Scan 62
Groves Dictionary of Music and Musicians Vol. 3, 1925
20 lines. Read by computer on 12 September 2026. Printed page 38. See the scan on archive.org.
1specially important by the new chamber music they introduce, and by the representative character of the artists and composers who appear at them.
3Manchester possesses two specially fine organs—one by Cavaillé-Col, in the Town Hall, and one by Messrs. Henry Willis & Son, at the Whitworth Hall of the Manchester University. Dr. J. Kendrick Pyne, the city organist, gives occasional recitals on the latter, and regular Saturday evening recitals on the former. For the Henry Watson Music Library, see LIBRARIES, vol. ii. p. 708.
5H. W.
7MANCHICOURT, PIERRE DE, French-Flemish composer of the earlier part of the 16th century, was born at Béthune in Artois. In 1539 he is described as Phonascus or choir-master of Tournai Cathedral, and some time before 1556 received a canonry at Arras. He is said to have lived afterwards at Antwerp. His compositions, fairly numerous, chiefly motets and chansons with a few masses, mostly appeared in the miscellaneous collections of the time. Some volumes, however, contain works exclusively or almost exclusively by Manchicourt; a book of motets, nineteen in all, a 4-6, was published by Attaignant in 1539, another book of motets containing 14 a 5-6, was published by Phalèse at Louvain in 1554. This latter volume was dedicated by Manchicourt to Antoine Perrenot, Bishop of Arras, known afterwards as Cardinal Granvelle, and probably it was to him that the composer owed his canonry at Arras. In 1545 Tylman Susato of Antwerp published a book of twenty-nine chansons by Manchicourt. One of these chansons, 'Sortez mes pleurs,' has been reprinted in Commer's Collectio, tom. xii. Eitner, in the Quellen-Lexikon, speaks in the highest terms of a motet, 'Vidi Speciosam,' a 8, taken from the Thesaurus of Montanus and Neuber, 1564; but none of Manchicourt's motets have yet been reprinted in modern score.
9J. R. M.
11MANCINELLI, LUIGI, born at Orvieto, Feb. 5, 1848. He was six years old when he began to study the piano under the direction of his father, a distinguished amateur. At the age of twelve he went to Florence to be a pupil of Professor Sbolei, one of the most talented Italian violoncellists. The boy showed great aptitude for the violoncello, and his progress was very rapid. While studying with Sbolei, he had a short course in harmony and counterpoint from Mabellini. These were the only lessons he ever had; he has acquired his knowledge of composition from the study of the works of the great masters without any guide.
13Mancinelli's professional career began in Florence, where he was for a time one of the first violoncello players in the orchestra of La Pergola. He was engaged in the same capacity at the Apollo in Rome in 1874, when this theatre, by unexpected circumstances, was left without a conductor. The impresario Jacovacci, a popular and energetic manager, in order not to stop the performances, thought of trying the ability of his first violoncellist, of whom he had heard favourable reports; and so Mancinelli was suddenly raised from the ranks to appear as a conductor. 'Aïda' was the first opera conducted by him, and, as everything went off satisfactorily, from that performance there was a new conductor in Italy.
15Thanks to his first successful attempt, in the following year Mancinelli was engaged to be the musical director at Jesi during the fêtes of Spontini's centenary. On this occasion he revived Spontini's 'La Vestale,' and the admirable execution of this grand work reflected on the conductor, who was re-engaged for the direction of the orchestra of the Apollo. In 1876 Mancinelli had his first success as a composer with his Intermezzi to 'Messalina,' a drama by Pietro Cossa. The following year he wrote Intermezzi to the 'Cleopatra' of the same author.
17Mancinelli left Rome in 1881 for Bologna, where he was engaged to be the Principal of the Liceo Musicale, and at the same time the conductor of the Teatro Comunale, and the Maestro di Cappella of San Petronio, the old basilica of the famous university town. During his stay there he composed two Masses and many other sacred pieces, introduced several improvements in the Liceo, organised a symphony and quartet society, and was the first to acquaint the Bolognese with vocal and instrumental music by foreign composers. In 1884 he gave the first performance of his opera, 'Isora di Provenza,' which was received with great applause.
19After five years he left Bologna, attracted, perhaps, to other countries by the prospect of pecuniary improvement in his position. During the season of 1886 he visited London, and gave a concert, in which he conducted classical works and some of his own compositions. The success of this concert brought him an invitation to write an oratorio for the next Norwich Festival, and the engagement to conduct the Italian Opera during the Jubilee season at Drury Lane. His powers as a conductor received full recognition; and his oratorio 'Isaias,' executed at Norwich in October 1887, was unanimously praised. He was re-engaged by Harris as conductor for the season of 1888 at Covent Garden, and has revisited London annually almost ever since. His opera, 'Ero e Leandro,' first performed in concert-form at the Norwich Festival of 1896, was presented on the stage at Madrid, Nov. 30, 1897, and at Covent Garden on July 11, 1898. From 1888 to 1895 Mancinelli held the place of musical director and conductor at the Theatre Royal of Madrid. He was conductor of the operatic enterprises carried on by Harris at the Metropolitan Opera, New York. His cantata, 'Saint Agnes,' was given at the Norwich Festival of 1905.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.