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Scan 517
Dictionary of music, 1900
20 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 509. See the scan on archive.org.
1and barren, an endless recitation over a meagre continuo accompaniment, not unlike Gregorian Chant, M., on the other hand, struck chords of warmer feeling; he frequently introduced arioso, and attached great importance to the instruments accompanying the song; and he became the father of the art of instrumentation. It is known that he invented the tremolo of strings (in the Combattimento di Tancredi); Orpheus mourns to the accompaniment of bass viols, and the chorus of spirits answers, supported by small organi di legno, to the song of Pluto strengthened by four trombones. The sacred works of M. which have been preserved are: a mass à 6, together with several vespers and motets (1610); "Selva morale e spirituale" (masses, psalms, hymns, Magnificats, motets, Salve, and the above-named Lamento, à 1–8 with violins, 1623); finally, masses à 4 and Psalms à 1–8, with litanies to the Virgin (posthumous, 1650). Besides the madrigals already mentioned, there are: the sixth book (madrigals à 5, and a dialogue à 7, 1614), the seventh book ("Il concerto," madrigals à 1–6, and other songs, 1619), and the eighth book ("Madrigali guerrieri e amorosi, con alcuni opuscoli in genere rappresentivo," 1638). Finally, Giulio Cesare M., the master's brother, published: "Scherzi musicali a tre voci" (1607), which are written in the "French style" (i.e. after the manner of chansons); according to the report of his brother in the preface, M. visited the Spa Baths in 1599, whence he brought back a knowledge of this style. Of madrigals by M. lately reprinted there are: "Cruda Amarilli," in Martini's "Esemplare," Choron's "Principes de composition," and Kiesewetter's "Geschichte," etc.; "Strazziami pure il core," in Burney's "History," and in the Antologia of the Milan Gazetta musicale; the Lament from the Arianna in Kiesewetter's "Geschichte der abendländischen Musik," Winterfeld's "Gabrieli," etc.; fragments from Orfeo in Hawkins' and in Burney's Histories, Kiesewetter's "Geschichte," etc.; psalms in La Fage ("Diphthérographie"), besides detached pieces in Martini, Choron, Winterfeld, Reissmann, Gevaert; and, finally, in 1881, the complete Orfeo, with worked-out general-bass by R. Eitner (Publications of the "Gesell. f. Musikforschung," tenth vol.).
3Moore, Thomas, the famous poet, b. May 28, 1779, Dublin, d. Feb, 25, 1852, Sloperton Cottage, near Devizes, was a gifted, though not trained, musician. For many of his songs he wrote melodies, which became popular; he also wrote some part-songs. (Cf. Grove's "Dictionary of Music.")
5Morales, Cristofano, important Spanish contrapuntist of the 16th century, b. Seville; about 1540, Papal singer at Rome. He published two books of masses (the first without date, at Paris; 2nd ed. 1546; 2nd Book 1544, and frequently), Magnificats à 4 (1541, and frequently), two books of motets à 4 (1543–46), motets à 5 (1543), Lamentations à 4–6 (1564). Among modern publications Eslava's "Lira sacro-hispana," especially, contains motets and portions of masses; Martini's "Esemplare," Choron's "Principes de composition," Rochlitz' "Sammlung," Proske's "Musica divina," etc., also contain pieces by M.
7Moralities. (See Mysteries.)
9Moralt Brothers established a famous quartet of strings at Munich about the beginning of this century. Joseph (b. Aug. 5, 1775, Schwetzingen (near Mannheim), leader at Munich, d. 1828), played first violin; Johann Baptist (b. Jan. 10, 1777, Mannheim, d. Oct. 7, 1825, Munich), second violin (composed symphonies, concertantes, and duets for two violins, quartets, etc.); of the twin brothers Jacob and Philipp, b. 1780, Munich, the former died as early as 1803; Philipp, who died 1829, Munich, was the 'cellist of the Quartet. The youngest, Georg (b. 1781, Munich, d. there 1818), was the viola-player of the excellent ensemble.
11Moran-Olden, Fanny, celebrated stage-singer (dramatic soprano, with voice of great compass), b. Sept. 28, 1855, Oldenburg; she was the daughter of the chief medical councillor, Dr. Tappenhorn; and, after efforts for a long time unavailing, she overcame the opposition of her parents to her wish to go on the stage. She was trained by Haas, at Hanover, and Auguste Götze, at Dresden, and made her début in 1877, under the assumed name of Fanny Olden, at a Leipzig Gewandhaus concert, appearing some months later as Norma on the Dresden court stage. In the autumn of 1878 she obtained her first engagement at Frankfort, and, at once, for a principal rôle. In 1879 she married the tenor singer Karl Moran. Since the autumn of 1884 she has been a member of the Leipzig Stadttheater company.
13Mordent (Fr. Pincé, Mordant) is the name of the ornament which consists of a single and quick exchange of the principal note with that of the under minor second; it is indicated by ♭. If the auxiliary note has to be chromatically altered, the sharp, flat, or natural, etc., must be placed under the sign; but even if one of these signs is absent, or placed by mistake above, the minor under second must be taken:— one of two readings
14Mordent (Fr. Pincé, Mordant) is the name of the ornament which consists of a single and quick exchange of the principal note with that of the under minor second; it is indicated by ♫. If the auxiliary note has to be chromatically altered, the sharp, flat, or natural, etc., must be placed under the sign; but even if one of these signs is absent, or placed by mistake above, the minor under second must be taken:— one of two readings
16thus:
18Only a part of the value of the note is taken up by the M. The long M., ♭♭♭♭, is executed, in corresponding manner, with two or three repetitions of both notes:— one of two readings
19Only a part of the value of the note is taken up by the M. The long M., ♫, is executed, in corresponding manner, with two or three repetitions of both notes:— one of two readings
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