory, was born at Civet in 1763. At ten years of age, he had im- proved so much in organ playing, under the tuition of the blind organist of his native town, that he was nominated organist of the Re'colets, and at twelve was chosen adjunct to the organist of the celebrated abbey of Valledieu. It was in this abbey that he learnt composition under a very able German contrapuntist, named Hanser. Mlhul first went to Paris when sixteen years of age, and took lessons on the piano of Edelman. A t eighteen, he was presented to Gluck, wbo initiated him in the philoso- phical and poetical departments of the musical art About die same time, he set to music a sacred ode of J. B. Rousseau, which was sung with success at the con- cert spiritueU Under the direction of Gluck, M£hul next composed three operas, solely for improvement in his art. These 146 MEH were* u La Psyche," words by Voisenon ; u VAnaerdon," of Getttil Bernard; and "Luush* et Lydie," of Vaiadief. At the age of twenty, he presented to the royal academy of music an opera in four acts, " Cora et AUnizo" which, however, was not performed till six years afterwards. Fatigued and restless at this long delay, he composed another opera, " Euphrosiue,** which was performed a year before " Cora et Alonzo" His third work was " Stratonice" and the fourth, "Adrien." The following methodical list contains the principal com- positions of this celebrated musician. For the royal academy of music : *' Cora et Aloneo" 1791 ; " Horatius Codes," 1793 ; "Adrien," 1783; "LeJugtment de Paris," 1793 ; " La Darisonwnie" 1800 ; " Persie et Andromide," 1810 ; and^sn- phion," 1811. For the Op^ra Comique : " £uphrosiney" 1790 ; « Stratonice," 1792; " Lejeune sage et le vieux fou," 1793; " Phrwsine tt Melodore," 1794; " La Cavern*," 1795; " Detiay" 1790 ; " Lejeune Henri," 1700; « Arhdant," 1790 ; " Bion," 1600 ; " Epi- cure*" 1800, with Cherubim; " L'Iruto," 1801; «Une-JFolie," 1802 ; " Le Trdsar mpp ose1," 1802', "Joanna," 1802 ; "L'Hen reux malgri lui," 1802 ; "Wife," 1803 ; " Le Baiter et la Quittance;* 1&0S, with Kreuteer, Boyeldieu, and Nicolo ; « Uthdi," 1806 5 "GabrieUed'Estreesr 1808; " Les deux Aveugles de TolitU," 1806; "Jo- seph," 1807; and " Valentini de Milan," 1811. For the Theatre Franca* : the choruses in the tragedy of Timole'on. National music : " Hymne patriotiqtte, a f usage des Fttes Rationales" 1795; " Chant duDe'part," "Chant des Ftetoires," "Hymn* de Guerre," 1796; " Auguste Compagne du Sage, tfc" hymn, 179T; *' Le Pontde LouH, hommage an Vainqueur de V Katie? 1798 ; " Hymne a la Pa**," 1798. Instrumental music : rt OuvtrU dujeune Henri pour P> F. ; " " Trois Son. pour le Clnv. avec V. y several composers and published it, under the title " Crepundia Musica," 1621. ME1STRE or MAISTRE, (Matthias de) a Flemish contrapuntist, born in the beginning of the sixteenth century, was chosen by the elector Maurice, of Saxony, in the place of Johann Walther, after the lattar's decease, and although he did not 148 M 31/ arrive at Dresden before 1553, (after the death of the elector) his successor Augustus confirmed Meistre'in his appointment. He published at Dresden, " Magnificat 8 Tonorum" Dresden, 1557; " Motetti A 5 tree. Lib. 1," Dresden, 1570 ; " OJficium de Nativitate et Ascension? Christi a 5 woe." Dresden* 1574; " Teutsche und ia~ teinische Lieder von 3 Stimnutn" Dresden, 1577. In foreign countries he was called merely Matthias, under which name a work appeared, printed at Dresden, under the following title. "LaBataeliaTaliana com- posta da M. Matthias, Fiamengo, Maestro di Capella del Domtt di Milano, com alcune V, piacevolc," Venice, 1552; by which it seems that he had previously been chapel- master at Milan. Of his works there are, in the Munich library, " Cathechesis 3 voc. composita" Norib. 1563 ; '* Geistlicke und weltliche Gcsange mit 4 und 5 Stimmcn,*' Wittenberg, 1566 ; and " Officia dierum quadrages imaliam, Sfc" MEL, (Rinaldo del) a Flemish con- trapuntist, flourished in 1538. He is said by Hawkins to have been master of the celebrated Palestrina. We can mention the following of his works: " Cantiones Sacra 5, 6—12 voc. nebst einer Litania de B.M. V. d 5 voc.r Antwerp, 1589, and, in the Munich library, " Madrigali a 6 vocJ' Anvers, 1588. MELANI, (Alessandro) a dramatic composer at Rome, towards the end of the seventeenth century. MELANI, (Antonio) chamber-musician to an Austrian archduke at Inspruck, in 1659. He published some violin music. MELGAZ or MELGACO, (Dioco dias) a Portuguese church composer, born at Cuba in 1638, became chapel-master at Evora, where he died in 1700. He left a number of church compositions, among which are particularly distinguished the following works in two books, written on imperial paper, and dedicated to the archbishop of Evora, D. F. Luiz da Salva, in the year 1694: "Motetesda Quaresmafu"Missa ferial it 4," "Motete de Defuntos, a i/'imd" Gloria, laus et honor, 4 8 voses." The rest of bis Digitized 6y Gc MEN works consist of masses, lamentations, rot reres, psalms, responsories, hymns, &c. MELISSA (Matteo) flourished as or- ganist and composer, in the Jesuits' church at Goritz, in Friaul, about the middle of the seventeenth century. He published " Salmi Concertati d 2, 3, 4, e 5 voci," Venice i 1652. MELONE, (Annibal) a learned con- trapuntist at Bologna, about the year 1560. He published a work entitled " Dcsiderio di AUemano BeneUi" (the name being an anagram of his own.) It is a work very useful, as respects the musical history of his time. MELVIO, (Francesco Maria) chef- dtorchestre at Castello, in Italy, about 1648. He published "Galatea," Venice, 1648, and "Cantumes Sacra1, 2 — 5 voc," Venice, 1650. MENDES, (Manoel) a Portuguese author and composer, born at Evora, was first chapel-master at Portalegre, and after- wards in his native place, where he died in 1605. His knowledge as a musician, by which he formed several eminent composers, and his practical works, have given him a distinguished place among the artists of his country. Among other works preserved in the royal musical library at Lisbon, he has left in manuscript, *' Arte do Canto Chao," "Missa a 4 e Gnoses," "Magnificat dAe 5 vozes," and " Varios Motetes a diversas MENEDEMTJS, a musician of ancient Greece, was, according to Plutarch, a pupil of Aristotle. MENEGHINI, (Giulio) chapel-master at Padua, in 1770, succeeded in that office his celebrated master Tartini, in honour of whom he composed a funeral service. MENEHOU, (Michael de) master of the choristers in the church of St. Mauri at Paris, in the sixteenth century, published *' Instruction des Pre*ceptesi ou Fbndemetu de Musique tant pteine que figurie" Paris, 1571. MENESTRIER, (Claude Francois) a French Jesuit, wrote, in 1681, a treatise, ues ftcpTeseninitons ch jtiusttjuc, ancicnnes et modemes** In this book, among a great variety of curious particulars, is contained jM E N a brief inquiry into the musk: of the He* brews. The author states that dramatic music was first introduced into France by the pilgrims, who, returning from the holy land at the time of the crusades, formed themselves into parties, and exhibited spec- tacles of devotion, accompanied with music and songs. There are likewise many curious accounts of public amusements, and of dramatic and musical representations, in several of the courts of Europe. In the year 1682, Menestrier pubhshed «« Des Ballets ancicnnes et moderns, scion les Rigles du TM&tre" He died in the year 1705. MENGOLI (Piedro) was a native of Bologna, and born about the year 1626. In the early part of his life, he read public lectures on music in several of the schools of Bologna, for the purpose chiefly of explain- ing the doctrines of Zarlino and Galileo. He published there, in the year 1670, a treatise entitled " Speculation* di Musica." In that part of the work which he denomi- nates the natural history of music, he treats of the anatomy of the ear, of its capability of receiving sounds, and of the power of the air in conveying them. He then speaks of the combination of sounds, in which he lays down some new principles, that are, in fact, the chief foundation of the whole work. After this he explains, at able length, the nature of the intervals, showing between what numbers the species of each interval are most perfect. He treats of the chords ; then of singing and modulations of tune. The latter he distin- guishes from singing in general, by observ- ing that modulation is a succession of sounds so strongly impressed upon the senses, that we are not able to repeat them. The author next discourses fully on the subjects of consonance and harraonical proportions, and also on the passions of the soul, endea- vouring to show how they are concerned in and affected by music. Towards the con- clusion he gives a table of the several musical chords that are suited to the dif- ferent affections. Some of the speculations contained m 149 Digitized by Google MIR this work are specious and ingenious; but the philosophy of sound has been so much more scientifically and clearly treated since the time of its publication, that the difficulty of obtaining the book, which is now become scarce, is no great impediment to the ad* vancement of music MENGOZZI, (Bern ab no) born at Flo- rence in 1768, was a singer of taste and a good composer. He brought out several operas at the Theatre Montansier at Paris, which had great success. These were, uLcs deux Vitirs," "I»*belle de Salisburg," " Paurceaugnae" " Let Habitant tie Van~ close," and " Brunet et Caroline:1 Placed at the head of Otie of the classes of the con- servatory, Mengozzi formed many excel- lent singers ; amongst whom may be named Baptiste, of the Theatre Feydeau. For this latter theatre, Mengozzi has only writ- ten two operas, " Une Faute par Amour,** and " La Dame voiUe" the music of both Of which was considered novel and brilliant, lie died at Paris in the year 1800. MENTE (Johann Frederic) wasborn at Rotenburg on the Oder, in 1698. . He received his earliest instructions in music from his father, (Samuel Mente) who was a celebrated organist. He then went to Frankfort on the Oder, where he studied during three years under Simon, musician to the university. In 17 18, he visited Dresden and Leipsic, aud thence proceeded to Glau- cha, where he took lessons in counterpoint from Meischner. In 1727, he was nomi- nated organi st at Liegnitz, in Silesia. Mente published much church and chamber music, and in his biography, written by himself, he states, that he bad taught music to five princes, more than twenty counts, three countesses, nine barons, three baronesses, and above twenty others of the nobility. He died about the year 1760. MENZEL, a violinist in the imperial chapel at Vienna in 1796. MERANGE, a composer at Paris, of whose works has been printed " Frtfdd- glide, ou le Demon familier, Drame a gr. spectacle," Paris, 1799. MERCADIER, (M.) of Belcsta, pub- 150 M £ R lishedat Paris, in 1776, " Nouveau Systhmc de Musique the'orique et pratique" one vo- lume, octavo. MERCANDANTE, (Savehio.) This dramatic composer, who is considered infe- rior only to Rossini, Paer, and perhaps General), was born in Naples in 1798. He studied music under Zingarelli, in the Consrrvatorio San Sebastiano. In the be- ginning, he devoted himself to instrumental music for the space of six years, during which time he composed several overtures, some ballet music, military airs, &c It was at the earnest recommendation of Zin- garelli, that he at last turned his attention to vocal composition. Incited by such high encouragement, he produced first, in 1818, a grand cantata, entitled " VUnione dtlle Belli Arte" for the Teatro Fondo, which met with a very favourable recep- tion. After this he obtained an engagement at the Teatro San Carlo, when bis first opera, entitled *' L' 'A 'pot eosi d'Ercole" ob- tained considerable applause, and was said to augur well of his future success as a composer. It was on the first representa- tion of this opera, that the young composer was called for by the public at the conclu* sion of a terzetto, which was enthusiastically encored. In the same year, 1819, he com- posed for the Teatro Nuovo, the opera buffa " Violenza e Costanza" which also met with a very flattering reception. In 1820, another opera was given by bion in San Carlo, entitled " Anacreonte in Sumo" After this he went to Rome, and composed for the Teatro Valle an opera buffa, called " 11 Geloso ravveduto," and in the carnival of 1821, the opera seria, " Scipione in Car- tagina" for the Teatro Argentine In the same year he produced, in Bologna, the opera seria "Maria Stuart" as also the opera called " Elisa e Claudio," for the same theatre. In the carnival of 1822, ha composed the opera seria " Andronico," for the Teatro Fenice at Venice. MERCHI, an Italian guitarist, nourished about the year 1760. He resided for seve- ral years at Paris, and in 1777 published a small tract entitled " Guide des EcaUcrs do Digitized by Google MER Quittre" He also edited an annual " Jla- cueit d'ArieUest Priludes et autre* Pieces le'geres " for his instrument. MERCIER, a French musician at Paris. His published works are, " Met hade pour apprendre 4 foe sur toutes Us Cltfs," Paris, 1788. MERCY, (Uwis) an Englishman by birth, though the descendant of a French family, was a celebrated performer on the flute-a-bec, or English aute, and an excel- lent composer for that instrument. He published six solos, with a preface contain- ing a brief history of the scale, and of Guido's reformation of it, taken from a French work of Sebastian de Brossard. Soon afterwards appeared his Opera Se<» cunda, containing six more solos for the same instrument. Mercy lived at a time when this flute was becoming unfashionable, and when the German flute was beginning to get into favour. In consequence of this, he formed (in conjunction with the younger Stanesby, the wind instrument maker) the scheme of a new system, intending to make the fl«te»fc-bec a concert instrument without an actual transposition, by changing the denomination of the lower note from F to C By this contrivance, a flute of the fifth size was precisely an octave above the other treble instruments, lie published twelve solos, the first six of which were written for the traverse flute, violin, or English flute, according to the new plan, accompanied by a preface in recommendation of it, in which he asserts that his system was in truth the ancient system of the flute. In this preface he likewise makes a comparison between the flute-a^bee and the Qerman flute, and asserts not only that the former is always best in tune, but that, in many other respects, it deserved to have the preference. All the endeavours of Stanesby and Mercy to restore their favourite instrument, seem, however, to have proved unavailing. Mercy's solos for the flute are usually ranked amoner the best compositions for that instrument that are extant. MEREAUK (IfKWM J*A*) was bom MER at Paris in 1745. lie studied music under different Italian, and French masters, and when still very young displayed distinguished talents on the organ, sq much so as to attract the attention of the celebrated organists, Calviere, Daquin, and Couperiu. He com- posed several motets and oratorios, amongst which latter, his "Esther," for three voices, is much admired. His first published work was "Aline, teine de Go/cowinmk\ ^/}mf cr*ApV-n j4h Ji/mh trt* " ,u' 't) #*cuas cs/vc /#* *%\jtw%%o Lvee>/t* rs«ei£#c-4j c j Leipsic. « 12 Dreystimmige Lieder beym Klavierc," Rudolstadt, 1800. " 3 Gesange nut der Oper Faust /Or* Kiev." Rudol- stadt, 1801. << 12 Lieder mit Klavier oder Guitmrre," Bonn, 1803 ; and Kleine Ro* man ten und Lieder, »». Guit" METHFESSEL, (Albert Gottlhb) younger brother of the preceding, singer to the court at Rudolstadt, and composer of several songs and some music for the piano, was born at Stadtilm, in 8chwartzburg, in 1786. He applied himself early to music under the direction of his father, so much so that, in hit twelfth year, he wrote two church pieces, which his father executed. In his fifteenth year he went to the acade- my at Rudolstadt, remained three years as prefect of the choir there, and wrote for it several motets and cantatas. At length, in 1807, he went to Leipsic, from whence the princess of Rudolstadt sent him to Dres- den for further improvement. Here, through hit distinguished talents, he made himself so many friends, that when he gave a fare, well concert, in 1810, previously to com* mencing his employment of singer at Ru- dolstadt, his loss was much bewailed by the public. A. Methfessel was a very feeling and excellent tenor singer. He extempo* rized well on the piano, to which be occa- sionally united his voice. He also accom- panied himself beautifully on the guitar. "The musical world," says Gerber, writing in 1812, " may expect very much from this able young man. I write this with the greater confidence, because I have enjoyed the pleasure of hearing him publicly as Digitized by Goog MET well as in private circles The following list contains his principal works up to the year 1809. " Lieder mit Begirt, des Klaviers.'* " Grande Sonate & 4 main*" " Sonatine & 4 maim," " Six Vars. tur un Theme," Leipsic. " Sept Vars. sur It Men. de fOp. D on Giovanni de Mozart" Op* 9, Leipsic. " 6 Son. faeil. pour le P. F. Op. 13, Liv. 1 et Leipsic, " Sehnsucht von Schiller.'* " Arminia, von Tiedge beyni Klav.u " Gesange, 6 dreystimmige, mit willkiihr licherBegl.de* P. F.t" Op. 11. "Journal fur die Guitarre, Is. und 2*. Heft" Leipsic. "Grand Duo pour 2 Gait.," Op. 26. " Der Troubadour und 5 GedicAte, mit P. F, oder Guit.," Op. 27, METKE, (A. C.) chapel-master to the duke of Brunswick OeU at Oels, in the year 1798, was a good violoncellist, and composed, for the theatre in that town, the operetta "Der Teufel ein Hydraulikus" 1796. He also published " 2 Prologe," 1 798, and " 3 Concert, pour le Vc" Op. 3, 1803. METRU, a singing-master at Paris about the year 1676. The abbe de la Louette says, that this musician either invented the seventh syllable si, or brought it into use in solmisation. Lahorde makes him a cele- brated chapel-master, about 1620 ; perhaps they were two persons, father and son. METZELIUS (HiEBONYM.)wasasinger at Stade, about the middle of the seventeenth century, and also at llmenau, in Thuringia. He was born in the principality of Schwartz- burg. His principal publication is, " Com- pendiumMusices tarn choralisquamfiguralis, cert is quibusdam observationibus, Usque rari- oribus exornatum, in studiostt inventutis, prarprimis sithencei Stadensis, sed ct plero- rum que omnium Artem hunc clarigentem at que tinnieiitem sitientium et amarttium, gratia m et honorem luci publico? adstitw turn" Hamburgh, 1660. The work is in question and answer, and in two languages, German and Latin. METZGER, (Mao. Amihosius) born at Nuremburg in 1603, was rector of the col- lege of St. Egidia there in 1632. He was a MET good musician and composer, as the mentioned works evince. Of these, he pub- lished the psalms in an advanced age and with his tight impaired. Wagenseil, in his Traktate von Meistersangcrn, mentions several melodies with the name of Meti- ger, which probably the Meistersanger had taken out of his "Flowerets of Venus," and put words to. His works are " Venus- blumlcin, \ster Theil, newer lustiger, welt- licker Liedlein mit 4 Stimmen componirt," Nuremburg, 1611. " Derseloen Iter Theil mit 6 Stimmen,'* Nuremburg, 1612. "Der Psalter Davids, in die gebrauchlichsten Kirchentbne gebracht und mit 100 neuen Melodien gescert," Nuremburg, 1630, METZGER, (F., jun.) probably son of the preceding, was also a flutist and mem- ber of the electoral chapel at Munich ; at the same time he appears to have been a clever composer for the piano-forte. Some of his works have been republished at Paris, Offenbach, and other places. It cannot be ascertained whether the composer of some of the music below-mentioned is this flutist, or whether it is a brother of bis, who resided in Paris; for, in the catalogues, the works are put without christian names, or any other marks by which they may be distinguished. The latter conjecture is ra- ther the most probable, because, about the year 1796, a new series of works for the flute, particularly numbered, is mentioned at the end of the list of the music for the piano below. This seems to prove that there were two composers of this name living in 1810. The works published under this name consist in "Doute Petlts Airs pour le Clav. avec Violon," Berlin, 1795. Trois Sonates facil. pour le Clav, avec Violon," Op. 2, Berlin, 1795. " Six Sonates pour le Clav. avec V. ad lib.," Paris, 1792. " £o- nata a 3 jnaitts," Ops. 5, 6, 7, 8, 9, each consisting of three sonatas, Paris, 1792 and 1793. " Bataille de Fleurm pour le Clav.,*' Op. 11, Paris, 1796. "Six Airs var. pour le Clav.," Op. 10, Offenbach, 1795. « Sis Airs var. pour le Guv.," Op. 12, Offen- bach. " Trois Sonates facil. pour le Clav.," Op. 13, Offenbach. " Douze Petite Pilose Digitized by Google ME U pour le Clav., rfW difficult* progre$rive," Op. 13, Leipsic, 1796. " Ariette, 'Ah ca ira,* var.pour le Clav.," Berlin, 1791. « Ouverture a 4 wmm*," Paris, 1792. "Air *Je mis ni natif de Ferrate* avec Var. pour le Clav., No. 22," Hcilbronn and Offen- bach. " Marche dee Marseillois, var. pour le Clav., No. 77," Offenbach. For other instruments, without piano : if Trois Sin/on, a grand Orchestra** "Six Trios pour Fl.t Violon,et B.," Op. " Concerto pour Fl," Op. 3, Augsburg, 1798. In the Ca- lendrier Musical Univers. of 1787, only one F. Metzger is mentioned as a living piano-forte composer at Paris. There is no doubt that this is again a different person from the two Metzgers of Munich, the more so, as the name of the flutist is Charles. The Parisian Metzger published " Preludes pour le Farti-piano, dans tous les tons usite's ma- jeurs et mineurs, divisds progressivemcnt en deux parties, compost's par F. Metzger, (Euvr. 16," Paris, 1800, and "LeRadeau, ou la premiere Entrevue des Empercurs Na- poleon et Alexandre, Piice histor., pour le p.f:* METZGER, (Georg) flutist to the Ba- varian court, died at Munich in 1794. We give the full catalogue of his works, which were published in the above town between 1782 and 1789 : " Six Concertos pour la Fl.,** Op. 1 , No. 1—6. " Six Flotentrios,** Op. 2. "Six FWtenduos,** Op. 3. "Trois Concertos a 2 Fl." Op. 4. u Six Quartets a Fl.t V.t A., et B." Op. 5. " Six Son. a Fl. e B.** Op. 6. " Trois Concertos pour la FL" Op. 7, Nos. 7, 8, 9. MEXJDE MONPAS, (J. J. O. de) a French chevalier and scavant, published *' Dictionnaire de Musique, dans lequel on simplifie les expressions et les definitions mat Mm. et phys. qui ont rapport a cet art, avec des remarquts sur les Poites lyriq. les Versificateurs, les Compositeurs, Acteurs, Extent am, Sfc.,'* Paris, 1788. By this book musical science has gained nothing, says Blankenburg. MEUNIER. A violinist of this name is found, in 1798, in the orchestra of the grand opera at Paris. He was probably a com- 166 M 8 V poser of some violin quartets under the same name at Paris, year 1788. MEURSIUS, (Joannes) roya grapher and professor of politics and tory at Sora, was born at Losdun, near the Hague, in 1579. He was tutor to the duke of Berneveld's sons during ten years, and visited with them the principal courts and libraries of Europe. He received the de- gree of doctor of laws at Orleans. On his return from his travels he became professor of history and of the Greek language ; after which he was invited by the king of Den- mark, Christian IV., to the above-men- tioned situation at Zora, where he died in 1639 or 1641 of the stone. His writings which relate to music are as follows : "Aristoxeni Elementa Harmonica, Or met** Leyden, 1616. *' Nicomachi Enchiridion Harmonices, Grace," Leyden, 1616. "Alypii Isagoge Musica, Greece" Ley- den, 1616. " Orchestra, sive de Salt a- tionibus Veterum" Leyden, 1618, and " Porphyrii Philosophi opera omnia, Grace* MEVES, (Augustus) a native of Lon- don, born in the year 1786. He is the son of the late Mr. William Meves, an artist of distinguished merit as a miniature painter. His mother was a lady of acknowledged superior musical talent, and early observed a great partiality for music in her son, who seems indeed to have inherited this bias from both parents, his father having been also much attached to this enchanting science. On the occasion of his father giv- ing a party to young John Hummel and his father of Vienna, together with Mr. GraefF, and other musical gentlemen, young Hummel observed the facility with which master Meves touched the piano, aud thought that if he would study that instru- ment, there was every prospect of his be- coming a superior performer. From this recommendation Mrs. Meves taught him his notes, and his father induced him to prac- tise, by reading entertaining works while he was thus engaged, desisting the moment the boy ceased to play. In this manner he Digitized by Google acquired a niperior and ea«y touch Upon adopted to accustom his eye to the reading whole ballets, without allowing him to correct a single fault. Young Meves was, notwithstanding, intended by his father for the mercantile profession, until one of those slight incidents occurred which not infrequently determine our future calling in life. He was accidentally playing at Broad- wood's, when Mrs. C. Cramer, then pre- sent, inquired whether he had ever given lessons, which he had not then done. That lady became his pupil, and, on leaving town for the season, made htm a very hand- some present. This agreeable surprise, for it was unexpected, induced him to prefer the cultivation of music, as a pursuit, to the dull monotony of a counting-house. Accordingly we find him shortly after, in 1805, making his debut at Edinburgh, under his christian name only, and the news- papers of the day paying him the following most flattering compliments for so young a beginner : " Mr. Augustus's fine touch and exquisite execution is only to be equalled by the great Mozart and on another oc- casion they remarked the force of his left hand. Meves, on the death of his father, quitted the profession of music as a teacher, on account of its fatigues, but still continues to exercise his talent in the publication of various compositions, of which the follow- ing have met with great success : " A Sonata," dedicated to Mr. Cramer ; " V Aline," a rondo ; " German Air, with Variations;" "Within a mile of Edin- burgh," harp; " Auld lang syne " "Be- gone, dull care" harp ; " Gente e qui tUceellatore" and the grand march from Mozart's opera of // Ftauto Magico. A dramatic divertimento, " My Lodging, Air with Variations" MEYER (Joachim) was a doctor of laws and professor in the university of Got- tiagen, where, in 1686, he was also ap- pointed professor of music and cantor figu- ralis. He held these places for about ten years, when, retaining only the title of pro- M EY feasor of music, he relinquished the practice of it, and gave public lectures on history and law. He afterwards became -rector of the college, but at the end of three years quitted that honourable station, on account of his age and infirmities, when, as a re- ward for his merit, he: was still permitted to enjoy all his salaries, with the addition of a pension. * In the year 1726, he published a tract, entitled " Unvorgreiffsichs Gedanchen uber die Neuliche ingerissene Theatrituche Kir- chen'Music" in which he severely censures many of his contemporaries, who, by the levity of their compositions, had con- founded the ecclesiastic with the theatrical style. MEYER, . (Johann Friedrich) bass singer and composer in the chapel at Ans- pach, in 1730, was born about the year 1704 : he was pupil of the chapel-master Bumler. He was also, for some time, in Italy, and obtained, on his return, the above-named situation. He was pot only a good harpsichord player, but also under- stood composition well. MEYER, (Johann Heinrich Chris- tian) lieutenant in the Hanoverian regU ment of Saxe-Gotha, was born at Hanover in 1741. He wrote, besides other works, " Brief uber Xussland," Gottingen, 1779, in which he treats much on music. He died in 1783. 4 MEYER, (Phil., sen.) was born at Strasburg, in Alsatia, in the year 1737. At an early age he was sent to the college, destined to study divinity for the Protestant church establishment : there he soon joined more students, who, from a predilection to music, were accepted to assist in the vocal department of the church service, and, by degrees, was more successful than others in gettiug instructions on the organ from the organist. He thus acquired the foundation of his musical knowledge of the German school, and cultivated it as much as op- portunity was allowed him, consistent with college duties, till about twenty years of age, when, meeting by accident with an old German harp without pedals, he took so U>7 Digitized by Google ME Y pleasure in playing on it, as to am- is strong musical inclination so de- cidedly, that he left college with a reso- lution to devote himself to the musical pro- fession, and for that purpose went to Paris, as the seat of the arts. He here met with early encouragement, but found the harp very little known, and very incomplete: the occasional semitones were then pro- duced by means of hooks turned with the left hand, which operation, during the continuance of performance, rendered the resources of modulation extremely confined. Meyer now applied ^ himself, with the as- sistance of an instrument maker, to improve the harp. Two and three pedals were at first added, and after progressive additions, Nadermao, lather to the present esteemed professor of that name at Paris, brought the seven pedals to perfection. By this time the harp was very much cultivated at Paris ; several other makers succeeded* and Meyer published the first principles of the instru- ment, entitled " Me'thode de la Harpe" which was long esteemed by the first pro- fessors as a sure guide to that instrument. Some sonatas also established his claim as a composer. About this time he took the op- portunity of studying with MGthel, an es- teemed pupil of 8. Bach's, who visited Paris on a musical tour* He then went to Strasburg, married, and returned to Paris, where, after a few years, he was tempted by an English family to visit London. He here found the pedal harp hardly known ; and soon met with so much encouragement among the first nobility, that he made London his principal abode for several years, till (while on a visit to Strasburg) the American war breaking out, he was induced to remain iu France, and again to go to Paris. Finding, however, that during his absence Krumpholz and several other professors had taken possession of the field of his former exertions, and being encou* raged by his professional friends to write for the opera, he then followed his fa- vourite propensity for composition by set- ting to music a poem of one act, by Mr. Pitra, entitled uApoUon et Daphne." This 158 M E Y first attempt succeeded sufficiently to pro- cure him, from his style, the appellation 01 young Giuck, and an introduction to Vol- taire, for the purpose of composing the music to a serious opera, entitled "Samson." This was to decide bis fame, but unfortunately, when on the point of its being finished, Voltaire died; in consequence of which, the offence which that writer had given tc the clergy manifested itself against the performance of this opera, on account ot the subject being taken from Scripture, ami it was interdicted* This proved so serious a check to P. Meyer's musical ambition, that he resolved to return to London* with his family about the year 1784* Here also he found his principal former connections pro- vided with other masters; and as he had neglected a talent, which, at the best of times, through his insurmountable timidity, proved ungrateful to him, he gate up all pretensions as a performer, and entirely to the reputation of his always met with distinguished patronage as a teacher, until his two sons followed his steps. He died in 1819, aged eighty-twd. P. Meyer was a staunch enthusiast of the Get- man school, and in his compositions, which particularly claim originality, he obstinately avoided the florid changes of the modern style and taste, and the continued esteem of his music at the present time are a fair test of their intrinsic take. His principal works are " Six Cansonettas, tbith Accom- paniment of the small Harp" the words chosen by Mr. Fox. In this set, u Thy fatal shafts" was very popular for some time. A set of sonatas, entitled *' Original Sona- tas." " Ditto," dedicated to the countess of Oxford. " Ditto,** dedicated to lady Whitbread. " La Ckasse." " Two Grand Sonatas, with Accompaniment" dedicated to Miss Staples. "A Collection of Hymns for Harp and Pianoforte" dedicated to princess Charlotte. Several fugues, which are, perhaps, the only music of that de- scription published for the harp. "TVo Ihtets" dedicated to Mrs. Walker, &c. (Birchall's and Chappel's Cat.) MEYER, (P., jun.) son of the preceding, Digitized by Google MIC Is an excellent harpist in the style of Madame Krumpholz. He has published some music for his instrument, and has a highly respectable connection as a teacher. MEYER, > ( Fried t rich Charles) younger brother of the preceding, is also a professor of the harp, and has published the following very pleasing compositions for that instrument: "Sanutd," dedicated to Miss Leader. " Sonata" dedicated to Miss Week*. " Sonata, " dedicated to Miss Beauclerk. "Divertimento, Dtii+T " // Pensieroso." <• Introduction and Solo.