George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

. (page 170 of 194)
Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 170 of 194)
Font size
QR-code for this ebook


, F. Bridge in his ' Primer of Double Counter-
)int and Canon.' P. 308. The dates given in
le list are those attached by Mendelssohn to
le autograph of the existing form of each work.
. 309 a. Op. 94, after ist version add with
olin obbligato. P. 3096, paragraph 4. After
tiorley's 'Life,' add Eckardt's 'David,' F.
loscheles, 'Briefe'. P. 310 &. Add (17). Ec-
irdt, 'Ferdinand David und die Familie Men-
ilssohn-Bartholdy , . . von Julius Eckardt'
jeipzig, 1888), contains 30 letters by F. M. B.
8). Felix Moscheles, 'Briefe von F. M. B. an
jnaz und Charlotte Moscheles . . . von Felix
[oscheles,' Leipzig, 1888, contains many fresh
tters by F. M. B. [G.]

MENDELSSOHN QTHNTETTE CLUB,
HE, was formed at Boston, Massachusetts, in
349, for the purpose of giving concerts of
lamber-music, and made its first public appear-
ice in Chickening Hall Dec. 14 of that year,
or a number of years the Club gave a series of
mcerts at Boston in each season, classical pro-
rammes alternating with those of a popular
laracter. The reputation of the Club extend-
ig beyond the city, concert tours were ventured
1, these being at first confined to towns in New
ngland. By degrees its sphere of action in-
nded remote Western and Southern cities. No
milar organization in the United States has had
> long a life, or has introduced to its patrons
lore novelties of every school of chamber-music.
.8 occasion has demanded the Club has been



METAMORPHOSIS.



717



augmented to six or even nine players. Its
programmes have been varied by performances of
distinguished pianists and singers. [F.H.J. ]

MENDELSSOHN SCHOLAESHIP. P. 311a,

1. 27, omit the words the present scholar. Add
that Eugene d'Albert held the scholarship in
1 88 1-2, and that the late scholar. Miss Marie
Wurm, was elected in Jan. 1884. The following
is a list of the committee, as at present consti-
tuted (18S7): Mr. Otto Goldschmidt, Mr. J.
Barnby, Mr. J. Bennett, Dr. J. F. Bridge, Mr.
A. D. Coleridge, Mr. W. G. Cusins, Sir George
Grove, Mr. A. G. Kurtz, Mr. Henry Leslie,
Rev. Sir F. A. G. Ouseley, Mr. K. J. Pye, Mr.
R. R. Pym, Dr. Stainer, Sir Arthur Sullivan,
and Mr. Julian Marshall (Hon. Sec.)

MENTER, Sophie. See vol. iii. p. 16 a.
MERBECKE, John. Add that in 1550 he
took the degree of Mus. D. at Oxford.

MERCADANTE, Savekio. Correct the date
of birth, as the certificate of his baptism bears
the date Sept. 17, 1795 (Paloschi). P. 3126,
1. 10, for 1822 read 1821. Line 21, add date of
'I due illustri rivali,' 1838. Last Yme,for Dec.
13 read Dec. 17.

MERCATOE, Michael. See vol. iv. p. 304
note.

MEREAUX, Jean Nicolas le Fkoid de,
born in Paris I745> '"'^'^ organist of the Church
of St. Jacques du Haut Pas. His oratorios
' Samson ' and ' Esther ' were given at the Con-
cert Spirituel in 1774 and 1775 respectively.
These, and an Ode on the birth of the Dauphin,
performed at the same concerts in Dec. I'jSi,
are his only works of importance besides his
operas, of which the following complete list is
given in the supplement to F^tis : — ' La Res-
source comique,' 1 772 ; 'Le Retour de Tendresse,'
1774; ' Le Duel comique' (partly arranged
from Paisiello), 1776 ; ' Laurette,' 1777 ; ' Alex-
andre aux Indes,' 1783 ; Oedipe et Jocaste, 1791;
' Fabius,' 1793. He died in Paris in 1797. His
grandson,

