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(Mainz, Schott) ; the music was begun in
1862, and the score was finished, Oct. 20,
18C7. The pianoforte score, arranged by
Tausig, was published in 18C7, and the full
score in 18G8 (Mainz, Schott) ; a facilitated
pianoforte score, by Kleiumichel, was pub-
lished later. There are various arrangements
for the pianoforte, including Versammlung
der Meistersiugerzunft, for two and for four
hands by Hans von Biilow, and also a Para-
phrase of the Quintet in Act III. by von Bil-
low (Schott) ; Ivemiuiscenzeu in 4 parts by
Joachim Raff (Schott) ; Vorspiel for piano-
forte for four hands by Carl Tausig and A.
Horn (Schott), and Walther's Preislied for
violin with orchestra by August Wilhelmj,
also for violin with pianoforte. Other ar-
rangements for various instruments. The
work was given first in Vienna, Feb. 27,
1870 ; in Berlin, April 1, 1870 ; in Leipsic,
Dec. 6, 1872 ; in London, Drury Lane,
May 30, 1882 ; and in New York, Metro-
politan Opera House, Jan. 4, 1885, with
Emil Fischer as Hans Sachs. Wagner, Ge-
sammelte Schrifteu, vii. 197 ; Glaseuapp,
Richard Wagner's Lebeu uud Werken, i. 80 ;
ii. 178, 220 ; Hueffer, Wagner, 72 ; Hanslick,
Moderue Oper, 292 ; Mtiller, Lohengrin und
die Meistersinger von Niiruberg (Munich,
1869) ; Nohl, Neues Skizzeubuch (ib., 1869) ;
Eeinsdorf, Die Meistersinger von Niirnberg
(Leipsic, 1873) ; Julius Stinde, Meistersiug-



er-Motive (Hamburg, 1873) ; Lanz, Ueber
die erste Auffiihruug Richard Wagner's
Meistersinger von Niiruberg ; Doru, Die
Meistersiuger von Niiruberg ; Kastuer,
Wagner Catalog, 66 ; Gumprecht, Neue
musikalische Characterbilder, 176 ; Bay-
reuther Blatter (1885), 68 ; (1888), 306 ;
Mus. Wocheublatt (1870), 249, 262, 343 ;
(1871), 81, 433, 468, 481; (1872), 81;
(1875), 225, 236, 272, 299, 313, 323 ; (1883),
607 ; (1884), 109, 177, 189 ; Neue Zeitschr.
(1883), 437; Atnenajum (1881), ii. 410;
(1882), i. 709 ; Krehbiel, Review (1885-86),
94 ; Schure, Le drarne musical (1886), ii.
191 ; Upton, Standard Operas, 271.

MELLE (Mel), RENAUT DE (in Italian,
Riualdo del Mele), Flemish composer of the
16th century, born at Liege. Having served
Sebastiilo, King of Portugal, and his succes-
sor, Cardinal Dom Henrique, in the capac-
ity of mestre de capella, he went in 1580 to
Rome. Later he became musician to Ga-
briele Paleotto, Archbishop of Bologna ; was
in Liege in 1587, and appointed maestro di
cappella at Magliano in 1591. Works : Many
books of madrigals ; Several books of mo-
tets ; Litanie della B. V. a cinque voci (Ant-
werp, 1589). Fetis ; Mendel, Ergiiuz., 274 ;
Gerber ; Schilling.

MELLON, ALFRED, born at Birming-
ham, England, in 1820, died in London,
March 27, 1867. He was violinist in sev-
eral orchestras and, later, leader of the bal-
let at Coveut Garden, London ; then di-
rector of the Haymarket and Adelphi The-
atres, of the Pyne and Harrison English
Opera Company, of the Musical Society, of
the Coveut Garden Promenade Concerts,
and in 1865 of the Liverpool Philharmonic
Society. Works : Victoriue, opera, 1859 ;
Pianoforte and other instrumental music ;
Songs and ballads. Grove ; Futis, Supple-
ment, ii. 201.

MELPOMENE, dramatic overture, by

George W. Chadwick, first performed by

the Symphony Orchestra, Boston, Mass.,

Dec. 24, 1887. It was given in New York,

! April 15, 1888.