*' and " Fantasia, and Solo." MICHAEL, (SamvbiO organist* about the year 1630, in St. Nicolas* church, at Leipsic was born at Dresden. Of his works are known "Psaitnodia Regia, oder auser- lesene Sptiiche aus den 25 Psalmen Davids, mit 2, 3, 4**45 Stimmen, bcydes vocuMer und auch instrumentaiiter zu gebrauchen," Leipsic, 1633 j and u Faduanen und Gal- Harden , §c.'* MICHAELIS, (Christian Frirdrich) son of a physician at Leipsic, professor of philosophy, and, in the year 1801, private tutor to a nobleman near Potsdam^ was bona at Leipsic in 1770. He received his general musical education under Weiden- hamtner, Burgmuller, and Goerner, learning the violin of Ruke. Michaelis has given lectures on music in Leipsic : he has also published many scientific works relative to music, and some instrumental compo- sitions* MICHAULT or MICHAUD, a French violinist, published, in 1760, his Op. 2, comprising six duos for the violin. Another musician of the same name distinguished himself on the horn about the year 1786. MICHEL, (Yost) a celebrated performer on the clarionet* died at Paris in 1786. He wrote many operas for his instrument, amongst which can be named, "Qua tor zc Concert i pour la Clarinet tet" "Cinqumte -J^r^^^P9 ^9CWb*J^ a^^K^T (^f^Ws1 1l€ttC$p Ci £)8* 1 p 2, 3, 4, 5, 6, 7, 8, 9, "Petit* Air* varies pour deux Oar. : " all printed at Paris. In 1801, a selection from the compositions of this master were published, under the title M I C *t Dqhzc Grand* Solos ou Etudes pow la, Clarinette, choisis dans le* Ouvrages du ci- te bre Michel, pour servir a ceux qui veulent parvenir toute* les difficulty de cet instru- ment,' Paris. MICHEL, (F hanz Louis) a flutist, in the year 1774> in the imperial chapel at St. Petersburg. He belonged also, in 1788, to the chapel of count Potemkin, at Benda, previously to which he was second to his elder brothers in the chapel at CasseL MICHEL, (GsofcOE) the youngest of the celebrated musical family of this name, from Cassel, was born in 1775. He is considered by Gerber as one of the first flutists he ever heard. He is now invested with the title and rank of captain of the im- perial chapel at St. Petersburg. G. Michel was in London about the same time that Haydn resided here. In the year 1800, he undertook a second journey from St. Peters- burg to London, in the course of which Gerber became acquainted with him at Sondershausen. His flute was one of the most costly description, of ebony, mounted with ivory, and furnished with eight silver keys ; it was made in London, after the style of Tacets and the elder Florio. It had a compass from C up to the highest note* of the third octave, with which, as occasion required, he could produce the effect of a trumpet, or the soft tone of the harmonica. G. Michel's performance was greatly admired in this country. MICHEL, (Virgil) violoncellist in the electoral chapel at Munich, about the year 1788, composed, for the theatre of that place, a serious German opera, entitled "Marcio CoriolatiOy" 1786. MICH E LET, (F. G.) a musician at Franecker, in Friesland, was born in 1730. He published much harpsichord music at Amsterdam, about the year 1760. MICHEL! or MICHIELI, (Do*. Ro- mano) chapel-master of the cathedral church, Di Concordia ,at Rome, was born in that city. He was a pupil of Soriano, and flourished in the first half of the seven teenth century, as one of the most accom- plished canonists. The best proof of this is 169 Digitized by Gc MIC given in hk^Musica vaga el arti/fciosa" the complete contents of which have been com- municated by Barney, in the third volume of his history, p. 520. This work likewise contains a copious preface, in which the author relates the history of his musical life, and the names of all the great men from whom he derived advantage in his science. As these names include the first contra- puntists and canonists of Italy at that period, they well merit a place here. Micheli relates as follows. At Venice he made acquaintance with Gio. Gabrielli, Gio. Croce, and other celebrated men. At Naples, where he resided with the prince of Venosa, he became acquainted with Sci- pione Stella, Gio. Battista Paulo, Muzio Effrem, and Pomponio Nenna ; at the same time, Bartolomeo Roi was chapel-master, and Gio. Maque organist to the vice queen. Rocco llodio, Scipione Cerreto, Giustiniano Corcella, and Domenico Montella, flou- rished also at that time as profound mu- sicians. In Ferrara, he was acquainted with Luzzasco Luzzasci, Fierone Fioron, Gio. Mazzino, the chapel-master of the Dome at Lodi ; also with Pietro Morsolo, and other learned artists. At Milan, where he resided a year, he found D. Fulgentio Valeai Parnegiano very observant in the composition of canons, also Guglielmo Arnone and Cesare Borgo, at that time organists to the metropolitan church. At Rome, he became acquainted with the Spanish musician, Sebastian Raval. When Raval went to Rome, says Micheli, as he had not yet met with his equal in Italy, he considered himself to be the first master in the world, and therefore challenged Fran- cesco Soriano and Gio. Maria Nanino to a competition of knowledge in the science. But resto chiarito (he was overcome) in the first attempt, nondimeno volsero sent ire tutto il suo super e; so that Raval was afterwards compelled to acknowledge So- riano and Nanino to be great maestri. Micheli enriched canonical music with various new inventions, and brought it to the highest perfection, as his works fully prove ; from amongst which the following 160 M I K may be named : " Music* vaga et artijir ciosa, continente Motet tieon ob light, e Co- noui diversi, tanto, per quelii, eke si dilettano sett tire varie curiositd, quanto per quelii, que vor anno professarc d'inte?tdere diversi studii del la Musica." Venice, 1615. " Compieta a 6 vocif" Venice, 1616. . " Kanon fur 9 Chore mU 36 Stimmen." " Motetto in Canone, having been, besides his proficiency in other w2 W Digitized by Google m r n sciences, an excellent musician, flourished in 1082 at Milan, as chancellor of the holy office. He died, after he had published many learned works, at Naples, in 1645. MINGOTTI, (Catarina.) This cele- brated singer was born at Naples, about the year 1726. Her parents were of German origin. Her father, an officer in the service of Austria, having received orders to go to Gratz, in Silesia, took his daughter with him, before she was a year old. At his death, a few years afterwards, her uncle placed her in the convent of the Ursulines. Here the music which she heard in the church made such an impression on her, that, with tears in her eyes, she begged the abbess to give her some lessons, that she might be able to join in the choir : this was accordingly done. When she attained her fourteenth year, her uncle, who had in tended her to take the veil, died ; in con- sequence of which she returned to her mo- ther and two sisters. Shortly after, she married M. Mingotti, a Venetian, very much older than herself, and who was manager of the opera at Dresden. On her arrival at that town she made a great sen- sation. Porpora, who was then in the ser- vice of the court, recommended her, without delay, as a young singer of great promise, and soon procured her an engagement at the theatre. The celebrated Faustina and Hasse were also at this time in the royal service at Dresden, but shortly after hear- ing Mingotti sing, they left that city for Italy, being envious, as was said by some, of the favour with which Mingotti was re- ceived. After remaining a short time at Dresden, the famey of Mingotti's singing reached Naples, and she was invited to sing there at the grand opera. She accordingly went to Italy, having previously applied herself so closely to the study of the Italian language, that when she appeared at Na- ples for the first time, in the character of Aristca, in the Olimpiade of Galuppi, she surprised the Italians as much by the purity of her pronunciation, as by her melodious roice, and expressive and natural manner of acting. This first dibut having decided the 164 M 1 N superiority of her talents, she received pro- posals on all sides for theatrical engage- ments, at a high salary ; she had, however, the delicacy to refuse them all, being still in the service of the court at Dresden, where her salary had been considerably raised. On her return to Dresden from Italy, she repeated her character in the Olimpiade with prodigious success. Hasse, who was just then engaged in the composi- tion of his Demofoonte, (having also re- turned to Dresden on receiving the appoint- ment of chapel-master) now offered to com- pose expressly for Mingotti the adagio uSe iutti i mali miei" with only a pizzicato violin accompaniment. This, it was said, he did, that any faults she committed in singing it might be more clearly heard. Although she was much pleased with this air on first trying it, she soon perceived the snare that was laid for her ; which only redoubled her zeal and caution, so that she sang it the first night of performance in so exquisite and correct a manner, as to force all her anta- gonists, and even Faustina herself, to silence. In 1751, she again quitted Dresden for Spain, and sang there with Gizziello, under the direction of the celebrated Farinelli. The latter was so strict with her during her engagemeut, that he not only would not permit her singing any where but at the court theatre, but even forbid her prac- tising in a room which looked towards the street. After a residence of two years in Spain, where, amongst many other presents, she received from the queen a very valuable diamond uecklace, she proceeded to Paris, and thence to London, where she arrived in 1754. Ipertnnestra, an opera composed by Hasse and Lampugnani, was the drama in which she made her first appearance before a British audience, with great success ; though Dr. Burney says the audience never fully felt her powers of expression, till she some time afterwards introduced, in Demo- foonte, Hasse's adagio of "Se tutti i mali mieif" which was in the highest degree pa- thetic. " Her style of singing," continues Dr. Burney, " was always grand, and such as discovered her to be a perfect mistress of Digitized by Google M I N her art. She was a most judicious and complete actress, extending ber intelligence to the poetry and every part of the drama ; yet her greatest admirers acknowledged that her voice and manner would have been still more irresistible if she had possessed a little more female grace and softness. The performance in man's parts, however, ob- viated every objection that her greatest enemy could make to her abilities, either as an actress or singer." In 1758, Mingotti quitted England, and afterwards sang at most of the principal cities of Italy. She did not, however, cease to consider Dres- den as her home as long as the king (Au- gustus) lived. After his death, which took place in 1763, she established herself at Munich, where she enjoyed the general esteem of both the court and town. In 1772, she had still preserved much of the beauty of her voice ; and at this time she could converse on music with as much science and judgment as the most eminent of the chapel-masters. Her conversation was animated, and she spoke in such per- fection the French, Italian, and German, that it was difficult to distinguish which was her native language. She also knew enough of English and Spanish to support a con- versation, nor was she ignorant of Latin. We are not acquainted with the period or place of her decease. MINGUET, (Pablo) a Spanish musician at Madrid, in the last half of the eighteenth century, published there «Quadernillo nue- vof que en ocho Laminas finas demuestrany explican el Arte de la Musica, con todos sus rudimentos para saber sol/ear, modular, iransportary y otras curiosidades mui utiles. Se hallara en su casa, /rente la Carcel de corte, encima de la Botica ; y en la libreria de Manuel Martin, calle de la Crux. Su precio es 6 reales." Forkel supposes this work must have been printed about the year 1774. MINISCALCHI, (Gulielmo) a com- poser in the beginning of the seventeenth century, published " Miserere mei Deus, d 3 voci,» and "Arietu Venice, 1627. M I O MINOJA, (Ambrogio) chapel-master and honorary member of the conservatory at Milan, was born in 1752. He studied music at Naples under Nicolo Sala, and, on re* turning to his country, succeeded Lampug- nani as first pianist at the Theatre Delia Scala, at Milan. It was about this time that he composed some operas of instru- mental music, amongst which were six quartetti, entitled " / Divertimenti delta Campagna." He also brought out two serious operas, the one for the Theatre Delia Scala, and the other for the Theatre Argentina, at Rome, in which town he was staying for a short period. On his returning again to Milan, he was nominated chapel* master to the holy brotherhood Delia Scala ; upon which he devoted his talents almost entirely to church music. Shortly after this time, however, he composed a march and a funeral symphony, in honour of general Hoche, and obtained from general Buona- parte the prize of a gold medal, value one hundred sequins, which he had offered for the best composition on that occasion. He then wrote two masses des morts, which are pre- served amongst the archives of the govern* ment at Milan. At the epoch of the coro- nation of Napoleon, as king of Italy, Mi- noja composed a " Veni Creator " and a iyTe Deum," which were performed in the cathedral at Milan by an orchestra of two hundred and fifty musicians. Finally, on the occasion of the marriage of the viceroy of Italy, (prince Eugene) he composed a cantata for the Theatre Delia Scala. MINORET (Guillaume) was one of the four masters of, or composers to, the chapel of Louis XIV. He composed many motets, which, though greatly admired, have never yet been printed. MINOZZI, (Marcello) chapel-master to the Duomo at Carpi, published, in the first half of the seventeenth century, " Sal- mi, Sinfonie e Litanie £ 3, 4, e 5 vod, con V.y" Venice, 1638. MION, music-master to the royal family of France, brought out the following operas at the royal academy of music in Paris, 165 Digitized by Google M I 6 » jNMtis" 1741 ; " V Annie gatante, h La £oi*r," 1747; and « V Annie galante, h Paris," 1748. MIRECKI (pronounced Miretzky) is a member of the conservatory at Paris ; he has composed some excellent music, is a distinguished performer on the piano-forte, and every ay considered as a rising genius, lie is by birth a Pole, and though appa- rently not more than twenty-six or twenty- seven years old, has produced works that would have done credit to a long and studious life. His edition of the whole of Marcello's celebrated psalms is beautifully arranged, with kau appropriate accompani- ment for the piano-forte : in this work he received some assistance from Cheru- bini. In the latter part of 1823, he pub- lished an edition of Clari's ductti e terzetti with a similar accompaniment. These compositions were originally published in 1730, and are distinguished by grandeur of subject and elegance in their melodic phrases. The original plates, engraved on copper, were deposited in the Teatro San Carlo, at Naples, and destroyed in the con- flagration of that edifice. It is to the talent and perseverance of the young and spirited Mtrecki, backed by an enterprising pub- lisher, Carli of Paris, that the musical world is indebted for the above invaluable treasure, which would otherwise probably have been buried iu oblivion. Mirecki, in his piano- forte playing, exhibits all the tact of genius, and is highly celebrated as an extemporary performer. MISEROCCA, (Bastiano) chapel-mas- ter and organist to the collegiate church of St. Paul at Massa, in the beginning of the seventeenth century, was born in Ravenna. He published at Venice, in the years 1609 and 1611, several masses, vespers, and moieis. MISLIWECZEK, (Joseph) called in Italy Ir. Boemo, or Venator ini. He was the son of a miller at a village near Prague, where he was born in 1737, with a twin brother, who so strongly resembled Mm that their parents could scarcely dis- 1 66 MIT tinguish the two infants. Joseph received a good education at his village school, and probably there received his first lessons in music. After the death of his father, he went to Prague, to obtain further instruc- tions in his favourite art from the celebrated organist Segert ; and he then applied himself to the study of counterpoint with so much success, ,that he shortly afterwards com- posed six symphonies, that were much applauded, and which he called January, February, March, &c. Encouraged by this first success, he proceeded to Venice, and placed himself under Pescetti. From thence he went to Parma, where he com- posed his first opera, which pleased so much, that he was invited to Naples. Here the opera of « BeUerofonte," which he produced on the king's birthday, rendered him so celebrated, that, within the next ten years, he brought out nine more operas in that city. Amongst these the " Olimpiade" 1778, was a great favourite, principally on account of the ariette, " Se cerca, se dice, tifc.,'* which was universally con- sidered as a chef-tFttuvre. Not long after the representation of" Bcllerofonte" he re- visited Venice, where he was loaded with honours. He met with an equally flattering reception at Pavia, and in 1777, or accord- ing to others, 1773, at Munich. In 1780, his fortune began to change. In this year he gave, at Milan, his opera "Armida," which was quite unsuccessful ; he also failed in an opera at Rome. He died in wretched circumstances, either in 1781, or according to others, 1782. MITFORD, (John) an English author, published " Essay on the Harmony of Language, Sfc*' London, 1774. MITSCHA or MICRA, (Franz Adam) secretary to the governor at Gratz, in Steyermark. Nothing is recorded of him in print, yet too much is known not to give him a place here. We have, of his compo- sition, the opera "Adrast und Isidore" 1790 ; " 12 Stark besetzte Sinfonien "11 Notturnifur 7 und mehrere Instru- mente " 6 riolinquattetten /' « 1 TVr- < Digitized by Google MIT *etto 52T.e Vc." and several part-songs for eight voices : the greater number are at Traeg's in Vienna, in manuscript. MITZLER DE KOLOF, (Laur. C.) born at Vettelsheim in 1711, was educated at the gymnasium at Anspach. He learnt the principles of music from infancy, also singing from Erhman, and the violin from Carby. In 1731, he went to the university at Leipsic, where he studied theology and the sciences in general, till, at length, in 1763, he gave public lectures at Leipsic, on mathe- matics, philosophy, and music. It was the perusal of the writings of Matthesoo, and the frequenting of the Leipsic concerts, but prin- cipally the conversation of the great Bach, that formed the taste of Mitzler, and made him soon desirous of elevating his favourite art to the dignity of a mathematical science. To this effect he published, in 1736, a dissertation entitled " Quod Musics Scicntia sit" In 1738, he established, with the assistance of count Lucchesini, and chapel- master Bfimler, a corresponding society for the sciences connected with music ; of this society he was named secretary. Its principal object was the improvement of the theory of music. Metzler afterwards went to Poland, as teacher of the mathe- matics in a nobleman's family, and finally settled at Warsaw, where the king of Poland granted him letters of nobility. He died in 1778. His principal works are as follows. Theoretical : " Dissertatio quod Musica Scicntia sit et pars eruditionis philosophic*," Leipsic, 1734 ; " Lusus in- gcnii de preesenti bello augustiss, atque in- victis*. imperatoris Caroli VI. cum fader atis hostibus, ope tonorum musicorum illus- trate" Wittenberg, 1753 ; " Musikalische Bibliothek, ifc.:" i. e. " Musical library, or exact Notices and impartial Analyses of Books and Writings on Music," three vo- lumes, Leipsic, 1738 to 1754 j " Die An- fangsgrunde der Generalbasses, nach Ma- tktmatischer lehrart abgehandelt, ifc" i. e. " The Elements of Thorough-bass treated according to Mathematical Rules, and ex- plained by means of a Machine invented for the purpose;' Leipsic, 1739; " MusihaUt- MOE cher Staarstecher, Sec." i. e. " The Oculist in Music, who amicably discovers the faults of reasonable Musicians, and ridicules the follies of soi-disant Composers," 1740 ; and, lastly, "J.J. Fux's Gradus ad Pamas- sum," translated from the Ia tin into Ger- man, with notes, Leipsic, 1742. Practical works : these consist of " Three Collections of Moral Odes, with Harpsichord Accom- paniment " Leipsic, 1740, &c. ; and "Four Cantatas for the Flute, tec," Leipsic. MODERNE, (Jacques) a composer to the church of Notre Dame de Confort at Lyons, in the seventeenth century, pub- lished several works, of which, however, Gesner, in his Partition. Univers. lib. 2. tit. 7. gives only the following, "Chansons a 4 Parties," and " Motetti, 5et6 roc, Lib. 3." MOECKER, a musician, and probably pianist, at St. Petersburg, in the year 1796, added to the works of Gerstenberg and Dittmar, " Suite des\Avrs Rmses vane's pour le Clav." the seventh, ninth, tenth, eleventh, and twelfth numbers. MOELLER, (Johr. Gottfr.) This musician announced himself at Leipsic, in 1797, with the title of Studiosus theologize et mu sices, as composer of a double sonata for the piano-forte, about to be published. Whether this really appeared is not known ; but afterwards the following works were published by him : '« 12 Far. pour le Clav.," 1797; " 16 Var. pour le Clav.," 1798 ; and " 4 Waltzer und 2 Englische," 1798. We find his christian name frequently printed J. C. Whether this is an error of the press, or whether the name is to be written J. C. Moeller, we have no certain account. He was, in the year 1800, resi- dent at Leipsic, as professor of the piano. He was a pupil of the famous Kittel, of Erfurt. In the year 1805, appeared his " Fantasie et Fugue pour le Piano-forte," Op. 4, Leipsic. MOESER, (Carl) violinist in the royal Prussian chapel at Berlin, where he was bora about the year 1774, was universally allowed to possess the most distinguished talents. The readiness with which he read a livre ouvert, as also the clearness with 167 Digitized by Google M O L which he executed at first sight, were truly astonishing. When only in his sixth .year, he attracted notice at Berlin hy his per- formance on the violin. His first teacher was Botticher, who in a short time brought him so forward, that he was able to join in the most difficult violin concertos of Gior- nowich, Haack, &c. He then became first violinist in the chapel of the margrave of Schwedt. Afterwards, however, on the death of the above nobleman, when his chapel was closed, the king patronised the young artist, supported him, and procured him instruc- tion from concert-master Haack, who then cultivated his talents to their subsequent extraordinary perfection. In 1792, he was still without any musical appointment, and practised the science only as an amateur, holding a situation in the civil department of government. Soon after that time, how- ever, we find him belonging to the royal chapel ; and in 1797, he was travelling with the title of maitre de chapelle, MOITO, (Giov. Battist.) a composer, flourished about the year 1600. Of his works have been printed, " Madrigali a 6 voci" Antwerp, 1600. MOLAN, (De) a French composer, by whom several songs have been published, in' the seventh volume of " Recueil de Chan- sons," Hague, 1735. MOLENDA, (Wenzel) a delightful violinist and composer for his instrument, born at Pisek, in Bohemia, lived at first, for six years, at Bohmisch-Krumau, as musician in the Minorite church there. He then went to Linz, to study philosophy ; but soon after proceeded to Vienna. There he continued but a short time, and went to Hungary, where he was in the service of a prince, as violinist. This situation he re- signed in order to visit Paris, where, by his ready and pleasing mode of execution, he became greatly admired. At length he left France, and appears, about the year 1788, to have resided at Mentz, where he pos- sessed an elegant house. He wrote many concertos and other music for his instru- ment, of which, however, it is probable that none has been printed. 168 MO M MOUNO, (Lunovico) chefd'orchesire at the theatre at Turin, in 1803, published " Airs varies pour le Guitare avec Acc, de Vioton," Paris,. 1803. He was a pupil of Pugnani, and has composed much other instrumental music ; he has also published at Paris several sets of Italian ariettes. MOLITOR, (Inoenuin) a Franciscan monk and organist to the couventat Botzen, in Tyrol, born at Habach, flourished as a com- poser in the second half of the seventeenth century. He published " 6 Kanaoiun fur 2 V., 1 nole, 1 Viola da Gamba, und and " 19 Motetti, a 2 Soprani, 2 V.