Scan 96
Grove's dictionary of music and musicians;, 1907
51 lines. Read by computer on 3 September 2026. Printed page 73. See the scan on archive.org.
1His very numerous compositions include:—
3Symphony No. 1 in D minor (op. 75) played at the Royal College of Music, London, March 18, 1896. A detailed analysis is in Rie. Mus. Ital., iii. 125.
4Symphony No. 2 in F major (op. 81).
5Concerto in B flat minor for piano and orchestra (op. 68).
6Four piccoli pezzi for orchestra.
7Poemetto Lirico, 'La Canzone dei Ricordi,' for voice and orchestra.
8Quintet for piano, two violins, viola, and violoncello (op. 45).
9Trio No. 1 in C for piano, violin, and violoncello (op. 59).
10Trio No. 2 in E flat for piano, violin, and violoncello (op. 63) (played at one of Hallé's Concerts, St. James's Hall, May 17, 1889).
11Sonata for violoncello and piano (op. 52).
12Three pieces for violoncello and piano (op. 60).
13Due Romanze for violoncello (op. 72).
14Three pieces for violin and piano (op. 67).
15Momento Musicale e Minuetto for two violins, viola, and violoncello.
16'Pagine Sparse,' melodies for voice and piano (op. 68).
17'Due Sogni,' for voice and piano (op. 68 bis).
18Six volumes of compositions for pianoforte.
19Variations for two pianofortes.
20Fantasia for two pianofortes (op. 33).
21Two pieces for pianoforte: 'Capriccio' and 'Toccata' (op. 77).
22Three pieces for piano solo: 'Novellotta,' 'Notturno,' and 'Scherzo' (op. 76).
23Two pieces for piano: 'Serenata' and 'Gavotta' (op. 78).
24'Trêfle a quatre feuilles' (op. 74).
25Three little pieces for pianoforte solo: 'Serenata,' 'Minuetto,' 'Capriccio' (op. 78).
26Three little pieces for pianoforte solo: 'Preludio,' 'Cansonetta,' 'Saltarello' (op. 79).
27Due Capricci for pianoforte (op. 80).
28Unpublished compositions:—
29Oratorio, 'Samuel.'
30Concerto for piano and orchestra in D minor.
31Sonata for organ.
32Numerous pianoforte transcriptions of classical works, and Raccolta of sixteen pieces for piano by classical authors transcribed for violoncello and pianoforte.
34H. A. W.
36MARTY, EUGÈNE GEORGES, born in Paris, March 16, 1860, was a pupil of the Conservatoire, where he obtained the first prize in solfège in 1875, the first in harmony in 1878, and the Grand Prix de Rome in 1882 with his cantata, 'Edith.' In 1892 he was appointed chorus-master at the Théâtre Eden, and in the same year was made director of the vocal ensemble classes at the Conservatoire, a post he resigned in 1904; he was chorus-master at the Opéra in 1893, and conducted the Opéra-Comique in 1900. From June 12, 1901, he has been conductor at the Conservatoire. Marty has written much, and has been much influenced by his master, Massenet. We may mention: 'Ballade d'Hiver' (1885); 'Balthazar' overture (1887); a suite, 'Les Saisons' (1888); a symphonic poem, 'Merlin enchanté,' all for orchestra; 'Lysic,' a one-act pantomime (1888); 'Le Duc de Ferrare,' three-act opera, Théâtre Lyrique (1899); 'Daria,' two-act opera (Opéra, Jan. 27, 1905); songs, and pianoforte pieces, etc.
38G. F.
40MARTYRS, LES. Opera in four acts; words by Scribe, music by Donizetti. Produced at the Académie, April 10, 1840; at the Royal Italian Opera, London, as 'I Martiri,' April 20, 1852. The work was an adaptation of 'Poliuto,' a former Italian opera of Donizetti's.
42G.
44MARX, ADOLPH BERNHARD, learned musician and author, born May 15, 1799 (or 1795, according to Riemann), at Halle, son of a physician, learned harmony from Türk, studied law, and held a legal post at Naumburg. His love of music led him to Berlin, where he soon gave up the law, and in 1824 he founded, with Schlesinger the publisher, the Berliner Allgemeine Musikalische Zeitung. This periodical, which only existed seven years, did important service in creating a juster appreciation of Beethoven's works in North Germany, a service to which Beethoven characteristically refers in a letter1 to Schlesinger, Sept. 25, 1825. His book on the same subject, however, Beethoven's Leben und Schaffen (Berlin, 1859; 2nd ed., 1865; 5th, 1901), is a fantastic critique, too full of mere conjecture and misty aestheticism. In 1827 he received his doctor's diploma from the university of Marburg, and was made 'Docent,' or tutor, in the history and theory of music, at the university of Berlin. He became Professor in 1830, and in 1832 Musikdirector of the university choir. In 1850 he founded with Kullak and Stern the 'Berliner Musikschule,' afterwards the 'Berliner Conservatorium,' and now the 'Sternsche Conservatorium' but withdrew in 1856 (Kullak having resigned in 1855), and henceforth devoted himself to his private pupils and to his work at the University. He died in Berlin, May 17, 1866. His numerous works are of unequal merit, the most important being the Lehre von der musikalischen Composition, four vols. (Breitkopf & Härtel, 1837, 1838, 1847). His Gluck und die Oper (Berlin, two vols. 1863) contains many ingenious observations, but is of no historical value. The others are Über Malerei in der Tonkunst (1828), Über die Geltung Händelschen Sologesänge, etc. (1829), Allgemeine Musiklehre (1839), Die alte Musiklehre (1842), Die Musik des 19. Jahrhundert, etc. (1855), Anleitung zum Vortrag Beethovenschen Klavierwerke (1863), Erinnerungen (1865), and a posthumous work, Das Ideale und die Gegenwart (1867). Besides what he did for Beethoven's music, Marx deserves credit for bringing to light many little-known works of Bach and Handel. His compositions are not remarkable; neither his oratorios 'Johannes der Täufer,' 'Moses,' and 'Nahid und Omar,' nor his instrumental music, obtaining more than a 'succès d'estime.' His opera, 'Jery und Bâtely,' was performed at Berlin in 1827, and a melodram, 'Die Rache wartet,' in 1829. Nevertheless some particulars given in his Erinnerungen (Berlin, 1865) as to his manner of composing are well worth reading, as indeed is the whole book for its interesting picture of the state of music in Berlin between 1830 and 1860. With Mendelssohn he was at one time extremely intimate, and no doubt was in many respects useful to him; but his influence diminished as Mendelssohn grew older and more independent.
46F. G.
48MARXSEN, EDUARD, born July 23, 1806, at Nienstädtten near Altona, where his father was organist. He was intended for the church, but devoted himself to music, which he studied at home and with Clasing of Hamburg. He then assisted his father till the death of the latter in 1830, when he went to Vienna, and took lessons
501 Nohl, Briefe, No. 386.
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