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of the old, accustomed style, that the Pope
might be induced not to withdraw the pro-
tection of the Church from it. And this
was, in fact, the result of the matter. The
mass was first published in Palestriua's
Liber missarum secundus, 1567. It is in
Altic-ri's edition of Palestriua's works, vol.
i., No. 1 (Rome, Pietro Pittarelli, 1841) ; a
popular edition, in the modern clefs, is
published by Ricordi in Milan. Ambros,
iv. l:i ; Grove, ii. 229.


MISSA SOLENNIS, in D, by Beethoven,
opus 123, dedicated to the Cardinal Arch-
duke Rudolph Johanu, Bishop of Olmiitx.
Beethoven began sketches for this mighty
work in 1818, and it was completed in 1823.
MS. copies of the score were sold, at fifty
ducats, to several crowned heads, and to
the Caeilien-Vereiu at Frankfort-ou-thc-
Main, and in 1825 the right of publication
was sold to Schott, in Mainz, for one thou-
sand florins. The first complete perform-
ance was given in Russia, March 26, 1824.
Beethoven called it his " greatest and most
successful work." It was given in New
York, under Theodore Thomas, at the Mu-
sic Festival in the 7th Regiment Armoury,
May :i, 1882. Breitkopf & Hartel, Beetho-
ven Werke, Serie 19, No. 203. Marx, Beeth-
oven, II. 27:t ; Nohl, III. 99, 148, 185, 254,
262, 360, 399, 485, 490, 522 ; Lenz, II.
Part U 141 ; Grove, ii. 234.

Fliecjende Hollander.

See Don Giovanni.

dates, King of Pontus), Italian opera in
three acts, text by the Abbate Parini, after
Racine, revised by Vittorio Arnadeo Cigna-
Santi, music by Mozart, first represented in
Milan, Dec. 26, 1770. Mozart, then but



fourteen years old, conducted, and the op-
era was received with enthusiasm. The
original score is lost, but several fragments
are in the library of the Paris Conser-
vatoire. Italian operas of the same title
on Zeno's text, music by Bioui, Venice,
1722, Ferrara, 1729 ; Antonio Caldara, Vi-
enna, Nov. 14, 1728 ; Giui, Turin, 1730 ;
Porpora, Venice, 1733 ; Aliprandi, Munich,
1738 ; Terradeglias, London, 17G5 ; Sarti,
Parma, 17G5 ; Sacchini, London, 1777 ;
Tarchi, Rome, 1780 ; Niccolini, Milan,
1816 ; Tadolini, Venice, 1826 ; Paolo Ser-
rao, Madrid, 1882. Same title, Italian
opera, text by Villati, music by Grauu,
Berlin, Dec. 1C, 1750. Mitridate, re di
Ponto, vincitor di se stesso, text by Me-
rindo Fesauio (Benedetto Pasqualigo), mu-
sic by Giovanni Maria Capelli, Venice,
1723 ; La morte di Mitridate, by Zingarelli,
Venice, 1797 ; and by Marcos Portugal,
text by Caravito, Lisbon, 1806, Milan, 1815 ;
Vonina e Mitridate, by Sebastian Nasoliui,
Florence, 1799, Paris^ Dec. 13, 1817 ; and
by Francesco Gnecco, text by Rossi, Ven-
ice, 1803 ; music to Racine's tragedy, by
Johann Adam Scheibe, Leipsic, 1738 ; and
by Scheinpflug, Rudolstadt, May 5, 1754.
Kochel, Verzeichuiss, No. 87 ; Andre-,
Verzeichniss, No. 32 ; Jahn, Mozart, i. 277 ;
Gehring, Mozart, 44 ; Caecilia, xxiii. 241.

WERK, soprano solo (Gabriel) and chorus,
in C major, in Haydn's Die Schdpfung, Part
I. (No. 4).

MITTERNACHT, quartet. See Martha.

