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Scan 35
Grove's dictionary of music and musicians, 1916
18 lines. Read by computer on 3 September 2026. Printed page 9. See the scan on archive.org.
1harmonic, the Crystal Palace, the Popular and Oratorio Concerts, and at the Handel and provincial festivals. [After a successful tour in Ireland in 1903, he was appointed (in Sept. 1905) musical director of the Dublin Amateur Operatic and Choral Society. W. H. G. F.] A. C.
3MACICOTATICUM, or MACHICOTAGE. A species of ornamentation applied to Plain-song melodies, by means of extraneous notes inserted between those of the true Canto fermo, after the manner of what, in modern music, would be called fioritura. To the once prevalent custom of Machicotage in France are to be attributed many of the corruptions observable in Gallican Office Books before the modern careful revisions. The Processionale Parisiense (Paris, 1787) directs that the melodies shall be machicotée by the Clergy, and continued by the Choir 'sine macicotatico'; and in former times the Ecclesiastics entrusted with the duty of so singing them were called Maceconici or Machicots.
5W. S. R.
7MACIRONE, CLARA ANGELA, born Jan. 21, 1821, in London, of an ancient Roman family. From 1839 to 1844 she studied at the Royal Academy of Music—the pianoforte under Cipriani Potter and W. H. Holmes, composition under Lucas, and singing under Negri. On leaving the Academy the Council presented her with a special testimonial, and appointed her a Professor of the Pianoforte and an Associate. On June 26, 1846, she gave a concert at the Queen's Concert Rooms, Hanover Square, when in addition to a creditable début as a pianist, she appeared as the composer of a Benedictus, sung by Pischek, for which, in a letter dated April 3, 1847, she received the congratulations of Mendelssohn. From 1872 to 1878 she was head music-mistress at Aske's School for Girls, Hatcham, and later at the High School for Girls, Baker Street. In addition she conducted a vocal society, the 'Village Minstrels,' at her then residence, Park Village West, N.W. She is now living in retirement. Among her works may be named a Te Deum, an anthem, several part-songs, a suite for pf. and violin in E minor (played at the Musical Artists' Society, Nov. 16, 1889, by herself and Mlle. Gabrielle Vaillant), pianoforte pieces, and songs from the English, German, and Italian poets, etc. (Brown and Stratton, Baker, and personal information to the writer.)
9A. C.
11MACKAY, ANGUS, a famous Highland piper, who collected and published some interesting pipe melodies taken down from traditional sources. The book is now rare, and its title runs: 'A Collection of Ancient Piobaireachd or Highland pipe music,' folio, 1838. Another of his works is 'The Piper's Assistant.' He was piper to Queen Victoria, and was accidentally drowned in the Nith, near Dumfries, March 21, 1859.
13F. K.
15MACKENZIE, SIR ALEXANDER CAMPBELL, born August 22, 1847, in Edinburgh, was the fourth musician of his family in direct descent. His great-grandfather belonged to the Forfarshire Militia Band; his grandfather, John Mackenzie (1797-1852), was a violinist in Aberdeen and Edinburgh; and his father, Alexander Mackenzie (1819-57), was also a violinist, pupil of Sainton and Lipinski. He edited the 'National Dance Music of Scotland,' and was leader of the band at the Theatre Royal in Edinburgh. A. C. Mackenzie was educated at Hunter's School, and when only ten years old, was sent to study music at Schwarzburg-Sondershausen in Germany on the recommendation of a member of Gung'l's band named Bartel. Here he was a pupil of K. W. Uhlrich for the violin, and for theory, of Eduard Stein, the conductor of the Sondershausen Ducal orchestra. The boy played second violin in the orchestra, and took part in many performances of the most advanced music, Liszt, Berlioz, and the then extant works of Wagner being his daily bread. In 1862 he returned to Edinburgh, and soon afterwards came to London intending to take lessons from Sainton; but on his advice Mackenzie entered for the King's Scholarship at the Royal Academy of Music, and won it in December of the same year, remaining at the Academy till 1865. Besides Sainton, who taught him the violin, his masters were Charles Lucas for harmony and counterpoint, and F. N. Jewson for piano. While at the Academy, Mackenzie played in various theatre orchestras, and thereby acquired experience of orchestral work at first hand. On the conclusion of his course at the Academy, Mackenzie returned to Edinburgh, where he quickly became known as an excellent violinist; he also gave chamber concerts, at which Schumann's pianoforte quartet and quintet were given for the first time in Scotland. He was appointed conductor of the Scottish Vocal Music Association in 1873, and meanwhile fulfilled many teaching engagements, and officiated as precentor in St. George's Church. He found time to compose some chamber music, a PF. trio and string quartet (as yet unpublished), besides a pianoforte quartet in E flat, published by Kahnt of Leipzig as op. 11.
17Hans von Bülow had seen the proof-sheets at the German publishers', and had made inquiries about the composer. When he came to Glasgow and Edinburgh in 1877-78, he made Mackenzie's personal acquaintance, and accepted his overture, 'Cervantes' (performed at Sondershausen in 1877), for performance at Glasgow, where it was given on Dec. 17, 1879. As Mackenzie added to his other labours by playing in the orchestra of the Birmingham Festivals of 1864, 1867, 1870, and 1873, it is not surprising that his health was affected by the strain of his work. He wisely went abroad, and settled in Florence in order to devote himself to composition. For about ten years, in fact until his appointment
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