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is now
Paul.



Works : La
comic opera, Paris,



Le



Isline, fairy opera, ib., Tlu'atre de la



1885

1887;

Renaissance, 1888 ; Symphony (1st prize,

Societe des Compositeurs, 1876), Concerts

da Chatelet, 1878 ; Don Juan et Haydee,

cantata. Frtis, Supplement, ii. 214.

MESSE DES MORTS. See Requiem.

MESSE DES MORTS (Requiem), by
Gossec, published in 1700, and given in
that year in the Church of Saint- Roch in
Paris. This monumental work was the
foundation of the composer's fame. Com-
ing out from Saint-Koch after the perform-
ance, Philidor said that he would give all
his own works to have written it. The
Tuba mirum, accompanied by one orchestra,
inside the church, and by another of wind
instruments, hidden outside, was especially
admired for its mysterious grandeur and
the novelty of its effect. The engraved
plates of the score were stolen and melted
down, probably during the Revolution.
Grove, i. Gil.

MESSE DES MORTS, GRANDE (Requi-
em), by Hector Berlioz, opus 5, often known
in France as Le Requiem du general Daim'-
mout ; written in 1837 (the MS. in the li-
brary of the Paris Conservatoire is dated
June 29), by order of M. de Gaspariu, Min-
ister of the Interior, for a ceremony in mem-
ory of the victims of the Revolution of July,



but first performed at the Invalides, Dec.
5, 1837, at the solemn service for General
Danremont and the French soldiers who fell
at the siege of Constantina in Algiers. This
Requiem is the largest orchestra] score in ex-
istence, being written for chorus, one prin-
cipal orchestra, four small supplementary
orchestras of brass instruments, and an inde-
pendent baud of instruments of percussion.
It is almost exclusively choral, there being-
only one solo (for tenor), in the Sanctus.
The effect of the brass instruments in the
Tuba mirum may have been suggested by
the corresponding passage in Gossec's Re-
quiem, and has certainly been imitated by
Verdi in his Manzoni Requiem. Published
in full score by Schlesiuger, Paris ; 2d ed.
by Ricordi, Milan. Important changes, by
the composer, are introduced in the second
edition, especially in the Dies irio and Rex
tremendse. The pianoforte score, arranged
by Dr. Leopold Damrosch (New York,
Schirmer), was evidently prepared from the
first edition, up to the Hostias, and only
from this point on, from the second. First
iveii in America by Dr. Damrosch in New
York at the May Festival in the 7th Regi-
ment Armory, May, 1881 ; in Boston, by
the Cecilia (B. J. Lang, conductor) in the
Music Hall, Feb. 12, 1882. Jullien, Berlioz,
100 ; Berlioz, Memoires, 196 ; Boston Tran-
script, Feb. 9, 1882.

MESSIAH, THE, oratorio in three parts,
text arranged by Charles Jenuens, from the
Bible, music by Handel, first performed in
the Music Hall, Fishamble Street, Dublin,
April 13, 1742. It was given for charity.
The solo singers were Signora Avolio (S.),
Mrs. Cibber (A.), Church (T.), and Rosein-
grave (B.). Handel's friend, Matthew Du-
bourg, was leading first violin, and Maclaine
the organist. This oratorio was received
with immense enthusiasm in Dublin, where
it was repeated, " with concertos on the
organ," June 3, 1742. The Messiah was
Sirst performed in England at Covent Gar-
!en, London, March 13, 1743. It was given
thirty-four times during Handel's life, eleven