MIT WURD' UNO HOHEIT, tenor aria
in C major, of Uriel, in Haydn's Die ,SHi'i/i-
fung, Part II. (No. 24).

MOISE AU SINAI, oratorio, text by Col-
lin and Saiut-Etienue, music by Fc'licieu
David, first performed at the Academic
Royale de Musique, Paris, March 21, 1846.
It was written in Germany.

MO'iSE EN EGYPTE. See Most in

MOLINARA, LA (The Maid of the Mill),
Italian opera by Paisiello, first represented

in Naples, 1788. It was given in Paris,
Sept, 2, 1801, as La meuniere, with Mine
Festa in the title-rule ; and at the King's
Theatre, London, March 22, 1803. A duet,
" Nel cor phi non ini sento," and an aria,
" Quant' e pill bello," were popular themes
for variations, among which are several by
Beethoven. Another air, La Racheliua, is
included in the Musical Library, i. 98. In
1789 Cherubiui inserted into this opera
nine airs which were admired by Louis
XVI. Published by Steinmetz (Hamburg).
born in Nuremberg, Oct. 7, 1802, died at
Cannstadt, near Stuttgart, May 10, 1869.
Violinist, sou and pupil of a town musi-
cian, he learned several instruments, but
made a special study of the violin. He
had a few lessons of Spohr, then studied
two years under Rovelli in Munich, and
afterwards played in the orchestra of the
Theater an der Wien in Vienna. In 1820
he succeeded Rovelli as court violinist
in Munich ; made his first concert tour in
1822 ; was royal Couzertmeister at Stutt-
gart in 1826-49, often giving concerts in
other German cities and abroad ; settled
in London in 1849, and acquired a promi-
nent position as a solo and quartet player
and as teacher of his instrument. In 1866
he retired to Canustadt. His compositions
show technical mastery, though often want-
ing in inspiration. Works : Abraham, ora-
torio, Music Festival, Norwich, 1860 ; 2
masses ; Symphony ; 5 violin concertos ;
Concertino ; 6 string quartets ; Pianoforte

trio ; Duets for violin and other instru-
ments ; Fantasias for violin and orchestra ;
Pieces for violin and pianoforte ; Songs
and other music. Fetis ; Mendel ; Rie-
mann ; Schilling ; Hart, The Violin, 423 ;
Wasielewski, Die Violine, 360.

Erfurt, Prussian Saxony, April 12, 1827,
still living, 1889. Violinist ; at the age of


nine made a successful concert tour with
his two elder brothers Frederic and Hein-
rich, both after-
wards well-known
musicians. When
fourteen he became
the pupil of Ernst,
and two years later
of Spohr. During
these years he
played with much
success in Germany
and in St. Peters-
burg as a protc'gi' of the Archduchess of Des-
sau. Being ordered back to Germany to
serve as a soldier, he fled to England, whore
he joined Jullieu's orchestra as solo violin,
and in 1853 went with him to America,
and settled in New York, where ho still
resides. He is one of the founders of the
"Musical Conservatory " system in Amer-
ica, and conducts a violin college for the
perfection of advanced students. Works :
The Corsican Bride, opera, produced at
Winter Palace, New York, 1861 ; Breakers,
comic opera, New York, 1881 ; The Masked
Ball, comic opera ; The. Passions, sym-
phony ; 2 other symphonies ; String quar-
tets ; Pieces for the violin ; Duets ; Songs.
Ireland in 1837, still living. 18K<). Ama-
teur dramatic and vocal composer ; M.A.
of the Catholic University of Ireland.
Works Operettas : Student's Frolic; My
Aunt's Secret ; Very catching. Irish melo-
dies, edited with new accompaniments ;