Jean Amedee le Feoid de Meeeatjx, bom
in Paris 1S03, became a remarkable pianist and
a most successful teacher. He studied under
Reicha from the age of ten, and appeared with
great success in Paris and London before 1835,
when he settled in Rouen as a teacher, where he
died April 25, 1S74. Of his original composi-
tions his studies are the most important, but his
fame rests chiefly upon his excellent collection
published in 1867 under the title of ' Les Clave-
cinistes de 1637 ^ 179°-' He was also in great
repute as a musical journalist. [M.]

MERK, Joseph. Add days of birth and
death, Jan. 18 and June 16 respectively.

MERKEL, Gustav. Add date of death,
Oct. 30, 1885.

MERKLIN, SCHUTZE, & CO. See Dau-

BLAINE ET CaLLINET, vol. i. p. 43I.

METAMORPHOSIS is the modification of
a musical figure or idea, made with the view



■18



METAMORPHOSIS.



of putting it in a new light, or adapting it to
changed conditions. In the later stages of the
development of abstract music, composers have
concentrated a great deal of energy on devising
new ways of enhancing the intellectual interest
of their works — as by making the continuity
of the component sections more close, and giving
a new aspect to the relationship of various
movements, or distinct portions of single move-
ments; and most of these are based upon some
variation or modification of a well-defined melodic
or rhythmic figure. Such devices can be found
occasionally in the early stages of modern in-
strumental music, as in J. 8. Bach ; and an
example from Mozart, in which he welds together
a Minuet and Trio, is quoted in the article
FoKM, vol. i. p. 555. Beethoven was the first
to make any very conspicuous use of them, and
they are frequently met with in the ' working
out ' portion of the movements of his sonatas and
symphonies. A very striking example is quoted
in the article Woeking OUT, vol. iv. p. 489.
The device is to be met with also in other
situations, as in the first movement of the
C minor Symphony, where the well-known



fisrure



3



i



at the outset be-



slizzl-ztit



=^=1==^



in the



-s^-



contrasting key. Berlioz makes ingenious and
characteristic use of the device in his Symphonic
Fantastique, in Ids treatment of what he calls
the ' idee fixe.' Liszt also makes it a conspicuous
feature in his experiments in programme music.
Wagner makes more elaborate use of it than
any one else in his great music dramas, and
constantly transforms the character of his Leit-
motiven in conformity with the varying nature of
the situations. See also Leitmotif and Work-
ing OUT. [C.H.H.P.]

METASTASIO. The following additions are
to be made to the ChronologicalLi st on p. 3 1 6 a : —

' Didone abbandunata.' For Sarro read Sarri,
and correct the date of Jommelli's composition
to 1745. Add to the names of composers who
set the libretto those of Galuppi ; Scarlatti, about
1724; Porpora, 1742; Piccinni, 1767; Kozeluch,
1795; Paisiello, 1797; Paer, 1810; Mercadante,
1823 ; Eeissiger, 1823.

' Siroe.' Add the setting by Piccinni, 1759.

' Catone in Utica.' Add Leo and Hasse, 1732;
Grauu, 1744; Piccinni, 1770.

' Ezio.' Add Handel, 1731 ; Mercadante, 1826.

' Alessandro nell' Indie.' Correct date of
Vinci's work to 1730. Add Leo, 1727 j Gluck,
1745 ; Piccinni, 1758 and 1774.

' Artaserse.' Add Leo, 1 740.

'Demetrio.' Add Hasse, 1732.

'Issipile.' Add Porpora, 1723.

' Olimpiade.' Add Pergolesi, 1735; Leo, 1740;
Jommelli, 1765 ; Piccinni, 1761 and 1771. [See
Olimpiade.]

' Demofoonte.' Add Leo, 1741 ; Piccinni,
1762 ; Paisiello, 1773.