> e J3.t" Augsburg, 1668. MOLITOR (S.) composed " SiegesUeder fur drey Singstimmen ohne Begleitung" i. e. " Triumphal Songs for three Voices," Augsburg, 1800. The judgment, however, which is pronounced on them, in the Lcip, Mus. Zeit. vol ii. p. 795, redounds not much to Molitor's fame. MOLTNER, (Balthasar) composer and member of the college at Schleusingen, in the beginning of the seventeenth century, published "Motettefur 6 Stimmen, aufde Tod der Fr. Lattermannin zu Eisfield," i. e. " Motet for six Voices on the Death of Fr. Lattermannin at Eisfield," Cobourg, 1614. MOMBELLI, (Domenico.) Chapel- master Reichardt, who, in 1790, undertook a journey to Italy for the express purpose of becoming acquainted with the powers of the different tenor and alto singers, gives the following very flattering description of Mombelli. " He pleased me above all others. He has a very agreeable and clear voice, particularly in the deeper tones, and sings with much feeling and expression. His appearance and action are prepossessing and expressive." In the winter of 1 790 to 1791, he sang at the theatre at Leghorn and Padua. He is known as a composer by the following little works : " 6 Arietie Italiane con Acc, di Cemb, o Arpa" Vienna, 1791 ; " 8 Ariette Ital. con Acc, di Cem .," Op. 2, Vienna, 1794; "6 Duettini per 2 Soprani, con Acc, di Cemb," Op. 3, Vienna, 1795. Digitized by Google MOM MOMIGNY (Jerome Joseph de) is of Belgian origin, and was born at Phillip- peville in 1776. His father, who had graduated at the university of Louvain, and had studied music at the court of Brussels, taught him the alphabet and the gamut at the same time. His father's fortune being impaired, he was sent to St Omar's, where lie had an uncle by the mother's side, who took the charge of his education. His pro- gress in music was so rapid, that, when only nine years old, he extemporized. At twelve he was the organist of two parishes of St. Omar. Summoned to the royal abbey of St. Colombe, he there acquired a taste for retirement, study, and philosophy. It was in the groves that surrounded this reli- gious asylum, that he first composed, and gave himself up to reading. Unhappily he wanted models. He sought them at Paris. M. de Monteynard, one of the ministers of Louis XVI., being asked by his sister, the abbess of St. Pierre de Lyons, to send her an organist, sent Momigny. In 1793, he became secretary of his section, and was appointed municipal officer at the time when the citizens of Lyons were striving to shake off the yoke of the reign of terror. Outlawed for having been unwilling to betray the confidence of his fellow-citizens, he took refuge in Switzerland, after having wan- dered, without a home, through the south of France. He returned to Lyons, and after- wards established himself at Paris, in 1800. He had composed at Lyons, twelve sonatas for the piano-forte, at Paris, two quartets for two violins, tenor, and bass, sonatas for the piano, a trio, forming his twenty-second work, forty romances, and two operas, " Le Baron de Felsheim,'* the words by the prince of Schakowskoy, and " La Nou- veUe Laitiere," of which he wrote the words and the music. He also published, for the use of the family of Napoleon, solfeggi, with an accompaniment for the piano-forte, and, in 1802, his first lessons for that instrument appeared. Momigny, independently of his musical abilities, is a very learned man, and has particularly .distinguished himself by the publication of M O N a work in three volumes 8vo., entitled " Cours complet d1 Harmonie et de Compo- sition d'apris une Thiorie nouvelle et generate de la Musi que basis sur des Prin- cipe s incontestable* t poise's dm is la Na- ture, fyc" This book may be considered as containing a new theory of music, though the whole idea of it is not original, being founded partly on the system of Balliere, which was expanded by Jamard, and partly on some of the views of the abbe* Feytou, which appear in the article Chromatique, in the Encyclopidie Me'thodique. Accord- ing to the theory of Momigny, the generator produces the following intervals, G, b, d, g, b, d, f, a, c, e, which the author calls V unique type of the musical system, and compares the seven musical notes, a, b, c, d» e, f, g, proceeding from the generating string, to the phenomena of the decomposi- tion of light, discovered by Newton by means of a prism. Momigny has distinguished himself also by a most remarkably well- arranged edition of Durante's six duets, the subjects of which were taken from Scarlatti's cantatas. These duets are sung at all the conservatori on the continent, and are re- nowned for the beauty of their melodies and harmonic treatment. Momigny, in- vited by the conductors of the Encyclopidie Me'thodique, has a further title to respect, by having ably completed the musical part of that work, which was left unfinished by the horrors of the revolution, and the con- sequent unfortunate sacrifice of some of its most able original authors. MONDODONO or MONDONDONO, (Gerolamo da) a priest and composer in Italy, flourished about the year 1660, and published, among other works, " Missa, Salmi, e Falsi Bordoni a 5 voci," 1653, and " Salmi^ Venice, 1663. MONDONVILLE, (Jean Joseph C. de) born at Narbonne in 1715. After visit- ing the Netherlands, where several motets of his composition were much admired, he went to Paris in 1737, and procured three of his motets to be sung at the concert spirituel, when it was considered that they were nearly unrivalled. He was then 169 Digitized by Google M O N appointed chamber-musician to the king, and soon afterwards published some music for the harpsichord and violin, and some concertos for the organ. He next produced an unsuccessful opera ; but, in 1749, gave another opera, " Le Camavaldu Pamoate" -which had thirty-five representations. In 1753, he finished the poem, and put music to the abbe* de la Marre's incomplete opera of "Titon et Aurora*' this was highly successful. In the following year appeared his *' Alcimadure,** of which he wrote both the poetry and music. His last dramatic works were, " Les Fites dc Pa- pkos," in 1758, and an act of " Psyche** in 1762. On the death of Royer, in 1755, Mondonville obtained the direction of the concert spiritueL It was during the seven years that he held this [situation, that, on the model of the oratorios of Italy, he brought out " Les Israelites a la Montague tTOreb," " Les Titans,'* and " Les Fureurs lie Saul." The last hours of his life were occupied in translating the Themistocles of Metastasio, which he wished to set to music. He died in 1772. MONDONVILLE, (le jeune) son of the preceding, and a good violinist and per- former on the hautboy, was born at Paris about the year 1740. He published some Sonatas and other music for the violin. He died about the year 1807. MONDRIK, a musician, and probably a flutist, at Paris, published there, about the year 1792, " Air varii pour la Fl." MONETA, (Giuseppe) a musical ama- teur at Florence. He competed with the dramatic composers of his time, by several pieces which were performed at the princi- pal theatres in Italy. The following of them may be mentioned : " // Capitano Tenaglia" opera buffa, 1784 ; " La Muta per Amore" opera buffa, 1785 ; "Amor vuolGioventu," interm.1786 ; "VEquivoco del Nostra," 1786; " Li due Tutori," opera buffa, 1791. MONFERRATO. See Montferrato. MONGEZ, a French scavant at Paris, presented to the national institute, in the year 1800, « MAnoire svr let Harangues 170 M O N rapportees pat les Hittoriens, et sur les Movent qu'on croit avoir 4t4 evxployis par les Ancient pour augment er les Effets de la Voix dans les ThJAtres." MONIIERON, a musical amateur at Paris, published in 1780, at Versailles, " Recueil de douze nouveaux Airs, avec Acc. de Violon et de Guitare" MONIGLIA or MONEGLIA, (Giov. Andrea) a composer of Florence, known by the two following works : on the first the name is printed Moneglia, and on the second Moniglia. He flourished in the second half of the seventeenth century, and appears to have resided in Germany, where both works were published. " H Teseo" drama, Dresden, 1667, and " Drama JUu- sicale Giocasta," Dusseldorf, 1696. MONN, (Matth. Giov.) a very indus- trious and fertile vocal and instrumental com- poser, probably resident at Vienna about the year 1795. Gerber cannot impart to the reader any further information of this mu- sician, than what is to be found in Traeg's Catalogue, Vienna, 1799, and this consists only in a dry mercantile list of his works, all in manuscript. To increase the obscurity, there is another G. T. H. Monn introduced, whose name stands in the Catalogue at the head of six sonatas. Whether several of the following works, which are without chris- tian names, belong to the last- mentioned Monn, Gerber cannot decide. Most of the following, however, are signed by Matthias. " Eine Anweisung gum Gener albas s" in manuscript. Sacred music : 1. " Oratorium Heiltame Unterredungen" 2. " Orato* rium," 3. " 5 Bitten:* 4. " Requiem a 4 vocit 2 P., con Org." 5. "Missa Grot, d 4 voci e 4 Str" 6. *' Missa a 4 wet, con 12 Strom." " Chorus ex hortulams, Sfc" Violin music : 1. " 6 Sin/on. fur voile Orchester.'* 2. "2 Concerte, einsfur V. und eins furs Vc" 3. " 18 Sinfxmien fur 2 V., A., und B" 4. « 15 Diverti- mentos a 2 V., A., e B" 5. " 4 Trios a 2 Viole e B" 6. " 3 Partit. a Fl., K, e B" 7. " 2 Trios h Fl., Viola, e B" 8. " Sonata a V. solo con B." 9. " 12 Mi- nucti a 7 und 10 Siinmen." 10. "Musica Digitized by Google M O N Turtkes* a 10." Harpsichord music : 1. " 12 Concerti per ii Cembi con Ace" 2. " 30 Diver timenti per [it Cemb. solo.*' 3. " 6 Son, p. il Cemb. solo." Theatrical music : "Diana e Amore," opera. MONRO, (George) an English organist. He played the harpsichord at Goodman's* fields' theatre, from the time when it was opened, in 1729, till his death, which hap- pened a year or two afterwards. Monro had a happy talent in composing song tunes, of which many were greatly ad- mired. Several of them are printed in the Musical Miscellany, an elegant col- lection of songs, with the music, in six volumes, printed and published by Watts in the year 1731. MONRO, (Henry) professor of music, resides at Newcastle upon Tyne. His father was a musician in Lincoln, who, dis- covering the great delight his son took in music, at a very early age, placed him in the cathedral church of that city as a cho- rister. After the breaking of his voice Monro left the choir, and became a pupil of the late John James Ashley, of Belgrave- place, Pimlico, by whom he was taught the principles of music, and the practice of the piano-forte and organ j he also, during his residence in London, received lessons from other celebrated masters, namely, Dussek, Dittenhofer, and D. Corri. In the year 1796, he left London to commence his musical career at Newcastle upon Tyne, and was appointed organist of St. Andrew's church there, in the same year ; since which period he has continued to reside in that town, and is considered by competent judges as a very able musician and bril- liant pianist. His works are not numerous ; amongst them are, (tA Sonata for the Piano- forte and Violin" dedicated to Miss Bell, Op. 2 j " An Air and Rondo,*' dedicated to Miss Jones ; also other rondos and songs. Monro is uncle to Mrs. Bedford, late Miss Greene, who received instruction from him on the piano-forte, pedal harp, and sing- ing, before she was articled to Bishop the composer, to qualify her as a public singer. MON MONSIGNY, (Pierre 'Alexandre) who has been called the French Sacchini, was born in 1729, in the province of Ar- tois. He went, when very young, to Paris, where his parents, destining him for finance business, got him a situation, at the age of nineteen, in the chamber of accounts of the clergy of France. like La Fontaine, who, on bearing an ode of Malherbe, felt his genius for poetry aroused within him, so Mousigny, at a representation of the Ser- vant-Mistress of Pergolesi, felt his talent for music first beginning to disclose itself ; for soon after this time he began seriously to study composition under Giannotti, when, after five months' lessons, his master told him that he could be of no further use. What was the astonishment of Giannotti, when, upon this, young Monsigny showed him the opera of " Les Aveux Indiscrets,** which he had composed without saying any thing to his master. The professor then begged him to leave this work for his ex- amination ; and after looking through it with care, and finding even the errors in composition to bespeak genius, begged of the author to give him the opera, adding, that it would one day prove the foundation of his fortune and reputation. Monsigny would uot consent to this, and three years afterwards (in 1759) he brought out " Les Aveux Indiscrets,*' in one act, at the Theltre delaFoire. It was successful. Accordingly, in 1760, he produced at the same theatre, "Le Mattre en droit," and "Le Cadi dupe':* Sedaine being present at the representation of the latter opera, was so astonished at the effect of the duo between the Cadi and the Dyer, that he exclaimed, "Voila mon homme !" and the same evening introduced himself to Monsigny. The pleasing opera "Ott ne s'avise jamais tie tout,** given by Monsigny in 1761, completed a musical revolution at the Theatre de la Foire, which, from that time, took the name of Comldie Italienne. He next wrote, in conjunction with Sedaine, the following works, all of which were brilliantly successful : "Le Roi et le Fermier," in three acts, 1762; " Rose et Col**," in one act, 1764 ; " Aline, RHho 171 Digitized by Google M O N de Gokonde" in three acts , 1 766; " VJsle son/mute" in three acts, 1768 ; " Le Dd- serteur," in three acts, 1769 } "LeFaucon," in one act, 1772; " Fdlix, ou V Enfant trouve" in three acts, 1777 ; he also gave with Favard, in 1775, "La belle Arsenet%% in four acts. Monsigny was director of the conservatory, and pensioned as composer of the Feydeau, in the year 1802. We know not the exact period of his decease. MONTANARI, (Antonio) a cele- brated violinist and pupil of Corelli at Rome, flourished, according to Sir J. Haw- kins, at Borne, in 1700. Dr. Burney says of Montanari, that he died brokenhearted, when Bini, in 1730, came to Borne, and there excelled, on the violin, all livino- mu- sicians, among whom Montanari was pre- viously considered the first violinist. It cannot be ascertained, however, whether this anecdote relates to Antonio or to Fran- cisco Montanari, or whether he is impro- perly called Antonio by Hawkins, or lastly, whether there lived only one violinist of the name of Francisco Montanari ; the latter, however, is the most probable, because his works and his portrait are in existence. MONTANOS or MONTANNES, (Francisco) Portionarius in a church at Valladolid, in Spain, in 1600, published <( Arte de Musica theorica y practica," 1592, « Arte de Canto Hanoi1 Salamanca, 1610. MONTABIN, a fertile composer of French popular songs, probably resided at Paris about the year 1710. Of his numerous compositions, some airs in Lully's style are inserted in the Recueil if Airs serieux et a boire pour tanne'e 1710. MONTE, (Philip de) a native of Mons, in Hainault, bora in the year 1521, was master of the chapel to the emperor Maxi- milian II. ; he was also a canon and trea- surer of the cathedral church of Cambray. Besides several masses, this writer com- posed four books of madrigals. MONTECLAIB (Michael) was born in the year 1666, at Andelot, a town of Bassigny, about ten miles from Chaumont. He was originally a teacher of music in 172 M O N Paris, but was afterwards taken into the royal academy. Monteclair is said to have been the first person who introduced the violone or double bass into the orchestra of the opera. He died near St. Denis, in the year 1737. There are extant of his works, " Mithode pour apprendre la Musique" " Principes pour le Violon," " Trios de Violons," cantatas, motets, and one messe de re- quiem. He composed the music to an enter- tainment, entitled "De* Files de VEte"," and to the celebrated opera of "JeptAe," written by Pellegrini, and represented at Paris in the year 1732. MONTELLA, (Domenico) a learned musician, flourished at Naples about the year 1500. MONTELLI, a musician at Paris, of whose works have been printed and re* printed, " Trois Trios pour le Fl.t Clar., et A., Liv. I." Paris, 1796. MONTEMAYOR, (Gregorius) a cele- brated musician, in the chapel of king Philip II. of Spain, at Madrid, died in 1560, and left several works. He was born at Montemor, not far from Coimbra, in Portugal, and died in the flower of his youth. MONTESABDO, (Girolamo) a com- poser in the first half of the seventeenth cen- tury, published, about 1653, "Messa, Salmi, e Litanie a 4 voci" MONTEVEBDE, (Claudio) of Cremo- na, chapel-master of the church of St. Mark at Venice, was a celebrated composer of motets and madrigals, who flourished about the beginning of the seventeenth century. He was also well known for his skill in recitative, a style of which, indeed, he may be said to have been one of the inventors ; at least there are no examples of recitative extant more ancient than those in his opera of « Orfeor There are several of his madrigals .in- serted in the collections published by Pietro Phalesio and others, about the vear 1600. He was the first who used double dis- cords, such as $, and J, as well as the flat fifth and the seventh unprepared. Digitized by Google MON In his secular productions, by quitting ecclesiastical modulation, he determined the key of each movement, smoothed and phrased the melody, and made all his parts sing in a more natural and flowing manner than had been done by any of his prede- cessors. In his fifth and last book of ma- drigals, almost every species of discord and modulation is hazarded, for the use of which the boldest composers of modern times have been often thought licentious. MONTFERRATO,(Natal) sub-chapel- master at St, Mark's church in Venice, flourished in 1660. We can mention the following of his works : " Salmi concertati a 5, 6, e 8 voci, con V" 1650; " Motetti," Venice, 1655; " Motetti concertati," Venice, 1660; "Motetti ii voce sola,*1 Venice, 1666; " Motetti a voce sola," Venice, 1673. Burney observes, that he was the first who used the da capo, which, about 1680, became common. MONTGERAULT, (Madame) a female musical amateur at Paris, published there, previously to the year 1796, " Trots So- nates pour le Clav. seul." This lady is said to have been possessed of extensive musical knowledge. She was appointed assistant professor at the conservatory in Paris. MONTHAU, (Sylvain de) chef d*or- chestrc at Strasburg in 1803, published and dedicated to his father, •« Trois So- mites pour le Piano-forte," Paris. MONTI, (Gaetano) a composer, born at Naples, was reckoned among the dra- matic composers of Italy, between the years 1783 and 1791. Some of his works are " Lo Studente," opera buffa, Naples, 1784 ; " Le Donne vendicate," opera^ buffa, Pa- lermo, 1784 ; *' La Contadina avcorta," opera buffa, Dresden, 1782. MONTICELLI, (Angelo Maria) of Milan, born about the year 1715, sang in Naples, in 1746, with Mingotti ; he after- wards came to London. Monticelli died at Dresden, about the year 1764. MONTIGNY, (Pierre de) private musician to the duke of Orleans at Paris, in 1669, was born at Havre. He was men- M O N tioned among the composers of the age, in the Merc. Galant. of 1678 and 1679. MONTILLOT, (Marlet de) amusician at Paris, published there, about the year 1786, some symphonies for a full orchestra. MONTREVIL, a French composer, lived in 1703. Laborde has made us acquainted with a chanson of his production. MONTVALLON (De) published at Paris, 'in 1742, a work entitled " Nouveau Systhne de Musi que sur les intervalles des tons et sitr les proportions des accords, oil ton examine les systhnes proposes par divers (iHieurs. MONZA, (Alberto) a celebrated singer, about the year 1700. MONZA, (Carlo) chevalier and chapel- master at the theatre of La Scala at Milan, was a native of that town, and occupied the above situation about the year 1766. He was then in high repute, as one of the best composers for the church and the opera. He produced in the above year his opera of ** Temistocle" Dr. Burney heard one of Monza's masses in the church of Santa Maria, and found it a fine composition and full of genius. He wrote some other operas, and also some music for the harpsichord. MONZANI. This eminent performer on the flute was born in Italy, but has resided many years in this country. He was for- merly first flute at the King's theatre, and performed at most of the principal concert* and music meetings. At present he is oc- casionally heard as a concerto player : he is now, also, largely engaged in the music trade and in the manufacturing of flutes. The following list comprises some of Monzani's principal works for the flute. Flute music : " Instruction Book, containing the Rudi- ments of Music, the Art of Fingering, Lip* ping, and Slurring the Notes, thirty-six progressive Lessons, Scale of the Harmonics, Preludes, Cadenzas , Rules for Modulation, Sfc." " Seven Studios, with References to the various Ways of Fingering the Notes, tyc. forming the Second Part of his Instructions." " Selection of ninety-six Scotch Airs, with additional Movements to each." "Pasticcio, containing Preludes, Airs, Spanish Dances, 173 Digitized by Google MOO Boleros, Waltzes:* " Twelve Preludes and Aire." "Twenty-four Preludes, with Airs, tyc" "Ditto single." " Polacca and Cossack Air*' " Mailer's Waltz, with Variations" "Andante, Scotch Air, and Polacca," " Three Divertimentos" " 12 Aottumi." - " Two Duets." " Three Du- ets" " Three Duets." " STAre* Duets," and "Three Serenades." MOORE, (Thomas. Esq.) This cele- brated poet and musical amateur is a native of Ireland. After having been under the tuition of Mr. Whyte, a man of taste and talent, he completed his education at Tri- nity college, Dublin. His classical studies being finished, he came to London, entered himself of the Temple, with a view to make the law his profession, and was called to the bar. In those moments when he was not occupied with the dry technicalities, the trifling quibbles, and the endless pros- ing of legal writers, he amused himself with translating the Odes of Anacreon ; these he published, with copious notes, in 1800. This version, one of the most ele- gant that has ever appeared in our lan- guage, met with so favourable a reception from all who possessed a classical and poetical taste, that he seems to have been induced to abandon the law, and devote himself to literature. In 1801, he gave to the press a volume of poems, under the assumed name of Thomas Little, which have gone through thirteen or fourteen editions. In 1803, he published "A candid Appeal to public Confidence, or Considera- tions on the actual and imaginary Dan- gers of the present Crisis." About this time he went to the Bermuda islands, of which, through the interest of Lord Moira, he was appointed registrar; and he also visited the United States. Of the American character, he formed a very unfavourable opinion, and that opinion he did not hesi- tate to express freely, in a volume which came out upon his return home, in 1806. This volume bore the title of " Epistles, Odes, and other Poems." In 1808, he sent to the press, "Corruption and Intolerance," two poems, with notes, addressed to an 174 MOO Englishman by an Irishman ; and in 1809, " The Sceptic, " a philosophical satire. These works, of which the first is pungently satirical, are little known; but they are worthy of their author. They were suc- ceeded, in 1810, by *' A Letter to the Ro- man Catholics of Dublin," His next pro* duction, "Intercepted Letters, or the Two- penny-post-bagby Thomas Brown the younger, 1812, was eagerly perused, and fourteen editions of it were printed. It lashes severely one elevated personage, and several of the most eminent Tory party. In sparkling wit, keen sarcasm, and hu- morous pleasantry, it is rivalled only by another volume, entitled The Fudge Fa* mily in Paris" which issued from the press in 1818, and the hero of which is a poet, who has apostatized from the prin- ciples of liberty, and become the virulent ^supporter of court measures. In 1813, the fame of Mr. Moore was increased by the appearance of his exquisite songs to sir John Stevenson's collection of Irish melodies. Some of these songs are among the finest specimens of poetry in our lan- guage, and the morality of the whole of them is unexceptionable. They have since been collected into one volume. In 1816, he published a series of sacred songs, duets, and trios, the music to which was composed and selected by himself and sir John Stevenson. This series forms, in every respect, a suitable companion to the Irish melodies. In the following year, 1617, came forth his great work, on which he was known to have been long engaged, and which the reading world had awaited with eager expectation. On this occasion, all the hopes which had been excited were fully realized. By the publication of "Lalla Rookh," he placed beyond the pos- sibility of dispute his claim to be ranked among the first of British living poets. "Thoughts that breathe and words that burn,'' would not be an unapplicable motto for this oriental romance, which unites the purest and softest tenderness, with the loftiest dignity, and glows in every page with all the fervour of poetry. For this Digitized by Google MOO poem he is said to hive received the sum of three thousand guineas: since this Mr. Moore has published his poem of <£ Tlie Loves of the Angels" and also a small spirited work entitled " Memoirs of Cap- tain Rock," We have also omitted to men- tion that he completed, several years since, Murphy's unfinished translation of Sallust, also edited an edition of the works of the late Brinsley Sheridan, and published a biography of him. The following list con- tains the principal poetry for music and vocal compositions of Mr. Moore. Poetry for music. In the Irish melodies (eight parts) are the following songs. In Part I. " Catalan's Concerto** " The Pleasant Rocks;* " Planxty Drury,*' " The Beardless Boy" " Go where glory waits thee" " Remember the glories of Brien the Brave" "Erin, the tear and the smile in thine eyes" " Oh, breathe not his name" " When he who adores thee" "The heart that once thro* Tata's halls," " Fly not yet" " Oh, thinh not my spi- rits are always as light" " Tho' the last glimpse of Erin" " Rich and rare were the gems she wore," " As a beam o'er the face of the waters may glow" and " The Meeting of the Waters." In Part II. " St. Sesanus and the Lady," " How dear to me the hour," " Take back the virgin rage," "The Legacy," (When in death I shall calm recline) "The Dirge" (How oft has the Benskee cried) " We may roam through this world" " Eveleen's Bower" (Oh, weep for the hour) " Let Erin remember the days of old," " Silent, oh Marie, be the roar of thy waters" "Come send round the wine" " Sublime was the warning" "Believe me, if all those endear- ing' young charms" In Part III. " Cean dubh delish," "The snowy-breasted pearl," •• Planxty Johnstone" "Captain Megan," " Erin, oh Erin," (like the bright lamp) " Drink to her," " Oh, blame not the bard," "While gating on the moon's light," " When daylight was yet sleeping under the billow," "Before the battle," (By the hope ■within us springing) " After the battle" " Oh, tis sweet to think," «Thc Irish Pea- M O o sant to his Mistress," " When thro* Ufe un blest we rove" " It is not the tear at this moment shed," and " 'Tis believed that this harp" In Part IV. " Love's young dream," (Oh, the days are gone) " The Prince's Day," (Tho* dark are our sorrows) ** Weep on, weep on" " Lesbia hath a weeping eye" " I saw thy form in youthful prime," " By that lake whose gloomy shore" "She is far from the land," "Nay, tell me not" "Avenging and bright," "What the bee is to the floweret," " Love and the Novice," (Here we dwell in holiest bowers) « This life is all che- quer'd." In Part V. " Thro' Erin's isle,*' " At the mid hour of night,** " One bum- per at parting," " 'Tis the last rose of summer" "The young May-moon" "The Minstrel Boy" " The valley lay smiling before me," "Oh, had we some bright little isle," " Farewell, but whenever you wel- come the hour," (t Oh, doubt me not,*' " You remember Ellen" " Td mourn the hopes that leave me" In Part VI. "Come o'er the sea" " Has sorrow thy young days shaded," "No, not more welcome,** " When first I met thee," " While his- tory's muse," " The time Tve lost in woo- ing," "Oh, Where's t/te slave," "Come, rest in this bosom," " 'Tis gone, and for ever," " I saw from the beach," " Fill the bumper fair" and " Dear harp of my country." In Part VII. "My gentle harp, once more I waken" " As slow our ship her fancy track," " In the morning of life, when its cares are unknown," ** When cold in the earth lies the friend thou hast loved," f< Remember thee ! yes, while there's life in this heart," " Wreath the bowl," " Whene'er I see those smiling eyes," " If thou' It be mine, the treasures of air." "To ladies' eyes a round boy," "For- get not the field wkere they perish'd*9 " They may rait at this Ufe," and " Oh, for the swords of former time:* In Part VIII. " Ne'er ash the hour," "Sail on, sail on," " The Parallel," « Drink of this cup," " The Fortune-teller," " Oh, ye dead," " O'Donohue's Mistress," " The Echo," •« Oh, banquet not," " Thee, thee, 175 Digitized by Google only thee:9 "Shall the harp, then, he silent and "Oh, the sight entrancing:* In " Popular National Airs, with Symphonies and Accompaniments by Henry R. Bishop and Sir John Stevenson, Mus. Doc ." are the following songs. In Part I. " A Temple to Friendship," "All that's bright must fade," « Dost thou remember," " Fare thee well, thou lovely one:* "Flow on thou shining river," " Oh, come to me when daylight sets," " Oft in the stilly night," "Reason, folly, and beauty," " Should those fond hopes," " So warmly we met," " Those evening bells," " Hark, the vesper hymn is stealing." In Part II. " Come, chase that starting tear away," « Common sense and genius,** "Gaily sounds the Castanet," u Hear me but once,** " Joys of youth, how fletting," « Love arid Hope,*' " Love is a hunter-boy," "My harp has one un- changing theme," " Oh, no, not e*en when first we lov'd," " Peace be around thee," " Then fare thee well," and (t There comes a time." In Part III. "Bright be thy dreams," « The Crystal Hunters," " Go then, 'tis vain" "Oh, days of youth," " Peace to the slumberers," " Row gently here" " Say what shall be our sp&rt to- day," "See the dawn from Heaven," u When first that smile," " When love for a child," " When thou shalt wander," and " Who*ll buy my love-knots" In Part IV. €tFarewell,Theresa,** "Go now and dream," "Here sleeps the bard," "Howoft when watching stars," "Ne'er talk of wisdom's gloomy school" "Nets and cages," "Take hence the bowl," "Though 'tis all but a dream," "'Tis when the cup is smil- ing," « When the first summer bee," *l When through the Piazetta,' and " Where shall we bury our shame." In " A Series of Sacred Songs, Duets, and Trios, the Music composed and selected by Sir John Stevenson and Mr. Moore," are the following words by Mr. Moore : "Thou art, oh God," " This world is all a fleeting show," " FalTn is thy throne," " Who is the maid," " The bird let loose," " Oh thou, who dry'st the mourner's tears," " Weep not for those," " The turf shall be ' 176 MOO my fragrant shrine," " Sound the I timbrel," " Go, let me tueep," « Coma oh Lord," " Were not the sinful Mai tears" " As down in the sunless retrea, "But who shall see," « Almighty Go (Chorus of priests) "Oh fair! Oh pure* (St. Augustine to his sister.) Vocal mus Songs : " Black and blue eyes," " to again that form caress," "Cease, oh cet to tempt," "Day of Love," " Dear aunt "Did not," "Fanny, dearest," "Far well, Bessy," "Fly from the world, Bessy," "Frend of my soul," "From Uj without freedom," "Good night," "Here the bower," "How happy once" "Lip sounds the harp," "The Lottery," " Low like a summer cloud," "Love thee,dearm love thee," "My heart and lute," (Moor( and Bishop) " Oh, liberty," " Oh, re member the time," "Oh, sec those cherries," " Oh, soon return," " Oh, why should the girl of my soul," " Oh, woman," « Oh, yes, so well, so tenderly," " Oh, yes, when the bloom," "One dear smile," "Orator Puff," "Rabbinical Origin of Woman;' " Sale of Loves," " Send the bowl round merrily," "Spirit of joy," "Sweet se- ducer," " Thou hast sent me a fiowery band," "Trumpet of Glory," " Tyrolese Song," " When Leila touched the lute," « When midst the gay," " When time who steals," " Wilt thou say farewell, love" "Wreath you wore," and "Young Jessica " Duets : " Here is the lip," " Joys that pass away," "Life-boat," " Love and the Sun- dial," " Nights of Music," " Our first young love,** "Song of War," "Wake thee, my dear,*' 'and "Young Rose" Glees: " Canadian Boat Song," " Finland Lo™ Song," "Holy be the pilgrim's sleep" " Now let the warrior wave his sword, " Oh, lady fair," " Sigh not thus, eA simple boy," "Song that lightens the to** guid way," and " This is love." MOOREHEAD (John) was well known as the composer of several English operas, which have attained great popularity. He was an Irishman by birth, and received his first instructions in music in that country. For several years of the early part of w Digitized by Google it 0 R life he was employed as a performer in the orchestras of different provincial theatres, where, as far as so confined a sphere would admit of, he obtained considerable celebrity. In 1798, a situation in the orchestra of Covent-garden theatre having been offered to him, he was induced to accept it, in the hope that he might thus have an oppor- tunity of advancing himself into the higher departments of his profession. This oppor- tunity was, not long afterwards, afforded to him, by an engagement with the mana- gers to compose the music to the pantomime of " The Volcano, or the Rival Harlequins," and to the entertainment of " The Naval Pillar" These were so well received by the public, that, in 1801, he was employed, conjointly with Davy, in the ballet panto- mime of " Perouse," which had an almost unprecedented degree of success. In 1802, he composed the overture and other music in the pantomime of "Harlequin's Habeas" and was likewise engaged in the opera of " The Cabinet," with Messrs. Reeve, Davy, Corri, and Braham. Moorehead died in the year 1804. MORALES, (Christopher) the earliest Spanish musician of any eminence whose name we have been able to meet with, was a native of Seville. He held the situation of a singer in the. pontifical chapel, under Paul III., about the year 1544, and was the author of two collections of masses, the one forfive, and the other for four voices, and also of a well-known Magnificat. Mentiou has also been made of a fine motet by him, " Lamentabatur Jacob" which for many years continued to be sung in the pope's chapel on the fourth Sunday in Lent. Mo- rales likewise composed the " Lamentations of Jeremiah" for four, five, and six voices. These works have been printed ; and a " Gloria Patri" composed by him, is pre- served in Kircher's Musurgia, As a spe- cimen of his compositions, one of the ma- drigals, " Ditti mi o si" taken from his fourth book, published at Venice in 1541, is inserted in Smith's Musica Antiqua. The style of Morales, though learned for the time in which he wrote, is somewhat VOL. XI. HOB dry, and the harmony, by his frequent use of unaccompanied fourths and ninths, is uncouth and insipid. MORAND, (Pierre.) Under this name was published, at Paris, " Justification de la Musique Framboise, Sec" 1754. MORANDI, (Pietro) an Italian com- poser, belonged, in 1783, to the orchestra of the theatre of Sinigaglia. He was born in that town, and was still living in 1791. He composed " Gli Usurpatori detusi," opera buffa, 1791. MORANT. Under this name was pub- lished at Paris, in 1798, a work entitled " Sonate pour le Clavecin composee par le cdlibre M or ant, (Euvre posthume et cin- quiime." MORARI, (Antoine) a contrapuntist of the sixteenth century. Amongst the mo- tets published by Lechner in 1575, are many by Morari. MORATO, (Joa. Vax Barradas Muito Pame) a celebrated Portuguese professor and composer, born in Portugal in 1689, left at his decease the following works, partly in manuscript, partly printed : *' Preceitos Ecclesiasticos do Canto Firmo, para beneficio e uzo commun de todos," Lisbon, 1733 ; " Domingas da Madre de Deos, e exercicio quotidiano revelado pela mesma Senhora," Lisbon, 1733; " Flares Musicaes colhidas no jar dim da milhor Head de varios authores. Arte practica de Canto ed Orgao. In dice de Cantoria para principiantes com hum breve resumo das regras mats principaes do Canto Chad, e regimen do Coro eo uzo Romana para os Subchantres e Organistas," Lisbon, 1735; " Flores Musicaes colhidas no jardim da milhor Head de varios authores. Arte prac- tica de Canto de Orgao, Jndice de cere mania para principiantes com hum breve resumo das regras mais principaes de accompanhar com instrumentos as votes, eo conhecimento dos tons assim naturaes, como accidentaesf* Lisbon, 1738 ; " Breve resumo de Canto Chad com as regras mais principaes, e a forma, que deve guardar o Director do Coro para o sustantar Jirme na corda chamada Coral, e o organista quando o a compunha" f 177 Digitized by Google MOR Lisbon, 1738; and "Breve reeumo do Canto Chad dedicada a Magettade de D. Joa6 Vr 1729. MORAWETZ, (Giovan.) a musician, resident, about the year 1799, at Vienna. Of his works the following were in Traeg*s Catalogue, Vienna, 1799: " 3 Sin/onie a 11 e 12 Stromenti" " Concertino d 9 Strom." " 8 Nottumi, a Fl. cTAmare, Fl. truv., 2 Viole, 2 Corni, e P." " Sesletto, d 2 y.,Ob.,Ft.,4.