Scan 121
Grove's dictionary of music and musicians ed. by J. A. Fuller Maitland, 1907
23 lines. Read by computer on 5 September 2026. No printed page number was found. See the scan on archive.org.
1keep,' which for nearly half a century was highly popular and constantly introduced into other pieces.
3Mazzinghi was music-master to the Princess of Wales, afterwards Queen Caroline, and had an extensive practice as a teacher of the piano-forte, for which instrument he composed nearly seventy sonatas and arranged a multitude of pieces, besides writing an 'Introduction' to it. His glees, trios, harmonised airs, songs, and other vocal pieces, were legion. His pastoral glee, 'The Wreath' ('Tell me, shepherds'), was long in favour. He likewise composed a mass for three voices, and six hymns. Having about 1830 attained the rank of Count he retired to Bath, where he died, Jan. 15, 1844. [C. F. Pohl, in his Mozart and Haydn in London, vol. ii. p. 370, states that Joseph Mazzinghi died in 1839, and that the Mazzinghi who died in 1844 was Thomas, or Tommaso, who was ennobled in 1834. The father of one or both was probably the author of 'Six solos for the violin,' published as op. 1 in London about 1763. See the Quellen-Lexikon.] W. H. H.
5MAZZOCCHI, DOMENICO, born at Veja, near Civita Castellana, about the end of the 16th century. He was a pupil of Nanini, and published an opera, 'La Catena d'Adone,' in 1626, a book of five-part madrigals, a set of 'Dialoghi e Sonetti' in 1638, and a volume of 'Musiche sacre' in 1640. In the dedication of this last he states that he has been for twenty years in the service of the family of Aldobrandini Borghese. His claim to notice is mainly for the reason that he seems to have been the first to use the sign —— for a crescendo and diminuendo, or a 'swell.' His brother, VIRGILIO MAZZOCCHI, was from 1628 to 1629 maestro di cappella at St. John Lateran in Rome, and in the latter year was appointed to a similar place in St. Peter's. He held this post until his death in October 1646. In 1640 he published, as op. 1, 'Sacrae flores' for two, three, and four voices, and in 1648, a set of psalms for double chorus was issued (Quellen-Lexikon).
7MEAN (Old Eng. Meane, Mene; Lat. Medius). 1. An old name for a middle Voice-part, whether Alto or Tenor.
82. A name given to the second instrument in a Concert of Viols, as in Orlando Gibbons's 'Fantasies in three parts, for Viols,' reprinted by the Musical Antiquarian Society.
93. The name of the second and third strings of the viol—the former being called the Small, and the latter the Great Meane.
104. The title of an ingenious Fugue for the Organ composed by William Blitheman, and printed by Hawkins in the Appendix to vol. v. of his History (see above). W. S. R.
12MEANTONE. See TEMPERAMENT.
14MEARES, RICHARD, father and son with the same Christian name. The father was a skilled maker of viols, lutes, and other instruments, and as his labels inform us, lived 'Without Bishop-gate, near to Sr. Paul Pinder's, London.' The earliest of these labels of which the present writer has knowledge is dated 1669; others 1677, etc. Hawkins, who gives an account of father and son (misspelling the name 'Mears'), says that his shop was opposite the Catherine Wheel Inn, without Bishopgate, and that he was advertising in 1688, 'lutes, and viols fretted according to Mr. Salmon's proposal.'
16Richard Meares the son is mentioned by Hawkins as a 'whimsical man,' bred up to his father's business, who, 'seeing the slovenly manner in which music was published by Walsh & Hare, and being desirous to participate in so gainful a trade, became their rival.'
18A card in the Bagford collection (Brit. Mus.) indicates that the younger Meares was first established in Leadenhall Street at the sign of the Golden Viol, but that he is then removed from thence to the north side of St. Paul's Churchyard at the Golden Viol and Hautboy, where he sells all sorts of musical instruments, books and songs 'as also ye best sort of cutlery ware.'
20Meares's first publication is stated to be Mattheson's 'Pièces de Clavecin,' which is dated from St. Paul's Churchyard, 1714. After this he became the publisher selected by Handel, during his periodical squabbles with Walsh, to issue his works, partly in conjunction with J. C. Smith. 'Radamisto' is 'printed and sold by R. Meares and C. Smith not to be sold anywhere else in England.' 'Suites de Pièces' and the additional airs in 'Floridant' are others by Handel having Meares's imprint. He published also Corelli's 'Sonatas' and 'Concertos,' Ariosto's 'Coriolanus,' and Dr. Croft's 'Musicus Apparatus Academicus.' One of his late issues is Introduction to Psalmody, J. Church, 1723, 8vo. According to Hawkins he was not very successful, and in due course removed to Birch Lane, and finally to London-house Yard, where he died about 1743. He must not be confused with a typographical music-printer named H. Meere, who printed one or two works for Walsh in 1716 and 1718. F. K.
22MEASURE (i.) originally denoted any dance
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