551



MELUSINA



MELUSINA, cantata, text by Wilhelm
Ostenvald, music by Heinricb Hofmaun, op.
30, first performed in Miihlhausen, Oct. 28,
1875, with Frau Fichtner-Spobr, Friiulein
Schulz, Herr Schiissler, and Hen- Henschel
for the solos. It was sung in Leipsic, Dec.
11, 1875, and by the Philharmonic Society
of Montreal, April 25, 1888. Published by
Erler (Berlin, 1875). Mus. Wochenblatt
(1875), 653, 668 ; Upton, Standard Canta-
tas, 206.

MELUSIXE, Mendelssohn. See Die
schonc Melusine.

MELTJSINE, German opera in three acts,
music by Carl Graminauu, op. 24, text by
the composer, after von Schwind's Bilder-
cyklus, " Die schOue Melusiue," first repre-
sented in WiesK-uleu, Sept, 25, 1875. Frau
Loffler-Ribeczek sang the part of Melusino.
Published by F. Ries (Dresden, 1ST:.).
Operas, same title, in German, in two acts,
text by Grillpar/.er, music by Konradin
Kreutzer, Berlin, Feb. 27, 1833 ; in four
acts, text by Pasque, after Halrvy's '/
cienne, music by Louis Schindelmeisser,
Darmstadt, Dec. 29, 1869; Die Braut von
Lusignan, in three acts with Yorspiel, text.
by Elard Hofschlager, music by Theodor
ll'iitsohcl, Bremen, Nov. 17, 1875 ; Melu-
sine, in four acts, text by Ernst Marbach,
music by Karl Mayrberger, Presburg, .Ian.
20, ISTti ; in four acts, text by Pasipie and
C. Brandt, music by G. Lehnhardt, Berlin,
Dec. JU, 1S7(! ; text by G. Braun, music by
I. st'.rch, Glogau, March 20, 1877 ; text by
Sclu n id, music by Karl Perfall, Munich,
March 27, 1881 ; and ballet by Franz Dop-
pler, text by C. Telle, after M. von Schwind's
BildtTcyklus, Vienna, 1882. Mus. Wochen-
blatt (1875), 498 ; (1881), 218 ; Signale
(1876), 785 ; (1878), 337 ; Eiemann, Opern-
Handbuch, 327.

MKMMKKIv KDMOXD, born at Valen-
ciennes, France, Nov. 14, 1820, died at
Chateau-Dumont, near Paris, Sept. 10, 1882.
Dramatic composer, pupil at the Paris Con-
servatoire of Zimmerman, Alkan, Dourlen,
and Carafa ; devoted himself to teaching



and composition. He was president of the
society of musical composers ; received the
cross of the Legion of Honour in 1876.
Works Operas : Francois Villon, Paris,
1857 ; La fille de 1'orfevre, Baden-Baden,
1863 ; L'esclave, Les parias, Paris, 1874 ;
La courte echelle, ib., 1877 ; Le inoinc
rouge ; La filleule des anges ; Colomba ;
Freyghor. Fin gal, cantata, 1861 ; Pobj-
phbne et Galatee, cantata ; Choruses for
(Kdiperoi; Melodies and dramatic scenes,
inc-luding Romeo et Juliette, Page, ucuyer,
capitaine, Chanson d'amour, and others.
Fetis, Supplement, ii. 201 ; Riemann.

MENACE DES FRANCS, LA. See V.r
Populi.

MENDELSSOHN - BARTHOLDY, (JA-
KOB LUDWIG)
FELIX, born in
Hamburg, Feb. 3,
ISO'. I ; died in Leip-
sic, Nov. 4, 1847.
His grandfather was
Moses Mendelssohn,
noted for his philo-
sophical writings ;
his father, Abraham Mendelssohn, was a rich
banker of Hamburg ; his mother, Lea Salo-
mon-Bartholdy, of Berlin. Felix was the
second child, the others being : Fanny
Cacilie (born, Nov. 14, 1805, married Wil-
helm Heusel, the painter, and died, May 14,
1847) ; Rebecka (born, April 11, 1811, mar-
ried Gustav Peter Dirichlet-Lejeune, and
died, Dec. 1, 1858) ; Paul (born, Oct. 30,
1813, married Albertine Heine, and died,
June 21, 1874). In 1812 the family escaped
from Hamburg, then occupied by the French,
and settled in Berlin. Felix's first instruc-
tion on the pianoforte was from his mother ;
next, in 1816, from Marie Bigot in Paris.
Returning to Berlin, he and Fanny were
placed under Heyse (father of Paul Heyse,
the novelist) for general education, Ludwig
Bsrger for pianoforte, Zelter for harmony
and composition, Henning for violin, and
RiJsel for landscape sketching. Felix and
Rebecka also studied Greek, as far as