> e Fc" "Harmonie-Partien d 8." He was in 1809 at Pest, in Hun- gary, as chrf-d'orchestre of the theatre there. MOREAU, (Je a nBaftiste) a musician, who resided at Angers, was led by the consciousness of his musical talents to try his fortune at Paris. Having succeeded in a bold attempt to get unperceived into the closet of Madame the dauphiness Victoire de Raviere, who was fond of music, he had the assurance to pull her by the sleeve, and ask permission to sing a little air of his own composing. The dauphiness, laugh- ing at the singularity of the incident, al- lowed him to do so. He sang without being disconcerted, and the princess was pleased. The story came to the ears of the king, and he desired to see him. Moreau was introduced to his majesty in the apart- ment of Madame Maintenon, and sung several airs; with which the king was so much delighted, that he ordered him to compose a musical entertainment, which was performed at Marli two months after- wards, and applauded by the whole court. He was also engaged to compose the in- terludes for the tragedies of " Esther^" " Athalic" " Jonathan," and several other pieces for the house of St. Cyr. His chief excellence consisted in giving the full force of expression to all kinds of words, and also to subjects. The poet Lainez, with whom he was intimate, furnished him with several songs and little cantatas which he set to music, but none of them have been published. MOREAU, (G.) member of the academy of music. He published at Paris, in 1775, a collection of easy airs for the harp. m MOR MOREAU, (Jean Akdbb) bom at is in 1768, is the son of the celebrated surgeon of that name. Having in early age lost his father, and announcing a decided talent for music, his mother determined, by the instigation of her friends, to bring up her son to the musical profession. He was accordingly sent, in 1 774, as a chorister of the cathedral at Amiens, where he studied under Dominique Leuder, who was then considered one of the first chapel-masters of France. At eighteen years of age, he ob- tained the situation of chapel-master of the collegiate church of Bethune, and two years afterwards obtained the same situation at Peronne. He has published much vocal and instrumental music. MOREL, a French composer in 1720, published " Let Thuilleries," a work con- taining a collection of cantatas, and a " Te Deum laudatnus." In the Rccueil tTair$ eJriettx et d boire pour ran 1710, Paris, are also inserted several of his airs. MOREL, a canon atMontpelier in 1740, published " Nonce Ue Thiorie physique de la Voix," Paris, 1746. MORELLI, (Giovanni) a distinguished Italian singer at the King's theatre, who made his debut in this country in the year 1787. He had a very flexible and pleasing bass voice, and was an excellent buffo ca- ricato. MORELLI, (Giuseppe) an Italian singer at Cassel, was in his eighteenth year court singer at Lisbon, where he witnessed the dreadful earthquake. According to his own assurance, his hair turned at once quits grey in consequence of his fright. In 1806, he was still living in the small Hessian town of Spangeuberg, and was then in his seven- tieth year. MORE T DE LESCER, a French musi- cian, published at Liege, in 1768* a work entitled " Science dc la Musiuue Vocale" MORFIA, (Cobnklio) a composer, born at Palermo, in Sicily, published several of his musical productions in the Jn/ldi lumi, Sfc. Palermo, 1603. MORGEROTTI (Carlo) published at Augsburg, in 1 753, a work entitled Digitized by Googl M OR ment de Musi que Nocturne, compose' de six Duos pour Flute** MORI, (Pibt no) chapel-master in the col- legiate church of St. Geminiano, in Tuscany, flourished about the middle of the seven- teenth century. In Parstorffer's Cat. are found the following of his works: "Salmi & 5 voci" Venice, 1647; " Misse a 4 e 5 voci," Venice, 1651; " Salmi a 4 voci;" and " Compieta e Litania a 4 voci." MORI. This celebrated violinist, who was born in England, is one of the most shining ornaments of the great school of Viotti. His natural intellectual endow- ments are strong, and at the same time delicate. A lively temperament, keen sense of, and just reliance on, his powers, and last, not least, an ardent love of his art, and an unrelaxing enthusiasm, whetted by a desire to reach and maintain, and indeed to t>e satisfied only with, the highest rank ; all these qualities, backed by industry and perseverance, are the attributes and cha- racteristics of his mind. He brings to the technical part of his profession also great requisites. His attitude has the grace of manly confidence ; his bow-arm is bold, free, and commanding ; and he produces an eminently firm, full, and impressive tone. His execution is marked alike by abundant force and fire, by extraordinary precision and prodigious facility. Mori is well known to be one of the principal orchestral leaders at present in the metropolis. He has led at the oratorios, the great provincial meet- ings, and occasionally at the Philharmonic concerts. He has, as yet, published but few of his compositions, though several of his concertos, played in public by himself, are considered to have great merit. MOIUGI, (Ancelo) of Rimiui, first violin of the theatre at Parma, died there about the year 1790. He was a pupil of Tartini, and master of B. Asioli. He pub- lished much music for the violin. MORLACCHI (Francesco) was born in Perugia in 1784. In his seventh year hev began the violin ; at twelve, solfaing and the piano-forte, under Caruso. Without any previous study of counterpoint, he com- M O R posed songs, sonatas, masses, and even a little oratorio ; at fifteen he studied thorough- bass ; and at eighteen counterpoint, under Zingarelli, at Loretto. At twenty he went through 'a regular course of all the dif- ferent species of composition, but particu- larly of church music, under Padre Mattei, of Bologna ; and, at the same time, studied the clarionet, in order to acquire a familiar acquaintance with the different characters of these instruments. In 1806, after a regular probation, he was admitted a member of the Philharmonic academy, at Bologna. About this period he composed, on various occasions, three hymns, a Pater-noster, a Te Deum, at dif- ferent theatres. His cantata in praise of music, was given in the Lyceum of Bo- logna. In the year 1807, he composed his first intermezzo, " 77 Poeta in Campagna," for the Florentine theatre Locommere ; after- wards his first opera buffa, " // Ritralto" for the Philharmonic theatre at Verona. In addition to these, he composed the thirty* third canto of Dante's Inferno, various pieces of church music, and a Miserere in sixteen parts. In 1808, *« // Corradino" and " Oreste," for the theatre of Parma; " Enone e Pa- ride,'* a serious opera, for Leghorn; the greater part of which was composed on board a man of war that lay of! the port, in order to escape from the altercations of the singers ; and a mass and vespers for the church of St. Caecilia, in Parma. In 1809, «' Rinaldo a^Aste," an inter- mezzo, for Parma ; " La Principes per ri- piego," an opera buffa, for Rome; " // Shnoiwinoy" an intermezzo, for the same city ; " Le Auventure (Tuna Giornata," a drama, for Milan ; *' Saffo," a lyric sceue, composed for the donna Marcolini; and a concerto of considerable length. Ia 1810, "Le Danaide," a serious opera, for Rome. This year he composed his first mass for the royal chapel of Saxony, to which he was appointed as composer. In 1811, " Raoul di Crequi," an opera, for the royal theatre at Dresden ; in 1812, the k 2 179 Digitized by Google M OR oratorio of " La Passione," for the same city ; in 1813, " La Capricciota pentita" an opera buffa, for the same ; iu 1814, " // Bar Here di Siviglia" an opera, for the same; in 1816, La Villanella rapita Hi Pima," an opera, for the theatre of Pillnitz ; in 1817, "/jotto/'an oratorio, with rhythm- ical declamation instead of recitative, for Dresden ; afterwards " Laodicea" a se- rious opera, for the theatre of San Carlos at Naples ; and " Gianni Hi Parigi" for the Scala at Milan; in 1818, the " Carmen Sevulare" of Horace, composed on oc- casion of the jubilee for his majesty the king of Saxony; in 1821, "La Morte sTAbele" an oratorio, for the royal chapel of Dresden, also composed with rhythmical declamation; afterwards "Donna Aurora," an opera buffa, for the Scala in Milan. In 1822, he composed the serious opera of " TeobalHo e Isolina," for the theatre Fenice in Venice. Besides these numerous compositions, he has also produced, for the royal chapel of Saxony, six masses, thirty-three psalms, twelve antipbonies, ten offertories, and a Miserere in three parts. In addition to these, he is the author of twenty cantatas, which were performed on various occasions, six sonatas for the organ, six ariettes, with piano-forte accompaniments, six songs, and six anacreontics. MORLEY, (Thomas) a pupil of Bird, bachelor of music, and one of the gentle- men of queen Elizabeth's chapel, acquired more celebrity by his treatise entitled «« A plaint anH easie Introduction to Practical Musiche," than by his performance or com- positions, though eminent for both. As a practical musician, in comparing Morley's productions with those of his pre- decessors, we cannot acquit him of the charge of plagiarism. His melodies, however, are rather more flowing and polished than those of the old authors, on whose property his memory, perhaps imperceptibly, had fast- ened; but, besides these, it is evident that he sometimes condescended to use the same materials as his contemporaries, and to in- terweave the favourite passages of the times 180 into his works, of which the following is a chronological list : " Canzonets, or little short Songs, for three voices," 1593 ; "Ma- Hrigalsfor four voices," 1594 ; " Ballets, or Fa las, for Jive voices," 1595; " Ma- Hrigals for five voices," 1595; " Can- zonets, or short Airs, for five and six voices," 1595. Of the following publica- tions he was little more than the editor. " Madrigals for five voices, collected out of the best Italian Authors," 1598 ; " The Triumphs of Or i ana, to five and six voices, composed by divers several Authors. Newly published by Thomas Morley, Bachelor of Musicke, and Gentleman of her Majesty's honourable Chapell, 1601/' These madrigals, in number twenty-four, of which the music of the thirteenth and twenty-fourth was composed by Morley, were written, set, and published in honour of queen Eliza- beth, who is figured under the name of Oriana. The composers of the rest were, Daniel Norcome, Michael Este, John Mundy, bachelor of music, Ellis Gibbons, John Be net, John Hilton, bachelor of music, George Marson, bachelor of music, Richard Carlton, John Holmes, Richard Nicholson, Thomas Tomkins, Michael Cavendish, Wil- liam Cobbold, John Farmer, John WUby, Thomas Hunt, bachelor of music, Thomas Weilkes, John Milton, father of the poet, George Kirbye, Robert Jones, John Lesley, and Edward Johnson, bachelor of music. As Italy gave the ton to the rest of Eu- rope, and particularly to England, in all the fine arts, during the reign of Elizabeth, it is probable that the idea of employing all the best composers in the kingdom to set the songs in the " Triumphs of Oriana,** in honour of our queen, had been suggested to Morley and his patron the Earl of Not- tingham by Padre Giovenali, afterwards bishop of Saluzzo, who employed thirty- seven of the most renowned Italian com- posers to set canzonetti and madrigals in ho- nour of the Virgin Mary, under the following title : «« Tempio Armonico delta beatissima Virgine nostra Signora, fabbricatoli per opera del Reverendo P. Giovenale, A, P* delta Congregation HeW Oratorio,*' stam- Digitized by Googl MOR paU in Roma, da Nicolo Muteo, 1599, in quarto. It does not appear that any of Morley's church music was printed during his life. Dr. Tudway, however, has inserted several of his valuable choral compositions in the collection made for Lord Harley in 1715, among which are his " Funeral or Dirge Anthems, as performed at Westminster Abbey at royal and noble Funerals," and printed by Dr. Boyce, in his first volume of 41 Cathedral Services,'* and an evening verse service, in five parts, in D minor, which has never been printed. There are likewise five different sets of lessons, composed by Morley for the vir- ginal, in Queen Elizabeth's music book. The burial service set by Morley, which is supposed to be the first that was com- posed after the Reformation, still continues to be used in Westminster abbey on great and solemn occasions. This service was admirably performed in the year 1760, by the united choirs of Westminster, St. Paul's, and the chapel royal, at the funeral of George II. No- thing can be more happily adapted to so awful an occasion than this music, in a minor key, and chiefly in simple counter- point, but with a grave and now uncommon modulation, which adds to the grandeur of the general effect. The few short points of fugue and imitation introduced in this composition, are such as were not com- mon when the service was produced, nor have any of them been since debased by vulgar use. For the peculiar beauties of this work, the reader is referred to " Dr. Boyce" s Collection of Cathedral Music'1 in which the whole service is admirably printed. Morley is supposed to have died about the year 1604. MORNABLE, (Antoine de) a French contrapuntist of the sixteenth century, of whose works there are still extant in the Munich library, « Motett* Musicales," Paris. MORNINGTON, (The Earl or) father to the duke of Wellington, furnishes an in- MOR stance of earlier attention to musical instru- ments than was evinced even by Dr. Crotch. The following account is from the pen of Daines Barrington. " Lord Morningtou's father played well (for a gentleman) on the violin, which always delighted the child, whilst in his nurse's arms, and long before he could speak. Nor did this proceed merely from a love, common to other children, of a sprightly noise, as may appear by the following anec- dote. Dubourg, who was fifty years ago a distinguished violinist, happened to be at the family seat ; but the child would not permit him to take the violin from his father till his little hands were held; after having heard Dubourg, however, the case was altered, and there was then much more difficulty to persuade him to let Dubourg give the instrument back to his father. Nor would the infant ever afterwards permit the rather to play, whilst Dubourg was in the house. " At the same period he beat time to all measures of music, however difficult, nor was it possible to force him to do otherwise, the most rapid changes producing as rapid an alteration in the child's hands. Though passionately fond of music, from indolence he never attempted to play on any instrument till he was nine years old. " At that time, an old portrait painter came to the family seat, who was a very indifferent performer on the violin, but per- suaded the child that if he tried to play on that instrument, he would soon be able to bear a part in a concert. " With this inducement, he soon learned the two old catches of the * Christ-church bells' and ' Sing one, two, three, come fol- low me;' after which his father and the painter, accompanying him with the two other parts, he experienced the pleasing effects of a harmony to which he himself contributed. " Soon after this he was able to play the second violin in Corelli's sonatas, which gave him a steadiness in time that never deserted him. For the next musical stage 181 Digitized by Google M OR fee commenced composer, from emulation of the applause giveu to a country dance made by a neighbouring clergyman. He accordingly set to work, and by playing the treble on the violin, whilst he sang a bass to it, he formed a minuet, the bass of which he wrote in the treble clef, (having only played in this clef on the violin) and was very profuse of his fifths and octaves, being totally ignorant of the established rules of composition. " This minuet was followed by a duet on two French horns, whilst the piece concluded by an andante movement; thus consisting of three parts, all of which being tacked together, he styled a serenata. At this time he had never heard any music, but from his father, his sisters, and the old painter. " He adhered to the violin till he was four- teen, but had always a strong inclination to the harpsichord, from which his sisters drove him constantly, saying that he spoiled the instrument ; notwithstanding whieh he some- times stole intervals of practice. " About this time his father declared his intention of having an organ for his chapel, telling his son, that he should have been the organist, had he been able to play on the instrument. On this the son undertook to be ready as soon as the organ could be finished ; which being accomplished in less than a year and a half, he sat down at the maker's, played an extempore fugue, to the astonishment of the father, as well as others, who did not conceive that he could have executed a single bar of any tune. " It is well known that this instrument is more likely to form a composer than any other ; and his lordship, in process of time, both read and studied music, whilst he at the same time committed his ideas to writing. As he had, however, never received the least instruction in this abstruse, though pleasing science, he wished to consult both Itosengrave and Geminiani, who, on exa- mining his compositions, told him they could not he of the least service to him, as he had himself investigated all the esta- blished rules, with their proper exceptions. 182 MOB. " Though simple melodies common! fplea&e most in the earlier stages of life, he had al- ways a strong predilection for church music and full harmony, as also for the minor third, in which, for that reason, he mads his first composition. " In process of time his lordship was so distinguished for his musical abilities, that the university of Dublin conferred upon hire the degree of doctor and professor of music" The following are amongst the more ad- mired vocal compositions of the Earl of Mor- nington : "Here in coot grot," glee, 4 voc.; " When for the worltCs repose," glee, 4 voc.; an excellent copy of this glee, with sepa- rate piano-forte accompaniment, is given in the Vocal Anthology. u 'Twat you, sir* catch, 3 voc. ; " Gently hear me, charming maid,*' glee, 3 voc. ; "Come, fairest nymph,'* glee, 3 voc. ; and " By greenwood tree" glee, 4 voc. MORTARO, (Antonio) a Franciscan friar and organist in the cathedral churches of Ossaro and Novara, was born at Brescia. He flourished as a composer about the year 1600, and died in a Franciscan convent in 1619, after having published several works. Cozzando had seen the following of them, which he mentions in his Librar. Bresco. p. 46 : " Fiammelte Amorose a 3 vodtn Venice, 1599 ; ".Vwe, Salmi, Magnificat, Canzoni da suenare, e Falsi Bardoni, a 13 voci, con la Partitura," Milan, 16)0; " Canzoni & 4 voci, Lib. 1 e2," Venice, 1623 ; and " /Atonic a 4 voci, con B, cont." Venice, 1623. MORTEIXARI, (Michele) a pupil of Nic. Ficcini, was a celebrated Italian composer, born at Palermo in 1766. He brought out the following operas at Rome, Milan, Venice, and Modena, • which were eminently successful : 44 LeAstuzzie Amo- rose," 1775; «£cio,"of Metastasio, «« 2>, Gualterio Civetta,1' 1776; " Antigono," 1778; "II Baron di Logo Nero," 1778; "Alessandro neW Indie," 1778; " Troja distrutta," 1780 ; and "Didone abbandone- ta," 1780. Dr. Burney also speaks of the " Armida " of Mortellari, which he heard in 1 786, at the King's theatre, when Mortal* Digitized by Googl MO S lari was in London. The doctor says : "The taste of this composer is of the most refined and exquisite kind. Though of the Neapo- litan school, his compositions are, however, less bold, nervous, and spirited, than ele- gant, graceful, and pleasing. Being a Pa- lermitan by birth, his strains may be rather called Sicilian than Neapolitan." MOSCA, (N.) an Italian composer, was pianist at the opera buffa at Paris, before Spontini held that situation. Besides some vocal pieces which he has added to several operas performed at that theatre, he brought out, in 1805, "La Ginovria di Scozia," and in 1806, "La Vindetta Feminina." N. Mosca is brother to the Neapolitan com- poser of the same name. MOSCA, (Luioi.) It is doubtful whether this composer is not the same person men- tioned in the preceding article, since, though the authors of the French Dictionary of Mu- sicians give to the other the initial N., Gerber has given the pianist at the opera buffa in Paris under the christian name of Lmgi, At all events the Neapolitan com- poser is a musician of considerable eminence, and has especially made himself known by the following operas : '* V Amove per Ingan- no," opera buffa, 1803 ; this was highly suc- cessful at Naples. " // Ritorno inaspettato," Naples, 1808 ; " L'Impostura," Naples, 1804 j " I Predententi delusi" this opera is also highly spoken of. MOSCHELES, (J.) This celebrated pi- anist was born at Prague, in the year 1793. He studied composition under Albrechts- berger, and the piano under Streicher, and first appeared in public at Vienna, about the age of fifteen. After remaining in that city about ten years, he commenced his travels, passing through Holland to Pads, and from thence to London, where he arrived in 1821, making his dibut in this country at the Philharmonic concerts of that year. The quarterly musical reviewer makes the following observations on the first appear- ance of Moscheles. " Some of Moscheles' compositions had been known in England, and had prepared the critical class of musi- cians at least, together with his fame, for MOS his reception, which, both privately amongst the eminent of the profession, and publicly when he entered the orchestra of the Phil- harmonic, was marked with the most decided tokens of respect, distinction, and applause : the most expressive of which, perhaps, was,the silence, unbroken even by a breath, that waited upon his performance. He played a concerto of his own composi- tion ; during the performance of which the audience seized every opportunity of mani- festing the delight they felt by repeated bravos, and by every other means which could convey the distinguished approbation to which they felt Moscheles to be justly entitled. Moscheles' command of the in- strument is truly astonishing, whether con- sidered in relation to force, delicacy, or rapidity. As Catalini in vocal art bursts through all the fetters commonly imposed, so Moscheles appears to disdain, because he is thoroughly acquainted with, technical rules. His wrist, his hand, and the joints of his fingers, exhibit a variety of position and a pliability truly wonderful ; yet so cicely does he control his touch, that when, from the elevation of his hand, the specta- tor might expect its descent in thunder, as it were, the ear is never shocked by the slightest harshness : there is, too, a spring and elasticity in his fingers, when applied to quick arpeggio passages, that bring out the most brilliant tone, while in those touching movements that constitute gene* rally what is termed expression, his man- ner is not less affecting. But the most extraordinary part of Moscheles* playing is perhaps the velocity and certainty with which he passes from one distant interval to another. His thumbs seem to act as intermediate points from which his fingers are directed almost to the remote parts of the instrument, over which they fly with a rapidity wholly inconceivable, yet the uni- formity of touch and tone are so strictly preserved, that an imperfect note is never, and an unfinished note seldom, heard. Every great player has his fort ; and in this species of execution Moscheles is un- rivalled. We think, too, that in genuine 183 Digitized by Google MO S force he has never been equalled* Con*' cerniug his expression, Me. J. Cramer, we are told, publicly paid him the highest com- pliments ; yet we know persons of great judgment who estimate his powers in this branch of art at a lower rate. But we are disposed to think this arises rather from the great superiority of his other claims to pre- eminence, from a comparison of the one part with the other, than from any positive fall- ing off. In such a man the very grandeur of one faculty is sometimes the cause of the disparagement of another. As a whole, however, Moscheies is universally allowed the supremacy, and it is also as universally admitted, that his talents are accompanied by a most engaging modesty." The follow- ing of Moscheies' works are found in Wessel's Catalogue : " Grand Sextuor,fur Piano-forte, Violin, Tenor, Two Horns, and Violoncello;* Op. 35 j " Variations to a National Austrian Air, with Accompani- ment of Two Violins, Tenor, Violoncello, and Contra Bass, ad lib.," Op. 42; «' Grand Rondeau Brilliant, with Accom- paniment of two Violins, Tenor, Violoncello, and Contra Bass," Op. 45 ; " Concert de Socie'ti, with Accompaniment of small Orchestra, or with Accompaniment of the String Instruments only," dedicated to the count d'Apony. " Fantaisie and Varia- tions to the favourite Air, * Au clair de la lune,* with Accompaniment of Orchestra, or as Quintet," Op. 50. Quintettes : " Grand Variations, with two Violins, Tenor, and Violoncello," Op. 32 ; " Fantaisie and Variations to the favourite Air, ( Au clair de la lune,* with two Violins, Tenor, and Violoncello, or with Orchestra," Op. 50. Quatuors : " Fantaisie, Variations, and Finale to a Bohemian Air, for Piano-forte, Violin, Clarionet, and Violoncello Concer- tante,*' Op. 46. Trios: " Introduction and Variations in C, Concertante," dedicated to Mr. Rau. For two piano -fortes : "Grand Duet Concertante" Marches and waltzes for piano-fortes : " Three Heroic Marches," Op. 31; "Si* Waltzes with Trios," dedicated to the countess de Wallis ; and " Marche Triomphale, and two Trios.