Scan 47
The American history and encyclopedia of music, 1910
16 lines. Read by computer on 8 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1Martini
2he was made officer of a hussar regiment, and given an opportunity to compose much military music. In 1771 he brought out his first opera, L'Amoreux de Quinze Ans, which proved so successful that he left the army and became musical director to the Prince de Condé, later being made conductor of the Theatre Feydeau, a position which he held until the French Revolution. After the Revolution he lived in Lyons, returning to Paris in 1794 and being made inspector at the Conservatory in 1798, where he remained until 1802. At the restoration in 1814 he became superintendent of Court music and wrote a Requiem Mass for Louis XVI., which was performed in 1816, and for which he was decorated with the Grand Cordon of the Order of St. Michael. His music was very brilliant and his church-music more dramatic than religious. Among his writings are his operas, L'Amoreux de Quinze Ans; Le Rendezvous nocturne; Le Poëte supposé; La Bataille d'Ivry and Le Fermier cru sourd. He also wrote his cantata for the marriage of Napoleon and Marie Louise; the charming song, Plaisir d'amour and much chamber-music as well as some church-music.
4* Martucci (mär-toot'-chē), Giuseppe. 1856-
5Composer, concert pianist and conductor; born at Capua, January 6, 1856. His early musical education was directed by his father who was a trumpet-player. When ten years old Martucci began appearing in public, and in his eleventh year scored a pronounced success in Naples. He was admitted to the Royal Conservatory of Music in that city in 1867 and for five years studied there, taking counterpoint and composition of Lauro Rossi and P. Serrao, harmony of Carlo Casta and piano of Cesi. After graduating from the Conservatory he taught and played piano in concerts for about two years, and in 1874 competed for a professorship at the University, winning it from such competitors as Bonchard, Palumbo and Simonetti, although he was then but a youth of eighteen. At about the same time he became leader of the Neapolitan Quartet Society, directing the work for eight years with pronounced success. He was also conductor of the Orchestral concerts instituted by the Prince of Ardore, and in that position did excellent work, giving a series of concerts at the Exposition of Turin in 1884. In 1888 he had charge of all vocal and orchestral music performed at the Exposition of Bologna. In 1902 he was made director of the Royal Conservatory of Music at Naples. He is now at the head of the Musical Lyceum at Bologna.
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8In 1875 he made an extended tour through Germany, France and England, remaining four months in London, and playing in Dublin. In 1878 he appeared in Paris and was heard by Rubinstein, who expressed the highest admiration for him, calling him the "Glory of Italy," and personally conducting a performance of Martucci's Concerto in B minor. He greatly broadened musical knowledge in Italy and introduced the English composers Parry and Stanford. In 1866 he succeeded Luigi Mancinelli as director of the Lyceum at Bologna and devoted most of his time and energy to orchestral direction. Under his baton the orchestral concerts of Bologna and Milan developed into the highest type of artistic and intellectual interpretation. He is a member of the Accademia Reale of Naples, as well as Cavaliere dei San Maurizio e San Lazzaro and Commentadore della Corona d'Italia.
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11Of Martucci's one hundred and fifty compositions the first symphony, in D minor is usually considered the finest. It was performed at the Royal College of Music in London in 1898. Others are the piano concerto in B flat minor and an admirable quintet in E flat; piano quintet in C; variations and fantasia for two pianos; capriccio and toccata for piano; novelletta, scherzo and notturno for piano; a concerto for piano and orchestra in D minor; a sonata for organ; piano trio in E flat; sonata for piano and cello; six volumes of compositions for piano; Pagine Sparse for voice and piano; also many other compositions.
13* Marty (mär-tē), Eugène Georges. 1860- one of two readings
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15Modern French composer and conductor, whose work shows the influence of Massenet; born in Paris. At the age of twelve he entered the Conservatory, where he took a course in tonality from Gillet, piano from Crohare, harmony from Dubois, organ
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