OtiS



MESSIAH



times for charity. Handel performed it an-
nually, and sometimes twice a year, from
1750 till 1758 in the chapel of the
Foundling Hospital for the benefit of that
charity, and conducted it at Coveut Gar-



first violins, 47 second violins, 2G vio-
las, 21 violoncellos, 15 double-basses, 26
bassoons, 1 double-bassoon, 26 oboes, 6
flutes, 12 trumpets, 6 trombones, 12 horns,
and -4 drums. The chorus contained two
hundred and sixty-seven voices. Joah
Bates conducted at the organ, and the
solo singers were Mine Mara, Miss Har-
wood, Miss Cantelo, Miss Abrahms, Miss
Theodosia Abrahms, Sig. Bartoliui, so-
pranos ; Eev. Mr. Clerk, Dyne, and Kny-
vett, altos ; Harrison, Norris, and Corfe,
tenors ; and Bellamy Campness, Keinhold,
Matthews, and Tasea, bassos. From 17U1 to
1861 The Messiah was given every Christ-
mas by the C;ccilian Society, and first by
the Sacred Harmonic Society at Exeter
Hall, Dee. 20, 1836. It was performed at
the Handel Centenary Festival, Crystal
Palace, June 20, 1859, with a chorus of
twenty-seven hundred under the direction
of Sir Michael Costa, by whom the scoring
was strengthened. The solos were Mine



Clara Novello.

den, April f>, 1750, eight days before his
death. This, the most popular of oratorios,
was written in twenty-four days. The au-
tograph MS., in Buckingham Palaee, is
dated at the end of the first part, Aiiu. -*.
17-41, at the end of the second, Sept. <!,
1741, and on the last page, Sept, 12, 1741.
It contains an overture, the Pifa or J '/IK/I mil
S\mphony, twenty-one choruses, including
the ll'illi-hijuh and the great Amen fugue,
sixteen arias, one duet, and thirteen recita-
tives. Four of the choruses, " His yoke is
easy," "For unto iis a child is born," " And
He shall purify," and, "All we like sheep,"
were taken from two of Handel's Italian

bims Keeves

Chamber duets, composed a month earlier.

The first great performance of the Messiah Clara Novello (S.), Miss Dolby (A.), Sims



-A





took place at the Handel Commemora-
tion, Westminster Abbey, May 29 and June
3, 1784. The orchestra consisted of 48



Reeves (T.), and Sig. Belletti (B.), and it has
since been repeated trienuially at the Crys-
tal Palace. This oratorio is performed sev-



566



MESTEINO



oral times annually in London, and holds
the place of honour at the provincial musi-
cal festivals of England. Its first perform-
ance in Germany, in the Universitatkirche,
Leipsic, in 1788, was due to Johauu Adam
Hiller. It was first given in Berlin, April
25, 1S04, and hi Vienna, March 30, 1800.
It was first sung in America by the Handel
and Haydn Society of Boston in 1818, and
first in New York by the Sacred. Music So-
ciety, in St. Paul's Chapel, Nov. 18, 1831. It
is performed in New York every Christmas,
by the Oratorio Society. In 1789 Mozart
partially tilled out the score with additional
accompaniments, but there is strong evi-
dence that the so-called "Mozart score," as
it is published, is a compilation, and. con-
tains not a few additions that were not
made by Mozart. But even in this score
the additional accompaniments are incom-
plete, although it is the one from which
the oratorio is usually performed. It was
first sung with Robert Franz's complete
additional accompaniments at the Birming-
ham (England) Festival, Aug. 27, 1885.
The authorities for the different publi-
cations of The Messiah are : (1) The
autograph score, (2) sketches in Handel's
handwriting, and (3) a folio conducting
score, all in Buckingham Palace ; (4) con-
ducting score known as the Dublin MS.
iu Smith's autograph with annotations by
Handel, in the Rev. Sir Frederick Gore
Ouseley's collection ; and three conducting
scores transcribed by Smith, (1) bequeathed
by Handel to the Foundling Hospital, (2)
iu the Schoelcher collection iu Hamburg, and
(3) in Henry Barrett Leonard's collection
in Hampstead, England. The Messiah was
not published during Handel's life. The
airs and one duet were included in Walsh's
collection of " Handel's Songs selected
from his Oratorios " (London, 1749-59).
The first collection of " Songs in the Mes-
siah " was printed by Walsh in 1763 ; the
first complete edition by his successors,
Wright, Randall, and Abell (London, 1768).
An early edition was published by Arnold,



