Scan 38
Grove's Dictionary of Music and Musicians, American Supplement, 1928
42 lines. Read by computer on 11 September 2026. Printed page 26. See the scan on archive.org.
1Brothers, but, after the latter's death, joined his other brother in the Mason & Hamlin firm.
3Mason, Luther Whiting (Turner, Me., 1828–1896, Buckfield, Me.), from 1853 music-supervisor in Louisville, in 1865 moved to Boston, in 1879–82 was employed by the Japanese government, and later went abroad. See art.
5Mason, William (Boston, 1829–1908, New York), son of Lowell Mason, made his début as pianist at Boston in 1846, studied in Germany, appeared in America in 1854 and settled in New York as eminent player and teacher. See Vol. iii. 74, and art.
7*Mathushek, Frederick (Baden, 1814–1891, New York), highly trained as piano-maker at Worms and with Pape in Paris, came to New York in 1849, was first associated with Dunham, from 1852 alone, from 1857 with Spencer B. Driggs, from 1866 at New Haven as head of the Mathushek Piano Co., and from 1871 in New York again. He is said to have devised a successful 'overstrung' scale in 1850, and soon after invented a machine for hammer-covering. He had uncommon delicacy of ear and planned small instruments with remarkable breadth of tone. See Dolge, pp. 321–5.
9*Matzka, George (b. Coburg, 1825), came to New York in 1852 and was long identified with the Philharmonic Society, acting as conductor for a time in 1876. He wrote several overtures, two string-quartets, a violin-sonata, choruses and songs.
11*Merz, Karl (Hesse, 1836–1890, Wooster, O.), came to Philadelphia in 1854, from 1861 taught at Oxford, O., and in 1882 became professor in Wooster University. See art.
13*Meyer, Julius Eduard (Altenburg, 1822–1899, Brooklyn), an accomplished singing-teacher, trained at Leipzig, settled in Brooklyn in 1852 and was active there for over forty years, though twice invited back to Leipzig.
15Millard, Harrison (Boston, 1830–1895, Boston), a singer from boyhood, studied in Italy in 1851–54, taught in Boston and from 1856 in New York, served as lieutenant in the Civil War, and was employed in the New York Custom House for many years. He wrote an opera, 'Deborah,' a grand mass and other church-music, many adaptations of foreign songs and about 350 original songs.
17Miller, Henry F. (Providence, 1825–1884, Wakefield, Mass.), had a good musical education, early became an organist, besides showing mechanical genius and learning the trade of watch-making, in 1850 took up piano-making with Brown & Allen in Boston, in 1858 with Emerson, and in 1863 in his own Company, which soon became famous. At his death the business was continued by five sons.
19*Mills, Sebastian Bach (England, 1838–1898, Germany), came to New York in 1856 as a visiting pianist, and was so warmly received that he remained as player, teacher and composer. See Vol. iii. 210, and art.
21*Mollenhauer, Eduard (Saxony, 1827–1914, Owatonna, Minn.), and his brother Friedrich Mollenhauer (1818–1885), expert violinists, came to New York in 1853 with Jullien and remained as valued soloists, orchestral players and teachers. Another brother, Heinrich Mollenhauer (1825–1889), 'cellist, followed in 1856 and established a school in Brooklyn, still carried on by his sons.
23Moore, John Weeks (Andover, N. H., 1807–1887, Boston), began as printer and editor of country newspapers in Maine, New Hampshire and Vermont, settling finally in Manchester, N. H. From before 1840 he displayed interest in musical subjects, writing or editing a variety of manuals and collections, partly in periodical form. His chief works were The Musician's Lexicon, 1845–46, and a Complete Encyclopædia of Music, 1854, and Appendix, 1875, an ambitious production for the time.
25*Morgan, George Washbourne (England, 1822–1892, Tacoma, Wash.), came to New York in 1853 and served as organist in a series of churches. See art.
27*Mosenthal, Joseph (Hesse, 1834–1896, New York), a gifted violinist, came to New York in 1853 and was long prominent as ensemble-player, organist, conductor and composer. See art.
29*Müller, Carl Christian (Meiningen, 1831–1914, New York), came to New York in 1854, worked in a piano-factory and led Barnum's orchestra, and from 1879 was harmony-teacher in the College of Music. See art.
31*Neuendorff, Adolf (Hamburg, 1843–1897, New York), was brought to New York in 1855 and from 1859 was active as pianist, violinist, conductor, manager and composer. See art.
33*Nuno, James (Spain, 1824–1908, Buffalo), after study in Italy, in 1851 came to Cuba as bandmaster, and went thence to Mexico, touring in the United States from 1856. In 1869 he settled in Buffalo. See art.
35Paillard, M. J. (Switzerland, ? –1868, Switzerland), in 1850 started the New York branch of the famous Swiss manufacture of music-boxes, long continued by others of the family.
37Palmer, Horatio Richmond (Sherburne, N. Y., 1834–1907, Yonkers, N. Y.), from 1852 active in 'conventions,' popular choruses and school-instruction, from 1881 led the Church Choral Union in New York and from 1887 was dean of the Chautauqua Institution. See art.
39Parker, James Cutler Dunn (Boston, 1828–1916, Boston), originally a law-student, studied at Leipzig and in 1854 settled in Boston as organist, conductor, teacher, theorist and composer. See art.
41Perkins, Charles Callahan (Boston, 1823–1886, Windsor, Vt.), graduated from Harvard in 1843, went to Italy to study painting, later to Paris, where he became equally interested in music. In 1849–51 and 1854–57 he was in Boston, organizing musical activities and composing, in 1850 being at the head of the Handel and Haydn Society and in 1852 the chief contributor to the erection of the well-known Music Hall. After prolonged residence in Europe,
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