552



MENDELSSOHN




2Eschylus. Felix's first public appearance
was Oct. 24, 1818, when be played the pi-
anoforte part iu a trio with two horns by
Woelfl ; April 11, 1819, he entered the
singing class at the
Singakademie as alto,
and 1820 lie began
systematically to com-
pose. Later he stud-
ied the violin under
Eduard Rietz, and
the pianoforte (1824)
under Moscheles ;
about 182G he entered
the University of Ber-
lin. March 11, 1829, he conducted at the
Singakademie the first performance of Bach's
Matthew-Passion given anywhere since the
composer's death (1750) ; the performance
was got up wholly at his instigation, much
against the will of Zelter, the regular con-
ductor of the Siugakademie, and was the
practical beginning of the great Bach prop-
aganda in which Mendelssohn was con-
spicuous throughout his life. In 1830 a
Chair of Music was founded at the univer-
sity, with the intention that Mendelssohn
should occupy it, but, at his suggestion,
it was given to Marx instead. This period
of his life is also noteworthy for his first
visit to England (April 21 to Nov. 29, 1829)
where he was elected honorary member of
the London Philharmonic Society on the day
of his departure, his journey through Ger-
many, Austria, Italy, Switzerland, to Paris
(May, 1830, to April, 1832), his second, third,
and fourth visits to London (April 23 to July,
1832 ; April 2G to about May 15, and about
June 5 to Aug. 4, 1833), and his conducting
the Lower Rhine Musical Festival at Diis-
seldorf, beginning May 26, 1833. His
friendship with Goethe, begun in Weimar
iu 1821, also falls within this period. Be-
tween his second and third London visits
he was defeated by Eungenhagen as candi-
date for Zelter's place at the Berlin Singa-
kademie. The next period of his life begins
with his entering upon the functions of |



director of the church music, the opera,
and two musical associations at Dflsseldorf,
Sept. 27, 1833, at a salary of six hundred
Thalers ($450) per annum. In March, 1834,
he relinquished that part of his pay which
came from the theatre, active connection
with institutions of that sort being irksome
to him, giving over the duties of this post
to Julius Kietz, and contenting himself with
conducting a favourite opera now and then.
Iu 1834, also, he was elected member of the
Berlin Academy of Fine Arts. He conduct-
ed the Lower Rhine Festival at Cologne,
June 7-9, 1835. The next period begins
August, 1835, in Leipsic, where he had ac-
cepted the couductorship of the Gewaud-







Mendelssohn's Biithplace.

haus concerts. On Nov. 9 his father died.
In 183G he conducted the Lower Rhine
Festival at Diisseldorf (May 22-24) for the
third time, bringing out his recently fin-
ished Paulus. As the Leipsic concerts
were over for the season, he undertook the
temporary direction of the Ciicilieu-Verein
in Frankfort, returning to Leipsic, Oct. 2.



