Books › Grove's dictionary of music and musicians, 1916 › scan 220
Scan 220
Grove's dictionary of music and musicians, 1916
18 lines. Read by computer on 7 September 2026. Printed page 184. See the scan on archive.org.
1and Mr. Julian Marshall (Hon. Secretary). Mr. W. Godden was the Hon. Solicitor. [The present Committee consists of the following (1905); Mr. Joseph Bennett, Sir J. F. Bridge, Mr. A. D. Coleridge, Mr. Otto Goldschmidt, Sir A. C. Mackenzie, Sir C. H. H. Parry, Professor Ebenezer Prout, Sir C. V. Stanford, Mr. J. E. Street, and Mr. Thomas Threlfall. The honorary secretary is Mr. J. Edward Street.] J. M.
3MENESSON, EMILE, a violin maker, born and trained at Mirecourt, but working at Rheims from about 1870, whose instruments were considered worthy of a special 'Rapport' in the Travaux de l'Académie Nationale de Reims (Année 1875-76, No. 1, p. 44), by L. S. Fanart, which was afterwards printed separately as a pamphlet. The peculiarity which he introduced as an improvement was the covering of the outer periphery of his violins with a single coat of tender varnish, the central portions only, of the back and belly, being covered with hard varnish. By this means Menesson claimed that the elasticity of the tables was increased. E. H-A.
5MÉNESTREL, LE. This weekly musical periodical, of which the first number was issued Dec. 1, 1833, originally consisted of a romance occupying two pages, with printed matter at the back; increased in 1840 to four pages of musical information and criticism; and since Dec. 1858 has contained eight folio pages on fine paper, besides music. Its great success was due to the editor, M. Jacques Heugel, who during the latter half of the 19th century inserted contributions from almost every musician of note in France, including MM. Barbedette, Blaze de Bury, Paul Bernard, Gustave Chouquet, Félix Clément, Oscar Comettant, Ernest David, Octave Fouque, Edouard Fournier, A. de Gasperini, Eugène Gautier, Gevaert, Léon Halévy, G. Héquet, B. Jouvin, Adolphe Jullien, Lacome, Th. de Lajarte, A. de Lauzières, Marmontel, Amédée Méreaux, A. Morel, H. Moreno, Ch. Nuitter, A. de Pontmartin, Prosper Pascal, Ch. Poisot, Arthur Pougin, Alphonse Royer, J. B. Weckerlin, and Victor Wilder. The Ménestrel has also published, among others, the following works afterwards printed separately:—articles on Schubert, Mendelssohn, Haydn, Chopin, and Weber, by Barbedette; Blaze de Bury's 'Meyerbeer'; B. Jouvin's 'Auber' and 'Hérold'; de Gasperini's 'R. Wagner et la nouvelle Allemagne'; Méreaux's 'Les Clavecinistes et leurs œuvres'; Bertrand's 'Les Nationalités musicales dans le drame lyrique'; Héquet's 'A. Boieldieu'; Marmontel's 'Les Pianistes célèbres'; and Wilder's 'Vie de Mozart' and 'Jeunesse de Beethoven.' The present editor is M. Henri Heugel. G. C.
7MENGOZZI, BERNARDO, distinguished both as a singer and a composer, was born in 1758 at Florence, where he first studied music. He afterwards had instruction at Venice from Pasquale Potenza, cantor of St. Mark's. In Lent of 1785, Lord Mount-Edgcumbe found him singing in oratorio at Naples, with Signora Benini, whom he soon afterwards married. After singing together at several Italian theatres, the two came to London in 1786, but our climate was very ill-suited to Mengozzi, whose voice, a good tenor, but wanting in power, suffered much and permanently from its rigour. He was too ill, indeed, to appear with Benini in the first opera in which she sang here, the 'Giannina e Bernardone' of Cimarosa, with new songs by Cherubini. He played, however, the principal part in 'Il Tutor Burlato' of Paisiello, and showed himself 'a good musician, with a good style of singing, but still too feeble to excite any other sensation in the audience than pity for the state of his health' (Burney). In March, Handel's 'Giulio Cesare' was revived, with additions from others of his works; and in this pasticcio (1787) Mengozzi took part. But he did not do himself justice, and was soon superseded by Morelli, as his wife was by la Storace.
9From London Mengozzi went to Paris (about 1787), where he was heard to advantage in the concerts given by Marie Antoinette, and among the Italian company of the Théâtre de Monsieur, with Mandini and Viganoni. He remained at Paris after the Revolution, and supported himself by giving lessons and writing operettas for the Feydeau and Montansier Theatres. When the Conservatoire was established, he was named 'Professeur de Chant,' and is remembered as having formed several distinguished pupils.
11Mengozzi had, during many years, compiled the materials for a Méthode de Chant for the Conservatoire; but he died, before he had completed it, in March 1800. The work was edited by Langlé. Fétis gives a list of his fourteen operas, now all long forgotten. J. M.
13MENO MOSSO, lit. 'with less motion'; hence, rather slower. A direction, which, like Più lento, generally occurs in the middle of a movement, the latter term properly being used where the whole movement is already a slow one, and the former in a quick movement. These terms, however, are constantly used for one another. Beethoven uses 'Meno mosso e moderato' in the Fugue for strings in Bb, op. 133, and 'Assai meno presto'—'very much less quick'—in the Trio of Symphony No. 7. It occurs frequently in Chopin's Polonaises, etc., and the Scherzo, op. 39. Schumann uses 'Poco meno mosso,' with its German equivalent 'Etwas langsamer,' in the 'Kreisleriana,' Nos. 2 and 3. When the former time is resumed, the direction is Tempo primo. M.
15MENSURAL MUSIC. See Musica Mensurata; Notation.
17MENTER, JOSEPH, a celebrated violoncellist born at Deutenkofen, in Bavaria, Jan. 19, 1808. His first instrument was the violin, but before
The computer misreads some letters and numbers. Where a name matters to you, read the scan.