and the first edition with harpsichord ac-
companiment was printed by Harrison. The
Messiah was published by Trautwein (Ber-
lin, 1835) and by Cranz (Hamburg, 18-42).
The score was edited by Dr. Rimbault for
the Handel Society of England (Cramer &
Co., London, 1850). A photo-lithograph of
the autograph in Buckingham Palace was
published by the Sacred Harmonic Society
(Novello, Ewer & Co., London, 1868).
The so-called Mozart score is published by
Peters (Leipsic). Franz's score, based upon
Mozart's, was published by Kistner (Leip-
sic, 1884). Rockstro, Handel, 227; Schcel-
cher, Handel, 240 ; Marshall, Handel, 111 ;
Townsend, An Account of Handel's Visit to
Dublin ; Hawkins, v. 358 ; Burney, iv. 661 ;
Buruey, Commemoration ; Bitter, Geschichte
des Oratoriums, 298 ; Grove, i. 31, 653 ; ii.
315, 546 ; iii. 527 ; Allgem. mus. Zeitg., v.
14, 43, 58, 89 ; ix. 476 ; xix. 363 ; xxix.
558 ; Neue Zeitschr., vii. 167 ; Athenaeum
(1859), i. 849 ; (1885), ii. 311 ; Notes and
Queries (1859), i. 289, 370 ; Mus. Wochen-
blatt (1881), 321, 333, 345, 369, 377, 389,
401, 505, 517 ; (1884), 560 ; Siguale (1885),
33 ; Upton, Standard Oratorios, 140.

MESTRINO, NICCOLo, born in Milan
iu '1748, died iu Paris, September, 1790.
Violinist, first musician to Prince Eszter-
Luizy, then to Count ErdOdy, in Hungary.
Iu 1786 he settled in Paris, after Laving

O

performed with great success one of his
concertos at the Concerts Spirituels ; was
much sought as au instructor, and in 1789
appointed chef d'orchestre at the then
recently established Italian Opera. Works :
12 concertos for violin and orchestra ; Duos
for violins ; Sonatas for violin and bass ;
Etudes et caprices for violin. Futis ; Men-
del ; Riemaim ; Schilling.

METHFESSEL, ALBERT GOTTLIEB,
bora at Stadtilm, Thuringia, Oct. 6, 1785,
died at Heckeubeck, near Gaudersheim,
March 23, 1869. Vocal coniposer,chamber
musician at the court of Rudolstadt iu 1810 ;
became music director at Hamburg in 1822,
and was court Kapellmeister at Brunswick



57



MfiTHA




iu 1832-42. His songs were very popular
and are still sung among German students.
Works : Der Priuz
voii Basi'a, opera ;
Das befreite Jeru-
salem, oratorio ;
Lic'derbuch ; Lie-
derkranz ; Other
collections of songs ;
Pianoforte sonatas ;
Waltzes and other
dance music. His
brother Friedricli

(1771-1807) also published 14 collections
of songs, and left an unfinished opera, Doc-
tor Faust. liicinann ; Fetis ; Schilling.

MKTRA, (JULES LOUIS) OLIVIER,
born in Reims,
June 2, 1830, still ->"

