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Scan 121
Grove's dictionary of music and musicians;, 1907
12 lines. Read by computer on 3 September 2026. Printed page 98. See the scan on archive.org.
1plates,' two books, 1696, folio, Walsh and Hare. A copy of this was sold at Dr. Rimbault's sale. With 'Symphonies for two flutes by a person of quality, fairly engraved on copper plates,' these songs by Matteis are advertised by Walsh and Hare in the London Gazette for May 11, 1696.] A song by him is included in a collection of 'Twelve New Songs,' published in 1699. According to North 'he fell into such credit and employment that he took a great hous, and after the manner of his country lived luxuriously, which brought diseases upon him of which he dyed.' The date of his death is unknown. He is said to have been the inventor of the half-shift, but it is claimed also for others.
3His son, NICHOLAS, was taught the violin by his father, and became an excellent player. He went to Germany and resided for some time at Vienna, [being a member of the court orchestra there from 1700,] but in 1737 returned to England and settled at Shrewsbury as a teacher of languages, as well as of the violin, where Burney learned French and the violin of him. He died there about 1749. [For a fuller account of the Matteis, father and son, see Roger North's Memoirs of Musick, p. 125, and Burney's History, iii. p. 515, etc.] W. H. H.; with additions in square brackets by F. K.
5MATTHESON, JOHANN, German musician and writer, born Sept. 28, 1681, at Hamburg, son of a clerk of excise; as a child showed striking symptoms of versatility, which his parents carefully cultivated. Besides the ordinary education he studied music, and at nine years could play the harpsichord and organ, sing and compose. His ability and versatility were truly extraordinary. A good classical scholar and a proficient in modern languages, a student of law and political science, a fine player both on harpsichord and organ, and thoroughly skilled in theory, an elegant dancer, a master of fence, and a cultivated man of the world. The first step in his changeful career was his appearance in 1696 as a singer (of female parts) in the Hamburg opera, then in its most flourishing condition. In 1699 he produced his first opera, 'Die Pleyaden'; in another, 'Cleopatra' (1704), he took the part of Antony, and after singing his part on the stage, was in the habit of sitting down at the harpsichord to conduct the orchestra. To this period belongs his acquaintance, and the famous duel, with Handel, who came to Hamburg in 1703. Mattheson tells us that he recognised Handel's genius immediately, that they became at once attached, and that their friendship continued, with occasional breaks caused by Mattheson's vanity, during the whole time of Handel's stay in Hamburg (1709) [see HANDEL, vol. ii. p. 280]. He claims to have done Handel an important service by introducing him to the musical world of Hamburg, at that time very celebrated; but he acknowledges that he picked up from him many a 'contrapuntal device.' Handel's 'Nero' (1705) was the last opera in which Mattheson appeared; he then retired from the stage, and declined more than one organist's post which was offered to him. He became tutor to the son of the English envoy, and in 1706 was made secretary of legation. His post was one of labour and responsibility, but he still continued to teach, conduct, compose, and write on musical subjects. In 1715 he was appointed Cantor and Canon of the cathedral; and took an active part in the development of the Church-cantata, so soon after carried to its highest pitch by J. S. Bach [see KIRCHENCANTATEN]. This was the result of an attempt, made more particularly by the Hamburg composers, to vary the monotony of congregational singing by the introduction of airs, duets, choruses, etc., and was considered by the orthodox an impious and sacrilegious innovation. Mattheson supported this 'adapted dramatic' style, as it was called, both as a composer and as a pamphleteer; and even ventured on a further innovation, by introducing female singers into church.
7In 1719 he received from the Duke of Holstein the title of Court-Capellmeister. In 1728 he was attacked with deafness, which obliged him to resign his post at the cathedral. Thenceforward he occupied himself chiefly with writing, and died at an advanced age, April 17, 1764. He is said to have resolved to publish a work for every year of his life, and this aim he more than accomplished, for when he died at eighty-three, his printed works amounted to eighty-eight, besides a still larger number of completed MSS.
9None of his compositions has survived. With all his cleverness and knowledge he had no real genius; his vocal music was overburdened with declamatory passages—a fault easily explained by his own experience on the stage, but one which is often detrimental and must have been very incongruous in church music. He composed twenty-four oratorios and cantatas; eight operas; sonatas for flute and violin; suites for clavier; arias; pièces de circonstance for weddings, funerals, etc. [see the Quellen-Lexikon for list]. A 'Passions-Cantate' to words by Brockes deserves attention, not for its intrinsic value, but because the poem was set by nearly all the great composers of the day, including Keiser, Teleman, and Handel.
11His books are of far greater value than his compositions. In these, notwithstanding a peculiar self-satisfied loquacity, he shows himself a ready and skilful champion for earnestness and dignity in art, for progress, and for solidity of attainment in the practical part of music. In both branches, theoretical and practical, he attacked and demolished much that was antiquated, furnishing at the same time a great deal that was new and instructive, and bequeathing to posterity a mine of historical
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