Scan 76
Grove's dictionary of music and musicians;, 1904
28 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1has occasionally visited England, but without achieving in either country a great popular success. The possessor of a faultless technique, a good all-round musician, and by no means lacking in fire, his playing does not indicate a passion for beauty such as one marks in a great genius of the violin. His compositions include three concertos and a number of smaller pieces for the violin.
3W. W. C.
5MARSON, GEORGE, called Mus.B. (although no trace of his degree is to be found), contributed to 'The Triumphes of Oriana,' 1601, the five-part madrigal 'The nimphes and shepherds.' He composed services and anthems, some of which are still extant in MS.
7W. H. H.
9MARTEAU, HENRI, Professor of the Violin at the Geneva Conservatoire, born at Rheims, March 31, 1874. His father was an amateur violinist and President of the Philharmonic Society of Rheims; his mother, an accomplished pianist, a pupil of Madame Schumann. Sivori first discovered Henri Marteau's talent, and presented him with a violin, at the same time persuading his parents to allow him to study it as a profession. His first master was Bunzl, a pupil of Molique, his second, Léonard. In 1884, when only ten years of age, he appeared under Richter at the Vienna Philharmonic Society, and elsewhere in Germany and Switzerland; in the year following he was chosen by Gounod to play the violin obbligato of a piece composed for the Joan of Arc Centenary celebration at Rheims. In July 1888 he appeared at a Richter concert in London. In 1892 he gained the first prize at the Paris Conservatoire, and Massenet wrote a concerto expressly for him. He toured in America with success in 1893 and 1898, and in Russia in 1897-99. Having studied composition with Théodore Dubois, he brought out a cantata, 'La voix de Jeanne d'Arc,' for soprano, chorus, and orchestra, in 1896. Baker's Biog. Dict. of Musicians; Henry C. Lahee's Famous Violinists of To-day and Yesterday, Boston, U.S.A., 1899. E. H.-A.
11MARTELÉ, and MARTELLATO (Ital.), from marteler and martellare, to 'hammer'; said of notes struck or sung with especial force, and left before the expiration of the time due to them. Notes dashed, dotted, or emphasised by > or fz., are Martelées or Martellate in execution. The term Martellement is sometimes employed for acciaccatura.
13J. H.
15In violin, violoncello, and viola music this sign is used to indicate a detached hammered style of bowing. The effect is usually produced by a series of short quick up and down strokes at the point of the bow, without allowing the bow to leave the strings. The stick is held firmly, and the thumb pressed in the direction of the index finger, as each note is played. The arm should remain quite loose, and care should be taken to give a stronger pressure to the up bow than the down bow, or else the Martelé will become uneven. C. Schroeder's Catechism of Violin Playing (Leipzig, 1889; London, 1895); Carl Courvoisier's Technique of Violin Playing (Cologne, 1878; London, 1880); H. W. and G. Greaswell's How to Play the Fiddle (London, 1886).
17O. R.
19MARTHA. Opera in three acts; music by Flotow. Produced at Vienna, Nov. 25, 1847. It was an extension of LADY HENRIETTE, in which Flotow had only a third share. The alterations in the book are said to have been made by St. Georges, and translated into German by Friedrich. It was produced in Italian at Covent Garden, as 'Marta,' July 1, 1858; in English at Drury Lane, Oct. 11, 1858, and in French at the Théâtre Lyrique, Dec. 16, 1865. The air of 'The Last Rose of Summer' is a prominent motif in this opera.
21G.
23MARTIN, SIR GEORGE CLEMENT, born Sept. 11, 1844, at Lambourne, Berks, received instruction in organ-playing from Mr. J. Pearson and Sir John (then Dr.) Stainer, also in composition from the latter during the time he was organist there at the parish church. He was appointed private organist to the Duke of Buccleuch, at Dalkeith, in 1871; Master of the Choristers, St. Paul's Cathedral, in 1874, deputy organist at the same on the death of George Cooper in 1876, and organist on the resignation of Stainer in 1888. He received the degrees of Mus.B., Oxon., in 1868, Fellow of the College of Organists in 1875, and Mus.D. (degree conferred by the Archbishop of Canterbury) in 1883, and was appointed the same year teacher of the organ at the Royal College of Music, which post he has since resigned. His compositions include Morning and Evening Communion and Evening Service in C for voices and orchestra; Communion Service in A, Magnificat and Nunc Dimittis in A, for the same; the same in Bb for voices, organ, and military band; the same in G for voices and orchestra; 7 anthems; also a variety of compositions for parochial use; songs, part-songs, etc. His most important work is the 'Te Deum' sung on the steps of St. Paul's at the Diamond Jubilee of Queen Victoria, 1897, shortly after which event he received the honour of knighthood. (See Musical Times for July 1897, p. 441.)
25A. C.
27MARTIN, GEORGE WILLIAM, born March 8, 1828, received his early musical education in the choir of St. Paul's Cathedral under William Hawes. He was professor of music at the Normal College for Army Schoolmasters; music master at St. John's Training College, Battersea (1845-53), and organist of Christ Church, Battersea, in 1849. He composed many glees, madrigals, and part-songs, for some of which he was awarded prizes, and edited and published cheap arrangements of the popular oratorios and other works of Handel, Haydn, and others. For some years he directed performances given under the name of the National
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