. METZLEE.

' Clemenza di Tito.' Add Leo, 173?.

' Achille in Sciro.' Correct date of jommelli
work to 1745.

'Giro riconosciuto.' Scarlatti, 171 2; Lee
1727 ; Jommelli, 1744.

' Temistocle.' Omit Caldara, as his work i
not composed to Metastasio's libretto. Ad
Porpora, 1742 ; Pacini, 1838.

' Zenobia.' Add Hasse, 1763.

'Antigono.' Add Gluck, 1754.

' Ipermestra.' Add Jommelli, 1752; Glucl
1742 ; Hasse, 1751.

' Attilio Kegolo.' Add Jommelli, 1752.

' L'Isola disabitata.' Correct date of Sea:
latti's work to 1757'

METHFESSEL, Albert Gottlieb, born Oc
6, 1 785, at Stadt Ilm, in Thuringia, became Kan
mermusikus at Rudolstadt, 1810, and Hofkapel
meister in Brunswick in 1832. He published
large number of songs of a popular type, ar
part-songs for male voices ; some of his produ'
tions, as for instance, ' Krieger's Abscbied
' Rheinweinlied ' and ' Deutscher Ehrenprei-
are still popular to a certain extent, and a;
included in most of the collections. Methfess
died March 23, 1869. [M

METRONOME. P. 320 a, 1. 37,/or 108 rm
208.

METZLER. The founder of this well-know
business was Valentine Metzler, a native of Bii
gen on the Rhine, who opened a shop in Wardoi
Street for the sale of flutes and other instrumen
about the year 1790. He married an Englisl
woman, and his only child was George Richai
Metzler (1797-1867), so well and kindly remer
bered by many of the musical profession and trac
in this country. The firm is said to have entert
upon music publishing in 181 6, and removed:
course of time to 37 Great Marlborough Stre«
where, on the site of the original shop, but i
eluding neighbouring houses, the present war
house stands. The only surviving child of Geor;
Richard was George Thomas Metzler (183;
1879). He gained a practical knowledge of tl
pianoforte in Germany, and had a distinct litera
bias, which he followed as far as opportunity pe
mitted. He became known as a writer of wor
for songs, Mrs. George March (Virginia Gabrie
IiTme. Sainton-Dolby, Henry Smart, and J.
Hatton, having set his graceful lyrics to music. .
1867 Frank Chappell, who had acquired his kno
ledge of business in the Bond Street firm of th
name, joined the late G. T. Metzler in partnershi
and from his suggestion the important agency
Messrs. Mason & Hamlin, which practically i
troduced the American organ into this counti
became a specialty of the Metzler busine
Frank Chappell died in 1886, and since tb
date the business has been carried on by t
trustees of the estate (1888). The new premii
referred to were completed and opened in 18;
So comprehensive is their plan that there m
be said to be no musical instrument in prest
use, or even part of a musical instrument, un
presented in the stock, while the valuable coj



METZLER.

its of the publishing department include all
Quer of works, from full scores of modern
ras to popular instruction books. [A.J.H.]
tIEYERBEEJR, G. P. 324 1, 1. 26, for 1S61
d 1862.

iIICROLOGTJS. For corrections see Okni-
iPAECCS in Appendix.

dlGNON. Op^ra Comique in three acts,
■ds by MM. Carre and Barbier, founded on
ilhelm Meister'; music by Ambroise Thomas,
duced at the Opera Comique, Paris, Nov. 17,
6, and in London, at Drury Lane, July 5,
o. [M".]

IIKADO, THE. Comic opera in two acts ;
ds by W, S. Gilbert, music by Sir Arthur
livan. Produced at the Savoy Theatre, March
18S5. [M.]

IILAN. For corrections to lines 18-21 of ar-
5 see Gafori, in Appendix, vol. iv. p. 643.

