Scan 31
Grove's dictionary of music and musicians;, 1907
12 lines. Read by computer on 3 September 2026. Printed page 10. See the scan on archive.org.
1of Music in 1890, and had won the Charles Lucas prize in 1892, becoming A.R.A.M. in 1896. He is now teacher of harmony and counterpoint in the same institution. His compositions include a setting of Psalm cxxxvii. for choir and orchestra; nine anthems and other church music; three Gaelic melodies, accompanied on strings and harp; an overture, 'Cridhe an Ghaidhil,' played at the Crystal Palace in 1895; a Highland suite for orchestra; another suite, 'Hallowe'en'; a quartet for piano and strings in E flat; and two movements of a sextet for wind instruments. His glee, 'There sits a bird,' gained the prize given in 1893 by the Bristol Orpheus Glee Society.
3MACPHERSON, CHARLES STEWART, born at Liverpool, March 29, 1865, was educated at the City of London School, won the 'Sterndale Bennett' open scholarship at the Royal Academy of Music, entering that institution in 1880. He was a pupil of Sir G. A. Macfarren for composition, and of Walter Macfarren for the piano-forte. He gained the Balfe scholarship in 1882, the Charles Lucas medal for composition in 1884, and the Potter exhibition in 1885. At the conclusion of his studentship in 1887 he was appointed Professor of Harmony and Composition, and an Associate of the institution, becoming a Fellow in 1892. He was appointed organist of Immanuel Church, Streatham Common, in 1885, and in the same year became conductor of the Westminster Orchestral Society, a post which he held until 1902. He also conducted the Streatham Choral Society from 1886 to 1904. In 1898 he was appointed examiner to the Associated Board of the R.A.M. and R.C.M., and in that capacity visited Canada, Australia, New Zealand, and Ceylon in 1900. In 1903 he succeeded Mr. Corder as Professor of Composition at the Royal Normal College for the Blind, and was appointed a member of the Board of Musical Studies in the University of London. He has lectured at the Royal Academy, the Normal College, and elsewhere. His works include a symphony in C, 1888; two overtures, and short pieces for orchestra, mostly written for the Westminster Orchestral Society. More important than these is a remarkably beautiful Mass in D for solo, choir, and orchestra, produced at St. James's Hall, May 1898. Many songs, pianoforte pieces, and services have been published; and 'Concerto alla fantasia' for violin and orchestra, was played at the Queen's Hall Promenade Concert, in 1904. His theoretical works are: Practical Harmony; 350 Exercises in Harmony, etc.; Evolution of Musical Design; Practical Counterpoint, and Rudiments of Music.
5MACQUE, JEAN DE, a Flemish musician, pupil of Philip de Monte, who settled in Italy, living from 1576 to 1582 in Rome, and from 1586 in Naples. Only in 1610 is he definitely named as being choirmaster to the Royal Chapel in Naples. His publications extend from 1576 to 1613, and consist almost entirely of madrigals, of which there were two Books a 6, six a 5, two a 4, one a 4, five, six, and two Books entitled 'Madrigaletti e Napolitane,' a 6. Some of these are now lost, and several have parts missing. A considerable number of his madrigals and a few motets were received into the various collections of the time. Two were adapted to English words in Yonge's 'Musica Transalpina' of 1588, and Morley's 'Italian Madrigals' of 1598. J. R. M.
7MADIN (recte MADDEN), HENRI, born at Verdun, of Irish parents (from Eyrecourt, Co. Galway), in 1698, developed a taste for music at an early age. His uncle, Rev. Dr. Ambrose Madden, of Loughrea, was advanced to the bishopric of Kilmacduagh (Ireland) on the nomination of the Pretender, James III., in 1705. In 1730 we find Henri Madden a cleric, and maitre de musique in the Cathedral of Tours, a position which he vacated in 1737 for the more important one of deputy chapel-master to the King. He published a treatise on counterpoint in 1742, and in 1744 was nominated maitre de chapelle to the King, in succession to Campra (see CAMPRA, ANDRÉ). Not only was he a good theorist, but he was also a successful choir-trainer, and composed many popular motets. His death occurred at Versailles in 1748, aged fifty.
9MADRIGAL (Ital. Madrigale, Madriale, Mandriale). The derivation of the word has so hopelessly perplexed all who have attempted to trace it to its source that, until some new light shall be thrown upon the subject, further discussion would seem to be useless. We must, therefore, leave our readers to form their own judgment upon the four theories which have been most generally accepted; namely, (1) that the word is derived from the Italian, madre (mother), and signifies a poem addressed—as is said to have been the case with the first madrigals—to Our Lady; (2) that it comes from the Greek word, μάντρα (Lat. and Ital. mandra, a sheepfold), and was suggested by the generally pastoral character of the composition; (3) that it is a corruption of the Spanish word, madrugada (the dawn), and is used in Italian as the equivalent of Mattinata (a Morning Song); (4) that it owes its origin to the name of a town situated in Old Castile. On one point, however, all authorities are agreed: viz. that the name was first given to a certain kind of poem, and afterwards transferred to the music to which it was sung—which music was always, during the best periods of art, written for three or more voices, in the ancient Ecclesiastical Modes, and without instrumental accompaniment.
11Our actual knowledge of the condition of the Madrigal before the invention of printing is sadly imperfect; but, in the absence of positive evidence, analogy leaves us little cause to doubt
The computer misreads some letters and numbers. Where a name matters to you, read the scan.