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Scan 89
Grove's Dictionary of music and musicians, 1910
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1possessed of valuable Italian instruments which, once recognised and used as models, became accessible to all the Arts and Craftsmen in the town, and beyond this, by reason of their rule of exacting a diploma work from every new candidate for membership, a certain standard of artistic excellence was maintained by the Guild. This traditional spirit of original art makes itself felt to this day in the studios of Markneukirchen, where violins of genuine German make are constructed, and sold at high prices, while in the other factories are turned out mere imitations of the most celebrated Italian masters.
3E. Bachmann: Bericht über die Fachschule für Instrumentenbauer in Markneukirchen (Markneukirchen, 1883). The Arts and Crafts Book of the Worshipful Guild of Violin-makers of Markneukirchen. From the year 1677 to the year 1772. Extracted and analysed by Dr. Richard Petong. Translated and edited by Edward and Marianna Heron-Allen. (London, 1894.) Old Violins, Rev. H. R. Haweis. (London, 1898.)
5E. H-A.
7MARKULL, FRIEDRICH WILHELM, born Feb. 17, 1816, at Reichenbach near Elbing, Prussia. He studied composition and organ-playing under Friedrich Schneider, at Dessau; became in 1836 principal organist at the Marienkirche at Danzig, and conductor of the 'Gesangverein' there. Markull enjoyed a high reputation as a pianist, and gave excellent concerts of chamber music, besides acting as critic for the Danziger Zeitung. [His compositions include three operas, 'Maja und Alpino,' or 'Die bezauberte Rose' (1843); 'Der König von Zion' (1848); 'Das Walpurgisfest' (1855); two oratorios, 'Johannes der Täufer' and 'Das Gedächtniss der Entschlafenen,' produced by Spohr at Cassel in 1856, the 86th Psalm, several symphonies, numerous works for organ, voice, and piano, a 'Choralbuch' (1845), and arrangements.]
9H. s. o.
11MARPURG, FRIEDRICH WILHELM, eminent writer on music, born Nov. 21, 1718, at Marpurgshof, near Seehausen, in Brandenburg. [The date of birth was discovered in the registers of Seehof in Wendemark by Dr. W. Thamhayn (see the Quellen-Lexikon).] Little is known of his musical education, as Gerber gives no details, although Marpurg furnished him with the history of his life. Spazier (Leipzig musik. Zeitung, ii. 553) says that in 1746 he was secretary to General Rothenburg [or Bodenberg] in Paris, and there associated with Voltaire, Maupertuis, D'Alembert, and Rameau; and Eberhard remarks that his acquaintance with good society would account for his refined manners and his tact in criticism. The absence in his works of personality and of fine writing, then so common with musical authors, is the more striking as he had great command of language and thoroughly enjoyed discussion. His active pen was exercised in almost all branches of music—composition, theory, criticism, and history. Of his theoretical works the most celebrated are—the Handbuch bey dem Generalbasse und der Composition, founded on Rameau's system (3 parts, 1755-62, Berlin); Der critische Musicus an der Spree (Berlin, 1750), containing, on p. 129, a lucid explanation of the old Church Modes; the Anleitung zur Singecomposition (Berlin, 1758), and the Anleitung zur Musik (Berlin, 1763), both still popular: the Kunst das Clavier zu spielen (1750); the Versuch über die musikalische Temperatur (Breslau, 1776), a controversial pamphlet intended to prove that Kirnberger's so-called fundamental bass was merely an interpolated bass; and the Abhandlung von der Fuge, 62 plates (Berlin, 1753-54; 2nd edition, 1806; French, Berlin, 1756), a masterly summary of the whole science of counterpoint at that period, with the solitary defect that it is illustrated by a few short examples, instead of being treated in connection with composition. This Marpurg intended to remedy by publishing a collection of fugues by well-known authors, with analyses, but he only issued the first part (Berlin, 1758). Of his critical works the most important is the Historisch-kritische Beyträge, 5 vols. (Berlin, 1754-78). Among the historical may be specified a MS. Entwurf einer Geschichte der Orgel, of which Gerber gives the table of contents; and the Kritische Einleitung in die Geschichte der … Musik (Berlin, 1759). A jeu d'esprit, Legende einiger Musikheiligen von Simeon Metaphrastes dem Jüngeren (Cologne, 1786), appeared under a pseudonym. Of compositions he published, besides collections of contemporary music, '6 Sonaten für das Cembalo' (Nuremberg, 1756); 'Fughe e capricci' (Berlin, 1777); and 'Versuch in figurirten Chorälen,' vols. 1 and 2; 'Musikalisches Archiv,' an elucidation of the Historisch-kritische Beyträge, was announced, but did not appear. [Other works and editions are given in the Quellen-Lexikon.]
13Marpurg died May 22, 1795, in Berlin, where he had been director of the government lottery from 1763.
15F. G.
17MARRIAGE OF FIGARO. See NOZZE DI FIGARO.
19MARSCHALL, SAMUEL. See MARESCHALL.
21MARSCHNER, HEINRICH AUGUST, celebrated German opera-composer, born August 16, 1795, at Zittau in Saxony. He began to compose sonatas, Lieder, dances, and even orchestral music, with no further help than a few hints from various musicians with whom his beautiful soprano voice and his pianoforte-playing brought him into contact. As he grew up he obtained more systematic instruction from Schicht of Leipzig, whither he went in 1813 to study law. Here also he made the acquaintance of Rochlitz, who induced him to adopt music as a profession. In 1816 he travelled with Count Thaddäus von Amadée, a Hungarian, to Pressburg and Vienna, where he made the acquaintance of Kozeluch and of Beethoven, who is said to have advised him to compose sonatas, symphonies, etc., for practice. In
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