living, 1889. Com-
poser of dance mu-
sic ; the son of an
actor, he played
juvenile parts for
sonic time, then re-
ri'iu-d music les-
sons from Edmoud
Ii M-he, and was at-
tached to the orchestra of several small
theatres of Paris. He studied harmony at
Hi'- ('onsen-atom- under Elwart, and com-
position under Ambroise Thomas; became
orchestra conductor successively of the
Theatre lleaumarchais, The 13al Robert. Mi
bille. Chateau des Fleurs, Athem'e Musical,
Klysee Moiitmartre, Casino Cadet, and The
ll.il l-'riM'ati; conducted at the masked balls
of the Opera Comique, and for several years
the orchestra of the Folies Bergere, after-
wards the balls of the Opera. His dance
music is very popular. Works : Waltzes, in-
cluding Li vague, and Les roses ; Polkas,
mazurkas, quadrilles, and other dance mu-
sic ; 34 operettas and ballet-divertissements,
performed at the Folies Bergere, including
Le valet de chambre de Madame, 1*7:.' ;
Champagne-ballet, 1873 ; Un jour d'orage,
]s7t; Lus fauues, 187G ; Uue unit vcui-




tieune, 1877 ; Other ballets, the most im-
portant being Yedda, Paris, 1879. Fetis,
Supplement, ii. 214 ; Riemann.

METTENLEITER, JOHANN GEORG,
born at St. Ulrich, near Ulm, April G, 1812,
died in Ratisbon, Oct. G, 1858. Church com-
poser ; studied music at Ulm and Augsburg,
then settled at Ratisbou as choirmaster and
organist of the cathedral. He was one of
the most learned scholars in church music.
Works : Enchiridion chorale (1855) ; Manu-
ale breve cautiouum (1852) ; Psalm XCV
for G male voices (1854) ; Several masses ;
Stabat Mater ; 2 Miserere ; De profuudis,
psalms, Pange lingua, and other church mu-
sic ; Ave Maria, for double chorus ; Lied,
; by Saphir, for do. ; Die Riickkehr dcs
Siingers, chorus for men's voices with or-
chestra ; Concerto for pianoforte and strings ;
Choruses ; Songs. Allgem. d. Biogr., xxi.
525 ; Fetis ; Mendel ; Riemaun ; Dr. Do-
menicus Mettenleiter, Ein Kiinstlerbild.

METZDORFF, RICHARD, born in Dant-
zic, June 28, 1844, still living, 1889. In-
strumental and vocal composer, pupil in
Berlin of Fl. Geyer, Dehu, and Kiel, later
Kapellmeister successively of several thea-
tre orchestras. Works : Rosamunda, comic
opera, given in Weimar, 187G ; 2 sympho-
nies ; Overture to King Lear ; Fran Alice,
ballad for contralto, chorus, and orchestra ;
Phantasiestiick for orchestra ; Trios for pi-
anoforte and strings ; Quintet for do. ;
Sonatas and other pieces for pianoforte ;
Several collections of songs. Fetis, Sup-
plement, ii. 215 ; Riemann.

MEYER, LEOPOLD DE, born at
Baden, near Vienna, Dec. 20, 1816, died in
Dresden, March 5, 1883. Pianist, pupil of
Czerny and Fischhof ; made his first con-
cert tour in 1835, and after that travelled
through Europe. He lived some time in
Constantinople, was in America in 1845-47,
and in 18G7-68 settled in Vienna. His
execution was brilliant, but lacking in
taste. Ignorant of classical music, he
played almost entirely his own composi-
tions. Works : Fantasias ; Caprices ; Va-



ses



MEYERBEER







nations ; Nocturnes ; Waltzes ; ami a Marcfie
marocaine. The Biography of Leopold tie
Meyer, etc. (London, 1845) ; Wurzbach ;
FiHis ; Hauslick, Concertweseii in Wien, ii.
1G3.

