Scan 120
Grove's dictionary of music and musicians ed. by J. A. Fuller Maitland, 1907
22 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1for violin-playing. He had great success at Paris, especially with his performance of a violin-concerto, written for him by Auber, at the Conservatoire. He travelled through a very large part of Europe, and returned in 1829 to Paris, without, however, gaining his former success. In 1837 he left Paris again, and accepted the directorship of a music-school at Cambrai, remaining there till 1841. He died at Béziers in 1849.
3Mazas wrote a large number of brilliant violin pieces, quartets, trios, and duets for stringed instruments (the latter still much valued for teaching purposes), an instruction-book for the violin, and one for the viola. Fétis mentions also two operas (one, 'Le Kiosque,' performed in Paris in 1842), two violin-concertos, and an overture.
5MAZEPPA. (i.) Opera in three acts, libretto from Poushkin's Poltava, by Bourenin and others, music by Tchaikovsky. Produced at Moscow and St. Petersburg, almost simultaneously, in 1883; given at the Alexandra Theatre, Liverpool; Comedy Theatre, Manchester; and Grand Theatre, Birmingham, in August and Sept. 1888, by the Russian National Opera Company, and promised for performance in London at what is now the Great Queen Street Theatre, but the enterprise came to an untimely end before the opera could be given.
7(ii.) The sixth of Liszt's symphonic poems for orchestra. Originally designed as a piano-forte étude, it was revised and scored for orchestra in 1858.
9MAZURKA, MAZOURKA, MASUREK, or MASURE, a national Polish dance, deriving its name from the ancient Palatinate of Masovia. Mazurkas were known as early as the 16th century; they originated in national songs¹ accompanied with dancing. They were introduced into Germany by Augustus III., Elector of Saxony and King of Poland (1733-63), and after becoming fashionable in Paris, reached England towards 1845. The Mazurka was naturalised in Russia after the subjugation of Poland, but the Russian dance differs from the Polish in being performed by an indefinite number, while the latter is usually danced by four or eight couples. The Mazurka is remarkable for the variety and liberty allowed in its figures, and for the peculiar steps necessary to its performance. Indeed, the whole dance partakes of the character of an improvisation, even the invention of new steps and figures being allowable. The music (in 3-4 or 3-8 time) consists usually of two or four parts of eight bars, each part being repeated. In the earliest Mazurkas the bass was invariably on one note, usually the tonic. There is generally a strong accent on the third beat of the bar. one of two readings
10MAZURKA, MAZOURKA, MASUREK, or MASURE, a national Polish dance, deriving its name from the ancient Palatinate of Masovia. Mazurkas were known as early as the 16th century; they originated in national songs 1 accompanied with dancing. They were introduced into Germany by Augustus III., Elector of Saxony and King of Poland (1733-63), and after becoming fashionable in Paris, reached England towards 1845. The Mazurka was naturalised in Russia after the subjugation of Poland, but the Russian dance differs from the Polish in being performed by an indefinite number, while the latter is usually danced by four or eight couples. The Mazurka is remarkable for the variety and liberty allowed in its figures, and for the peculiar steps necessary to its performance. Indeed, the whole dance partakes of the character of an improvisation, even the invention of new steps and figures being allowable. The music (in 3-4 or 3-8 time) consists usually of two or four parts of eight bars, each part being repeated. In the earliest Mazurkas the bass was invariably on one note, usually the tonic. There is generally a strong accent on the third beat of the bar. one of two readings
12¹ This feature it has retained. Chopin, in a letter of August 28, 1829, says, 'The thought fortunately struck Maciejowski to write four stanzas for a Mazurka, and I set them to music' (Karasowski, i. 82). one of two readings
131 This feature it has retained. Chopin, in a letter of August 28, 1829, says, 'The thought fortunately struck Maciejowski to write four stanzas for a Mazurka, and I set them to music' (Karasowski, i. 82). one of two readings
15The tune should also end on the second beat of the bar, but in old Mazurkas there is often no definite conclusion, and the repeats are made ad libitum. The Tempo is much slower than that of the ordinary waltz. Chopin treated the dance in a new and characteristic manner. He extended its original forms, eliminated all vulgarity, introduced all sorts of Polish airs, and thus retained little more than the intensely national character of the original simple dance tune. (See Karasowski's Life of Chopin, chap. vii.; and also the somewhat rhapsodical but still interesting remarks of Liszt in his Chopin.) No less than fourteen sets of his Mazurkas have been published, containing fifty-two in all (opp. 6, 7, 17, 24, 30, 33, 41, 50, 56, 59, 63, 67, 68, and one without opus number). Weber gives the title 'Masurik' to the fourth of his six pieces for the PF. à quatre mains (op. 10).
17The following example is a simple Mazurka popular in the neighbourhood of Warsaw. The first part of the melody has a vocal accompaniment:—
19W. B. S.
21MAZZINGHI, JOSEPH, of an ancient Corsican family, born in London, Dec. 25, 1765, was a pupil of John Christian Bach, under whom he made such progress that, on the death of his father, in 1775, he was, although but ten years of age, appointed organist of the Portuguese Chapel. He then studied under Bertolini, Sacchini, and Anfossi. In 1784 he became musical director and composer at the King's Theatre, and produced the operas of 'Il Tesoro' and 'La Belle Arsène,' besides many songs, duets, etc., for introduction into other operas, and the music for several ballets. The score of Paisiello's opera 'La Locanda' having been consumed in the fire of the Opera House in June 1789, Mazzinghi rescored the work so faithfully as to admit of its continued performance. For the English theatre he set the following pieces:—'A Day in Turkey,' 1791; 'The Magician no Conjurer,' 1792; 'Ramah Droog,' 1798; 'The Turnpike Gate,' 1799; 'Paul and Virginia,' 1800; 'The Blind Girl,' 1801; 'Chains of the Heart,' 1802 (the last five in collaboration with Reeve); 'The Wife of two Husbands,' 1803; 'The Exile,' 1808; and 'The Free Knights,' 1810. The last piece contained the duet, 'When a little farm we
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