** 184 M O S Rondos, sonatas, &c. : " Brilliant Rondo in A,** Op. 30, and " Grand Sonata in £ flat," dedicated to the archduke Rudolph of Austria. " Grand Caprice and Pot- pourri, with Violin or Violoncello Concer- tante," dedicated to J. Berger, Op. 37 ; " French Rondo Concertante, for Piano- forte and Violin " Grand Sonata Concer- tante in A," dedicated to C. Keller, Op. 44 ; " Duet Concertante in B flat, with Violoncello or Bassoon," Op. 34 ; " Grand Caprice for Piano-forte and Violoncello, or Violin Concertante." Solos : " Fantaisie Heroique" dedicated to A. Salieri. " Bril- liant Rondo in D," Op. 14 ; " Three Ron- dos," Op. 18 ; " Sonata in D," Op. 22 ; "Spanish Rondo in G " " Parody on Ros- sini* s Cavatina * Di tanti palpiti ;** " Diver- tissement" Op. 28; "Fantaisie in the Italian Style, with a Grand Rondo," No. 2, of the Mus4e Musicals. " Grand So- nata," dedicated to Beethoven, Op. 41; " Sonate MUancoliquct" Op. 49; "Fan- taisie," Op. 60; "La Tenerezza, Jlondo- letto," dedicated to Madame Kalkbrenner. "Introduction and Rondo after a Barca- role Vinitienne" Variations : " Varia- tions to a Theme from the Sextuor in the Opera ' Der Angenarzt,' " Op. 15 ; " Grand Ditto to the favourite March of the Em- peror Alexander," Op. 32 ; " Introduction and Variations to a favourite National Aus- trian Air," Op. 39 ; " Grand Variations to a favourite National Austrian Air," Op. 42 ; " Fantaisie and Variations to the favourite Air, - From Rome, the Mozarts continued their journey to Naples, where, performing on the piano one day at the Conservatorio della Pietd, the audience suddenly took it into their heads that a ring which he wore on his ringer contained a charm ; and at length, to pacify their doubts, he was obliged to take oft" the ring. The effect on this super- stitious people may be imagined, when, hav- ing parted with the talisman, Mozart's music continued to be equally imposing. Wolfgang gave a grand concert at count Kauoiu's, ambassador from the emperor, and then returned to Rome. The pope, who had wished much to see him, now cre- ated him knight of the golden spur. In re- passing through Bologna, he received a still more flattering distinction. After the requi- site proofs of his talent, which he afforded to all with unusual promptitude, he was named, by universal consent, a member of the Phil- harmonic academy. An anthem for four voices was then given him to compose, ac- cording to the idea formed of his talents : as was customary on such occasions, he was shut into a room alone, where he concluded his task in half an hour. His previous en- gagement now recalled him to Milan, other- wise he would have obtained, what was then considered the greatest honour to musicians that could be conferred in Italy, namely, that of composing the first opera eeria for the theatre at Rome. On the 96th of December, 1770, two MOZ months after his arrival at Milan, having at that time not quite accomplished his fifteenth year, he produced his "Mitkridate? a serious opera, which had a run of twenty represent- ations. To judge of its success, it will be sufficient to state, that the manager imme- diately made a written engagement with him for the composition of the first opera for the year 1773. This opera was called " Lucio Silla" which was equally success- ful with that of" Mithridate," and was per- formed twenty-six times in succession. Dur- ing the period which elapsed between these two/epresentations, he first quitted Milan, to pass the few last days of the carnival at Venice; and at Verona, which he only passed through, they presented him with a patent, as member of the Philharmonic so- ciety of that town. He also composed, in 1771, at Milan, "Ascanio in Alba" and in 1772, at Salzburg, "// Sogno diScipione," for the election of the new archbishop of Salz- burg. Being invited subsequently to Vi- enna, Munich, and Salzburg, he composed, amongstother works, ** LaFintaGiardiniera** opera buffa, two grand masses for the cha- pel of the elector of Bavaria, and one for the archduke Ferdinand at Salzburg; and on the occasion of the archduke Maximilian remaining for a few days at Salzburg, the cantata " II Re Pastore." This was in 1775. He had now, it may be said, attained the highest perfection of his art, as his fame had spread from one end of Europe to the other ; and though only nineteen years of age, he could now make choice of any capital in Eu> rope to establish himself. His father conceiv- ing that Paris would be most suitable for him, in 1777 he commenced his second journey into France, accompanied by his mother. Here he had the misfortune to lose her, which rendered his residence in Paris insupporta- ble ; added likewise to the state of vocal music in that capital, which did not suit his taste, and thus obliged him to compose en- tirely for instruments. Having, therefore, produced a symphony at the spiritual con- certs, and a few other instrumental pieces, he returned to his father at the commence- ment of the year 1779, « 191 Digitized by Google M O 2 He next composed the operaof «Idome?ieot" under the most favourable auspices, hav- ing been called to Vienna by the commands of his sovereign the archbishop of Salz- burg. Whilst there, the elector of Bavaria requested an opera for the theatre of Munich. Mozart was- then five and tweuty, and being deeply in love with a young lady to whom he was afterwards united, love and ambition combined to exalt his genius to the highest degree, and he produced this opera of "Idotneneo ,*" which he always considered as among his best, and from which he has even borrowed many ideas for subsequent com- position. From Munich, Mozart went to Vienna, where he entered the servicejof the emperor, to whom he remained attached the rest of his life ; and though he was but indifferently treated, persisted in refusing many more advantageous offers which were made to him on the part of other sovereigns, and particularly by the king of Prussia. The following anecdote will prove the truth of this assertion. In one of his jour- neys to Berlin, the king, Frederic William II., offered him three thousand crowns per annum if he would remain at his court, and superintend his orchestra. Mozart only re- plied, " Ought I to quit my good emperor V* notwithstanding, at this period, he had no fixed salary at Vienna. One of his friends reproaching him with the imprudence and folly of not accepting the advantageous pro- position of the king of Prussia : " I like to live at Vienna," replied Mozart, " the em- peror is fond of me, and I don't value money." Some vexatious occurrences at court ex- cited him, however, to demand his dismissal of Joseph ; but one word from the prince, who really loved his composer, and more particularly his music, made him instantly change his mind. He was not sufficiently cunning to take advantage of this favour- able opportunity to demand a fixed salary ; but the emperor at length decided this himself: unfortunately, however, he con- sulted some enemies of Mozart as to what would It right to give him, and .they pro- 102 M O Z . posed the small sum of eight hundred florins. This was never augmented. He received it as chamber composer, but in that capacity he never did any thing. At one time he was legally asked, in consequence of one of those general orders of government so frequent at Vienna, what pension he received from the court 1 He wrote back word in a sealed note : " Too much for what I have done : too little for what I might have done/' " V Enlevement du Serail" was per- formed in 1782. Joseph II. remarked to Mozart, "It is too grand for our ears; there are a prodigious quantity of notes." " That is precisely the thing," replied the young artist. It was during the composi- tion of this opera that he married Miss Weber, a musical amateur of the first merit. He had two children by this marriage. It was Joseph II. who desired Mozart to set to music the " Marriage of Figaro" a piece then much in vogue at all the theatres. He obeyed, and this opera was performed at Prague the whole of the winter of 1787. Mozart went that winter himself to Prague, and there composed for the Bohemians his opera of " Don Giovanni** which met with still more brilliant success than even the " Marriage of Figaro** The first repre- sentations of " Don Giovanni** were oot very well received at Vienna. Its merits were one day discussed at a large assembly, where most of the connoisseurs of the capi- tal were assembled, and amongst others, Haydn ; Mozart not being himself presenr. Everybody agreed in considering it a work of great merit, brilliancy, and richness of imagination ; but each found something to blame. All had given their opinion, with the exception of Haydn. At length tky begged he would do so likewise. " I «m not capable of judging in th» dispute," be replied with his usual modesty; "all that I know is, that Mozart is certainly the greatest composer now in existence." Mo- zart acted at all times with the same gene- rosity towards Haydn. A composer of Vienna of some merit, but who could not in any way perceive or appreciate the beauties of Haydn, enjoyed a spiteful pleasure « Digitized by Google M O t discovering every trifling incorrectness which crept into the compositions ofN that great master. He perpetually came to Mozart with the greatest glee, to display any sym- phony or quatuor of Haydn, in which, after having put it into score, he had discovered some little negligence of style. Mozart al- ways endeavoured to change the subject of conversation; his patience at length being totally exhausted, " Sir," he replied one day in rather an abrupt manner, "if you and I weri melted down together, we should not even then make one Haydn." Mozart also dedicated a work of quatuors to Haydn, which may be looked upon as the best he ever produced in this style. He observed, that this dedication was due to him, as it was from Haydn he first learnt this species of composition. The death of this great genius took place on the 5th of December, 1792, when he had not attained his thirty-sixth year. Indefa- tigable to the last, he produced in the con- cluding few months of his life, his three cheJ~(C (euvres, ** The Enchanted Flute," " Ciemenza di Tito/' and a " Requiem" which he had scarcely time to finish. It was during the composition of the first of these operas, that he began to be subject to fainting fits. He was particularly par- tial to his opera of "The Enchanted Flute," though he was not very fond of some par- ticular morceanx in it, which had been the most admired by the public. The state of debility in which he was precluded the pos- sibility of his leading the orchestra more than the nine or ten first representations. When he was no longer able to attend the theatre, he would place his watch by his side, and appeared to follow the orchestra in idea : "There is the first act over," he would say; "Now they are singing such or such an air," &c. ; and then a fit of melan- choly would seize him, and he fancied that he should not loug enjoy life. A singular incident accelerated the effect of this fatal presentiment, and as this inci- dent was the occasion of his composing his famous Requiem, one of bis chef-d'oeuvre*, VOL, II. Moz we shall enter into minute details concern* ing it. One day when Mozart was plunged into a profound reverie, he heard a carriage stop at his door. A stranger was announced, who begged to speak to him : a middle-aged man, well dressed, and of a noble and im- posing appearance, was then shown in. " I am commissioned, sir," said he, addressing Mozart, " by a person of rank, to* call on you." " Who is that person V interrupted Mozart. " He does not choose to be known," replied the stranger. " Very well ; what does he wish V " He has just lost a friend who was very dear to him, and whose me- mory he must eternally cherish ; and intend- ing to celebrate her death by a solemn ser- vice every year, wishes you to compose a Requiem /or the occasion." Mozart was much struck at the grave manner and tone of voice in which this address was pro- nounced, and with the mystery which ap- peared to envelope this adventure. He promised to compose the Requiem, The unknown continued : " Exert all your ge- nius in this work ; you will labour for a connoisseur in music." " So much the bet- ter." " How long will you require to do it?" "A month." "Very well ; I will return in a month. How much will you charge for the work V "A hundred du- cats." The unknown counted them imme- diately on the table, and disappeared. Mozart remained plunged for some mo- ments in profound reflection ; then suddenly demanded a pen, ink, and paper, and not- withstanding the remonstrances of his wife, began to write. This rage for composing continued several days; he wrote almost the whole day and night, with increasing ardour as he advanced ; but his health, already feeble, could not long support this enthusiasm, and one morning he fell sense- less on the floor, which obliged him for a time to suspend his labours. Two or three days after, his wife endeavouring to divert his attention from the melancholy ideas which possessed it, he replied quickly, "I am persuaded that I am composing this Requiem . o 193 Digitized by Google MOZ for myself; it will do for my funeral ser- vice." Nothing could dispel this idea from his mind. As he continued his work, he felj his strength diminishing from day to day, whilst his score advanced slowly. The month he had requested being expired, the stranger one day suddenly reappeared. " I have found it impossible," said Mozart, " to keep my word." " It is of no conse- quence," replied the stranger. "How much more time do you require!" "A month. The work has become more interesting than I imagined, and I have extended it to a much greater length than I had at first in- tended." " In that case it is right to aug- ment the price ; here are fifty ducats more." " Sir," said Mozart, more astonished than ever, " who are you, then V " That has nothing to do with the subject ; I shall re- turn within the month." Mozart immedi- ately called one of his servants and desired him to follow this extraordinary man, and find out who he was ; but the awkward ser- vant returned, saying he could not trace his Poor Mozart now took it into his head that the unknown was not a being of this world, and that he had been sent to warn him of his approaching end. He applied with greater diligence than ever to his Re- quiem, which he looked upon as the most lasting monument of his genius. During this labour, he frequently fell into alarming fainting fits. At length the work was finished before the month was quite expired. The unknown returned at the stated time, and claimed the Requiem — Mozart was no more ! The day of his death he desired the Re- quiem might be brought to him. " Was I not right," he said, (( when I assured you I was composing this Requiem for myself V and tears escaped from his eyes. It was his last farewell to his art : his widow has preserved the score. (t Idomeneo" and "Don Giovanni'* were his favourite operas. He did not like to speak of his own works, and if he did, it was in as 194 Jtf o z few words as possible. With regard to "Don Giovanni," he said one day, " That opera was opt composed for the public of Vienna, it suited better the audience at Prague jmrt to say the truth, I composed itsolely for my- self and friends.'' When an idea struck him, nothing could divert him from his occupation. He would compose in the midst of his friends, aud passed whole nights in the study/»f his art Sometimes he only just finished a piece is time for its execution ; this occurred in the case of his overture to "DonGiwwimV'whicli he composed the night preceding the first representation, and after the last general rehearsal of the opera had taken place. Some people have imagined they have per- ceived in this overture the passages where Mozart was overcome by sleep, and those where he suddenly awoke. Mozart judged his own works with seve- rity. One day, when performing one of the most admired airs of the " Enlevement 4u Serail," " That is good in a room," he ob- served ; " but for the theatre, it is too in- significant. When composing it, I felt much delight in it, and thought nothing too long." No musician ever embraced the art so ex- tensively. He excelled in all styles, from the symphony to the dance ; from operas to the most simple toallads. As a virtuoso, Mozart was one of the first pianists in Eu- rope. He played with the most rapid exe- cution, and his left hand was particularly correct and excellent. But his most brilliant and solid glory is founded upon his talents as a composer. His compositions are principally admired for the amazing fertility of the ideas, the clear and happy designs, and systems fol- lowed up with much dexterity, but in which the most profound science is never destruc- tive of grace ; his works are also remark- able for a new and ingenious arrangement of the orchestra and wind instruments. Lastly, he had an extraordinary talent for introducing into his accompaniments the richness of symphony combined with unri- valled expression, energy, and fancy. Digitized by Googl M O V A genius so brilliant could not fail to ex- cite the most lively enthusiasm. Numbers of servile imitators endeavoured to follow bis footsteps j but as is generally the case, the beauties of the model degenerated into errors in their hands. They have only suc- ceeded in patching up heavy and common designs with endless trouble and pedantic affectation. They have, it is true, like Mo- zart, loaded their full pieces with the whole mass of instruments, but they have been unable to produce any great effect ; and the vocal parts, equally dull and insignificant, are lost in the noise of the orchestra. They have forgotten that two things are essen- tially requisite to form a good composer; innate genius, and a style, resulting from well-directed study. Gifted with every natural talent, Mozart and Gluck studied the best Italian masters in the very bosom of that country, and on the Italian language which inspired them, they composed their principal chvf-d'aeuvres. They have thus traced the path which must be pursued by all who would attain to the same degree of perfection. Mozart has been accused of interesting himself in his own music alone, and of be- ing acquainted with no other compositions. There is a little exaggeration in this re- proach. His whole life was thoroughly occupied either in composing or travelling, so that he had little time to attend to the compositions of others ; but he approved with the greatest candour every thing that was really good : he was the enemy only of mediocrity in talent. He did justice to the most simple music, as long as there was some traits of originality or genius in it. Extreme disinterestedness united with be- nevolence were the principal traits in the character of this great man : he gave with- out discrimination, and expeuded his money without any prudence. Music-sellers, managers, and other avari- cious people, greatly abused his kuown disin- terestedness. For this reason few of his com- positions for the piano were of the slightest profit to himself. He wrote them generally out of good-nature for his friends, who expressed a wish to possess some piece from his hand for their own particular use : in such cases, he was obliged to conform to the degree of talent which each person possessed, which accounts for the many compositions for the harpsichord that appear so little worthy of him. Artaria, a music-seller at Vienna, and some others in his line, found means to procure copies of these pieces, and publish-* ed them without the permission of the au- thor, and without offering any remunera- tion. One day the manager of a theatre, whose affairs were in a very desperate state, pre- sented himself to Mozart, stating his em- barrassments, and adding, " You are the only man in the world who can relieve me from my difficulties." " Me," replied Mo- zart, " how sol" " By composing for me an opera entirely adapted to the taste of those who frequent my theatre ; it may to a certain degree be a work both to please connoisseurs and to your own glory ; but above all, remember it is to please a class of people who do not understand fine music. I will take care to let you have the poem directly, and that the scenery shall be beau- tiful ; in a word, let it be entirely conform- able to the present taste.'' Mozart, softened by the entreaties of the poor man, promised to undertake the matter. " How much do you ask for thisl" replied the manager. " Why you have nothing to give," said Mo- zart : " listen, however, we can arrange it in the way that your mind may be at ease, and that I may not entirely lose the fruits of my time and trouble. I will give the score to you alone, you may pay me what you choose, but on this express condition, that you upon no account let any one have a copy : if the opera gets about, I will sell it to some other manager." The director, charmed with the generosity of Mozart, ex- hausted himself in promises. Mozart im- mediately set about the music, and com- posed it exactly in the style directed. The opera came out, the theatre was filled, and its beauties were extolled throughout Germany ; some weeks after it appeared at five or six different theatres, but without o2 195 Digitized by Google MO 2 any one having received their copies with the cognizance of the distressed manager. Mozart was very prompt in acquiring new habits. The health of his wife was very precarious j he was passionately fond of her; and in a loug illness she had, he always ad vanced to meet those who came to see her, with his finger to his lips, as a sign they should not make a noise. His wife got well, but long after he always met his friends when they came to see him with his finger to his mouth, and speaking in a whisper. During her illness, he would sometimes ride out very early alone, but always, before going, left a small note for his wife by her bedside, in the form of a prescription from a physician. The following is a copy of one of them : " Good day, my dear love, I hope you have slept well, and that nothing has disturbed you ; be careful you do not take cold, and that you do not hurt your- self in stooping : do not vex yourself with the servants ; avoid all uneasiness till my return ; take great care of yourself. I shall be home at nine o'clock." Constance Weber was an excellent com- panion for Mozart, and frequently gave him very prudent advice. Mozart's income was considerable ; but owing to his love of plea- sure, and the' embarrassment of his domestic affairs, he left his family but the glory of his name, and the protection of the public of Vienna. After his death, the inhabitants of Vienna testified their gratitude for the pleasures he had afforded them by their kindness to his family. In the latter years of Mozart's life, his health, which had always been delicate, ra- pidly declined. Like all people of strong imagination, he was ever anticipating future evil, and the idea that he should live but a short time continually haunted his mind : at those periods he would labour with such en- ergy, rapidity, and force of attention, that he frequently became totally indifferent to all that did not concern his art. Every* body perceived he was ruining his health by this excessive study. His wife and friends did all they could to draw off his at- tention ; and for their gratification he would 196 to o z frequently accompany them in their walks and visits, and would quietly allow himself to be conducted any where by them, but his mind was always wandering. He seldom overcame this habitual and silent melan- choly, but when the idea of his approaching dissolution awakened him to renewed terrors. His wife, distracted with fear at his singu- lar habits, endeavoured to draw around him all those friends in whose society he most delighted, and took care they should arrive about the time when, after many hours of labour, he naturally required recreation and repose. These visits pleased him, but never made him desist from pursuing bis studies : they talked, they endeavoured to engage him in conversation, but all to no 'purpose ; and if they actually addressed him, he would make some reply totally unconnected with the subject, or else answering in monosyl- lables, and would immediately continue to write. Mozart laboured under a weak state of health* during his whole life ; be was thin and pale, and though the shape of his face was singular, his physiognomy had no striking character in it, but that of extreme irritability. His countenance varied every instant, but indicated nothing further than the pain or pleasure of the moment. He had a habit which is generally supposed to denote stupidity ; namely, perpetual motion of the body, and was continually either twirling his hands, or striking his feet upon the ground. There was no other peculiarity in his habits, further than his passionate fondness for billiards. He had a billiard table at his own house, on which he played every day, sometimes even alone. His hands were so decidedly formed for the harpsichord, that he was extremely unskilful at any thing else. At dinner his wife al- most always carved his food ; and if he hap- pened to be obliged to do so himself, he performed it with the greatest difficulty and awkwardness. This same man who, as an artist, had attained the highest degree of excellence from his earliest youth, ever remained a child in all the other relations of life. He Digitized by Google M O Z had no self-command; order in his domestic affairs, a right employment of his money, temperance, or a reasonable choice in his pleasures, were not amongst the virtues he practised ; indeed, he was ever led astray by the pleasures of the moment. His mind was constantly absorbed in a mass of ideas which rendered him totally incapable of reflection on what we call serious subjects, so that, duriug his whole life, he was in want of a'guide to direct him in the passing business of the day. His father was fully sensible of his weakness, which made him request his wife to accompany their son in his journey to Paris in 1777, his own engagements at Salzburg precluding the possibility of his absence from that town. With all these eccentricities, Mozart be- came a being of a superior order, directly he placed himself before the piano. His soul then rose above all the weaknesses of his nature, and his whole attention seemed rapt in the sole object for which he was born, the harmony of sounds. The fullest orchestra did not prevent his observing the slightest false note, and he would point out with the most astonishing precision the exact instrument on which the error had been committed. Mozart, when he went to Ber- lin, did not arrive there till late in the even- ing. He had scarcely stept from the car- riage when he asked the waiter of the inn what opera was to be performed that night ? " V Enlevement du Serail," was the an- swer. " That is delightful," he hastily replied, and immediately was on his road to the theatre. He placed himself at the entrance of the pit, to hear without being seen ; but he soon found himself close to the orchestra, at one moment praising the per- formance of 'particular airs, and at another exclaiming against the manner in which certain parts were performed. The director bad allowed himself slightly to vary one of the airs : when they came to it, Mozart, unable any longer to contain himself, in a loud voice corrected the orchestra, and told them the manner in which they should play the movement. All eyes were fixed on the man in a great coat who occasioned such MOZ ■■ confusion. Some persons immediately re- cognised Mozart, and in a minute the mu- sicians and actors learnt that he was amongst the spectators. Several of the performers, amongst others a very good singer, were so much struck with this information, that they refused to appear on the stage. The director complained to Mozart of the di- lemma in which he found himself placed : the great composer instantly repaired behind the scenes, and succeeded, by the praises ..Jie bestowed on the general performance, in making them continue the opera. Music was, in fine, the great occupation of Mozart's life, and at the same time his most pleasing recreation. From his earliest infancy persuasion was never necessary to place him at the piano. On the contrary, it required care to prevent him from over fatiguing himself and injuring his health. He had always a marked predilection for performing at night. When he placed himself at the harpsichord at nine o'clock, he never quitted it till midnight, and indeed, at times, he was almost obliged to be forced from the instrument, or he would have con- tinued preluding and trifling away tho whole night. In the usual routine of life, he was the mildest of human beings, but the least noise during music would cause in him the most violent indignation. He was far above that affected and misplaced modesty, which requires so many professors of the art to be continually solicited before they will gratify the audience. Frequently some of the great lords of Vienna reproached him for perform- ing indifferently to all who requested him. An amateur of that city hearing that Mo- zart was to pass through on one of his ex- peditions, eugaged him to pass an evening at his house, and, on his accepting the invi- tation, assembled a numerous society, that they might have the satisfaction of hearing his wonderful performance. Mozart arrived, said little, and soon placed himself at the piano. Thinking that he was surrounded by connoisseurs, he commenced, in slow time, to execute some music replete with the softest harmony, wishing to prepare his auditors Sot the developement of the piece 191 Digitized by Google MOZ he intended to perform. The society found this very dull. Soon his air became more lively ; this they thought rather pretty. He now changed the character of the music into a studied, solemn, elevated, and strik- ing style of harmony, and at the same time far more difficult ; some ladies in the as- sembly began to think it decidedly tire- some, and whispered to each other a few satirical words ; soon, half the company began to talk. The master of the house was on thorns, and at length Mozart dis- covered the impression his music made on the audience. He, however, did not quit his first idea, but developed it with all the impetuosity of which he was capable. Still no attention was paid. He then began to remonstrate with his audience in rather an abrupt manner, though still continuing to play ; fortunately his rebukes were in Ita- lian, therefore few people understood him. Silence, however, was again in a degree restored. When his anger was a little ap- peased, he could not help laughing himself at his own impetuosity; he then tried a more popular style, and concluded by play- ing a well-known air, upon which he ex- temporized variations, and enraptured the whole assembly. Mozart soon after this left the room, having previously invited the master of the house and a few other select connoisseurs to join him at the inn, where be kept them to supper; and upon their begging him again to perform, he immedi- ately complied, becoming once more so rapt in his subject that he forgot himself till midnight. The following anecdote is also related of Mozart. An old tuner having put some strings to Mozart's harpsichord, " i\Jy good friend," said Mozart, «• how much do I owe you 1 I leave this place to-morrow." The poor man, regarding him rather as a god than a human being, replied, totally discon- certed, humbled, and stammering, " Impe- rial majesty. . . .Monsieur le Mattre de Cha- pelle desamajestc* imperiale. . . .1 cannot. . . . It is true I have frequently been here .... Well, give me a crown." "A crown !" said Mozart, "a good fellow like yourself deserves 198 MOZ | more than a crown," and he gave him seve- ral ducats. The good man retired, repeat- ing still, with a very low bow, "Ah ! impe- rial majesty " It is well known that the baron Van- Swieten, a great friend of Haydn's, said, " that if Mozart had lived, he would have plucked from Haydn the sceptre of instru- mental music." In the opera buffa, how- ever, he wanted gaiety, and in this respect he was inferior to Galuppi, Guglielmi, and Sarti. Porpora, Durante, Leo, and Alexander Scarlatti, were amongst his most favourite composers ; but he esteemed Handel more than any of them. He kuew by heart most of the works of this great master. " Of all of us," he would say, " Handel understands best how to produce a grand effect ; when he chooses it, he can strike like a thunder- bolt." Of Jomelli, he said: " That artist has some points in which he shines and will ever shine; but he should not have left those points to endeavour to compose in the ancient church style." He did not ad- mire Vincenzo Martini, whose "Cosa rata was then meeting with great applause. " There are a few pretty things," he would say, " in it, but twenty years hence, no one will listen to them." With regard to Mozart's opera of " Fi- garo," the first reflection that occurs is, that the musician, governed by his natural sensibility, has changed into real passion the trifling incidents which, in Beaumar- chais, amused the amiable inhabitants of the castle of Aquas Frescas. It is however a chef -a" autre of tenderness and melan- choly, and absolutely exempt from all importunate mixture of majesty and tra- gedy : no pieee in the world can be com- pared to the " Nozze de Figaro." As to the opera of •* Idomeneo" it may be safely affirmed to be unrivalled, as well amongst his own operas, as amongst those of the finest composers. For the " Flauto Magico" it should be seen to form a cor- rect idea of its beauties. It appears to be the sportive effort of a tender imagination, and does honour to Mozarrt great talents. Digitized by Google MOZ The all-romantic imagination of Mozart appears at its zenith in " Don Jnan** thin faithful delineation of so many interesting situations, and all of which are wonderfully portrayed by the rich talents of the com- poser. He has triumphed most completely in the discordant grandeur of the music, in the terrible reply of the statue : it conveys to the ear a horror equal to that of Shak- speare's most terrific passages. The fear of Leporello, when he decides not to speak to the commander, is displayed in a truly comic style, a circumstance unusual in Mo- zart's music. When " Don Juan'* first ap- peared at Rome it did not fully succeed ; the music perhaps was too difficult for the orchestra. The piece of " Cosi fan tutte" would have flourished better in the hands of Cimarosa. Mozart never succeeded when the triflings of love were to be depicted, that passion having been with him, throughout his life, either a