born in Philippeville (Namur), Belgium,
Jan. 20, 1762, died after 1855. At the age
of twelve he became organist at Saint-Omor,
later of the Abbey of Sainte-Colombe, and in
1785 at Lyons. He took refuge in Switzer-
land during the Revolution, but in 1800
founded a music business in Paris, published
his own writings, and taught. He lived after-
wards at Tours. His supposed discoveries
in the theory of music do not seem to have

been well received, though he was firmly
convinced of their importance. Works :
String quartets ; Trios ; Sonatas for piano-
forte and violin ; Sonatas and other pieces
for pianoforte ; Cantatas and songs ; Pre-
miere auntie de leyons de piano-forte ; Cours
eomplet d'harmouie et de composition
d'apres une theorie neuve (Paris, 1806, 3
vols.) ; and several other theoretical writ-
ings. He was the last editor of the Ency-
clopedie ruethodique (Paris, 1791-1818), be-
gun by Ginguene and Framery. His son
George Joseph, born at Vire (Calvados),
Dec. 12, 1812, was a pupil of Zimmerman
and Reicha at the Paris Conservatoire, be-
came organist of Chapel of Saint-Denis,
and about 1844 professor at the Young
Ladies' Institute at Nogent-sur-Marne, and
afterwards retired to his native town. He
has composed many nocturnes, romances,
and sacred melodies. Fetis ; do., Supple-
ment, ii. 229 ; Schilling ; Gerber ; Rie-

SANE A DE, born at
Narboune, Dec. 25,
1711, died at Belleville,
near Paris, Oct. 8, 1772.
Violinist and dramatic
composer, born of poor
but noble parents ; he
early studied the violin
and became first violin
at Lille. Three of his
motets were given in the Concerts Spirituals,
Paris, in 1737 with such success as to pro-
cure him a place in the king's chamber mu-
sic. He succeeded Gervais as superintend-
ent of the Versailles chapel in 1744. His
first opera was not a success, but his ob-
sequiousness secured powerful influence.
When a company of Italian singers came to
France, in 1752, there was a great conten-
tion, known as the guerre des bouffons, be-
tween the partisans of Italian and French
music. Mine de Pompadour favoured the
national school, and everything was arranged
to obtain success for Moudonville's opera,



Titon et 1'Aurore. He was director of the
Concerts Spirituals in 1755-62, aiid bail a
pension from the Opera in 1768. He was
very vain and avaricious, and published
most of the texts of his operas under his
own name, though they were really written
by the Abbe de Voiseuon. Works Op-
eras : Isbe, 1742 ; Le carnaval du Parnasse,
1749 ; Titon et 1'Aurore, 1753 ; Daphnis et
Alcimadure, in the laugue d'oc, 1754 ; Lcs
fetes de Paphos, Venus et Adonis, Bacchus
et Erigoue (written for Mine de Pompa-
dour's theatre at Versailles) ; Psyche, 1762 ;
Thesee, 1765. Les projets de 1' Amour, bal-
let, 1771 ; Les Israelites au mont Oreb, ora-
torio ; Les fureurs de Satil, do. ; Les
Titans, do. ; Motets ; Violin sonatas and con-
certos ; Organ concertos ; Trios ; Pieces for
harpsichord and violin. Fetis ; do., Sup-
plement, ii. 230 ; Mendel ; Schilling ; Cle-
ment, Mus. ci'lebres, 86 ; Wasielewski, Die
Violine, 246.

MONETA, GIUSEPPE, born in Florence
in 1761, died, probably there, after 1811.
Dramatic composer, in the service of the
Grand Duke of Tuscany, a position which
he still held in 1811. Works Operas : II
capitano Tenaglia, given in Leghorn, 1784 ;
La muta per amove, Alessandria, 1785 ;
Amor vuol gioventti, Florence, 1786 ;
L' equivoco del nastro, ib., 1786 ; La poe-
tessa capricciosa, ib., 1790 ; I due tutori,
Rome, 1791 ; II conte Policronio, Poggio,
1791 ; II trionfo di Gedeone, ib., 1804.
Cantata to words of Tasso ; La inorte del
generale Hoche, symphony ; Notturni a voce
sola ; Collection of Ariette. Fetis ; do.,
Supplement, ii. 230 ; Schilling.