653



MENDELSSOHN



On March 28, 1837, he married CV'cile
Charlotte Sophie Jeanrenaiul, of Frankfort,
at the Walloon French Reformed Church
in that city. From this union sprang Carl
Wolfgang Paul (born,. Feb. 7, 1838) ; Ma-
rie Pauline Heleue (born, Oct. 2, 1839) ;
Paul Felix Abraham ; Felix August Edu-
ard (born. May 1, 1813, died (?) ; Elisabeth
Fanny Henriette. On his fifth visit to
England (Aug. 27 to Sept. 25, 1837) he
conducted St. Paul at the Birmingham
Festival. He conducted the Diisseldorf
Festival, May 19-21, 1839, and the festival
in Leipsic in commemoration of the fourth
centennial of the invention of printing, June
24 and 25, 1840, for which he wrote his
Lobgesaug and Festgesang. His sixth visit
to England (Sept. 8 to October, 1840) was
followed by an uninterrupted winter in Leip-
sic. With 1841 begins the troublesome, or
Berlin period of his life. Friedrich Wil-
helm IV. had just come to the Prussian
throne, and had projected an Academy of
Arts at Berlin ; Mendelssohn was invited
to take charge of the department of music,
part of his duties being to get up series
of concerts at which large orchestral and
choral works were to be given by the royal
orchestra and Opera company. The salary
was three thousand Thalers"($2,250). He
at first declined, but afterwards accepted.
The arrangements cost him infinite trouble,
and in addition he had to write the music
for the Greek plays given at Potsdam by
order of the king. The Academy project
came to nothing, and Mendelssohn found
that ho was not popular with the court, the
musicians, or the public. Berlin was upon
the whole antipathetic to him, and he was
about to retire in October, 1842, when the
king prevailed upon him to take charge of
a small picked chorus and orchestra, for
the performance of church music on Sun-
days and Feast-days, and to serve as a nu-
cleus for performances of large choral
works. This body was constituted as the
since famous Domchor, Nov. 22, 1842.
Mendelssohn's salary was fifteen hundred



Thalers ($1,125), his title that of General-
Music-Director, and it was stipulated that
he need not live in Berlin. But he was
forced to throw up his position of Kapell-
meister to the King of Saxony, which had
been given him on his departure from Leip-
sic. He conducted the Diisseldorf Festival
for the fourth and last time (May 15-17),
and made his seventh visit to England
(June to July 10) in this year. In November
or December he returned to Leipsic to or-
ganize the new Conservatory, which opened
Jan. 1C, 1843. But he found soon that his
duties called him back to Berlin (August,
1843), and that he would have to remain
there. In May, 1843, he made his eighth
visit to England, to accept the conductor-
ship of the London Philharmonic Society ;
he remained until July, 1844. From July
to September he passed the time in Frank-
fort with wife and children ; then went to
Berlin, but matters there went so little to
his liking that he gave up all such definite
duties as should require his residence in
the city, and his salary was reduced to $750.
In December he returned to Frankfort.
His health now began to trouble him. In
1845 he returned to Leipsic, and resumed the
conductorship at the Gewaudhaus ; Hillcr
had conducted, 1843-44, and Gade, 1844-
45. In May and June, 184(J, he conducted
Festivals at Aix-la-Chapelle and Cologne,
and concerts at Diisseldorf and Liuge (his
Lauda Sion), and in August made his ninth
visit to England, to conduct the first per-
formance of his Elijah at Birmingham. On
his return to Leipsic he gave up the super-
intendence of the pianoforte department at
the Conservatory to Moscheles and the cou-
ductorship at the Gewaudhaus to Gade.
Yet, although suffering much in his head
from overwork, he conducted some of the
concerts, and also the court concerts in
Dresden, besides superintending a large
part of the managing of the Gewandhaus.
In 1847 he made his tenth and last visit to
England, conducting his Elijah at Man-
chester and Birmingham. A day or two