IILANOLLO, The Sistebs. Add date of
ih of Teresa, Aug. 28, and of Maria, June 19.
! day of the latter's death is Oct. 21.
IINOR. See also Day, vol. i. p. 436 a, and

LMHOLTZ, vol. i. p. 725.

IISERERE. P. 3365, 1. 18 from bottom,
■ after the word Geminiani (i. e. Alfieri), and
vol. iii. 523 a, note i.

IISSA DE ANGELIS. The name generally
m to a very beautiful Plain-Chaunt Mass, in
de XIII, prescribed in the Ratisbon Gradual,
use ' In Festis Solemnibus,' and appended
he Mechlin Gradual, as a ' Missa ad libitum.'
Iging from the internal evidence afforded by
freedom of its phrasing, and the Mode in
,ch it is written, the Missa de Angelis would
m to be by no means the oldest Mass of this
is now in use : its antiquity is, however,
at enough to have obliterated all trace of its
;ory, and even of the origin of the name by
ich it is now generally designated, and under
;ch it is perhaps more frequently sung than
• other Mass of its kind, both in its original
n, and in the English translation used at
y ban's, Holborn, S. Mary's, Paddington, and
er London Churches in which Gregorian
vices are encouraged.

lie number of the older Masses to which
ision has been made is very small. The
linarium Missae in the Ratisbon Gradual,
>liRhed under the authority of the Congre-
ion of Rites, contains : the ' Missa in Tempore
ichali ' in Modes VII and VIII ; a very fine
issa in Duplicibus,' beginning in Mode I,
i another in Mode VIII; a 'Missa Beatse
rise' beginning in Mode I, and another in
de VIII ; the ' Missa in Dominicis,' in Mode
nd II; the 'Missae in Festis Semiduplici-
' and 'In Festis Simplicibus,' both begin-
in Mode VIII; the well-known 'Missa
Defunctis,' beginning in Mode I, and in-
Jmg the famous 'Dies ine' in Modes I
\- II; and some smaller Masses, sung in
vent, and Lent, during Octaves, and on
ial Days. The Mechlin Gradual also gives



MORLACCHL



My



another ' Missa ad libitum ' in Mode XIII, and
yet another in Modes VII and VIII.

Some editions of the Paris Gradual add to
these a spurious ' Missa Regia,' professedly in
Mode I, but really in the modem key of D minor,
composed by Dumont, Maltre de Chapelle to
Louis XIV, in acknowledged imitation of the
older unisonous Masses, but in utter ignorance
of the principles upon which they are con-
structed, and without a trace of appreciation of
their true style or sentiment. Tliis Mass was
once very popular in France, and much sung in
the Paris Churches ; but since the revival of the
taste for pure Ecclesiastical Music, it has wisely
been discarded in favour of the older Masses
which it was intended to displace. [W.S.R.]

MISSA PAPAE MARCELLL Line 3 of
article, yor 1567 read 1569.

MIZLER, L. C. At end of article add a
reference to the English edition of Spitta's
'Bach,' vol. iii. 22-25.

MODES, ECCLESIASTICAL. P. 343 a,
1. 26, for Plain Chaunt read Plain Song.
P. 343 b, end of second paragraph, for POLY-
PHONIC Music read Polyphonia.

MOLINARA, LA. Add that the air <Nel
cor piti non mi sento ' is known in England as
' Hope told a flattering tale. '

MOLIQUE, B. P. 351 b, bottom line, for
1849 read 1840. P. 352 a, 1. 10 from end of
article, add day of death, May i o. Line 7 from end,
for a Pianoforte Trio read two Pianoforte Trios.

MONDAY, Joseph. See Vowles, in Ap-
pendix.

MONDAY POPULAR CONCERTS. For
additions see Saturday Popular Concerts, and
add that the 1 000th concert took place on Mon-
day, April 4, 1887.