born in the early part of the 17th century,
died in Venice (?), April 23, 1685. Church
composer, pupil of Rovetta ; was cantor of
S. Marco, Venice, in 1639, second maestro
in 1647, and maestro di cappella in 1676.
He was also director at the Conservatorio
de' Meudicanti, leader of music in the par-
ish in which he lived, as well as instructor
in the families of the aristocracy, and mem-

ber of an establishment for printing music.
Works : 4 collections of Salmi concertati
(Venice, 1647 and 1650, 1669, and two in
1676) ; Salmi brevi (ib. , 1675) ; Salmi a voce
sola (ib., 1677) ; Motetti (ib., 1655, 1659,
1671) ; 3 collections of Motetti concertati
(ib., 1660, 1660, and 1669) ; Motetti a voce
sola (ib., 1666) ; Sacri concenti, ossia Mo-
tetti a voce sola (ib., 1675) ; Missre (ib.,
1677) ; Antifone (ib., 1678) ; Motetti (ib.,
16S1). Fetis ; Mendel ; Schilling ; Gerber.

Ubiel in the government of Minsk, Lithu-
ania, May 5, 1819, died in Warsaw, June 4,
1872. Dramatic composer, pupil of August
Freyer in Warsaw, and of Rungenhagen in
Berlin in 1837-39 ; was for some time
teacher and organist in Wilua ; became di-
rector of opera in W'arsaw in 1858, and was
later appointed professor at the Conserva-
torium there. Works Operas : The Lot-
tery ; Ideal ; The New Don Quixote ; The
Bohemians ; Betty ; Halka, Warsaw, 1846 ;
Jawnutz ; The Raft-Man ; Verbum nobile ;
Rokitschana ; The Countess ; The Haunted
Castle ; The Paria ; Beata. Music for Ham-
let ; Milda, Goddess of Beauty, cantata ;
Niola, do. ; A Night in the Apennines, de-
scriptive composition ; The Madonna, hymn
for solo, chorus, and orchestra ; Mass ; 4
litanies ; Music for Dziady ; Faust, lyric
poem ; Pianoforte pieces ; Songs. A. Wa-
licki, Life of M. (in Polish, Warsaw, 1873) ;
Fetis, Supplement, ii. 231 ; Riemann ; Men-

Frome, Somerset,
Dec. 13, 1819, still
living, 1889. Or-
ganist, pupil in Bath
of Henry and George
Field, in London of
Hullah and Henry
Phillips, and later of
G. A. Macfarreu.
He was organist and
music-master at the College of St. Colomba,
Ireland, in 1844 ; assisted in the formation



of The University Motet and Madrigal So-
sciety, Oxford, in 18-47 ; was organist at the
College of St. Peter, Eadley, in 1848 ; and
succeeded Dr. Camidge as choirmaster and
organist of York Cathedral in 1859. Mus.
Bac., Oxford, 1848; Mus. Doc., 185G.
Works : Yeiii Creator Spiritus ; Anthems ;
Service. He edited The Anglican Chant
Book ; The Anglican Choral Service Book ;
The Anglican Hymn Book, with Rev. R.
C. Singleton ; The Psalter and Canticles.
pointed for chanting, and Anglican Psalter
Chants (with Sir F. A. G. Ouseley). He
also wrote some libretti. Grove ; Riemann.