MEYERBEER, (Jakob Meyer Beer,
known as) GIACO-
MO, born in Ber-
lin, Sept, 5, 1791 or
1794, died iu Paris,
May 2, 18G4. The
family was Jewish ;
his father, Herz
Beer, born iu Frank-
f o r t-o u-t h e-M a i n,
was a rich Berlin
banker ; his mother,
born Amalie Wulf,
was a woman of rare cultivation and intellect.
He was the eldest son and the only musical
member of the immediate family, although
two of his brothers rose to distinction,
Wilhelm as astronomer and Michael as poet.
As a young boy he studied the pianoforte
under Lauska and dementi, played in
public at the age of seven, and was soon
considered one of the best pianists in Ber-
lin. He began to study harmony and
counterpoint under Zelter, but, finding the
drill unbearably severe, he soon left him
for Ansehn Weber. In 1810 ho went to
Darmstadt to study under the Abbe Vogler,
in whose house he lived two years. During
this period he wrote several choral works and
two unsuccessful operas. About 1812 he
went to Vienna to appear as a pianist, but,
hearing Hummel play on the evening of
his arrival, he felt dissatisfied with his own
powers, and immediately devoted several
mouths to hard technical practice. When
he did appear in public, his success was
immense. But his ambition was to make
a mark as a composer, and on the failure of
his operetta, Die zwei Cadis, in 1814, he
went to Italy by Salieri's advice to study
vocal writing. In 1815 he was in Venice,
where Rossini's Taucredi made such an
impression upon him that he began, rather



servilely to imitate that master. His suc-
cess with the Italian public was immediate.
In 1823 he returned to Berlin to try to bring
about a performance of a German opera, Das
Brandenburger Thor, but did not succeed
in having it given. His friends, among
them Carl Maria von Weber, were anxious
that he should abandon his Italian style,
with which he himself had become dissatis-
fied. In 1824 his Crociato in Egitto, the
last and best of his operas in the Rossini
vein, made a furore in Venice. In 1820 he
went to Paris to see its first performance
there ; he stopped composing for a time,
and devoted himself to a thorough study of
French character, history, and art. A visit
to Berlin, where his father died, his mar-
riage, and the loss of two children kept
him out of public life. But he was prepar-
ing for great things ; the new path into
which French grand-opera had been led by
Auber's Muette do Portici and Rossini's
Guillaume Tell, the new development of
orchestral writing at the hands of Berlioz,
gave him hints of the possibility of a new
operatic style. Robert le Diable (1831), the
first work iu Meyerbeer's later, or great
manner, began a new era in French opera.
In 183G it was followed by Les Huguenots.
In 1838 he set to work upon L'Africainc.
A quarrel with Scribe, author of the text,
brought about by Meyerbeer's continual
demands for changes, ended in Scribe's
withdrawing the libretto altogether. Mey-
erbeer, however, immediately went to work
on Le Prophete, which was finished in a
year (1842-43). He was now appointed
Kapellmeister to the King of Prussia, and
spent much of his time in Berlin, where he
brought out his Feldlager in Schlesieu
(1844) and Weber's Euryauthe. He also
introduced Jenny Lind to the Berlin pub-
lic. In 1847 he made visits to Vienna and
London, and on his return to Berlin he
mounted Wagner's Rienzi. In 1849 he re-
turned to Paris to bring out his Prophete,
which had been waiting six years. His
health was now beginning to fail, and he



509



MEYKKI'.KKU



was accustomed to pass every autumn at
Spa. He continued living alternately in
Berlin and Paris, always bringing out Iris
operas in tLe latter city (L'etoile du Nord,
1854, Le pardon de Ploermel, 1859). He
had long since, even before the production
of the Prophete, resumed work upon L'Afri-
caiue, and the opera was finished (all but
the lust touches) and in rehearsal when he
died. Although a German by birth and
education, Meyerbeer, as a composer, be-
longs properly to the French school ; ever
since Robert he has been the representative
man in the field of French grand-opera.
He was, in a manner, unique ; his orig-
inality showed itself rather in a during
eclecticism than in the creation of new
musical forms. But he certainly originated
a new manner. He was a master of dra-
matic effect ; indeed, he was willing to sacri-
fice everything to effectiveness. His genius
showed itself by a succession of brilliant
strokes rather than by the well-sustained
development of really noble musical forms.
Si.le by side with his grandest pages one
constantly I'nuls passages of ignoble triv-
iality and vulgarity. His influence in
France was immense, and for a long time
lie was looked up to there as Mendelssohn
was in England. He was a laboriously
careful composer, and none of his greater
operas was really finished until it was per-
formed. His musical learning has been
much overrated in France ; his best orches-
tral composition, the overture to Strueusee,
can bear no sort of comparison with works
liv the really great orchestral writers. The
Huguenots, especially the fourth act, is
generally considered his greatest work,
although the ultra-Meyerbeerites claim pre-
cedence for the Prophete; again, Robert is
the favourite with the anti-Meyerbeerites.