blessing or misfortune. He suc- ceeded therefore best in those characters ■where tenderness was to be developed, and not at all in such parts as the humorous old naval captain. It must be owned that, in the course of this piece, he has frequently taken shelter in his sublime harmony, as for instance, in the trio "Tuttcfan cosi" (For a list of Mozart's works, see the Supple- ment to this Dictionary.) MOZART, nee Weber, (Constavza) wife of the preceding, and sister to the cele- brated singer Mad. Lange, was born in Vienna. She was a good singer and pianist. In 1796, she visited Prague, Dresden, Leipsic, Berlin, and Hamburgh, in which places her husband's Requiem and Clemen- za di Tito were performed, either wholly or in part, according to circumstances, Mad. Mozart herself taking a part. It is said, however, that she was far inferior to her sister in singing. Notwithstanding this, she every where met an hospitable reception and the most active support after her hus • band's death, from a natural respect to all that belonged to that great man. She lived in 1812 at Vienna. -MOZIN, (B*F.) a teacher of the piano- MUH forte at Paris, published there, in 1791, " Concert in D, pour le C/«».," Op. 1, " Potpourri pour le P. F." 6 Cahiers, 1792. There was, in 1798, in the orches- tra of the Theatre d'Kmulation, a musician of the same name, as second violinist. It is uncertain, however, whether this is the subject of the present article, or another. MUCK, (Friedrich) pastor at Euer- bach. He published " Lieder in Mttsik gesettt" Leipsic, 1793. He is both the poet and composer of these songs, which prove his familiarity with the rules of composition. MUFF ATT (Georoe) was an eminent organist, composer, and fuguist, and one of the great harmonists of Germany at the latter end of the seventeenth century. Af- ter having been, for some time, organist of the cathedral church of Strasburg, he went to Vienna, Rome, and Paris. At the latter place he continued six years, during which time he made himself, in a particular man- ner, acquainted with Lully's style of com- position. In 1690, he published his "Apparatus Musico-Organistus," a work consisting of twelve toccate, which he performed at Augs- burg on the day that the consort of the em- peror Leopold was crowned empress, and his son Joseph king of the Romans. MUFFATT, (Gottlieb) son of the pre* ceding, was organist to the court of the em- peror Charles VI. He was a pupil of Jo- seph Fux. He published " Componimenti Musicali per il Cembalo besides which there are still in manuscript, " 6 Klavier- Partien und 8 Partien Tocaten und Fit' gen." MUGNESS, (Giuseppe) a musician at Naples, was ranked among the opera com- posers in the Indice de Spettac. Teatr. for 1788. In 1789, he wrote for the theatre in Florence, " // Montezuma," opera seria. MUHLL, (Nicol) by birth a Silesian, was born about the year 1750. He was in early life engaged in the orchestras of the theatres at Dantric and Konigsberg. By long perseverance in practice he at length made himself so well qualified for the situa- tion of ckef-d'orcheitrc, to which he was 199 Digitized by Google MUL appointed, that no mistake in time or fclse note ever escaped him. His compositions certainly evince talent, but frequently also haste and negligence. We can mention the following of them : " Die Wilddiebe,u operetta ; " Das Opfer der Treue," inter- lude ; " Mit dem Glockensehlag Zvcol/** operetta; " Die Singsvkule," operetta, 1792 ; " Der Eremit von Formentera," operetta, 1793. MUHLMANN lived in 1600, at which time he published " Musica Antime\ancho- lica," Leipsic. This was perhaps the same musician who died in 1613 at Leipsic, as professor of divinity and archdeacon of the church of St. Nicholas. MUHLING, (Aug.) born at Raguhne, received his musical education iu St. Tho- mas's school at Leipsic under Hiller and A. E. M tiller. He distinguished himself under the former as an excellent soprano singer, as also afterwards by his talents in compo- sition, both for thfrvoice and orchestra ; at the same time he was an able pianist and violinist. In the latter capacity he ap- peared at the concerts in Leipsic, where he gave great satisfaction. In 1809, he was invested with the offices of professor of vo- cal music and director of the Gymnasium and T&chterschule atNordhauseu, where he was at the same time organist. The follow- ing of his compositions have been published : " Seeks Lie der mit Begl, des P. F., Ites W.,u Leipsic. " Sammlung zwey uud dreystimmiger Gesange fur weibliche Stim- men mit willkuhrl. Begleitung das Kla- trier*,;; Nordhausen, 1812. MULLER, (Andreas) city-musician at Frankfort on the Maine, in 1600, was born in Haramelburg. He published " Teuts- che BaUeten und Canzonetten zu singen und auff Instrument en zu brauchen, mit 4 Stimmen," Frankfort, 1600. " Tentsche weltliche Canzonetten zu singen und avff Instrument en zu brauchen, mit 4 bis 8 Stimmen,*1 Frankfort, 1603. " Neuwe Canzonetten mit 3 Stimmen, kiebevor von den /talis componirt, uud mit Teutscher Sprach unterlegt," Frankfort, 1608. MULLER, (August Embhabd) singer MUL in St. Thomas's school, and chapel -master of both the principal churches of Leipsic, was celebrated as a composer, organist, pianist, and flutist. He was born at Northeim, in Hanover, in 1767, where his father. Ma* thias Miiller, was ttan organist ; but the latter subsequently went to Rinteln in the same capacity, by which means his son was separated from his birthplace in the most tender age. At Rinteln he received his first instruction in music, and made such considerable progress, that by the age of eight he had appeared in public in several towns. *In 1785, he left school for the university of Leipsic and proposed to study the law, but went in the following year to Gottingen. Here he was admitted a member of some amateur concerts, and also played his first public concerto on the flute. Having failed in obtaining the place of organist at the university, which had been always occupied by a student, he was compelled to leave that town very soon, for want of support, and returned to his parents. He did not, however, stay very long with them, for, in order to hear and learn all within his power, he undertook several short musical journies. In Brunswick he was so fortunate as to nod protection from a relation, and remained there for several years. At last, in 1789, be went to Magdeburg, where he not only obtained the permanent situation of organist in the church of St. Ulrica, but also was married. His talents were here so well appreciated, that, in 1792, the* direction of the grand city concerts was offered to him, and also that of a private concert, whose members were chiefly noblemen. Both these offices he filled to the utmost satisfaction of the proprietors. He was not, however, so com- pletely engaged as to be unable to under* take short tours from time to time ; the most productive of which to him, in point of im- provement, was that which he made to Ber- lin in 1792, where he remained a whole winter, and not only formed an acquaint- ance with Marpurg, Fasch, Reichardt, and other celebrated men, but by his able, ex- pressive, and sweet style of performance on the piano-forte, his unconuttnn abilities on Digitized by Googl MUL the flute, and his powerful and harmonious performance on the organ, he created an universal sensation. At the same time ap- peared, partly in Berlin, partly in Offen- bach, his first compositions for the piano- forte, after which he continued to publish several other works. This unexpected and brilliant denouement as composer and virtuoso on various in- struments, probably gave occasion to Mai- ler's being invited to the situation of organ- ist of St. Nicholas' church at Leipsic. It is in this town that his various talents seemed to find full scope, as the grand concerts gained unanimously in the public opinion by his appearance and that of his wife : his execution of Mozart's piano-forte concertos, and also his excellent performance on the flute, were greatly admired. Nor was the public ungrateful towards him for his exer- tions ; for when chapel-master Hiller want- ed official help, in 1800, on account of his advanced age, Mailer was unanimously ap- pointed his substitute. How happy this choice proved may be ascertained by the uncommonly flourishing state of church music in Leipsic in 1802. Mailer indeed not only preserved the good arrangements which his predecessor had made, but added many others to them. He was no less active at the same time as a composer, notwith- standing his numerous occupations, which is proved by the following catalogue of his works : Iludimental : " Ankitung zttm genauen und richtigen Vortrage der Mozartschen Klavierkonzerte in Absicht richtiger Appti- hatur," Leipsic, 1797; '« Ueber die FUttc und Flotenspiel i" " Klavier oder Forte- pianoschule, oder Anweirung zur richtigen Sptelart," Jena, 1805; " Kleines Elemen- tarbuchfur Klavierspieler," Leipsic ; "/*- struhtive Uebungstucke(Piices instructive*) f&r das P. F./Sr die ersten AnfSnger Ites 2tesu. ZtesSupplement zumElementarbuch" Leipsic ; and " Tabellen fur Ftoten mit 1 und mit 4 Klappen" Leipsic. Vocal : "11 Crosse Kirchcn-Kantaten" manu- script ; "1 Geiegenheitsknntate, blots mit 8 Blasimtrumenten begkitet" manuscript; MeJtrere Motetten" manuscript ; " 6 Deutsche Lieder mit Klav." Hamburgh, 1796; " 6 Dergt. %te Sammlung" Leipsic; " Venus und Amor oder die Reitze der IAebe, in 2 Lieder n mit Klav." Leipsic; '* Trinkliedmit Klav. oder auch bias Inst," Leipsic; and "Der Sachsen Freude, als Friedrich August die KOnigswurde an- na hm," Leipsic. Organ and piano-forte: " Concerto pour le Clav.,** Op. 1, Berlin, 1793 ; "Trois Sonates pour le Clav.,** Op. 3, Offenbach, 1793 ; "Caprice pourle Clav.," Op. 4, Offenbach, 1793 ; " Trois Sonates pour le Clav.," Op. 5, Offenbach, 1794 ; "3 Dergl.," Op. 7, Leipsic, 1795 ; Andante avec 9 Variat. pour le Clav.** Op. 8, Leipsic, 1795 ; " Huit Far. pour le Clav. sur * Freut euch des Lebens,* " Op. 9, Hamburgh, 1796 ; " Trois Sonates pour le Clav.,'* dp. 14, Leipsic; '* M arche de Buonaparte, avec Far. pour le Clav." Op. 15, Leipsic, 1798 ; " Trois Sonates pour le Clav.," Op. 16 ; " Grande Sonate pour le Clav. avec V. et Fc.,*' Op. 17, Leipsic, 1798 ; "Trois Sonatines progressives pour le Clav.," Op. 18, Leipsic, 1798; "Six Far. pour le Clav." Op. 12, Leipsic, 1798; " Samtnlung von Orgelstiicken, enthaltend 12 leichte und 6 schwere S'dtze \sterHeft" Leipsic, 1797; and " Cone, pour le Clav. in Es." Op. 21, Leipsic, 1800. Flute : "Deux Concertos pour la Flftte,*' Ops. 6 and 7, Ber- lin, 1795; " Concert, pour la Flute," Op. 10, Offenbach ; *lTrois Duos pour 2 Flutes," Op. 11, Hamburgh; "3 Dergl.," Op. 13, Le ipsic, 1797 ; " Grand Concert, pour la Flute, Op. 16, t'» Leipsic, 1798; " Journal pour la Flute, con'ten. plus. Piices d*une difficult* progress. Cah. 1, 2, 3, 4," Hamburgh, 1799; " Concert, pour la Flute, inEmin.," Op. 19, Leipsic; "Concert, pour la Flute, in D dur.," Op. 20, Leipsic ; " Ein Flotenkomert im strengen Sty I, noch in Mst. ;" and " Theme fav. de Mozart vnritf pour Flute, avec Fl&te ou Violon,** Leipsic. He has also published for various instru- ments, " Grande Sonate pour P.F" Op. 26, Leipsic. This sonata has had the peculiar fate of being in many places copied with Mozart's name, and is still considered by 201 Digitized by Google M U Li many as belonging to that author* " Or and Cone, pour Fl., Oe. 27, m C," Leipsic ; " 7V©& Duos Cone* pour 2 /I, Oe. 28," Leipsic ; " Six Grands Caprices pour P.F., Oe. 29, Liv. 1 ef 2," Leipsic ; " Grow* Cone, pour Fl., Oe. 30, in G," Leipsic ; Trots Grands Caprices pour P. F.f Oe. 31," Leipsic ; " Thine* de Mozart, 'Bin Mddehen oder Weibcken* varie' pour P. F.t Oe. 32," Leipsic ; " Walzer in 12 Durto- ntn, vorzugltch fur den Vnierricht Mit Applikatur,33JV," Leipsic ; uTrois Grands Caprices pour P.F., Oe. 34, Lit. 4," Leip- sic; *' Fantasia p. P. F. per servire troduzionc d un Tema di Mozart, con Variaz.," Op. 35, Leipsic. After having, in 1807 and 1809, had the honour of giving lessons on the piano-forte to the hereditary princess of Saxe- Weimar, for which especial purpose he wrote in the same year his great capriccios for the piano -forte, printed at Leipsic, he was appointed chapel-master to that court, under the most honourable and advantageous conditions. This situation he still held in 1810. MULLER, (Mad.) wife of the preced- ing, and the great ornament of the Leipsic concerts, was distinguished as a very able pianist. MULLER, (Carl) chef-d'orchestre at the German theatre in Amsterdam. A friend of Gerber's knew Mailer in that city in 1804, when he was yet a young man, but an able violinist. He had then only written the solo parts to two concertos for the violin and two works of variations. MULLER, (£abl W.) court- musician to the duke of Brunswick, published " Ari- ette de fOp. Les nouv. Arcad. avec 12 Var. p. le Clan.? No. 1, Brunswick; " Andante avec Var. p. le Clav.;' Berlin, 1795 ; " Ariette avec 10 Var. p. le Clav., du Cosa rara," Op. 6, Berlin, 1800 ; "10 Var. pour le Clav. sur Nun bcut die Flur., Sfc" 1800 ; " 9 Var. pour le Clav. sur Schon eiletfruh o'er AcAersmann," 1802; "3 SonatesfacUes powrP.F.," Op. 17, Leip- sic; "3 Polonaises pour P. F.t" Op. 18, Leipsic; and "3 Sonates faciles pour P. *V' Op. 19, Leipsic. M U L M1)LLER(Ch. P.) published " Lied*? auf a lie Sonn. und Fcstagc des Hern, sur, Gottesdienst in der Rumisch-Katholische. Kirche fdr die Or gel und 2 Sings t i in men , * i. e. " Songs for the Service of all the Sun days and Holydays of the Lord in tfcn Roman Catholic Church, for the Organ am two Voices," Landshut, 1793. MULLER, (F.) Under this name ar< found, in Bdhme's Catalogue, Hamburgh 1799, " Sammlungen Gtstockener Tdns* fur 2 V. und B„" and " 3 Quat. pour FL V.p A., et IS.," Op. 1. MULLER, (F. A.) probably a Berlin musician. Of his works were published, between 1796 and 1800, " Brtmnenliesi tnit 2 Mrfodien,1' " 3 Sonatine p. il J*. F. o Arpa, acc. da 2 Corni e V.,** " 3 &»■ iuit Lnts pour la Harpe ou P. F.9" and " Sonate et Rondo en Caprice pour le Clmv." 1800. MULLER, (Heixrich) doctor and pro- fessor of theology, also pastor and superin- tendent at Rostock, was bora at Lubec in 1631. He held from 1663 his different clerical situations at Rostock, where he died in 1675. He published " Gets t lie he Secl*n-M«*tm" 1659 and 1668, in which he introduces several observations respect- ing church singing. MULLER, (Johanx) composer and organist to the elector of Saxony, and born at Dresden, was a pupil of Perandi. He flourished about the year 1640, and died towards 1670. The following works are ascribed to him: " Newe Teutscke Motetten wit 5 und 8 StitNDicn couipottirt " Barm- stadt, 1611, and " Jubikum Skniis;* Jena, MULLER, (Joban») of Femdorf, pro- bably a singer, published " Kme und leichte Anweisung turn Singen der Ckeralr mctodien, *c.S i. e. " A short and easy Introduction to the singing of Choral Melo- dies, written for his Pupils," Frankfort, 1793. MULLER, (Johakw Chmstian) a Langen-Sohland, near Battien. He be- longed to the academies at Bautieu, ZiUw, Digitized by Google MUL and Lauban, at which latter place he did much good, in the capacity of prefect to the choristers* He went afterwards, in 1778, to Leipsic, and was appointed violinist to the concert and theatre there, through the interest of chapel-master Hiller. He died at Leipsic in 1796, in the flower of his age. Besides his " Self 'Instruction Book for the tf«rmo*c«,'' he published " Schiller's Ode an die Freude in Musikt" Leipsic, 1786, and " Wildungen's JUgerlieder," Leipsic, 1790. MULLER, (J oh ann Conrad) professor of the piano-forte at Frankfort on the Maine, about the year 1800. He published "12 Walzer furs Alav." Offenbach, 1800, and ** GesvLnge am Klav. 7iebst cittern Anhange von 8 Wulzern," Neustrelits, 1802. MULLER, (Job ann Daniel) concert- master at Frankfort, published " Vall- standiges Hessenkanauisches Choralbuch," IVankfort, 1754. MULLER> (J oh ann Immanuel) singer, organist, and composer at Kersleben, near Erfurt, was born in 1774, at Schloss-Vip- pach, near Erfurt. He received from his father his first instructions on the violin, and began his studies on the piano about the same time, under the schoolmaster of his native village* Soon afterwards, his godfa- ther, the curate of the village, undertook his further instruction, and brought him so for- ward on the organ, when only in his ninth year, that he was heard with pleasure in one of the neighbouring churches. Upon this, his father sent him, in 1785, to Erfurt, where he was received in the choir, and at the same time enjoyed the instruction of chapel-master Weimar : he next continued to study the ind organ under the directions of i, and also studied thorough-bass and composition under KitteL In 1795, he obtained the situation of organist in the Regler church at Erfurt, but was after- wards invited by the community at Kersle- ben to his first-mentioned situation, in the enjoyment of whrch be still continued in 1799. Hie following of his compositions have become known : " Skv fotue in Ks, k 16," in manuscript, and " 4 Deulsc/ie Aftssen" klso in manuscript. MUL MULLER (Johann Michel) was or* ganist to the gymnasium at Hanau. Of his works we can mention " 12 Senate & Hautbois concert, 2 Hautbois ou Violons, Taille, Fagot et B. C„" Amsterdam, 1730 ; " Neuaufgesetzes Voltstandiges Psalm und Choratbuch, Sfc," i. e. " New, complete, and newly-arranged psalm and choral book, in which are set to music, with new melo- dies, not only the one hundred and fifty psalms of David, but also two sets of evangelical church hymns, and other sacred music." MULLER (Johann Nicol) was, in 1758, actuarius at Wurenbach. Adlung .mentions the following of his compositions, " Uarmonische Kirchenlust, aus 12 Arien, 12 PrMudien, und 12 leichten Fugen vor die Orgel und Clavier,," Nureraburg. MULLER, (Joseph) a copyist in the imperial royal library at Vienna, in 1796, was, at that time, considered among the best artists on the harmonica. Ml)LLER, (Silv.) a musician, probably resident at Vienna. Of his compositions there have been published " 6 NeueLiedcr bcym Klaviere oder header Harft zu Singen." MULLER (Wekzbl) was, in 1791, ckef-d'orchestre at the theatre Maripelli, in Leopoldstadt, at Vienna. He is commonly called, at Vienna, the people's composer, on account of his talent for introducing in his operas, in a clever and easy manner, the themes of national melodies and dances. This is not to be ascribed to poverty of imagination, but to his paying homage to the taste of the public, and to his attending to the burlesque and low comic words which he is obliged to set to music. Samples of this style, peculiarly his own, are found in his '* Sountagskindt," and in the " Feste der Braminen," That it is not only the inhabit- ants of Vienna who find pleasure in this species of lively potpourri and dancing music, is evinced by the numerous audien- ces which are attracted to all the theatres in Germany, where Muller's operettas are i performed ; so that, with justice, he may I be ranked with Von Pittersdorf, at the Digitized by Google HUN head of the most popular German composers of our age. Perhaps it is also to be as cribed to the familiar style of his composi- tions, that, in little more than six years, he was able to compose the music to twenty- nine operettas, all written for Marinelli's theatre. They have been printed in various forms, throughout the whole of Germany. MULSO, one of the choir in the chapel royal in London, towards the end of the last century. He wrote the humorous glee ending with the line, "May we all find this chapel the chapel of ease." MUNCHHAUSEN, (Babon von) chamberlain at the court of prince Henry of Prussia about the year 1793, was a very accomplished musical amateur. He not only excelled on the piano and harmonica, but also published the following works of his composition, which do credit to his talents : " Trots Sin/on. pour V Or chest.," Op. 1 j " Deux Sonat. a quatre Maim p. le Clav.," Op. 2, Paris, 1793 ; "Sonat. a quatre Mains pour le Clav." Op. 2, 1793; " Une Sonat. tl quatre Mains pour le Clav." Op. 3, 1793 ; " Dix Airs, avec Acc. de Clav." Op. 4, Berlin, 1793 ; " Deux Sin/on. did. h S. M. le Roi de Prusse," Op. 5, 1790 ; " Trait Duos pour V. et A." Op. 8, Berlin, 1797; and "Sinfon. Pfriod.," Mentz, 1800. MUNDY (John) was organist, first of Eton college, and afterwards of the free chapel of Windsor, in the reign of queen Elizabeth. In the year 1586, at the same time with Bull, he was admitted to the degree of bachelor of music at Oxford, and, about forty years afterwards, to that of doctor. He died in 1630. Mundy was an able performer on the organ and virginal, as is manifested by several of his compositions for those instru- ments, preserved in queen Elizabeth's vir- ginal book ; and among the rest, by a fantasia, by which he endeavours to con- vey an idea of fair weather, lightning, thunder, calm weather, and a fair day. In this attempt he has failed : it was not for want of hand, as the passages are such as seem to imply great command of the instru- ment. 204 M US He composed several madrigals for fi w voices, which were printed in the 7V-« umphs of Oriana. He was likewise autkac of a work, published in 1594, entitle* " Songs end Psalmes, composed into thr*~t four, and Jive parts, for the use and deUg-h of all such as either love or learne IkZt* ticke." " Some of these," says Dr. Burrtey " are considerably above mediocrity in bar mony and design. Indeed, I think I car discover more air in some of his movements than is to be found in those of any o. his contemporary musicians of the second class." MUNDY (William) was a composer of several church services and anthems, the words of which are to be seen in Clifford? t Collection of Divine Services and Anthems, usually sung in Cathedrals. He was the son of John Mundy, though a composer so early as the year 1591. According to Wood, he was not a graduate of either of the universities. His name appeared to several of the anthems in Barnard's collection; but it has been placed by mistake to one, as Dr. Alrich has taken the pains to detect, " O God, the maker of all things,*' which is, in fact, the composition of king Henry VIII. MUNN1CES, (Joannes) a composer ia the beginning of the seventeenth century, published " Lib. I. Cantionum Sacrarum, 4, 5, 6, et 8 voc." Strasburg, 161 1. MUNTZBERGER, (J.) a violoncellist, probably resident at Paris, has made him- self known by the following published works : " Premier Concerto d Vc. Princip. Sfc," Paris, 1800 ; " Trois Sonat. pour Vc. et B.," Op. 2 j " Trois Duos pour deux Vc.,'* Op. 5; "3 Dergl," Op. 6, 1802; " Second Concert, pour Vc." Op. 34, 1803 ; " Gr. Trio p. Vc, Violon, et B.t and Gr. Sonate p. le Vc. et B." Op. 38, Paris, 1804. MUSjEUS, according to Plato and Dio- dorus Siculus, was an Athenian, the son of Orpheus, and chief of the Eleusinian mys- teries, instituted at Naples in honour of Ceres ; or, according to others, he was only the disciple of Orpheus ; but from the great Digitized by Google N A C :e which there was between his character and talents and those of his master, by giving a stronger outline to the figure, he was called his son, as those were styled the children of Apollo, who culti- vated the arts, of which he was the titular God. Musseus is allowed to have been one of the first poets who versified the oracles. He is placed in the Arundelian marbles, epoch fifteen, 1426 years before Christ, at which time his hymns are there said to have been received in MUSBECK, (F. A.) a good and correct composer, has become known by the follow- ing little work, " 6 Sonatina et Rondeaux pour le Clav." Breslau, 1799. He a musician and pianist, residing at Rawicz, in South Prussia, in the year 1801. MUSCHIETTT, (Son.) a sopranist at the grand Italian opera in Berlin, in the years 1792 and 1793. Having rendered himself suspected of French revolutionary intentions, he suddenly received his dis- missal, so that he was obliged to leave Berlin in 1793 ; but he received from the royal clemency his salary up to the end of MUSENBECHER, (Dr. L. S. D.) who. in the year 1796, established a library in Altona, is the composer of the following NAD songs : " Fantasie und ein Lied von Soph. Albrecht;* Hamburgh, 1796 ; " Lied am Grabe einer Wurdigen Freundin von Elite B&rger;1 Hamburgh, 1796. MUSIGNY, (Madame de) a pupil of the celebrated Krumpholz on the harp, lived, about the year 1788, at Paris, and pub- lished there, " 6 Romances oVEstelle, avec Acc. de Harpe ou Piano;* Paris. MUSSINI, (Nicolo) a tenor singer, violinist, guitarist, and vocal and instru- mental composer, was born in Italy. He was in this country about the year 1792, after which he proceeded to Hanover, and finally, we believe, settled at Berlin, where he was appointed tenor singer at the grand opera. His wife was also a good singer. MYLIUS, (Andre as) a celebrated singer at Schwerin, flourished there in the begin- ning of the sixteenth century. His brother Nicol Mylius died in 1653, at Meissen* MYLIUS, (Wolfgang Michael) cha- pel-master to the duke of Saxe-Gotha, owed his musical attainments to the rudi- mental instruction of Christoph Bernhardt. About the year 1700, he was invited to the situation of singer at Richberg. He died in 1712, or 1713, at Gotha, and left, for those times, a very good musical school- book, entided " Rudiment a Musices :" the date of it is 1685. MYSLIWECZEK, (Joseph.) SeeMis- LIWECZBK. N NACHTENHOEFER, (GaspardFrie- derich) born at Halle in 1624, was graduated doctor at Leipsic in 1647, and was afterwards sub-censor at Coburg, where be died in 1686. He was the author aud composer of many German Protestant canticles. NACHTIGALL, born about the year 1745, was pro-rector at the school of Hal- berstadt, and equally esteemed for his pro- found learning and amiable character. He inserted in a periodical journal^ published at Berlin in 1790, a dissertation on the national music of the Jews. NADERMAN, (F. J.) a celebrated harpist and composer for his instrument, born at Paris about the year 1780. He has published many sonatas, duos, concertos, and capricci for the harp. Amongst these we can name, " Fantaisie;' Op. 52, Paris ; " Fantaisie," Op. 55, Paris; " Fantaisie;* Op. 58, Paris ; " Duets far Harp and Piano," Op. 41, Paris ; " Trio for Harp, Horn, and Violoncello, or Violin, or Tenor, 205 Digitized by Google NAG of as a Duet for Piano-forte ond Harp i ' *' Three Duett for Harp and Piano," Op. 51 ; and " Trio for Three Harps, or Two Harps and Piano" Op. 57. NADERMAN, (Henri) brother to the preceding, is also a performer on the harp. He published at Paris, in the year 1807, the air •< // est trop tard" with variations for the harp. NAG EL, (JoHANi*) clerk at the cathe- dral, and fourth master at the gymnasium at Halle, born in 1759. He entered on the above offices in 1788, and in 1790 edited, at Halle, a periodical work entitled Musihaliscke Monatsckrift. Erstes Quar* tal," Halle, 1790. One page of the single sheet forming this periodical, contained easy and familiar instructions forplayingthe piano- forte, and the remaining three pages were filled up with light and pleasant tunes for that, instrument. The instructions were from his own pen ; but having been afflicted, during the publication, with a severe and tedious illness, (which at length terminated in his death in 1791) the publisher so altered the plan of the work, that, instead of giving the instructions as before, in single sheets, he printed them separate, with the author's name, under the title of u JCurte Anweisung zum Klavicr Spielen, fRr Leh- rer und Lernende," Halle, 1791. NAGELI, (Hans Georo) a composer and music publisher at Zurich, is by birth a Swiss. He opened, in 1792, a music ware- house and musical library in the above town, but the war that soon followed ruined his business; which, however, he recommenced about the year 1800, when he began to publish, in parts, a choice col- lection of the music of Sebastian Bach, Handel, Frescobaldi, and other classical mas- ters. In 1 803, he also embarked in the perio- dical publication of another work, under the title of u Repertoire des Clave'cinistcs," which is said to contain the choicest productions of science for the harpsichord, chiefly in the Clementi school. Of this publication three numbers, consisting of from ten to twelve folio sheets each, appeared the same year. He first gave dementi's solos, and then 206 NAG Cramer, Dussek, Steibelt, Beethoven, Asioli, Haack, Reieha, Weisse, and others. " Whether," says Gerber, << Nigeli be the man from whom the public may expect such a selection, in these two important and difficult branches of the science, as will completely answer the purpose, is a question best to be decided by an article of his in the fifth year of the Leipsic Musical Gazette, where he inserted (pp. 225 and 265) a profound cri- tique headed, • Versuch einer Norm fur die Rezenscnten der Musihatkschen Zeitung,' i. e. 