Bolton-le-Moors, England, Feb. 20, 1846,
still living, 1889. Organist, vocal com-
poser, and writer on music. After having
held various organ appointments, he settled
in Liverpool as teacher and local secretary
of Trinity College. He is honorary life
member of Trinity College, London, and
musical critic fur several papers in Liver-
pool. "Works : Te Deurn for parochial use ;
Anthem ; Pianoforte music ; Part-songs ;

London in 1823, died there, March 3, 1889.
Organist, pupil of Thomas Adams, G. A.
Griesbach, and J. A. Hamilton. He was
organist at Eaton Chapel, Pimlico, St.
George's Chapel, Albemarle Street, and
Portman Chapel, St. Marylebone. In 1847
he became director of music in King's Col-
lege, London, and in 1849 organist there ;
was professor of music at the School for the
Indigent Blind in 1831 ; appointed organist
of St. Matthias, Stoke Newiugtou, in 1S.">:> ;
delivered lectures on music in London,
Edinburgh, and Manchester in 1850-54.
In 1874 he succeeded Hullah as professor
of vocal music in King's College, in 1870
became professor in the National Training
School for Music, and in 1878 in Bedford
College, London. "Works : Te Deums, Ky-
ries, anthems, and other church music ;
Contributions to Modern Hymnals. He
edited the Parish Choir (after the tenth

number) ; Hymns Ancient and Modern,
and (with others) Hymns for Church of
Scotland. Grove ; Riemann.

MON PETIT MARI. See Postilion de

LYTE, born in Paris, Jan. 12, 1804, died in
Orleans, Aug. 10, 1841. Dramatic com-
poser, began as choir-boy in the Church of
Saint-Germain 1'Auxerrois, Paris, and at
the age of nine sang in Notre Dame. He
entered Choron's school in 1817, and be-
came organist of the Cathedral of Tours in
1819, but was found incapable, and returned
to Choron as accompaguateur or assistant
in the Institution Royale de Musique lleli-
gieuse. He received instruction in harmony
from Fetis, Porta, and Chelard, and played
the organ successively at the churches of
Saint-Nicolas des Champs, Saint-Thomas
d'Aquin, and the Sorbonne. He wrote
some very popular ballads and songs to
words by Alfred de Musset and Victor
Hugo, and became the composer of the ro-
mantic school of poets. In 1835 he took to
opera writing, and his premature death was
caused by overwork. His songs have many
striking melodies, but are very crude in
form, and while his operas are full of mel-
ody and dramatic feeling, the orchestral
part shows him to have been a very in-
competent musician. Works Operas : Les
deux reiues, 1835 ; Le luthier de Vieune,
183G ; Piquillo, 1837 ; Uu conte d'autrefois,
Perugina, 1838 ; Le planteur, La chaste Su-
zanne, 1839; La reine Jeanne, 1840; Lam-
bert Simuel (finished by Adolphe Adam),
1 s | :i ; L'orfi'vre, never performed. Ballads,
romances, and songs. Fetis; Clement, Mus.
cc-K'bres, 501.

born at Fauquembergues (Pas-de-Calais),
France, Oct. 17, 1729, died in Paris, Jan.
14, 1817. Dramatic composer, of noble
birth; received a good classical education,
and took violin lessons while a boy. At his
father's death, in 1749, he went to Paris, and
obtained a clerkship in the Bureaux de la


Comptabilite du Clever. Influential pro-
tectors were not wanting, and lie soon was
made m a, i t r e
d'hotel to the Due
d'Orleans, with a
large salary.
Hearing Pergo-
lesi's Serva pa-
drona, lie was in-
spired with a desire
to write comic op-