654



MKNDKI.SSOIl.N



after his return to Frankfort the news of
the sudden death of his sister Fanny gave
him a severe shock ; he was insensible for
some time. In June he and his family
went to Baden-Baden, thence to Switzerland.
In Brienz he played the organ for the last
time. He was much broken down, but
soon began composing again. In Septem-
ber he was back in Leipsic ; he left the
conducting of the Gewamlhaus concerts to
Julius Rietz, and relinquished all official
work, but made several plans for composing,
and intended to conduct Elijah at Vienna in
November, with Jenny Lind among the per-
formers. But all these plans were frus-
trated by his death. His public funeral
was in the Pauliuer-Kirche on Nov. 7 ; the
body was then taken to Berlin and was
buried in the Alte Dreifaltigkeits-Kirchof
between his boy Felix and his sister Fanny.
Commemorative services were held in Lon-
don, Manchester, Birmingham, and com-
memorative concerts given in Paris and
in Berlin, Vienna, Frankfort, Hamburg, and
many other German cities. Mendelssohn
was alike great as pianist, organist, and
conductor. His reputation as a composer
is world-wide, albeit it is now seen that he
by no means occupied the position that
Schumann did as a link in the great chain
of musical evolution. He was an indefati-
gable producer, and has been accounted the
greatest master of musical form since Mo-
zart. It is highly probable, however, that
he will hold a higher and more enduring
place in history in virtue of the musical in-
fluence he exerted than by his compositions
themselves. As a musical influence he
stood in the post-Beethoven period very
much as Philipp Emmanuel Bach did in the
pre-Haydu epoch. The great work of his
life was the raising of the popular musical
taste. His influence and popularity in Eng-
land was greater than that of any musician
since Handel. His best portrait is that
painted in 1844 by Edward Magnus at Ber-
lin, lately in the possession of Mine Jenny
Liud-Goldschinidt.



Works I. Oratorios, cantatas, and
church music : 3 pieces for solo, chorus,
and organ, Aus tiefer Noth, Ave Maria, 8
voc., Mitten wir, 8 voc., op. 23 ; Pnalm CXV.,
for solo, chorus, and orchestra, op. 31 ;
Paulus, oratorio, op. 36 ; 3 motets for fe-
male voices, for the nuns of Sta. Trinita de'
Monti in Rome, op. 39 ; Psalm XLIL, for
chorus and organ, op. 42 ; Psalm XCV., for
solo, chorus, and orchestra, op. 46 ; Psalm
CXIV., for 8-part chorus and orchestra, op.
51 ; Lobgexang, symphony-cantata, op. 52 ;
Die Erxte Walpurgisnacht, ballad for soli,
chorus, and orchestra, op. 60 ; Featgesanff, for
male chorus and brass instruments, for the
opening of the German-Flemish vocal festi-
val at Cologne, op. G8 ; 3 motets, for solo and
chorus, op. 69 ; Elias, oratorio, op. 70 ; Lauda
Sion, for soli, chorus, and orchestra, op. 73
(Posthumous work, 1) ; Psalms II., XLHI,
and XXII., for solo and chorus, written for
the Berlin Domchor, op. 78 (Posthumous,
6) ; 6 Spruche, Anthems for 8-part chorus,
for the Domchor, op. 79 (Posthumous, 7) ;
Psalm XCVIIL, for 8-part chorus and or-
chestra, op. 91 (Posthumous, 20) ; Infelice,
concert aria in B-flat, for soprano and or-
chestra, op. 94 (Posthumous, 23) ; Hymn for
alto solo, chorus, and orchestra, op. 96
(Posthumous, 25) ; Christus, unfinished ora-
torio, op. 97 (Posthumous, 26) ; Tu es Pe-
trus, 5 -part chorus and orchestra, op. Ill
(Posthumous, 40) ; 2 sacred choruses for
male voices, op. 115 (Posthumous, 44) ; Ver-
leih uus Friedeu, prayer for chorus and
orchestra, no opus number ; Ersatz fur Un-
bestand, poem by Riickert for 4 male voices,
do. ; Festgesang, male chorus and orchestra,
for the festival at Leipsic in celebration of
the invention of printing, do. ; Lord have
mercy upon us, chorus without accompani-
ment, in A minor, do. ; 3 hymns for alto
solo, chorus, and organ, do. ; Hear my
prayer, hymn for soprano solo, chorus, and
organ, afterwards orchestrated, do. ; Kyrie
eleison, double chorus, do ; Additional cho-
rus to Psaltn XCV. (op. 46), London, No-
vello.



555



MENDELSSOHN



II. Songs and pnrt-songs : 7-4 songs for a
voice with pianoforte, op. 8, 9, 34, 47, 57,
71, 84 (Posthumous, 13), 86 (Posthumous,
15), 99 (Posthumous, 28), 112 (Posthumous,
41), Moore's The Garland, Simrock's War-
ming vor dem Ehein, Hoffmann von Fal-
lersleben's Seeuiauu's Scheidelied, Des
Miidchen's Klage, and G others without
opus number ; 13 duets with do., op. 8, C3,
77 (Posthumous, 5) ; 3 Volkslieder without
opus number ; 29 part-songs for mixed
voices, op. 41, 48, 59, 88 (Posthumous, 17),
100 (Posthumous, 29), 116 (Posthumous, 45) ;
16 do. for male voices, op. 50, 75 (Posthu-
mous, 3), 76 (Posthumous, 4), Nachtgesaug
and Stiftungsfeier without opus number.