I. Operas and dramatic works : Jeph-
tha's Geliibde, Berlin, 1811 ; Theveliudens
Liebe (mouodrama for soprano and cho-
rus with clarinet obligate), Vienna, 1813 ;
Wirth und Gast (Alimelek, or the Two Ca-
liphs), Munich, 1813 ; llumihla e Costanza,



Padua, July 10, 1815 ; Semiramidc ricouosci-
uta, Turin, 1819 ; -EmmadiResburgo, Venice,

1819 ; Margherila d' Anjou, Milan, Nov. 14,

1820 ; L' esule di Granata, Milan, March
12, 1822 ; Das Braudeuburger Thor, Berlin,
1823 ; II Crocialo in Egitto, Venice, 1824 ;
llulxrl le Diable, Paris, Nov. 21, 1831; Les
Huguenots, Paris, Feb. 29, 183G ; Eiu /'</</-
/<;</<'/ in Sehlesien, Berlin, Dec. 7, 1844 ;
S/nii'imee (overture and entr'actes), Berlin,
Sept. 21, 1840 ; Le prophets, Paris, April
1C, 1849; LYYotfe du Nord, Paris, Feb. Hi,
1854 ; Le pardon de Ploerinel (Dinorah),
Paris, June 2, 1859 ; JjAfricaine, Paris,
April 28, 1864.

H. Oratorios, cantatas, and vocal music :
Gott uud die Natur, oratorio, Berlin, 1811 ;
7 sacred cantatas of Klopstock, for 4 voices
without accompaniment ; An Gott, hymn
by Gubitz, 4 voices ; Le Genie de la Mu-
sique a la tombe de Beethoven, soli and
chorus ; Cantata for 4 voices, for the inau-
guration of the Gutenberg statue at Mainz ;
Maria uud ihr Genius, do. for soli and cho-
rus, for the silver wedding of Prince and
Princess Karl of Prussia ; Brautgeleite aus
der Heimath, serenade for 8 voices without
accompaniment, for the wedding of Princess
Luise of Prussia ; La festa nella corte di
Ferrara ; Marsch der baierischeu Bogeu-
schiitzen, 4 voices, male chorus, and brass
instruments; Ode to Ranch, the sculptor,
soli, chorus, and orchestra ; Festal Hymn,
for the silver wedding of the King of Prus-
sia, 4 voices and chorus ; Freuudschaft,
male quartet ; Psalm XCL, 8 voices a cap-
pella, written for the Berlin Domchor
(Paris, Braudus) ; Pater noster, 4 voices
and organ ; 12 psalms for double chorus
(MS.) ; Stabat Mater ; Miserere ; Te Deum
(all in MS.) ; Many songs with pianoforte in
Quarante melodies a une et plusieurs voix
(Paris, Brandus) ; Nebeu dir, for tenor with
violoncello obligate ; Des Jiiger's Lied, for
bass with horns obligati ; Dichter's "\Vahl-
spruch, canon for 3 voices ; A Veuezia, bar-
carolle ; Des Schiifer's Lied, for tenor and
clarinet obligato ; Several other songs.



fiO



MEZEIIAY



III. Instrumental music : 3 FncMtanzc
for brass band, afterwards scored for or-
chestra ; Grand March for the Schiller
Centenary, 1859 ; Overture in the form of
a inarch, for the opening of the London In-




ternational Exhibition, 18G2 ; Coronation
March, 1863 ; Pieces for pianoforte, in MS.
Henri Blaze de Bury, Meyerbeer, sa vie,



founded the Societe Sainte-Cecile in 1843.
Works : Le Sicilien, ou 1'amour peiutre,
opera-conrique, Strasburg, 1825 ; Guillaume
de Nassau, opera, The Hague, 1832 ; and
other music. Fetis, Supplement, ii. 217 ;
Riemanu ; Mendel, Ergiinz., 279.