eras himself. For
five months he
took lessons in har-
mony of Gianotti (a double-bass player at
the Opera), and this was all the theoretical
instruction he ever had. His first opera,
Les aveux iudiscrets, was brought out at
the Theatre de la Foire Saint-Germain, in
1759, with a good deal of success. His Le
cadi dupe (1701) so delighted the poet Se-
daiue that he offered Monsiguy to supply
him with libretti in future, and the two
worked together on several operas. Mon-
signy's success was such that the Comedie
Italieune succeeded in having the Opera
Comique de la Foire Saint-Laurent closed
definitively, for fear that its growing reputa-
tion might injure that of their own theatre,
and after 1701 Mousiguy wrote only for the
Comedie Italienne. His style underwent a
change for the better about this time, and
his success went on steadily increasing
until, after the triumph of his Felix, ou
1'eufant trouve, in 1777, he, for some in-
explicable reason, gave up writing music
altogether. It has been hinted that he
feared a rivalry with Ore-try, but he himself
said that after 1777 he never had a musi-
cal idea come into his head. His earlier
operas were brought out anonymously, as
he deemed writing for the stage incom-
patible with the dignity of his position at
the house of the Due d'Orleans. He was
also for some time inspector-general of
canals, but the Revolution deprived him
of both offices, and he would have been re-
duced to absolute want had not the societaires

of the Opera Comique in 1798 made up a
purse for him, which yielded him an annu-
ity of 2,400 francs. In 1800 he succeeded
Picciuni (deceased) as inspector of instruc-
tion at the Conservatoire ; but he resigned
in 1802, admitting that his musical knowl-
edge was insufficient to enable him to fill
! the post well. In 1813 he succeeded Gre-
try at the Institut, and in 1810 received
the decoration of the Legion of Honour.
Monsigny's great merit was his melodic
power and the truth and warmth of his
sentiment ; he had also a keen sense of
dramatic fitness. He was not wanting in a
certain natural sense of harmony, but his
musical knowledge was small, and he could
do nothing except in the simplest forms.
But his genius was undeniable, and he was,
after all, not much worse a musician than
the other writers of opera-comique in his
day. His finest work is Le deserteur.
Works Operas : Les aveux indiscrets, 1
act, Theatre de la Foire Saint-Germain,
Feb. 7, 1759 ; Le niaitre en droit, 2 acts, ib.,
Feb. 13, 1700 ; Le cadi dupe, 1 act, Opera
Comique de la Foire Saint-Laurent, Feb. 4,
17G1 ; Ou lie s'avise jamais de tout, 1 act, ib.,
Sept. 17, 1701 ; Le roi et le fermier, 3 acts,
Comedie Italieune, Nov. 22, 1702 ; Rose et
Colas, 1 act, ib., March 8, 1704 ; Aline, reiue
de Golcoude, 3 acts, ib., April 15, 1700 ; L'Ue
sonuaute, 3 acts, ib., Jan. 4, 1708 ; Le de-
serleur, 3 acts, ib., March G, 1709 ; Le fau-
con, 1 act, ib., March 19, 1772 ; La belle
Arsene, 4 acts, Fontainebleau, Nov. 0, 1773,
Paris, Comedie Italieune, Aug. 14, 1775 ;
Le rendez-vous bieu employe, 1 act, Come-
die Italieune, Feb. 10, 1774 ; Filir, ou 1'en-
faut trouve, 3 acts, Fontainebleau, Nov. 10,
and Paris, Comedie Italienue, Nov. 24,
1777 ; Pagamm de Mouegue, 1 act (never

performed) ; Philemon et Baucis, 1 act
(never performed). The scores of all but



the last two have been published at Paris.
Quatremere Jo Quincy, Notice historique
sur la vie et les ouvrages de Mousigny
(Paris, Firmiu Didot, 1818) ; Hedouin,
Eloge de Mousigny (Paris, 1820).

See Artot.

EDOUARD, bom at Niort (Deux-Sevres),
France, March 27, 1824, still living, 1889.
Dramatic composer, pupil of his father, then
at the Paris Conservatoire of Habeneck.
He obtained an accessit for 1843, and when
very young succeeded Doche as chef d'or-
chcstre at the. Theatre du Vaudeville. About
1862 he left this position, and went on the
stage as a tenor singer, but without suc-
cess. Works Operas: Frelurhette, given
in Paris, Folies Nouvelles, 1856 ; La per-
riujue de Cassaudre, ib., 1857 ; L'agutau de
Chloe, Theatre Lyriqtie, 1858 ; Vendredi,
Fulies Nouvelles, Is."/.). Operettas : Le nid
d 'amours, Le rat de ville et le rat des
champs, Les Nereides et les Cyclopes, The-
atre du Vaudeville, before 185G. Fetis,
Supplement, ii. :!:!.'!.