MONIUSZKO, Stanislaus. Correct date of
birth to 1S20. P. 353 b, 1. 2, for 1858 read 1846,
and add date of production of ' Der Paria,' 1869,
and that he wrote numerous operettas, etc. LasC
line,yor in read June 4.

MORALT. Add date of birth of Johann
Baptist, Jan. 10.

MORDENT. Example 4. It should be men-
tioned that many excellent authorities consider
it rio-ht to play this passage without the acci-
dental, i.e. using A, not A J, as the auxiliary
note of the mordent. See Spitta's ' Bach,' English
edition, i. 403, note 89. Example 7, the last
note but one should be D, not B. The sentence
between examples 8 and 9 should be compared
with the article Treatment of the Organ.

MORIANI, Napoleone. Line 2 of article,
for about 1806 read March 10, 1808. Add day
of death, March 4.

MORLACCHL Francesco. P. 3666, 1. 28
from bottom, add date of ' Raoul de Cre'qui,'
1 811, of 'La Capricciosa pentita,' 1813, and the
' Passion,' 1812. P. 367 a, 1. 19, add date of 'II
Sacrifizio d'Abramo,' 1871. Line 39, add 'Lao-s



!



7?0



MORLACCHI.



P. 370 a, 1. 11, for
Line 2>'^, for May 29,



dicea' (Naples, iSi?), 'LaMorte d'Abel' (Dres-
den), and -DonnaAurora' (Milan), both in 1821.
MORLEY, Thomas. The date of birth is
established as 1557 by the title of a ' Domine,
non est,' in the Bodleian Library. It runs,
« Thomae Morley, aetatis suae 19. Anno Domini

MORNINGTON, Loed. Add date of his
election to the professorship, 1764, and that he
held it till 1774.

MORRIS DANCE. P. 369 1, for the sentence
between the two musical examples, read In
Yorkshire the following tune, founded on that
of ' The Literary Dustman,' is generally used.

MORTIER DE FONTAINE. P. 369 I, for
1S18 read May 13, 1S16. Add date of death,
May 10, 1883.

MOSCHELES, Ignaz.
early in 1822 reoJ in 1821. _ .. . ^

1826, read June 11, 182 1. Add that the
< Life of Moscheles,' referred to in the last para-
graph, was translated by Mr. A. D. Coleridge
(Hurst & Elackett). His correspondence with
Mendelssohn was published in 1888.

MOSi: IN EGITTO. Line 3 of article, add
date of the Naples production, March 5, and of
that in Paris, Oct. 22.

MOSEL. P. 370 &, add that he was one of the
three chief mourners at Beethoven's funeral.

MOSZKOWSKI, MoRiTZ. Line 2 of article,
for Berlin read Breslau, and add day of birth,
Auo-. 23. Add the following to the list of his
works : — 'Aus alien Herren Lander,' PF. duet ;
' Johanna d'Arc,' symphony in four movements,
op. 19 ; 2 Concertstiicke for violin and PF. ; 3
Concert studies for PF., op. 24 ; 3 pieces for cello
andPF.jOp. 29; Violin Concerto, op. 30; Suite
for orchestra, op. 39; Scherzo for violin and
PF. op. 40 ; besides many PF. solos and duets,
and four books of songs.

MOTET. P. 374 a, 1. 7 from bottom, for
* Motetti c. C read ' Motetti C,' and add that
the British Museum possesses a single part-book
of this work. P. 375 a, in the musical example,
for deviderat read desiderat. (Corrected in late
editions.)

MOTETT SOCIETY. In the list of con-
tents, the title of the fifth number of Division i
is ' Almighty and ever-living.' Six lines from end
of the same division, for Nannino read Nanini.
Line 3 of Division 2, omit the ' Do.' implying
that a Nunc Dimittis of Gabrieli's is included.
At end of Division 3, add the following : —

Lasso. Hear my prayer, 4 voices. Croce. praise the Lord. 4 v.

Do. Ogive thanks 4 T.

Do. Teach me Thy way. 4 T.

