Scan 45
The American history and encyclopedia of music, 1908
18 lines. Read by computer on 11 September 2026. Printed page 24. See the scan on archive.org.
1Marschner
2music to Die Hermannsschlacht; ten collections of songs for four male voices; twenty collections of songs; romances; German and Italian airs for high voice with piano accompaniment; sonatas; songs and fantasies.
4As a writer of the dramatic romantic school, Marschner ranks next to Weber and Spohr. His compositions are smooth and melodious and have excellent and full orchestration, which shows him a master of his craft. His ideas show the influence of Rossini and still more of Weber. His favorite subject seems to have been the ghostly and uncanny, which he treated with unusual skill. He wrote rapidly in spite of the elaborate orchestration of most of his works and the difficult harmony he employed. Although most of his minor works are forgotten, Der Vampyr, Hans Heiling and Der Templer und die Jüdin are standards of the German opera stage today.
6*Marshall, John Patton. 1877-
7Composer and musical instructor; born at Rockfort, Massachusetts. In 1894 he went to Boston, where he studied piano with B. J. Lang and Edward MacDowell, and composition under H. A. Norris and G. W. Chadwick. In 1895 he became organist and choirmaster of St. John's Church, Boston, and held this position for ten years. When the Department of Music was founded at Boston University in 1903 he was appointed professor of history and theory of music, and is still serving in this capacity, 1908. He has published a number of songs and piano-pieces.
9Marsick (mär-sïk), Martin Piérre Joseph. 1848-
10Belgian violinist, celebrated as a quartet and solo-player; born at Jupille, near Liège. When eight years old he entered the music-school at Liège and after two years' study, was given first prize in preparatory classes. In 1864 he gained the gold medal awarded to pupils showing unusual talent. The following year he entered the Brussels Conservatory where he studied violin with Léonard and composition under Kufferath until 1867. In 1868 he went to Paris for a year of study under Massart and in 1870, receiving an allowance from the Belgian government, he went to Joachim. He made a successful debut at the Concerts Populaires in Paris, in 1873, then traveled in Belgium, England, France and Germany with good success. In 1877 he organized a quartet in Paris which consisted of Delsart, Remy, Waefelghem and himself and which became noted throughout Europe. In 1892 he received the appointment of professor of violin at the Paris Conservatory, succeeding Massart. He toured the United States in 1895 and 1896 and was well received although he did not create so profound an impression as have Ysaye, Kubelik and others. His technique is marvelous, his tone light and clear, and his rendition smooth and graceful, but there is a coldness about his playing that keeps him from making a deep or lasting impression. He has composed three violin concertos; two rêveries; intermezzo; berceuse; tarentelle; agitate; romance; adagio in G minor; adagio scherzando and other concert pieces for his instrument.
12Marteau
13Marston, George W. 1840-
14American composer of piano-music; born at Sandwich, Massachusetts. When twelve years old he began the study of music in his native town, and at the age of sixteen was organist in a church. Removing to Portland, Maine, he studied under John W. Tufts, and has been twice to Europe studying at Florence, London and Munich. Especially noteworthy is his music written for Heine's Du bist wie eine blume, and his score to There Was an Aged Monarch. Among other well-known pieces are Ariel's Songs, from The Tempest; Im Wunderschönen Monat Mai; Wen der Frühling auf die Berge Steigt; Douglas, Tender and True; The Boat of My Lover; and On the Water. He has also written a sacred cantata, David; Te Deums and anthems for church use.
16Marteau (mär-tō), Henri. 1874-
17Noted French violinist; born at Rheims. His musical talents were early fostered because his parents were both musically inclined, his father being an amateur violinist, president of the local Philharmonic Society and his mother a finished pianist who had studied with Clara Schumann. When he was five years old Sivori visited his parents and took the greatest interest in him,
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