called sometimes
Philippe de MODS,
born at Mons or
at Mechlin in
1521, died in Vi-
enna, July 4,
1603. Famous
contra pun t ist,
was Kapellmeis-
ter of Maximilian
H. in Vienna in
1568, and later of
Rudolph II. in Prague ; became canon and
treasurer of the Cathedral of Cambrai.
Works: Masses for 5-8 voices (Antwerp,
1557) ; Mass, Beuedicta es (ib., 1580) ;
Masses for 4-5 voices (ib., 1558) ; 5 books
of motets for 5-6 voices (Ingolstadt, 1569-
74) ; Motets for 5-6 voices (Venice, 1584) ;
2 books of motets for 6 and 12 voices (il>.,
1585 and 1587) ; 1!) books of madrigals for

5 voices (ib., 1561-88) ; 8 books of madri-
gals for 6 voices (ib., 1565-92) ; La tiain-
metta (ib., 1598) ; Madrigali spiritual! (ib.,
1581) ; French songs (Antwerp, 1575) ; Son-
netz de Pierre de Rousard (Louvaiu, 1576) ;
Pieces in various collections. Futis ; Rie-
mauu ; Mendel ; Hawkins, Hist., ii. 491 ;
Schilling ; Gerber ; Ambros, Gesch., iii. 323.

DE, born at Chaumout-eu-Bassigny (Haute-
Marue), France, in 1666, died in Paris in
1737. Dramatic and instrumental com-
poser, pupil, while chorister at the Cathe-
dral of Langres, of Jean Baptiste Moreau.
After having been connected with various
churches in the provinces of France, he be-
came maitro de musique to the Prince de
Vaudemont, whom he accompanied to
Rome. Returning to Paris about 1700, he
joined the Opera orchestra as double-bass
player in 1707, and was pensioned in 1737.
Works Operas : Les fetes de 1'ete, given
in Paris, Opera, 1716; Jephte, ib., 1732.
Requiem ; Motets ; Cantatas for voice, with
basso continue ; 6 concertos for 2 flutes ; 6
concertos for flute and bass ; 4 collections
of minuets ; 6 trios for strings ; Collection
of brunettes for flute and violin. He pub-
lished Nouvelle methode pour appreudre
la musique, etc. (Paris, 1709), and a method
for violin (Paris, 1720). Fetis ; Mendel ;

Cremona, Italy, in 1568, died in Venice,
1643. When young he entered the service
of Gonzaga, Duke of Mantua, as viola
player ; studied counterpoint under Marco
Antonio Ingegueri, but never showed any
fondness for scholastic work of that sort,
and the writings of the Florentine music-
reformers had more influence upon him
than his teacher's instruction. His first
book of Cauzonette was published in 1584.
By about 1600 he was an ardent follower of
the new school, and, maddened by some se-
vere criticisms from the conservative party,
even went to Rome to submit some eccle-
siastical compositions to Clement VIIL In



1603 he succeeded Ingegneri as maestro di
cappella at the court of Mantua. In 1607
his first opera, Ariarma, written in emula-
tion of Caccini and Peri's Euridice, was
brought out at the wedding of Francesco
di Gonzaga, the duke's son, and Marghe-
rita, Infanta of Savoy, with unprecedented
success. After producing two more dra-
matic works in Mantua, he was invited to
Venice by the Procurator! of S. Marco, and
elected to succeed Giulio Cesare Marti-
uengoas maestro di cappella, Aug. 19, 1G13,
at a salary of three hundred ducats, with
fifty ducats extra for travelling expenses.

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 89 of 93)