Scan 42
The American history and encyclopedia of Music: Musical Biographies, 1908
12 lines. Read by computer on 15 September 2026. Printed page 22. See the scan on archive.org.
1Marin
21786, and became a captain of dragoons. After a short military service he was given a leave of absence, and toured Austria, Prussia and Spain. During the French Revolution he went to England, where he became a successful teacher. He returned to France during the Consulate, and settled at Toulouse, where he died about 1830. He was a thorough musician both of the harp and violin, being especially known for his remarkable harp compositions of various kinds.
4Mario (mä-ri-ō), Giuseppe, Conte di Candia. 1810-1883.
5Operatic tenor, whose elegance and personal beauty helped to make him a great favorite of his time. Cagliari is generally conceded to be his birthplace, and though the date is uncertain, being given as 1808, 1810 and 1812, there is reason to believe 1810 is correct. Of noble family, his father had been a general in the Piedmontese Army and he himself studied the profession of arms in the Military Academy at Turin, and later became an officer in the Piedmontese Guard. In 1836 he went to Paris, where he was urged to go on the stage. He hesitated, but at last signed a contract with the manager of the Opéra, where, in 1838, he appeared in Robert le Diable. He had spent some time studying under the direction of Michelet, Ponchard and Bordogni, but was not a finished singer on his first appearance, and owed his immediate success in great measure to the natural beauty of his voice and to his personal charm. In 1839 he sang in London in Lucrezia Borgia, and in 1840 he became a member of the Italian Opera Company in Paris. From 1843 to 1846 he sang in Rubini's place in the quartet with Tanborini, Lablache and Mme. Grisi, who afterward became his wife. For twenty-five years he and Grisi appeared in opera in Paris, London and St. Petersburg. They came to America for the season of 1854 under Hackett's management, and opened the new building of the Academy of Music, New York, with a performance of Norma. In 1867 Mario retired from the stage, living for a while in Paris, then going to Rome, where he died. Among the operas he has appeared in are Don Pasquale, Ugonotti, La Favorita, and Don Giovanni; and the roles of Almavivo, Raoul, and Gennaro. He was more than ordinarily successful in chamber-concerts, where his elegance and grace appeared to the best advantage. His voice was delightful, and his style of delivery and stage presence unusually charming. He had also great taste in the matter of costume, and always appeared on the stage artistically dressed.
7Markull (mär-kool'), Friedrich Wilhelm. 1816-1887.
8Organist, pianist, composer and critic; was born at Reichenbach, near Elbing, in Prussia. He was the pupil of his father and of Karl Kloss at Urban, and studied the organ and composition with Friedrich Schneider at Dessau. In 1836 he was made first organist of the Marienkirche at Danzig and conductor of the Gesangverein. He was also critic for the Danziger Zeitung. In 1847 he became Royal musical director. He composed three operas, Maja und Alpino, or Die bezauberte Rose; Der König von Zion, and Das Walpurgest; the oratorios Johannes der Täufer, and Das Gedächtniss der Entschlafenen; symphonies; piano works; and a Choralbuch.
10Marmontel (mär-môn-tel), Antoine François. 1816-1898.
11Piano-player and teacher; was born at Clermont-Ferrand, Puy-de-Dôme. He received his musical education at the Paris Conservatory, studying piano under Zimmermann, composition under Lesueur, fugue under Halévy and harmony under Dourlen. In 1832 he received first prize for piano-playing, and in 1848 he was made professor of piano at the Conservatory, succeeding Zimmermann. In this capacity he gained a wide reputation and was the master of such pupils as Bizet, Th. Dubois, Planté, Wieniawski, E. Duvernoy and Thomé. He composed a great deal of piano music, mostly of an instructive nature, among his writings being a hundred easy studies, entitled L'Art de déchiffrer, Études, École de mécanisme, Études de salon, and École élémentaire de mécanisme et de style; besides sonatas, serenades, salon-music, and some dances. Besides his compositions he has written much on musical subjects, his literary work including Virtuoses contemporains; Les Pianistes célèbres; L'Art classique et moderne du piano; and a Petite Grammaire populaire.
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