MICHAEL ANGELO, overture, by Niels
W. Gade, op. 39, dedicated to Professor A.
B. Marx. It was first performed in New
York by the Philharmonic Society, in the
season of 1873-74. Published by Kistuer
(Leipsic, between 1860-67).

MICHEL-ANGE, opera-comique in one
act, text by Delrieu, music by Nicole- Isou-
ard, first represented at the Theatre Fey-
deau, Dec. 11, 1802. Elleviou, Cheuard,
Douzaiuville, Mine Scio-Messie, and Mme



ses ceuvres et son temps (Paris, Hengel, Saint-Aubiu sang the chief parts. This was
1865) ; Albert de Lasalle, M., sa vie et le the first opera that attracted the attention of



catalogue de ses ceuvres (ib., Dentu, 1864) ;
Hermann Mendel, Giacomo M., eine Biogra-
phic (Berlin, Heimann, 1868) ; do., M., sein
Leben und seine Werke (ib., Leisser, 1869) ;
Atlantic Monthly, xliv. 444 ; Fetis ; do.,
Supplement ; Grove ; Mendel.

MEZERAY, LOUIS CHARLES LAZARE
COSTARD DE, born at Brunswick, Nov.
25, 1810, died at Asnieres, near Paris, April
1887. Dramatic composer, son of an em-
ploye of the French administration, named
Costard, who entered France under the
Restoration and took the stage name of
Mezeray. At the age of fifteen he was sec-



Paris to Nicolo. Clement et Larousse, 453.
MICHELI, ROMANO, born in Rome in



1575, died there about 1655.
poser, pupil of Nanini and



Church coin-
Soriano. He
became a priest at Aquileja, and while very
young travelled through Italy, to become
acquainted with the masters of his art ;
taught music for some time in Concordia,
Modena, and in 1625 was appointed maestro
di cappella of S. Luigi de' Francesi, Rome.
Works : Musica vaga ed artificiosa, 50 can-
ons (1615) ; Madrigali a sei voci in canoui
(1621) ; Cauoni musicali composti sopra le
vocali di pin parole, etc. (1645) ; La potesta



ond leader of orchestra at the theatre of pontificia diritta della Sauctissima Trinita,
Strasburg, where he studied under Talliez compieta a sei voci (1616) ; Masses for 4



and Wachenthal ; then became conductor
at Venders ; next at Liege of the theatre,
the Conservatoire concerts, and the Con-
certs Gretry ; and in 1830 was appointed con-
ductor of the Royal Theatre at The Hague.

studied counter-
Reicha ; became



He went to Paris in 1833
point and fugue under



conductor in Ghent, Rouen, and Marseilles ;
was engaged as baritone singer at Bordeaux,



voices (1650) ; Psalms for do. (1638) ; Res-
ponsoria for 5 voices (1658). Fetis ; Rie-
mann ; Schilling.

MIDI, LE, symphony in C, by Haydn.
The autograph score, preserved in Eisen-
stadt, is dated Eisenstadt, 1761, with the
superscription, " In Nomine Domini," ami
after the signature the words, " Laus Deo,"
Haydn's usual close. I. Adagio Allegro ;
II. Adagio ; IH. Menuetto ; IV. Finale, Al-



Montpellier, Antwerp, and Nantes ; and
finally was made conductor of the Grand legro. Published by Werner (Hamburg,
Theatre at Bordeaux in 1843, a position he j 1782) ; by Traeg (Vienna, 1799). Pohl,



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