HI. Dramatic: Die Betdcn Piidagogen,
opera in oiie act, Berlin, 1821 ; Die Beiden
Neffen, opera in three acts, ib., Feb. 3,
1824 ; Die Hochzeit des Camacho, comic
opera, 2 acts, op. 10, Berlin, Schauspielhaus,
April 29, 1827 ; Music to the Antigone of
Sophocles, op. 55, Berlin, Hofoper, Nov. 6,
1841 ; Music to A Midsummer Night's
Dream, Sommernachtstraum, op. 61, Pots-
dam, Oct. 14, 1843; Music to Racine's
Athalie, op. 74 (Posthumous, 2), Berlin, Dec.
1, 1845 ; Hcimkehr aus der Fremde, Siug-
spiel in 1 act, op. 89 (Posthumous, 18), Dec.
26, 1829 ; Music to the (Edipus in Colouos
of Sophocles, op. 93 (Posthumous, 22), Pots-
dam, Nov. 1, 1845 ; Lorelei, unfinished op-
era, op. 98 (Posthumous, 27).

IV. Orchestral : 4 symphonies, No. 1, in
C minor, op. 11 ; No. 3, in A minor, Scotch,
op. 56 ; No. 4, in A major, Italian, op. 90
(Posthumous, 19) ; No. 5, in D, Reforma-
tion, op. 107 (Posthumous, 36) ; 7 concert
overtures, No. 1, to A Midsummer Night's
Dream, Sommernachtstraum in E, op. 21 ;
For wind band Ouverture fur Harmonie-
rnusik, in C, op. 24 ; No. 2, Die Hebriden,
in B minor, op. 26 ; No. 3, Mecresstille und
gliickliche Fahrt, in D, op. 27 ; No. 4, Die
schone Melusine, in F, op. 32 ; to fiity Bias,
in C minor, op. 95 (Posthumous, 24) ; in C,
Trumpet overture, op. 101 (Posthumous,
30) ; Andante, Scherzo, Capriccio, and



Fugue, for strings, op. 81 (Posthumous, 9) ;
Trauermarsch, in A minor, for the funeral
of Norbert Burgmiiller, op. 103 (Posthu-
mous, 32) ; March, in D, for the fete given
to Peter von Cornelius in Dresden, op. 108
(Posthumous, 37).

V. For solo instruments with orchestra
A. For pianoforte : Capriccio brillaut, in B
minor, op. 22 ; Concerto No. 1, in G minor,
op. 25 ; Eondo brillant, in E-flat, op. 29 ;
Concerto No. 2, in D minor, op. 40 ; Sere-
nade und Allegro giojoso, in B minor, op.
43. B. For violin : Concerto in E minor,
op. 64.

VI. Chamber music : Octet for strings,
in E-flat, op. 20 ; Quintets for do., No. 1,
in A, op. 18 ; No. 2, in B-flat, op. 87 (Post-
humous, 16) ; Quartets for do., No. 1, in
E-flat, op. 12 ; No. 2, in A, op. 13 ; No. 3,
in D, No. 4, in E minor, No. 5, in E-flat, op.
44 ; in F minor, op. 80 (Posthumous, 8) ;
in E-flat, without opus number (Berlin,
Erler) ; Sextet for pianoforte and strings,
in D, op. 110 (Posthumous, 39) ; Quartets
for do., No. 1, in C minor, op. 1 ; No. 2, in
F minor, op. 2 ; No. 3, in B minor, op. 3 ;
Trios for do., No. 1, in D minor, op. 49 ;
No. 2, in C minor, op. 66 ; Concerted piece
in F, for clarinet and basset-horn with pi-
anoforte, op. 113 (Posthumous, 42) ; do., in
D minor, for do., op. 114 (Posthumous, 43) ;
For pianoforte and violin, sonata in F mi-
nor, op. 4 ; For pianoforte and violoncello,
sonata No. 1, in B-flat, op. 45 ; do. No. 2,
in D, op. 58 ; Variations concertautes, in D,
op. 17 ; Lied ohne Worte, in D, op. 109
(Posthumous, 38).

