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Scan 56
Dictionary of music and musicians, 1908
31 lines. Read by computer on 3 September 2026. Printed page 32. See the scan on archive.org.
1Chateaubriand, hearing the tune sung by Arabs in Palestine, suggested that it had been carried there by the Crusaders, either in the time of Godfrey de Bouillon, or in that of Louis IX. and Joinville; but no musician can entertain this idea for a moment. The breadth of the phrasing, the major mode, and the close on the dominant, are as characteristic of the popular tunes of the time of Louis XIV. as they are unlike the unrhythmical melodies of the Middle Ages.
3It is not surprising that neither words nor music are to be found in the many collections of both; nowadays the merest trifles appear in print, but formerly all songs were sung from memory. It would probably have died out had not Madame Poitrine used it as a lullaby for the infant dauphin in 1781. Marie Antoinette took a fancy to her baby's cradle-song, and sang it herself, and 'Malbrough s'en va-t-en guerre' was soon heard in Versailles, Paris, and at length throughout France. Beaumarchais introduced it into his Mariage de Figaro (1784), which still further contributed to its popularity. It then became a favourite air for couplets in French vaudevilles; and Beethoven brings it into his 'Battle Symphony' (1813) as the symbol of the French army. The air is now equally popular on both sides of the Channel. Many an Englishman, who would be puzzled to recognise Marlborough under the guise of Malbrook, is familiar with the tune to the convivial words, 'We won't go home till morning' and 'For he's a jolly good fellow.'
5The piece was made the subject of an opéra-bouffe in four acts, words by Siraudin and Busnach, music by Bizet, Jonas, Legouix, and Delibes, brought out at the Athénée, Dec. 13, 1867. [The first English use of the air which the present writer can trace is a setting of it to a satirical song relative to the siege of Gibraltar, mentioning the incidents of the defeat of the combined Spanish and French forces on Sept. 13, 1782. The song was undoubtedly written about that date, and the tune selected in a spirit of derision. Its title runs, 'D'Artois' return from Gibraltar, translated from the French and adapted to the Malbro' air.' The first verse, out of many, is:—
7D'Artois returns from Spain,
8O what a rare campaign (bis).
9We thought that with a look
10He would the place have took,
11But the thunder of his wrath
12Was not a cracker worth, etc., etc.
14It was published first as a half sheet by Preston, and afterwards included in a folio work issued by that publisher, The Beauties of Music and Poetry, circa 1790.
16From this period the air quickly gained popularity in England, mostly, however, as an instrumental piece for the flute or violin. It is found in Aird's Selection, vol. iii. [1788], and in most violin and flute collections of shortly before the close of the 18th century. It was also frequent as a harpsichord lesson with variations; and Charles Dibdin, in his Musical Tour, 1788, speaks of young ladies 'hammering Malbrouk out of tune.' About 1790 an English song, 'The Maid of Primrose Hill,' was adapted to the air, and after this time numerous others now forgotten. About 1830, 'We won't go home till morning,' the second verse of which is 'For he's a jolly good fellow,' turned the delicate and rather melancholy French air into a convivial channel, and with this song it is now always associated in England.] G. c.; with additions by F. K.
18MALCOLM, ALEXANDER, born in Edinburgh, 1687, was author of A Treatise of Musick, Speculative, Practical and Historical, 8vo, Edinburgh, 1721; second edition, 8vo, London, 1730; a well-executed work. An ill-made abridgement by an 'eminent musician,' appeared in London, 1776. In 1721 one Mitchell published 'An Ode on the Power of Musick,' dedicated to Malcolm, the greater part of which is prefixed to the two editions of the Treatise. W. H. H. His work is the first important treatise on the theory of music issued in Scotland. Prior to it are, the few leaves of general instructions in the Aberdeen Cantus (1662, 1666, 1682), and a thin folio volume entitled An Introduction to the Knowledge and Practice of Musick, by A. B., 1717. The copy, probably unique, was sold at the Taphouse sale in 1905, and had bound up with it a contemporary manuscript essay on The Institutions of Musick wherein are sett forth the practicall principles of Musicall Composition. Another manuscript treatise is of the 16th century, and written in the Scottish dialect. It is mentioned by Hawkins and belonged to him; it is now in the British Museum.
20Malcolm's work is in octavo, and the first edition contains 608 pp. with engraved musical examples; it was issued at 'Edinburgh, printed for the author, 1721.'
22Hawkins and later writers speak in the highest terms of its merits. The book was dedicated to the 'directors of the Royal Academy of musick' (i.e. the manager of the Italian Opera), who are named individually.
24It is advertised as just issued, in the Edinburgh Evening Courant of Nov. 6, 1721, and from this advertisement we learn that the author then lived 'in the Cowgate, opposite Burnet's Close.'
26F. K.
28MALEK ADEL. An opera seria in three acts; words by Count Pepoli, music by Michael Costa. Produced at the Théâtre Italien, Paris, Jan. 14, 1837, and in London at Her Majesty's, May 18, 1837.
30MALHERBE, CHARLES THÉODORE, born in Paris, April 21, 1863, on the completion of his literary and legal studies (having reached the grade of 'licencié') took up music and studied
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