Bow & Bridge Violin and bow makers, as the old books printed them

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Scan 125

Grove's Dictionary of music and musicians, 1910

11 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. Printed page 93. See the scan on archive.org.

1material. He also found time for much other literary work, especially translations (chiefly from English works on politics and jurisprudence), and even translated a small treatise on tobacco. This extraordinary versatility, and his untiring industry, go far to redeem the vanity which animated his character and actions, and continually shows itself in his writings. His autobiography in the Ehrenpforte contains an amusingly egotistical description of his manifold labours. His more important books are scarce, and much valued, especially the historical ones, which are the standard sources of information on the state of music at that period, especially in Hamburg. These are Das neu eröffnete Orchester (1713), followed by Das beschützte and Das forschende Orchester (1717 and 1721); Critica Musica (1722-25); Der musikalische Patriot (1728); and the Grundlage einer Ehrenpforte (1740), a collection of biographies of contemporary musicians. The last two are the most important. His theoretical works are the Exemplarische Organisten Probe (1719), republished in 1731 as the Grosse Generalbassschule; the Kleine Generalbassschule (1735); the Kern melodischer Wissenschaft (1737); and finally the Vollkommene Capellmeister (1739), perhaps his most valuable work. As a controversial writer he was wanting in temper; his 'Ephorus Göttingensis' (1727), directed against Professor Joachim Meyer of Göttingen on the Church-cantata question, is the only work of that class we need specify. [The complete list of his writings is given in the Quellen-Lexikon.] A. M.
3MATTHIAS, HERMANN. See WERRE-CORENSIS. one of two readings
4MATTHIAS, HERMANN. See WERRECORENSIS. one of two readings
6MAUCOTEL, ADOLPHE, French violin maker, born at Mirecourt, Lorraine, 1820; died 1858. Worked under J. B. Vuillaume in Paris from 1839 to 1844, and then opened a workshop of his own in the Galerie Vivienne. Later he removed to the Rue Croix-des-Petits-Champs, and lastly settled in the Rue Princesse. His instruments are greatly esteemed for their tone, their durability, and their excellent workmanship. He copied the Stradivarius model very successfully, and but for his untimely end should have ranked among the foremost French makers. He committed suicide at the age of thirty-eight, by cutting his throat whilst in a state of feverish delirium. The Paris Conservatoire owns a violoncello by this maker, which is considered to be the finest instrument he ever produced. His brother, CHARLES MAUCOTEL, was also an excellent violin maker; born at Mirecourt, 1807; died 1860. Pupil of Bloise Mast, of Mirecourt. He went to Paris in 1834 and studied under Gand, after which, in 1850, he established himself in London. Willibald Freiherrn von Lutgendorff's 'Die Geigen und Lautenmacher,' Frankfort A/M, 1904; H. R. Haweis's Old Violins, London, 1898.
8MAUDUIT, JACQUES, French lute player and composer, was born at Paris, Sept. 16, 1557. He succeeded his father as 'greffier des requêtes,' registrar in the courts of justice at Paris, but his talent and reputation as a musician acquired for him in France the title of Père de la Musique. In 1581 he obtained the first prize at the musical competition, which took place yearly at Evreux in Normandy, for the best motets and chansons. A requiem a 5 by Mauduit, written for the funeral of the poet Ronsard, was published by the Père Mersenne in the seventh book of his Harmonie Universelle, 1636. Ambros speaks slightingly of this work, describing it as a simple Fauxbourdon without any particular merit. In 1570 the poet Antoine Baïf received permission from Charles IX. to found the Académie Françoise de Musique et de Poésie, the original object of which was to bring about a closer union between music and poetry, by making musical rhythm entirely subordinate to the metrical rhythm of prosody. Mauduit would appear to have associated himself with the efforts which Baïf made in this direction, and to have taken part in the concerts which were held in Baïf's house. M. Henry Expert, in his collection entitled Les Maîtres-musiciens de la Renaissance Française, has recently republished the 'Chansonnettes Mésurées de Jan-Antoine de Baïf mises en musique à quatre parties par Jacques Mauduit,' Paris, 1586, in which Mauduit has endeavoured to carry out the classical theories of Baïf. They are slight compositions, but graceful enough. After Baïf's death in 1590, the concerts continued to be carried on by Mauduit, but as Brenet says, 'The equilibrium jealously maintained by Baïf, between poetry and music, was broken to the advantage of the latter,' and more freedom was gained for the independent development of music by the greater prominence given to instrumental music (see Michel Brenet, Les Concerts en France sous l'ancien régime, 1900, p. 37). Mauduit died August 21, 1627. For the story of his saving Claude Le Jeune's manuscripts from the flames, see LE JEUNE, vol. ii. p. 671. J. R. M.
10'MAUGARS, Célèbre Joueur de Viole, Musicien du Cardinal de Richelieu, Conseiller, Secrétaire, Interprète du Roi en langue Anglaise, Traducteur de F. Bacon, Prieur de Saint-Pierre Eynac.' This, the commencement of the title of the charming monograph written by Antoine Ernest Roquet under his pseudonym of 'E. Thoinan' (Paris, Claudin, 1865), is almost a condensed biography of André Maugars (not Aude, as Fétis, for some unexplained reason, has it), who ranks with Lully (q.v.) as a politician-musician at the court of France. The place and date of his birth are unknown, but it may be conjectured that he was born in the latter years of the 16th century. About 1620 he spent four years in England playing the viol at the Court of James I., and the first-fruit of

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