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Scan 586
Baker's Biographical Dictionary of Musicians, 1919
12 lines. Read by computer on 11 September 2026. Printed page 8. See the scan on archive.org.
1duction and Hymn to the Flag (op. 6); choruses; pf.-pcs.; songs.
3Maggi'ni, Giovanni Paolo (also Magini, Magino), b. Botticino-Marino, Italy, Aug. 25, 1580; d. Brescia, c. 1631. Famous violin-maker at Brescia. His violins, violas, 'celli and double-basses are prized almost equally with Stradivari's and Guarneri's; the double-basses are especially valued. The violins have a soft, viola-like tone. The label reads: Gio. Paolo Maggini, Brescia. —Cf. M. L. Huggins, G. P. M., His Life and Work (London, 1892); A. Berenzi, Gli artefici liutai bresciani (Brescia, 1890); id., Di G. P. M. (Cremona, 1907).
5Magnard [mäh-ñahr'], (Lucien-Denis-Gabriel-) Albéric, b. Paris, June 9, 1865; d. Baron, Oise, Sept. 3, 1914 (killed while defending his house against the Germans). Having completed his legal studies, he became a pupil of Dubois and Massenet at the Cons., where he won the 1st prize for harm. in 1888; then cont. his studies with d'Indy. He never held any position, but lived in almost complete seclusion at Baron, devoting his entire time to composition.—Works: The operas Yolande (Brussels, 1892), Bérénice (Op.-Com., 1911), Guerçœur (publ. 1904; not prod.) [M. wrote his own libretti]; 3 symphonies (op. 4, 6, 11); a suite (op. 2); an overture (op. 10); Hymne à la Justice (op. 14); Hymne à Venus (op. 17); Chant funèbre (op. 9); a quintet for pf. and wind-instrs. (op. 8); a string-quartet (op. 16); a pf.-trio (op. 18); a vln.-sonata (op. 13); a vcl.-sonata; 4 songs.
7Magnus, Désiré (recte Magnus Deutz), b. Brussels, June 13, 1828; d. Paris, Jan., 1884. Studied with Vollweiler in Heidelberg, and at the Brussels Cons.; after successful pianistic tours in England, Spain, Russia, etc., he settled in Paris as a concert-pianist, teacher, composer, and critic.—Publ. a well-known Méthode élémentaire de piano (1879); a Grande sonate, op. 140; 24 études for velocity and melody, op. 190; many salon-pieces; etc.
9Mahillon [mäh-i-yöhn], (Charles-) Victor, b. Brussels, Mar. 10, 1841. Since 1877, custodian of the museum of mus. instrs. at Brussels Cons.; also editor, 1869-86, of 'L'Écho musical,' and manager of his father's wind-instr. factory. He has made excellent reproductions of rare instruments, among them a complete collection of all the wind-instrs. in use during the 16th and 17th cents.—Publ. Tableau synoptique des voix, et de tous les instrs. de musique; Tabl. syn. de la science de l'harmonie; Éléments d'acoustique musicale et instrumentale (1874; silver medal, Paris); Étude sur le doigté de la flûte Böhm (1885); Catalogue descriptif et analytique du musée instrumental du Cons. Royal de Mus. de Bruxelles (1880; 2d ed., 4 vols., 1893-1912); Le matériel sonore des orchestres de symphonie, d'harmonie, et de fanfares (1897); Les instruments à vent. I. Le Trombone, son histoire, sa théorie, sa construction. II. Le Cor, do. III. La Trompette, do. (1907).
11Mah'ler, Gustav, b. Kalisch, Bohemia, July 7, 1860; d. Vienna, May 18, 1911. Studied in Iglau Gymnasium; then (1877) philosophy at Vienna Univ., and also at the Cons. (pf. with Epstein, comp. and cpt. with Bruckner). 1883-5, Kapellm. in court th. at Kassel (directed the grand mus. festival as a leave-taking); 1885-6 in Prague with Angelo Neumann, as Anton Seidl's successor (directed Nibelungen, Meistersinger, Tristan und Isolde, etc.); 1886-8 in City Th., Leipzig; 1888-91, Director of the Royal Opera at Pest, thoroughly reorganizing the opera; 1891-7, Kapellm. at Hamburg City Th.; in May, 1897, called to the Vienna Court Opera as Hofkapellm.; in Oct., 1897, succeeded Wilhelm Jahn as Director of the Court Opera. During the ten years of his directorship he displayed extraordinary talent as an organizer, and the institution flourished as perhaps never before; it was famous throughout the world for the perfection of its ensemble. In the fall of 1907 he resigned and came to New York as principal cond. of the M. O. H., where he made his début Jan. 1, 1908, with a superb performance of Tristan und Isolde; specially noteworthy were also his revivals of Fidelio and Don Giovanni and the American premières of Smetana's Bartered Bride and Tchaikovsky's Pique Dame. In 1909 he was elected cond. of the N. Y. Philh. Soc., and, in order that he might carry out his plans for a complete reorganization, endowed with autocratic powers. Into this work he threw himself with all his tremendous energy, achieving magnificent results, but the effort cost him his life. Early in 1911 he broke down and returned to Vienna, where he died a few months later.—Among modern conductors M. was one of the most imposing figures. But his soaring ambition would not let him rest content with the universal tribute paid to his genius as an interpreter; he sought equal distinction as a creative artist. His conceptions are invariably on the grandest scale, and the means employed for the realization of his ideas correspondingly elaborate. Although M. designates his principal works as 'Symphonies,' they have really nothing in common with the established classical form, beyond the number of movements; and even the arrangement of these differs from the accepted scheme of fast and slow tempi. In spite of consummate mastery of all technical details, M. failed as a composer because of lack of individuality and limited
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