Do. Give ear. Lord, 4 V.

Do, Behold, 1 bring you. 4 T.
Lasso. Save me. O God, 4 t,
Vittoria. O God. wherefore, 4 T.
Hooper, Teach me Thy way, 4 v.

[M.]

MOTTL, Felix, a celebrated and highly

gifted conductor, was bom at Vienna in 1856.

As a boy he possessed a line soprano voice, and



Byrd, Save me O God, 4 v,
Tye. From the depth. 4 v.
Lasso, I will love thee. 4 v.
^ ittoria. Save me. O God, 4 V.
lilel. O praise the Lord, 4 v.
Tallis, iilessed are thosp, 5 v.
Shepherd, Haste thee, O God, 4 T
Cruce, Behold now, praise, 4 V.



MOZART.

obtained admission to the Lbwenburgische Cor l
vict, the preparatory school of the Imperii;
Court Chapel. Later on be entered the Vienn
Conservatory, where Josef Hellmesberger soo
recognized the eminent gifts of young Mott
who in due course obtained all the prizes tl;
college could award. The Academical Richai
Wagner Verein of Vienna elected him to ti;
post of conductor of the society's concerts, and
was there that his eminent ability as a ch
d'orchestre attracted general notice. In iSy
Mottl took part in the Bayreuth Festival pe:
forniances of Wagner's * Ring of the Niblung
as stage conductor, and he became one of tl
most active members of the so-called ' Niblungei
kanzlei.' Upon the recommendation of Dessc
he obtained the post of conductor at the Grar
Ducal Opera House at Karlsruhe, which post 1
holds to the present day. It is due to Mott!
energetic activity that the performances at tli
opera house are now amongst the finest to 1
heard in Germany. A sworn enemy of all roi
tine woik, he produced at Karlsruhe many ii
portant stage works of modem times, includii
Berlioz's 'Benvenuto Cellini,' and all the m
sical dramas of Richard Wagner. Mottl h
also obtained brilliant successes as a conduct
of concerts, and was in i8S6 appointed by tl
Bayreuth authorities to conduct the festival pe
formances of ' Tristan and Isolde,' a task whii
he accomplished to perfection. He has coi
posed an opera, ' Agnes Bemauer ' (successful
produced at Weimar in 1880), and a considerat
number of songs for one voice and pianofor
accompaniment. He has lately orchestral
Liszt's pianoforte solo 'St. Francis of Ass
preaching to the birds.' It was played at t
Eichter Concert of June 4, 1888. [C.A

MOUTON, Jean. P. 378 b, at end of note
correct reference to K. i, d. 7. P. 379 a, 1. 1
for 8 k read a 8.

MOZART. P. 381 a, 1. 15 from bottom,^
pianoforte read harpsichord. P. 384a, 1. 25,^
1872 read 1772. P. 387 h, 1. 14, /or 1871 re
1 781. P. 3S8 h, 1. 33,/or Aug. 16 read Aug.
P. 400 5,1. 19 from bottom, /or 1778 read 17?
P. 401 a, 1. 26, for PF read violin. P. 405
1. 21, for considerably advanced reati completi
P. 406 a, 1. 8 from bottom, /or 1859 read 185

The notice of Mozart can scarcely be consider
complete without some mention of works, i
uoubtedly spurious, which have been attribut
to him, and of those which the best authorities c(
sideratleastdoubtful, especially assomeimporia
works are included in these categories. Of t
former class Kochel's Catalogue enumerates <
of the latter 47. The most important are •(
rious masses, published, together with Mozai
genuine ones, by Novello in his arrangement
organ and voices. Those in E b (Novello's n
13 and 16), and in C (his no. 17), Kochel
gaids as of doubtful authorship (Appendix n
185, 186). Novello's no. 7 in B b, of which 1
score and parts were published by C. F. Pet
at Leipzig as by Mozart, is believed by a wri



MOZART.