'Essay to form rules for musical reviewers.' " Notwithstanding the decided predilection he therein evinces for the solemn and elaborate, his popular muse, or happy talent for ballad composition, is otherwise well known. •In- deed, who can doubt it, that recollects his "Life let us cherish" to much sung, played, and danced all over Germany. How happy must such a composer feel, could he enjoy, through the remainder of his life, but a thousandth part of the harm- less pleasure he has diffused by this one song amongst his fellow-creatures. Of his compositions we can name, u Life let us cherish," a convivial song, with acccom- paaiments of harp and harpsichord, Zurich, 1794 ; " Songs, with Accompaniments on the Piano-forte, first collection," Zurich, 1795; " Songs, with Accompaniments on the Piano-forte, second collection,'* Zurich, 1795 ; " Songs, with Accompaniments on the Piano-forte, third collection," Zurich, 1799. " Teutonia," consisting of rounde- lays and choruses, in six numbers folio, Zurich, 1808L arranged for- the piano-forte, and the vocal parts printed separately. " Tn the composition of these lively and pleasing roundelays," continues Gerber, *» science, taste, and fancy are so joined to familiar harmony, as to prove the most charitable boon that could be bestowed just now on suffering Germany. Oh ! that there were but in every town three or four amateurs of both sexes, sufficiently clever to execute them correctly \ How many a happy hour, how many a delightful evening, would thus be passed ! and from how many a gloomy Digitized by Google 1ST A N thought would the singer* relieve both themselves aud surrounding friend? !» « 12* Tocdtas for the Harpsichord Zurich, 1807. Whatever else this meritorious pro- fessor has undertaken, or may still under- take, for the promotion of musical science, Gerber leaves to future historians to record; adding, that it is but fair to subjoin, that, amidst his numerous pursuits, his Jove of scientific literature has also enriched his (Gerber's) dictionary with several inter- esting memoirs of Swiss professors. NAINVILLE, a French singer of' emi- nence at the comic opera in Paris, between the yean 1768 and 1790. NALDI, (Subastiawo) a celebrated Italian buffo singer, performed during many seasons at the King's theatre, in the early part of the present century. He was consi- dered the best buffo caricato that ever ap- peared in London. His most celebrated character was the Fanatico in the opera of // FamaAeo per la Music a. He quitted this country for Paris about the year 1819 ; shortly after which, he met with his death in that metropolis, by the bursting in his chamber of a portable steam apparatus for cooking. NALDI, (Mixe.) daughter to thepre- ceding, is aa excellent singer, and was en- gaged, in the seasons of 1823 and 1823, at the Italian opera at Paris. NALD1NO, (Sarti) a Roman monk, was a singer in the pontifical chapel there, about the year 1617. He published mauy motets. His death took place in 1666. NAN INI, (Giovanni Mauia) a fellow- student, under Kinaldo del Mell, with Palestrina, was a native of Vallevano, and, in 1577, was appointed a tenor singer in the pontifical chapel, where many of his compositions are yet preserved. He after- wards became chapel-master of the church of St. Maria Maggiore, in which office he probably succeeded Palestrina. There are extant some fine madrigals of his composition, and two manuscript trea- tises of music ; the one entitled « Cento- cinquanta Sette Contrcpunii tOanoni* % 3, 4, 6, 6, 7, o\ 11 voci sopra dci Cant* N A It Fermo intiiotato la Base 4i Cos tan to Festa ;* and the other, " Trattato di Contrapunto con la Regain per far Contrapunto:* This latter treatise is the joint work of G. M. Nanini and his younger brother Bernar- dino. NANINI, (Bernardino) a younger brother of the preceding, was distinguished as a surprising genius, and as having im- proved the practice of music by the intro- duction of a new and original style. There is, however, nothing extant of his composi- tion, except a work printed at Rome in 1620; entitled *' Salmi A 4 voci per le Domenichc, Solenrnta delta MadonnaetApostoli con doi Magnificat, nno a 4 e Paltro d 8 voci." NANNINI, (Lrvr*, called La Polac- china) a very celebrated singer about the year 1700, in the service of the court of Mantua. NANNO, an ancient Greek flutist and poet, especially known by the poem that Mimnermus wrote in his honour. NANTERNI (O ratio) was born at Milan, where he held, for many years, to- wards the close of the sixteenth century, the office of leader of the band at the church of S\. Celso. Picmelli, in his Atencn dei Letterati Milaneei, says: "Milan may be proud of having produced, amongst its curiosities and objects of admiration in music, Oratio Nanterni. His compositions are characterised by great depth of science. His music was said to be meat aud drink to those who heard it, (pasceva gli uditore.) He played also with infinite sweetness, so that there was not one who did not join in Uis praise." Moringa, in his NobiUii di Milano, 1595, also calls him a delicate and intelligent musician, and highly spoken of. He published several of his works. Some particular specimens occur in Ber* game no Parnassus JSfusicus Ferdinand. 1, 2, 3, 4, * 5 voc.f Venice, 1615. NANUS, town musician at Stuttgard, about the year 1799, not only distinguished himself amongst the profession as an instru- mental performer, but also as a composer. NARDINI, (Pirtuo) first violinist to the grand duke of Tuscany, at Florence, 207 Digitized by Google N A R was bom at Leghorn in 1725. He was considered as the best pupil of the great Tartini, with whom he long resided at Padua. In 1762, he was engaged, together with several other distinguished musicians, in the service of the duke of Wurtemburg, and the following year rendered himself very conspicuous among his colleagues, by his superior performance at the birthday concert of the duke his master. In 1767, the duke's chapel establishment was con- siderably reduced, when Nardini returned to Leghorn ; and it is from this period he composed most of his works. In 1769, he went to Padua, to revisit Tartini, whom he attended in his last illness, with affection truly filial. On his return to Leghorn, the generous offers of the grand duke of Tuscany determined him to quit that town and enter the duke's service. Shortly after this, the emperor Joseph II. was travelling in Italy, and Nardini had the honour of several times performing before him ; when the king testified his satisfaction, by pre- senting the musician with a richly ena- melled gold snuffbox. In 1783, the president Dupaty was in Italy, and in the twenty-ninth letter of his published tour, he thus speaks of the talents of Nardini : *' Ce violon est une voir ou en a une. II a touche* les fibres de mon oreille qui n'avaient jamais fremi. Avec quelle tcnuite* Nar- dini divise l'air ! avec quelle adresse il ex- prime le son de toutes les cordes de son instrument ! avec quel art, en un mot, il trav.aille et e'pure le son !" Nardini especially shone in the per- formance of adagios ; and it is said that, on hearing him without seeing the performer, the magic of his bow was such, that it sounded to the hearer rather like a human voice than a violin. The style of his sona- tas is ably sustained, the ideas are clear, the motive well treated, and the expression natural, though of a serious east, as was the character of the composer. (See the Essay on Musical Taste, by J. B. Hangoni, Leg- horn, 1790.) Nardini died at Florence in 1796, according to others, in 1793. Amon? his works we can mention " Six Concertos 208 NAS fbr the Violin" Op., Amsterdam ; « Si* Solos for the Violin;' Op. 2 ; " Six Tri<* for the Flute," London; " Six Sobs for Violin," .London ; " Six Quatuors fa Viotin," Florence, 1782* and " Six NARES, (James) doctor of music, was the brother of sir James Nares, knight, one of the iustices of the court of common pleas. For some time he was organist of the cathe- dral church of York, where he composed several services and anthems. From hence, on the death of Travers, in 1758, he was promoted to the situation of organist and composer to the chapel royal, . and suc- ceeded Bernard Gates as the master of the children there. The latter of these situa- tions he resigned about two years previously to his death. The compositions of Dr. Nares were not numerous, and were principally for the church. Two of his anthems, « Behold kw good and joyful," and " O Lord my God," are inserted in the second volume of Stevens's Sacred Music, Dr. Nares was a studious and sound musician, and his writings show him to have been endowed with a very considerable share both of genius and learn- ing in his profession. He died in 1783, and his remains were interred in the church of St. Margaret. As organist of the chapel royal, he was succeeded by Dr. Arnold, and as master of the children, by Dr. Ayrton. NARYSCHKIN, (LemsnKibilowis*) master of the hunting to the emperor ot Russia from the year 1751, first conceit the idea of the hunting music in Russia, which he put iu execution with the assist- ance of Maresch. (See Mabbsch.) NASI, violinist and composer for his in- strument, flourished about the year 1770, as leader at the theatre Di Fiorenrine at Naples. Dr. Burney heard him the same year play some beautiful trios of his own compos'*100' NASCIMBENI, (Steffano) leader of the church at.St Barbara, at Mantua, flou- rished, at the beginning of th* seventeenth century. Of his printed works we can men- tion u€oncerti Eccksiastici 12 ooc" Venice, Digitized by Google NAT 1610; and " Motetti 5 ei 6 vc." Venice, 1616. NASCO, (Giovanni) an Italian com- poser .of the sixteenth century, published " Lament ationes Jercmia" and a " Pas- sion" and " Benedictus A 4 voci" Venice, 1565. There are still " Canzoni e Madri- gali a 6 voci" Venice, 1562, of his compo- sition, extant in the library at Munich. NASELLI, (Dom. Diego) a pupil of Perez, composed several operas for the thea- tres in Italy ; not wishing, however, as he belonged to the noble house of Arragon, to be considered the composer of these works, he assumed the name of Egedio Lasnel, which is the anagram of his right name. Of these operas, we can only mention "Attilio Regolo," given at Palermo in 1748, and " Demetrio," represented at Naples in 1749. NASOUNI, (Sebastiano) a native of Venice, was born about the year 1767. In 1790, he was in London, and brought out the operas of " Andr&maca" "LaMorte di Cleopatra" " Merope" and " Mitri- datt" The following year he went to Vienna, and produced at the theatre there his " Teseo" It would seem that his works met with more encouragement in Germany than in England, and several of his songs became popular at Vienna. He, neverthe- less, made but a short stay in that city ; for in the Indicc de Spettac. Teatr. of Milan for the same year, he is mentioned as again composing for the theatres at Trieste and Padua. About the year 1800, being en- gaged to write for the carnival of Venice, instead of attending to composition, he gave himself up so entirely to debauchery, that he became its victim, and died before the completion of his engagement. Of his works we can futher enumerate, " Im mtetti," op. ser., Trieste, 1788; " Se- mir amide" Padua, 1791; " L'Ercole al Termodonte osria Ippolita Regina delle Amazon*? Trieste, 1791; "Eugenia," Dresden, 1794 ; " // Trionfo di Cletia," Venice ; " II Torto imaginario," op. buffa, Venice, 1800 ; and " Vlncanteshno senza magia," op. buffa, Venice, 1800. VOL, II. NAT NATALRESTA, a violoncellist at Paris, and composer for his instrument, about the year 1785. NATHAN (Isaac) was born at Canter- bury in the year 1792, and being intended by his parents for the Hebrew church, was, at the age of thirteen, placed at Cam- bridge, under the care of Mr. Lyon, the Hebrew teacher to the university, where he made considerable progress in that language, as also in the German and Chaldean. It was only as a relaxation from his severer studies that he was permitted to learn the violin ; a circumstance which led to an early display of his innate love for music, and eventually brought about an entire change in the views of his parents. His frank- ness of disposition and sweetness of voice, made him a favourite with his masters and schoolfellows; and so encouraged was he by the praises he received, and the plea- sure he felt in the cultivation of his taste for the science, that crotchets and quavers usurped their dominion over his then more legitimate pursuits, and lost in the pleasing mazes of harmony, all his pocket money was laid out in the purchase of music paper, on which he felt anxious to try his talent at composition. Ignorant of the theory, his effusions of fancy were unintelligible to all but himself ; and it was not a little singular to see him playing from a group of notes, without any guide as to time, &c. but such as his own ingenuity Had furnished him with. On his return home, his passion for music was so apparent that his relations deter- mined on articling him to Dominico Corn, whose name inspired him with such awe, that his natural diffidence for a short time operated against his pursuits. His timidity, however, wore off, and the embarrassments of Mr. Corn, which kept him sometimes long without a lesson, acted as an addi- tional stimulus to his own exertions. In the attic of his father's house was an old harpsichord, considered as useless, and this the young student made the seat of his indefatigable efforts. At this instrument did he regularly place himself by four-o'clock in the morning, and so intent was he on p 209 Digitized by Google NAT application that no inducement would tempt him from it, hit provisions often remaining untouched the whole day. Eight months after his apprenticeship commenced with Corn, he composed his first song, called " Infant Low," which was quickly followed by " O come, Maria," and " The Illiterate Bay." His neat production was " The Sorrows of Absence;** from which a trifiing dispute arose between him and his master, that, more than any other circumstance, tended to confirm him in his pursuits. Corn had pointed out a passage in the last-named song which he considered a breach of theory, and was so severe on his pupil, that young Nathan was roused to a pitch of confidence which made him contend for the accuracy of the passage objected to ; a little argument followed, and the pupil having brought to the recollection of his master certain allowances granted to genius which he had overlooked, he came off victorious ; a triumph which has often been mentioned by Nathan as having mainly contributed to the success of his future exertions. From time to time be produced composi- tions which would have done credit to more established authors; and as 44 music is the food of love," it is not very singular that be should at an early age have felt a passion so general in its attack on mortals. He married a young lady of highly respectable connections, and whose literary talent has sent into the world works of no inconsider- able merit. Possessing the natural feeling for music which we have described, it was not extra- ordinary that his compositions should keep pace in beauty with the subjects for which he wrote; and the poetry of Lord Byron presenting a field best calculated for the display of his genius, his acquaintance with his lordship's works brought with it the commencement of his acknowledged merit as a musician. His first selection from Lord Byron was those beautiful lines from the "Bride of Abydos" beginning " This rose to calm my brother** cares t" which in a few hours was composed and placed in the hands of the engraver. He 210 NAT has since published from the same poem, " Think not thou'rt what thou appeareet," " Ah, were I severed from thy sid*S' and « Bound where thou wilt my barb J' Hie song from the Giaour, " Yes, love indeed U light from Heaven," is one of his happiest efforts ; and the « Yairllaide," " My U/et I love you," with a variety of other selec- tions from his lordship's poetry, are works of merit. Shortly after his composition of "Night wanes" appeared, Nathan was introduced to lord Byron by the honourable Douglas Kinnaird, and ever after ex- perienced from his lordship proofs of his condescending kindness. To dwell on the merit of the Hebrew melodies is unnecessary, as their excellence has been so universally acknowledged ; we cannot help, however, thinking, that while the tide of popular opinion is now directed to lord Byron's publications, it is but justice to direct the public mind to a contemplation of the sacred poetry written by his lordship for these melodies, than which nothing can be more truly sublime, or beautifully calculated to perpetuate a reverence for religion and piety. A circumstance connected with the com- position of these melodies deserves mention. Nathan was so totally absorbed in the poetry which relates the raising of Samuel by the witch of Endor, that, in setting it to music at the house of Mr. Basil Montague, (the chancellor counsellor) the son of this gentle- man, on wishing Nathan good night, said, " I really think it better to depart, Nathan; for you look so wild, that I should soon imagine you Samuel himself." That the subject had entirely chained his mind to a corresponding feeling, appeared the next morning, w hen Nathan was seized with aa alarming aberration of memory, which con- tinued several hours. The subject forms a glee, and must be beard to be properly appreciated. His first theatrical composi- tion was for Kean, " Scarce had the purple glea m of day " which met with enthusiastic applause. Had Nathan been as great in worldly as in musical science, he must have enjoyed an early and abundant harvest: this, how* Digitized by Google NAT ^m^^s iftol tlic C3sc y for IktttttT^U^^ l^dic volent, the treachery of others involved him ia embarrassments from which he found it difficult to extricate himself. He was at length compelled to be absent from London, and during a temporary sojournment in the west of England and Wales made every exertion, though unsuccessfully, to retrieve the losses he had sustained. On his return to London, however, his creditors beset him, and hinting that he ought to make his voice available to their demands, he, solely to convince them of his integrity, consented to make a public trial ; at the same time, with a feeling which redounded to his honour, ofFering to secure them a claim on the fruits of his industry He appeared at Covent-garden as Henry Bertram, in Guy Manneriiig, and, in the unaccompanied duet, elicited enthusiastic applause; but when accompanied by the band, his want of sufficient power totally deprived him of the advantage which his acknowledged science would otherwise have given him, and a failure was the con- sequence. Though nothing would be more illiberal and ignorant, than to require our professors of music to abide a similar trial of their vocal capabilities, yet, as this cir- cumstance has been sometimes unjustly urged against the vocal talent of Nathan, we subjoin part of a private letter (with which we have been favoured) from that gentle- man to a friend, in which he adverts to his appearance. "Of all risings and fallings in life/' says Nathan, "the falling of the pocket is the most annoying, owing to certain little accompaniments in the form of angry creditors, who set a man thinking. Of two evils, according to cus- tom, I chose the least, not considering * durance vile/ under the best auspices, as a bed of roses, more particularly when up- wards of two hundred miles from those whose tender age and necessities required my exertions ; and as desperate cases require desperate remedies, I deemed it prudent to purchase my liberty, by convincing those who had claims on my personal property, NAT that I really did not possess a Stentorian power of lungs sufficient to fill Covent- garden theatre. As a proof that vanity had no hand in the business, I sent Mr Harris a critique from Canterbury, (where I had tried the character proposed for me) not the most flattering to my feeble voice. " For the Adonis-like state of my appear- ance, I cannot in honest truth say much j but I query, with a plaster on his breast, and an unhealed blister on hisback, whether even the Apollo JSelvidere, (to whom I beg it to be understood I bear not the slightest resemblance) would have looked so attrac- tive as in a whole skin. Dressed and patched for the occasion by my much es- teemed medical friend Mr. Hare, of Argyle- street, I dared my fate, and while I strutted ' my hour on the stage,' pardon me for most profanely altering the text of Shak- speare, 'the curs snarled at me as I walked along.' Let me disclaim auy allu- sion to those whose condemnation proceeded from an honest expression of opinion ; igno- rant as they were of the disadvantages under which I laboured, I could but anticipate their sentence. I allude only to such, who, to serve party or private purposes, came with a premeditated design to crush me." The popular music in " Sweethearts and Wives," by Nathan, though composed at a few hours' notice, powerfully exhibits the versatility of his talent : "Billy Lackaday*s Lament** " Why are you wandering** " The Secret," and "Til not be a maiden forsaken" are productions that must es- tablish his talent as a theatrical composer ; indeed the latter song is so original, and the connection of the poetry and music so intimate, that it would alone be sufficient to stamp his reputation. In his orchestral arrangements he is equally happy, and his ac- companiments possess a richness of harmony that reach beyond the ear of the auditor. As a singing-master, Nathan has few superiors ; for while his voice affords an example of science in a high degree of cultivation, his late work, " An Essay on the History a?id Theory of Music, and on the Qualities, Capabilities, and Manage- f2 $11 Digitized by Google NAD menteftheHumanVoice;' and comprehensive knowledge of that sub- ject. The work here alluded to is dedicated to the king, and is valuable to the musical student. When it is considered that the information it contains has been accumulated by the perseverance and unwearied assi- duity of a young man, whose unremitted industry has paved the way to the reputa- tion he enjoys, the reflection should operate as a stimulus to others, whose circumstances or situations compel them, unassisted, to combat with pecuniary or other difficulties. NAUDOT, a flutist at Paris, and com- poser for his instrument, published some music there in 1720 and 1726. . NAUMANN, (J oh ann Gottlieb or Amadeus) master of the electoral chapel at Dresden, and one of the first composers in Germany, was born in 1741, in a small village near Dresden, of very poor parents, and was carried to Italy by a Swedish virtuoso, who discovered and wished to encourage his talents for music. He had to struggle a long time with bad fortune, but his ardour was never relaxed. After seven years' study, during which he formed himself under the great Tartini at Padua, under Martini at Bologna, and in the Neapo- litan school, he returned to Germany, when the king of Prussia elected him master of one of his chapels. He afterwards made twojournies to Italy, where he composed several operas, which had the most distin- guished success in all the theatres of that country. The different courts of the north endeavoured to attract him by the most brilliant and flattering offers j but he always preferred a residence in his own country, where he spent every summer in his native village, on the banks of the Elbe. For some time before his death he had devoted himself almost exclusively to sacred music, and he has left some very valuable com- positions of that kind in the archives of the chapel at Dresden. In the year 1801, he died of apoplexy, with which he was struck while walking in the electoral park. We cannot refrain adding to the foregoing account of the celebrated Naumann, the 212 N A U following article, extracted from Gerber. " Naumann did not get quite so readily to Italy as has been usually said, on the con- trary, he had previously to undergo at Hamburgh, where he arrived in 1757, many trials of his patience, through the conduct of his master, Von Weestrom, a Swedish amateur, who had become very tyrannical and parsimonious towards him. Indeed, little time was left him for studying the science of music, and except now and then playing on the tenor, he was obliged to submit to the meanest and most painful oflices. In this condition he spent tea weeks at Hamburgh ; during a part of which, Weestrom had a severe and dangerous ill- ness, and also, it is believed, sustained a considerable reduction in his finances. Ne- vertheless, they set out in the spring of 1758 on their journey to Italy ; no small part of which the poor and patient Nau- mann had to perform on foot, through rain and snow, indifferently clothed, and with very meagre diet. At Venice, and after- wards at Padua, to which latter town his master went to pursue his studies under Tartini, Naumann had even to eara bi& daily subsistence by writiug music ; and he declares that he had copied, in six or seven mouths, besides an immense number of minor pieces, upwards of seventy concert all of which Von Weestrom sold for his own benefit. He was indeed reduced so low even to be obliged to cook for his master. What still, however, most grieved the un- fortunate youth was, that he now had sot a moment to spare for practising his favourite science, much less was there a chance of his obtaining regular instruction from a pro- fessor. One day, however, having to carry as usual the violins of Messrs. Eyselt, Hunt, and his master to Tartini's, he mustered up courage to petition the professor, to be allowed the favour of now and then stayu# at the door of the room, when his master or one of his countrymen were recdvu# instruction, ,so that he might just catch a little information at a distance. Ttrtiv, who was of the kindest disposition, please with the humility of the request, Digitized by Google N A U diately offered to receive him as a regular pupil. Accordingly he now enjoyed the benefit of attending, twice a week, a gra- tuitous course of instruction from this great master j at one lesson accompanying Eyselt, and at another, Hunt. He had, moreover, the good fortune of passing about this time from the service of his despotic master to that of Hunt, who was of a very opposite character. Having thus spent three years and two months at Padua, and having ac- quired, besides a great proficiency on the violin, no ordinary skill on the harpsichord, he was introduced to Mr.Pitscher, who was travelling through Italy at the expense of prince Henry, and who, failing in his design of obtaining instruction from Tartini, applied to take lessons of Naumann, then considered his best pupil, and also made him the offer of accompanying him, free of expense, on his tour through Italy. This was too delightful a proposal not to be accepted by Naumann with alacrity. Tartini himself, indeed, un- willing as he was to part with his favourite, deemed his removal almost indispensable to his becoming great in his profession. Ac- cordingly he left Padua with Mr. Pitscher in 1761, proceeded to Rome, and thence, in a few weeks, to Naples j the charms of which city, together with the delightful climate, and above all the splendid theatres, detained them six months. It seems that Nau- mann there devoted himself exclusively to theatrical composition, and tried his strength in that style on several detached pieces of Metastasio's poetry, which he meant for the stage. At length they quitted Naples, spent the Easter holydays at Rome, and then proceeded to Bologna, where, on presenting Tartini's letters of recommendation, Nau- mann was immediately admitted by the celebrated Padre Martini to his academy, on the footing of an old acquaintance, and failed not to dip freely in the treasures -which he discovered in this master's library. Meanwhile the time allowed to Pitscher, for his residence in Italy, had expired ; but as war still continued to rage throughout Saxony, Naumann thought best to let Pits- cher return alone to Germany, remaining N A U himself at Venice until a more auspicious period. In that city he soon got a suffi- cient number of pupils, to supersede all cares about his immediate wants, and indeed before two months had elapsed, his greatest wish, up to that period was accomplished, by his being engaged to compose an opera buffa for the theatre of St. Samuel. Though no longer than a mouth wis allowed him to finish this opera, it still met with universal applause, and for at least twenty nights never failed to attract an overflowing audi- ence to both pit and boxes. On account of the shortness of the intervening time, he undertook for the next carnival only part of an opera, which however, was not less successful ; the act which he composed being universally preferred to the remainder, set by two other masters." (The titles of those two pieces are not known to Gerber.) " Having now resided eighteen months at Venice, and in all seven years in Italy, the treaty of Hubertsburgh at length re- stored peace and tranquillity to his native country. His insuperable longing for home then increasing every day, a thought occurred to him of sending his parents the score of one of his operas, as a specimen of his abili- ties, and requesting them to get the work shown to persons about the court. To effect this, his mother went to Dresden, and was so fortunate as to be enabled to place the manuscript in the hands of the dowager electress Marie Antoinette. This princess, who was an excellent musician, immediately looked into the score in the presence of Naumann's mother, and dis- missed her with the remark, that she must be allowed to doubt whether the music she saw was really the composition of the young man, but that she would inquire into the subject. She then wrote to several of the professors of Italy, and receiving answers from them unanimously filled with eulo- giuras on the talent of young Naumann, she gave him a nomination in her chapel^ accompanying it with a sufficient pecuniary remittance for his journey to Dresden. Nau- mann did not lose a day in quitting Italy, and arrived at Dresden in 1765. He then 213 Digitized by Google N A TJ directly wrote a mass, and performed it himself before the electress-mother ; upon which he was immediately raised to the rank of composer of sacred music to the elector, with an appointment of two hun- dred and twenty dollars, and his leave for a second journey to Italy, to fulfil his re- maining engagements there ; and was not only accompanied by the diploma of compo- ser to the elector, but also the two young students, Schuster and Seydelmann, were consigned to his superintendence while abroad. He now again visited the greatest part of Italy with his companions, making the longest stay at Naples. Being then engaged to compose the opera of * Achille in Sciro* for Palermo, an opportunity was afforded him of seeing Sicily. From thence they proceeded by the way of Naples, Borne, &c. to Venice, where, being occupied with the opera of • Mesmndro' for the theatre, he unexpectedly received the commands of his court to return to Dresden, for the pur- pose of setting to music the opera of « La Clemenwa di Tito,* for the elector's nup- tials. This was the only opera which he composed for the grand theatre there. In 1772, he undertook a third journey to Italy, at his own expense. He then composed there, in eighteen months, the operas, *Soli- manno* « Le Nozze disturbate; and * Vltola disabitataj for Venice, and the * Armida* for Padua, with such success, that more of his works were bespoke from all parts of Italy. Soon after his return to Saxony, the situation of chapel-master of Berlin was offered him by Frederick the Great, on favourable terras ; but Naumann remained faithful to his sovereign, although at a much inferior salary. This sacrifice at the shrine of patriotism perhaps contributed to his being, shortly afterwards, appointed chapel- master by his own court, with a salary of one thousand two hundred dollars per an- num. It was in the course of his third journey to Italy that Naumann wrote the opera of * AmphionJ for the celebration of the birthday of the king of Sweden. This piece had the greatest success, and was the occasion of his being invited afterwards to Stockholm, 214 N A U where, in 1780, the new theatre was opened with his opera of ' Cora* when he himsell presided at the orchestra. After this per- formance the king of Sweden testified his satisfaction in the most gracious terms, and presented the composer with a medal, *wortr» fifty ducats, together with his portrait and that of the queen. These favours were exclusive of the pecuniary remuneration which had been agreed on for his labour. In the following year he composed, for the same theatre, the opera of • Gustavus Vasa,* which was also successful. In 1785, he was charged with the composition of a new- Danish opera, ' Orpheus* for the theatre at Copenhagen. How honourably he acquitted himself of this commission, professor Cramer has given the musical public an opportunity of judging, by arranging and publishing that opera for the piano-forte, with a German translation. This piece had such success at Copenhagen, that the Danish court offered him the place of royal chapel-master upon very flattering conditions, and with a bril- liant salary. These tokens of esteem and admiration from the kings of Sweden and Denmark, though great, were, however, of no consideration with Naumann when com- pared with the many instances of royal regard he experienced from William II. That prince was indeed ranked amongst the consummate