VII. Pianoforte music : Sonata No. 1, in
E, op. 6 ; do. No. 2, in G minor, op. 105
(Posthumous, 34) ; do. No. 3, in B-flat, op.
106 (Posthumous, 35) ; 8 Books of Lieder
ohne Worte, op. 19, 30, 38, 53, 62, 67, 85
(Posthumous, 14), 102 (Posthumous, 31) ;
Capriccio in F-sharp minor, op. 5 ; 7 Cha-
rakterstiicke, op. 7 ; Hondo capriccioso, in
E, op. 14 ; Fantasie on " The last rose of
summer," in E, op. 15 ; 3 Fantasies or ca-
prices, in A minor, E minor, and E major,



557



MEXUAI.



op. 16 ; Fantasie in F-sharp minor, Sonate
ecossaise, op. 28 ; 3 caprices, in A minor,
E, and B-flat minor, op. 33 ; 6 preludes and
fugues, op. 35 ; 17 Variations serieuses, in
D minor, op. 54 ; 6 Kinderstiicke, op. 72 ;
Variations in E-flat, op. 82 (Posthumous,
10) ; do. in B-flat, op. 83 (Posthumous, 11) ;
3 preludes and 3 studies, op. 104 (Posthu-
mous, 33) ; Albumblatt, in E minor, op. 117
(Posthumous, 46) ; Capriccio in E, op. 118
(Posthumous, 47) ; J'crpetuum mobile, in
C, op. 119 (Posthumous, 48) ; Etude, in
F minor, without opus number ; Scherzo,
in B minor, do. ; Scherzo and Capriccio, in
F-sharp minor, do. ; Andante cautabile and
Presto agitato in B, do. ; Gondellied in A,
do. ; Prelude and fugue in E minor, do. ; 2
Klavierstiicke, in B-flat and G minor, do. ;
Variations for 4 hands, in B-flat, op. .s3a
(Posthumous, 12) ; Allegro brillant for do.,
in A, op. 92 (Posthumous, 21) ; Duo con-
certant, variations on the march in Preciosa,
for 2 pianofortes (with Moscheles), no opus
number.

VHI. Organ music : 3 preludes and
fugues, op. 37 ; 6 sonatas, op. I!,") ; Prelude
in C minor, without opus number.

IX. Arrangements : Additional accom-
paniments to Handel's Dettingen Te Deum
(Leipsic, Kistuer) ; do. to Handel's Acis
and Galatea ; Organ accompaniment to
Handel's Israel in Egypt (London, Handel



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in English, by W. L. Gage (Philadelphia,
1865, London, 1878) ; Devrieut, Meine
Erinnerungeu an F. M. B., etc. (Leipsic,
1869 ; do. in English, by Mrs. Macfarren,
London, 1869) ; Carl Mendelssolm-Bar-
tholdy, Goethe und F. M. B. (Leipsic, 1871 ;
do. in English, by M. E. von Glehu, Lon-
don, 1872, 2d ed., 1874) ; Ferdinand Killer,
Mendelssohn, Letters and Recollections, in
English, by M. E. von Glehu (London, 1874 ;
in German, Cologne, 1874) ; Heusel, Die
Familie M. (2 vols., Berlin, 1879) ; Grove,
ii. 253.

MENGAL, MARTIN JOSEPH, born in
Ghent, Jan. 27, 1784, died there, July 4, 1851.
Dramatic composer, first instructed by his
father, then by several other artists, espe-
cially on the horn, for which instrument he
began to compose at the age of twelve. In
1804 he entered the Conservatoire of Paris,
where he was a pupil of Duvernoy on the
horn, of Catel in harmony, and of Reicha in
composition ; then joined the band of the
Imperial Guard and took part in the cam-
paigns against Austria in 1805, and Prussia
in 1806. On his return to Paris in 1807 lie
entered the orchestra of the Odeou, and in



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