the ' Allgemeine musikalische Zeitung' (xiv.
829) to be spurious, which opinion is shared
■ 0. Jahn (ed. i, i. 673), who states that there
jre no clarinets in the Salzburg orchestra
len Mozart was there ; to which Kochel adds
at we know enough of Mozart's subsequent
B at Mannheim, Munich, and Vienna before
84, from his own letters, to be sure that he
en wrote no Mass except that in C minor. To
lich must be added that Mozart's widow stated
at this Mass was composed by F. X. Siiss-
lyer. Two short Masses (Novello's nos. S and
in C and G were published by M. Falter at
unich as Mozart's, but are said to be by
eissner of Munich. A short .Requiem in D
inor was published by Simrock at Bonn (No-
Uo's no. 18) as Mozart's; but Kochel says it
certain that Mozart never wrote any Requiem
cept his celebrated last composition.
The most important of these spurious Masses
that which was published in score by N. Sim-
:k at Bonn in 1821, and by Novello for organ
d voices as no. 12. This Mass commences in

but is chiefly in C and its related keys, and
ds in C. The reviewer in the 'AUgemeine
isikalische Zeitung' xxiii. p. 648, for Oct.
21 declares that he had possessed it for thirty
ars, and argues for its genuineness (notwith-
inding that the style is rather showy, more
Iculated to please the Archbishop of Salzburg
an to satisfy Mozart himself). But in July
26 Ritter Ign. von Seyfried opened a contro-
rsy on the subject in the ' Csecilia ' (vol. v.
eft 17, p. 77) with 'Scruples concerning the
ass in G published by Simrock in the name of
ozart,' in which he enumerated especially
jaknesses in part-writing and tonality, and
her faults, and pronounced it spurious. In
eft 22 of the same journal the publisher of the
ass declared that he had received it from Carl
ilehner, who would doubtless explain how he
A come into possession of the MS., the hand-
riting of which was similar to Mozart's, but
obably not his. But Zulehner made no an-
?er to the challenge. Jahn (i. 672) agrees with
jyfried, and adds that ' the treatment of the
struments, especially the bassoons, is quite
flfcrent from Mozart's manner in his Salzburg
asses.' And Kochel adds, 'This Mass is declared
J ivU connoisseurs to be decidedly spurious.' To
lis another testimony can now be added. The
olinist Leopold Jansa recognised it as a Mass

which he used to sing as a boy in a musical
hool in his native country of Bohemia, where it
as known as ' Midler's Mass.' This would take
iback to about 1S12, long before its first pub-
cation by Simrock in 1821. If Miiller was
iaUy the composer's name, it ought to be pos-
ble to discover him. As resrards his age, he
ight be August Eberhardt Muller. And he is
wned in Kochel's Catalogue (App. no. 286) on
le authority of a Catalogue of Breitkopf's, as
le real composer of some variations published as
[ozart's own ; besides which, two songs, also
Libhihed as Mozart's, are attributed to ' Miil-
ir' by Kochel (nos. 248, 249) on the authority



MOZART.



721



of a writer in the 'Allgemeine musikalische
Zeitung' (i. 745). But as a musician of North
Germany he was perhaps hardly likely to be
known in manuscript copies in Bohemia. Wen-
zel MiiUer, music composer at the various
theatres in Vienna from 1786 is more likely in
the latter respect, but his serious music is ex-
tremely unimportant. If the name Miiller be
discarded, it might be asked whether Zuleh-
nor may not have palmed off a work of his
own on Simrock as Mozart's. Zulehner was
well acquainted with Mozart, and worked for
Simrock, who published two choruses from
' Thamos,' arranged for four voices with pianoforte
accompaniment by Zulehner, which are quite
different from those in Mozart's ' Thamos ' to
the same words, and are therefore placed by
Kochel in the list of spurious works (no. 243).
This seems a parallel case to that of the Mass,
of which Simrock published both the score and



Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 170 of 194)