judges of music ; and it is difficult to say whether his predilection for Naumann's chaste and exquisite muse, did not as much honour his own taste, as it redounded to the composer's glory. In 1789, Naumann wrote, at Berlin, the first act of his 'jt/AMr,' the composition of which fell to him by lot. This was to have been performed at the carnival, but was not ready in time. Having, in 1793, com- posed the second act, he went again to Berlin, at the king's request, on purpose to bring this opera out on his majesty's birth- day, when he received a royal gratuity of two thousand dollars. It was then that the king also committed to him the perfecting of the rising talents of Himmel and Miss Schmalx; and it is well known how well he acquitted himself of this task. Having declined many Digitized by Google N A U invitations and orders from Paris, he. in 1795, reintroduced his two pupils to the king of Prussia ; and on that occasion they performed before his majesty at Potsdam, besides other works of their master, the oratorio of * Davidde in Tcrebinto, written in 1794 for Dresden. So highly was the monarch pleased both with the composition and the skill of the two pupils, that he presented Naumann with a snuffbox richly set with brilliants, and decorated with the royal cipher. In the spring of 1797, he again received a most gracious royal invita- tion to come to Berlin, and hear his pupils sing at the nuptial fetes ; one thousand dol- lars for travelling expenses, and a snuffbox, worn by the late king Frederick IL, were adjoined to this request, to render it the more acceptable. It was then," continues Gerber, " that I too had the pleasure of wit- nessing the triumph enjoyed by Naumann, when his pupil Himmel made his first ap- pearance before the courts of Berlin and Cassel, presiding at the piano-forte in his * Semir amide,' in his grand cantata, and in his two cantatas, * The Hessian Sons ' and ' The Prussian Daughters,' and when Miss Schmalz contributed so much by her exqui- site singing to give additional force to the above masterpieces. I was present, also, when Fasch's excellent conservatory held an extraordinary sitting in honour of Nau- mann, to entertain him with the one hun- dred and eleventh psalm in Latin, for four voices, which he had sent them the year before, to which were added some divinely beautiful lines from Fasch's celebrated Mi- serere for sixteen voices. " Many a festive scene had Naumann now embellished at Berlin with his talents; nor was he less zealous in his devotions to the science at Dresden, though his career was there more private and regular. At length the Dresden public, too, appeared determin- ed to honour this skilful artist in a distin- guished manner; and his composition of Klopstock's 'Lord** Prayer/ then just finished, afforded them an excellent oppor- tunity. According to an account from Xrresden of this masterpiece, (in the first N A U year of the Leipsic Musical Gazette, p* 883) a single hour, favoured by the muses, was sufficient for Naumann, to mature the plan of it. To finish it, however, took him, with the utmost industry, no less than a year and a quarter. The score, from which he himself led at the performance, was the third revision. Baron Racknitz caused an orchestra to be erected for the purpose in the new town church, where eighty singers and one hundred instrumentalists per- formed the ' Lord's Prayer' and the one hundred and third psalm, on the 21st of June in the afternoon, and a second time on the 21st of October in the evening, the church then being Uluminated with great effect, and the audience a crowded one. The psalmist's text was wrapt in soft solos, whilst the prayer, on the con- trary, was given in full choruses. On this occasion there was published a poem of twelve pages octavo, entitled 4 On Nau- mann's Oratorio, performed on the 1\st of June, 1799, in the Church of the New Town, for the Benefit of the Sufferer* by the Floods, and on the 21*/ of October for the Benefit of the City Infirmary,' Dresden, 1799, in which the poet expresses bis feel- ings on hearing this masterpiece. The first performance produced one thousand dollars, after all charges were deducted. Finally, his last opera, * Aci e Galatea,* was per* formed at Dresden in 1801, with unqua- lified applause. Already, while he was composing it, there was a report that, with this piece, he intended to take leave of the theatre. Alas ! this was too true ! inasmuch as, shortly after this composi- tion, be took leave of society altogether: however, with the exception of some defect in his hearing, he found himself yet tole- rably well. With what cheerfulness he must then have contemplated bis past life f How he must have blessed his ultimate fate, on the retrospect of the first four hope- less and sorrowful years of his journeyings in Germany and Ttaly. He now not only felt himself respected as a professional man, but beloved in his own circle as a husband and father. Indeed it ought to have been 215 Digitized by Google N A U mentioned before, that during his residence at Copenhagen, in the year 1792, he mar- ried the daughter of the late Danish admi- ral Grodbshiiling, a lady who, at first sight, inspired all beholders with esteem and af- fection. He likewise built himself at Blase- witz, bis native village, a pleasant country bouse, where he could devote himself un- disturbed to the muses. "He was just about, it is said, to buy many young trees for this his luseulanum, and, with that object in view, was strolling quite by himself on the 21st of October, towards evening, through some extensive grounds, when he was seiied iu a retired spot with an apoplectic fit. Stunned and speechless, he was just able to crawl a few paces sideways, but there he remained lying, benumbed and senseless, in very raw night air ; those who passed by taking him to be some person overcome with liquor, and his wife's messengers having searched the town for him in vain. At length he was found in the morning, in that situation, by some huntsmen ; they took him imme- diately to the nearest house, where all pos- sible means were used to save him, but without success; he continued senseless until four o'clock in the rooming of the 23d of October, when he expired. After his funeral, the grand chamberlain Von Rachnitz caused his death to be com- memorated in the Stessian-hall, by the performance of several of his compositions by the electoral band, in full mourning, led by the chapel-master Schuster. On that occasion Naumann's name in conspicuous characters, surmounted by a lyre within a wreath of laurels, appeared over the or- chestra. His pupil Miss Schmalz embel- lished the whole by the execution of her solos. Subsequently, also, the concert of amateurs paid a tribute to his memory in 1802, by an Epicedium, prepared for the occasion, to which a young artist and pupil of the deceased, named Berner, from Berlin, composed the music. The music director Tag, of Hohenstein, also had a dirge, with accompaniment on the piano, printed in honour of the deceased, m N A U " Thus died Naumann in his sixtieth year ; prematurely indeed for his family, and no less so for the science of music, but, as regarded himself, in unalloyed prosperity, without having missed any of the comforts of life, and without feeling the approach of his dissolution, in one word, surprised by death, in the very lap of felicity. In writing this dictionary," concludes Gerber, " my task has not very often been cheered, by being able to finish, as I do here, the biography of an eminent professor with a result adequate to his merits and devotion to the pleasure and happiness of his fellow-creatures ! A very transient retrospect of our departed musical favourites, will but too well corroborate this melancholy remark. What a splendid career Handel ran through for about fifteen years; but how was his horizon overcast towards the close of his life : and the great Hesse, was he more fortunate, wandering in his old age about Vienna and through Italy? Graun, gentle Graun, perhaps, breathed his last more placidly on his well- eartied laurels; but whoever recollects, from the life of Fasch, how the gentlemen of the royal Prussian chapel were obliged, during the seven years' war, to subsist many years without salary, will find his situation in his latter days to have been any thing but enviable. The extreme poverty and distress amidst which Dittersdorf and Piccini also awaited their dissolution, are but too notorious. Such a melancholy fate could not indeed befall the frugal Sebastian Bach, who never aspired at a splendid fortune ; but then fate visited him, in his old age, with blindness. Jomelli died by all accounts of a broken heart at the ingratitude of the public. Similar disheartening feelings seem also to have driven the unfortunate but able George Benda to a seclusion from all human intercourse ; and to say all in all, what was the far-renowned Mozart's fate V* We now subjoin a catalogue of the prin- cipal works of this eminent composer. For the church : " La Passion* di Giesu Cristo," oratorio, words by Metastasio, Padua; " Jsacco figura del Redemtore," of Metas- tasis Padua and Dresden; « Giuseppe rico* Digitized by Google N A U nosciuto," of Metastasio, Padua and Dres- den ; '< Zeit und Ewigkeit" Padua and M eeklenburg-Sch werin ; " Santa Elena," of Metastasio, Padua and Dresden ; " Jo- seph recognised by his Brethren" of Me- tastasio, Paris; " Unsere Bruder," Paris and Mecklenburg-Schwcrin ; *' // Figlio Prodigo," Paris and Dresden. A second composition of the " Passione di Giesu Cristo," Dresden ; " Te Deum," Dresden; " 2d Psalm," manuscript; "96M Psalm," printed; " 103d Psalm," printed ; " 11 1M Psalm," in Latin, for four voices ; " Davidde in Terebinto," oratorio, Dresden, 1794; " Canto de Pellegrini deW Istesso," ora- torio ; " Aggiustatos per Arpa o Cembalo" 1798; "Klopstoch's Lord's Prayer," 1799; " Messa solenne," op. posthume, Vienna, 1804; " Off ertorium solenne, Lauda Sion Salvatorem, in drcumcis. Domini,*' op. posthume, Vienna, 1804; " 3d Psalm, for 4 voc." Vienna, 1804 ; " Twenty-seven Mascss," written since the year 1766, chiefly for the royal chapel at Dresden : these are all in manuscript. " Betulia Li- berata" oratorio, manuscript ; " La Morte eCAbelle," oratorio, manuscript ; "The 95/A Psalm, with a Sanctus, Sfc. in double Chorus," and " The 149M Psalm." these two last were composed for the brethren at Hernhuth. For the theatre, the follow- ing operas: " Achille in Sciro," Palermo, 1768 , "La Clemenza di Tito," Dresden ; " Le Nozze disturbate," comic op., Venice; ** Jsola disabitata," Venice, 1773; " // Solimano," Venice ; " Ipermestra," Venice; " // Vilano geloso," comic opera, Dresden ; " L'Ipocondriaco," comic opera, Dresden; " Elisa" opera ser.-cora. Dresden ; " Osi- ride," op. ser. " Tutto per Amore," op. ser. -com., Dresden; " Amphion," Stock- holm, " Cora," " Gustavus Vasa," '< La Reggia d'Imeneo," Dresden; " Orfeo," Copenhagen ; "Midie," Berlin, 1788; " Protesilao," 1793 ; " V Andromeda," " La Damn Soldato,V opera buffa, Dresden, 1791 ; in this opera is the song of " Vino vecchio," so well known in London. " Amore ginstificato," opera buffa, Dres- den, 1792 j " Act e Galatea, osria i N A U Ciclopi amandi," Dresden, 1801. For the chamber: vocal : uEceo quel fero istante," a canzonet, for soprano and violin, 1778 ; " Freemasons' Songs" Leipsic, 1778 ; " Airs from Robert and Calliste" written for Mad. Helmuth ; *'A Collection of thirty- six German, French, and Italian Songs, with Accompaniment for the Piano- forte," " Die lehrstunde," of Klopstock, 1786 ; " Six Italian Ariettes, with Accompaniment for the Piano-forte," 1790 ; " Six French Ariettes," 1790 ; "Ode on May, the Word* by Clodius," Berlin; "Elegy, by Hart- mann, 'An die vGlker, von Wiesinger,' " Dresden, 1794 ; "Blumenstraus fur Lina," Leipsic, 1794; " 1 2 von Elisens geist lichen liedern buym klavier " '* Six Airs, avee Accompagnement du Piano-forte par M. le Comte de Hartig " " Die Ideate von Schiller," Dresden, 1796; " Airs Francois pour Piano-forte et Guitare," Hamburgh, 1797 ; *' 25 neue Lieder verschiedenen in- halts von der Trau von Rech," Dresden, 1799; and " Cantatina an die Tonkunst" Instrumental: " Six Quatuors for Piano- forteflute, Violin, and Bass," Op.l, Berlin ; "Six Trios for the Harpsichord and Violin;1 Op. 2, Berlin ; «' Two Symphonies for a full Orchestra, from the Operas of Cora and Elisa," Op. 3, uSix Sonatas for the Har- monica or Piano-forte," 1786; "Ditto, Second Part," Dresden, 1792 ; " Overture toM4d6e,for the Piano-forte and Violin;" " Concerto for the Harpsichord, in B.," Darmstadt, 1794 ; " Three Sonatas for the Harpsichord, with Violin and Bass," Paris ; " Six Duos faciles pour 2 V,, d I'usage de Commenc-antt," Leipsic. N AUSS, (Johann X.) organist at Augs- burg about the middle of the eighteenth century. He published, in 1751, a work on thorough-bass; he also published two vo- lumes of preludes, fugues, airs, and pastor- als, under, the title of " Die Spielende Muse," and afterwards five volumes of short pieces for the harpsichord. The whole were printed at Augsburg. NAUZE, (Louis de la) member of the academy of inscriptions and belles-lettres, inserted in the thirteenth volume of the 1 217 Digitized by Google NBA memoirs of that society, a dissertation on the songs of ancient Greece. NAVARA, (Francesco) of Rome, flourished towards the end of the seven- teenth century. In 1696, be brought out, at Venice, the opera "Basilio Re d* Orient e.'* NAVARRA, (Vincsnzo) a priest at Palermo, in Sicily, was born there in 1666. He published, in 1702, a work entitled « Brevis et accurmta totius Music* No- Mi*." He also wrote a book called " Le Tavoh delta legge numrrica ei armonica, utile quaU si disvelano gU arcani pih re- conAti del numero e dell* musica." This work was about to be published when the author's house was consumed by fire, in 1710. NAVARRO, (Francesco) a monk at Alvaro, in Old Castile, about the year 1620, wrote a work entitled ' ' Manuale ad usum chori juxta ritum fratrum minorum" and another called " De oral, et por. canon" NAVOIGILLE, (Guillaumb) a French musician, was, in the year 1798, first violin at the Pantomime Nationale at Paris. He published some quartets for the violin, and also wrote the music of the following pieces for his own theatre : " La Naissance de la Pantonine," Paris, 1798, and " L Heroine Suisse, ou Aviour et Courage" Paris, 1798. There is also a musician of this name at Paris, who is probably a son of the pre- ceding. NAZZARI, a pupil of Carmanati, and violinist at Venice in 1770, was then con- sidered as one the first solo players in Italy. NEANDER, (Albxius) director of the music at the church of St. Kilian, at Wurtz- burg, in the year 1600, published << MotetH a 4, 5, 6—24 wet," first, second, and third parts, Frankfort on the Maine, 1605-1606. NEATE (Cbari.es) was born in Lon- don in the year 1784. His early indica- tions of a capacity and taste far music were noticed by some friends of his family, who strongly advised his being brought up to the musical profession. He was under great obligations to these friends, but par- ticularly to William Sharp, for directing 218 N E A his musical studies, and superintending his steady practice on the piano-forte, until the period when he formed a very intimate acquaintance with John Field, who had then just begun to distinguish himself ».* a piano-forte performer. Neate received the benefit of bis friend's instructions, and had also the advantage of hearing his incom- parable performances, until Field's depar- ture for St. Petersburg. Neate and his friend Field being both great admirers of the violoncello, were kindly instructed on that instrument by their mutual friend W. Sharp. Neate's partiality for the violoncello still continues up to the present time, and he frequently takes a part on it as a relaxa- tion from his labours en the piano-forte, although he does not perform on the violon- cello professionally. His first public per- formance was at the oratorios under the Ashleys, who had invited him the previous season to hear Dussek, and also granted him the privilege of turning over the leaves for him. The great performances of this celebrated master animated Neate, then a boy, with an increased zeal for his art, and with the ambition of occupying a similar post of honour before the public, when Dussek should quit England. Just at that period Neate was indeed selected to supply the vacancy, and continued to fill that department for several successive years. He was one of the first members of the Philharmonic concerts, and was chosen a director for the second season ; to which situation he has been reelected every year since, with the exception of the two years that he was on the continent. Being a very ardent admirer of Beethoven's music, he had fully determined to become personally acquainted with that great artist, should circumstances ever afford him an oppor- tunity of so doing ; accordingly, as soon as the peace was proclaimed, he gave up a very considerable connection, in order to visit Vienna. So gratified was he with the reception he met with in that capital, that he was induced to remain eight months; during the whole of which time he en- joyed Beethoven's friendship and pro- Digitized by Google NEB advice. He also passed fire at Munich, when he studied com- position under Winter. He also took a few lessons of composition of Woelfl, who strongly counselled him to publish, and se- lected from among his manuscripts a sonata, which he desired should be inscribed to him ; accordingly Neate published his Op. 1 in the year 1808. He did not then con- tinue to publish, as he felt that the time devoted to keeping up his practice on the piano-forte, added to those hours he was engaged in teaching, and his occasional violoncello playing, left him far too little leisure to admit of a hope that he would arrive at that eminence, as a composer, which would satisfy his ambition ; he there- fore made up his mind to be no composer rather than one under such unfavourable circumstances. But on hearing it insinuated that the reason assigned for his not conti- nuing to publish was, that he did not com* pose his Op. 1, he was again induced to take up bis pen and intrude himself upon the public as an author, which, but for these unfounded suspicions, he would cer- tainly not have contemplated. He pub- lished his Op. 2 in the year 1822, and has, that time, arrived at his Op. 9. NECELL1NI, (Do*. Mabco) chapel- to the duke of Parma about the year 1670, was in high repute as a com- poser. NEEFE, chapel-master and court or- ganist to the elector of Cologne, at Bonn, was born in 1748 at a village in Saxony. He first studied the law at Leipsic, and at the same time received instructions in mu- sic from chapel-master Hitler, under whom be made such progress, that he at length decided on following the musical profession, for which an opportunity presented itself, by some of his compositions for the German comic opera at Leipsic being performed and so much applauded, that the situation of conductor of the orchestra at one of the theatres of that town was soon after of- , to him. After holding this place se- years, he accepted the offices of court at Bonn, and conductor of the NEE at the theatre Grossman in that town. In 1785, the old elector of who had always paid the theatrical < pany out of his privy purse, died } in sequence of which Neefe lost his salary, and was obliged to supply by other means this diminution of income. He therefore quitted the theatre altogether, and com- menced business as private teacher of music ; in which occupation he soon met with a wide scope amongst the first families at Bonn. He now appeared for some years to be tolerably well off, when the new elec- tor again established a court theatre, at which Neefe regained his former situation of conductor, and his wife hers, as an ac- tress. This obliged him to give up teacn- ing, and again devote all his time and ex- ertions to the theatre. Meanwhile the French war broke out The enemy ap- proached nearer every day, the theatre was shut up, and his salary lost a second time. About this time he took his eldest daughter to Amsterdam, as a singer in Hunnius's company, there being no prospect left for her at Bonn ; and he himself wished to have accepted a temporary engagement with that company as leader, could he have obtained the necessary leave from the elector. How- ever, he was obliged by the court to remain at Bonn, to see it occupied by the French, who first appointed him a magistrate, and afterwards, on his request, actuary, in which capacity he, at least, received coin instead of paper money. Yet this resource, too, lasted but a little while, for himself, admi- nistration, and all were cashiered at a mo- ment's notice. The disbanding of Hun- nius's company about this time, compelled his daughter to quit Amsterdam and engage with Bessau, of the Dessau court who, having lost the leader of his 1796, gladly accepted the offer of Neefe's services in this situation. He accordingly set off with his family for Leipsic, where he obtained a regular discharge from the elec- tor, who happened at the time to be there, and proceeded to join the company at Dessau. There he had just begun to look for the enjoyment of better times, having 219 Digitized by Google N E H been appointed in 1797, besides chef-for- chestre at the theatre, conductor in the prince's chapel at the court, when a cough of a few days' duration suddenly put an end to his life in 1798. Of his works we can mention " 'Musical Intelligence from Munstrr and from Bonn;'* (in the thirty- eighth number of the Berlin Musical Ga- zette.) This article, as well as that in Cra- mer's magazine, may serve the contributors to periodical publications as models to mu- sical criticism. "Thirteen Variations of Das Fruhstuek Schmeckt viel bessa, Hfc. (Break- fast tastes better, &c.) for the Harpsichord," Bonn, 1793 ; " Six Variations of the March in the Zauberjlote, for the Harpsichord," Bonn, 1793 ; «' Fantasia per il Cembalo;' Bonn, 1798 ; " Allegories and Visions of Zerder harmonized " Leipsic, 1798. This was his last composition. Amongst the operas which he arranged for the harpsi- chord, there are, besides several of Mo- zart's, the *' Two Anthonys," and " Kle- men/in," NEGRI, (Giuseppe) musician in ordi- nary to the elector of Cologne, at the begin- ning of the seventeenth century, was born at Verona. He published " Madrigali e Ariei' Venice, 1622. NEGRI, (Marco Antonio) a composer, born at Verona, also flourished about the beginning of the seventeenth century, and published " Salmi d 7 voci," Venice, 1613. . NEGRI, (Maria Catarina) an Italian singer, born at Bologna. She sang at the opera in London, under the direction of Handel. NEGRI, (Dom. Francesco) an eccle- siastic and pupil of Antonio Lotti at Venice, about the year 1740, was eminent in his time as a performer on the harpsichord and violin. At his death he left several motets, cantatas, and instrumental pieces of his composition. NEHRLICH, (Johann Peter The- odor) professor of the harpsichord at Mos- cow, in 1798, was born at Erfurt in 1770. Endowed with a flexible tenor, he mani- fested, at a very early age, an extraordinary 220 NEH genius for music, on account of which he was, as he went to the grammar-school in the above town, at the same time placed under the direction of the music director Weimar. That gentleman soon advanced him so far in singing, that already, at the age of eleven, he handed him over to cha- pel-master Bach at Hamburgh, as a treble singer. It was there that he formed him- self, in the strictest sense of the word, on the harpsichord; for, after an interval of twenty years, his manner, even in his own compositions, still partook remarkably of the Bach school However, both he and his master were but too soon disappointed by the loss of his treble voice, when be was obliged to return to Erfurt. He then took pains, by a social intercourse with the two eminent organists, Kittel and Haesler, to extend the solid information he had al- ready acquired, whilst at the same time he began to feel the necessity of a more competent knowledge of several instruments. His great love for the scieuce suggested to him, indeed, the shortest, but at the same the roughest and most laborious, way of ac- quiring this additional knowledge, namely, to article himself for five years to the town musician of Gottingen. It truly required all the enthusiasm with which Nehrlich was inspired, to persevere in the science under such depressing circumstances. Yet, he not only preserved, but also availed him- self of, every leisure moment, to study and practise in his garret the most abstruse rules of counterpoint. " As an admirable proof of this," says Gerber, " I have now before me a printed Gottingen concert-bill of the 26th of January, 1793, which mentions a concerto for the harpsichord of Nehrlich's composiug, to be executed by himself; and in a note of Dr.Forkel's, he says, among other things very much to the purpose, and in Nehrlich's praise, * Here the composer has not only developed the whole range of his ideas, out of the theme chosen for each division, without the least falling off either of melody or modulation, but like a true iriusical desperado he even overleaps these boundaries, by retaining the Digitized by Google N E H same theme through all the three divisions of his concerto, still modifying it, with pe- culiar scientific dexterity, and in a most in- teresting manner. A feat of skill which probably many of onr most esteemed com- posers would find difficult to imitate/ The more so, as it appears that, on this occasion, the theme was not selected by himself, but given him, at his particular request, by Dr. Jorkel. If this attempt should savour a little of school pedantry, let it be remem- bered, it is by a professor who has to re- proach himself with such subtilties only in his youth.; though, if such a one possess geuius, the public need not fear any thing that is dull from him." After Nehrlich had faithfully served his apprenticeship at Gottingen, he got, by Haesler's recommend- ation, the situation of music-master in a gentleman's family at Dorpat, in Esthonia : here, being comfortably settled, he followed his scientific pursuits with great spirit, writing, chiefly for practice, a number of variations on Russian and French songs, some of which he occasionally sent for re- vival to his friend Haesler, who was then at St. Petersburg. Theuce arose the circum- stance of one set of these pieces being most unexpectedly returned to him in print. It was his " Airs JRttsses var. pour le Clav" Op. 1, which had been published by Ger- stenberg at St. Petersburg,, according to the directions of Haesler. In this way his friend ceitainly afforded him an agreeable surprise, though, had it been in his power, he would have made the work undergo many alterations and improvements previous to publication. This first essay was, how- ever, well received; so much so, indeed, that the publisher desired the author to send him more pieces of a similar kind, and which he accordingly did. Some years after this, Nehrlich yielded to Haesler's request, and joined him at Moscow, in which city he soon got a sufficiency of teaching in the first families. Of his even then greatly accumulated stock of manuscripts, only the following were in print in 1798: " Airs Jiusses" Op. 1, Petersburg, 1795; " Airs Hiisses avec Vars. pour le Clav" Op. 2 ; N E I "Fantaisie et Chanson Russe avec Var. pour le Clav:' Op. 3, Moscow ; " Six Lecons pour le ciav" Op. 4, Moscow ; ** Twenty- four short Preludes in all sharp and flat Keys" Op. 5, 1798 ; "Fantaisie et Chanson Russe avec Var," Op. 6, St. Petersburg, 1802; and il Twenty-five Spiritual Odes and Hymns from Gelhert, withAcconipaniments for Piano-forte,*' Op. 7, JLeip&ic ; '* Porta- tions to the Air 'Die Hatzc lasst das mausen nicht; " " Variations to the Air 'God save the King: " The latter is marked in Wea- sel's Catalogue as a posthumous work. We conclude, therefore, that Nehrlich is no longer living. NEIDHARDT (Jomakn Geoeo) was born at Bernstadt, in Silesia, and resided in 1706 at Jena, as a student of divinity. It was at that period that he first made him- self known as an author of music He subsequently became chapel-master at Ko- nigsberg. His principal works are en- titled "The best and easiest Temperature of the Motiochord," Jena, 1706; "Sectio Ca- nonio Armonici," Konigsberg, 1724; and " The seven Penitential Psalms." NEILSON (Laueence Cornelius) was born in London, and at the age of seven accompanied his father and mother to the West Indies, where he buried the former, who was born at Copenhagen, and with the latter returned to his native land, after the family bad suffered severe losses in a turtle fishery concern. His musical ca- reer began nearly forty years ago. Valentine Nicolai (whose piano-forte music previously, and at that day, was much esteemed) was the only master he ever studied under; since which time to the present, he has at- tended professional schools and private fa- milies in Nottingham and Derby, and was organist for two years at Dudley, in Wor- cestershire. That situation not answering his wishes, he left at the earnest entreaty of friends and returned to Nottingham. Dur- ing his residence there he weekly visited Derby, and, for twelve years, the celebrated seminary conducted by the Misses Parker at Ashbourne ; when, on the death of Samuel Bower, (a worthy man and eminent 221 * Digitized by Google NEL musician) organist of Chesterfield, he suc- ceeded to his engagements in that town and neighbourhood ; but, through the interested motives of Mr. Bower's daughter, was de- prived of the organ, although her father had made her a liberal settlement, accompanied by a command, *4 That she should have no- thing to do with the organ or teaching, as it would be an object of consideration to his successor*" He dying in 1808, Neilson gave up the former place ; and, though greatly disappointed, has continued at Chesterfield to the present time. One of Neilson's sons is a pupil at the royal academy of mu- sic, Hanover-square, being one of the tea elected on the commencement of that es- tablishment ; which, from the assistance of most able masters, together with the ex- cellent order and regularity with which it is attended and conducted, gives reason for a favourable anticipation of its results. The following publications are by L. C. Neilson : " Three Sonatas for the Piano- forte" dedicated to Miss Ernes, (Preston*) 44 A Sonata far the Piano-forte," dedicated to Mrs. Smith, (Preston.) " Twelve Diver- timentos for the Piano-forte," (Preston.) * Three Original Duet*, Flute*," (Preston.) " Three Set*, twehe each, from favourite Airs, ditto" (Preston.) *' Six Number* Flutists Journal,** (Preston.) Song, " When fortune reigns" sung by Mrs. Harrison, (Preston.) " Several single Pieces and Song*," (Preston.) " A Set of Marches, Waltz, and Dance*, for the Harp or Piano-forte," dedicated to Mrs Musters, (Ciementi.) '* Twelve Duets for Flufe*,** arranged from several airs, (Ciementi.) « A Book of Psalms and Hymns," selected, composed, and dedicated to the Reverend G. Bosley, (Goulding.) « Single Pieces and Songs," (Goulding.) Song, " What has art with love to do," sung by Mrs. Iliff, (Relffie.) « O give