Scan 45
The American history and encyclopedia of music, 1910
9 lines. Read by computer on 8 September 2026. Printed page 25. See the scan on archive.org.
1Marteau
2giving him a violin and persuading his father to educate him to be a professional violinist. For three years he was taught by Bunzl, then sent to Léonard in Paris, and when ten years old he made his debut under Richter at a concert of the Vienna Philharmonic Society, and afterward played in Germany and Switzerland. In 1885 Gounod chose him to play the violin obbligato of a piece he had written for the Joan of Arc Centenary celebration at Rheims, which he had dedicated to him. At the Paris Conservatory he received first prize for violin playing in 1892 and Massenet wrote a concerto for him. He came to America first in 1893, when he was most cordially received and his rendering of Bruch's G minor concerto was given twelve recalls at a Boston Symphony concert. He also played in Russia in 1897 and the spring of 1899. He returned to America in 1898 and this time he played a violin concerto written for him by Dubois, with whom he had studied composition and harmony at the Conservatory. Marteau's tone is warm and brilliant and his technique is remarkable for its sureness and delicacy. His violin is a fine Maggini which once belonged to Maria Theresa of Austria, and was given by her to one of her chamber musicians who carried it back to Belgium, where it fell into the hands of a collector who sold it to Léonard, from whom Marteau received it at that master's death. It is an instrument of almost viola-like depth of tone and is heard to special advantage in the marvelous chords of a Bach sonata. In the field of composition Marteau is represented by a cantata, entitled La Voix de Jeanne d'Arc. At the present he is occupying the position of professor of violin at Geneva Conservatory.
4Martin, Sir George Clement. 1844-
5English organist, composer and teacher; born at Chipping-Lambourn, Berkshire. When sixteen years old he took up the study of music alone, studied with J. Pearson, and later with Sir John Stainer, organist and composer at Magdalen College, Oxford, receiving his degree of Bachelor of Music in 1868, and becoming Fellow of the College of Organists in 1871. He was made organist at Lambourn and while filling that position he organized a choral society which later performed many standard works. He used the village brass band in connection with his church-music and in after years he wrote church-music with a part for brasses. In 1871 he was made organist at Balkeith Palace, and for a time played the organ of St. Peter's Church in Edinburgh; in 1873 he went to London to take charge of the choir in St. Paul's Cathedral, where Sir John Stainer had become organist, and where in 1876 he became suborganist, succeeding Stainer in 1888. He took charge of the music for Queen Victoria's Diamond Jubilee, and for his services on that occasion was knighted. In 1883 he received the degree of Doctor of Music from the Archbishop of Canterbury and was appointed teacher of organ at the Royal College of Music, a position which he has since resigned. Among his church compositions may be mentioned Morning and Evening Communion and Evening Service in C for voices and orchestra; a Magnificat and Nunc Dimittis in A; Communion Service in A; seven anthems; songs and part-songs.
7Martin y Solar (mär-tēn' ē sō-lär'), Vicente. 1754-1810.
8Spanish writer of operas, who for a time rivaled Mozart in popular favor; born at Valencia. He sang in the choir of Valencia and later became organist at Alicante. In 1871 he went to Florence, where he wrote the opera, Ifigenia in Aulide, to be performed at the following carnival. His next works were Astartea and the ballet, La Regina di Golconda. In 1783 he produced La Donna festiggiata and L'accorta cameriera at Turin, and in 1784 he brought out Ipermestra in Rome. In 1785 he went to Vienna, where he met Da Ponte who wrote the libretto to his Il burbero di buon cuore, which was so successful that he published La capricciosa coretta, L'arbore di Diana and Une Cosa Rara very soon afterward. Of these Une Cosa Rara became immensely popular, quite overshadowing Mozart's Figaro which came out about that time. In 1788 Martin went to St. Petersburg, where he became director of Italian Opera and was made an Imperial councillor by Emperor Paul I. When French Opera was substituted for Italian in 1801 Martin was deprived of his posi-
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