Scan 57
The American history and encyclopedia of Music: Musical Biographies, 1908
15 lines. Read by computer on 10 September 2026. Printed page 37. See the scan on archive.org.
1Matthison-Hansen
2könig Frode Fredegod; three character pieces for piano; sonata for piano and violin; sonata for piano and violoncello; a fantasie and Concert-Tonstücke for organ.
4Matthison-Hansen, Hans. 1807-1890.
5Danish organist and church composer; was born at Flensburg. He first studied art, and was to a certain extent self-taught in music, when he began to study organ under C. F. E. Weyse of Copenhagen. In 1832 he received the important appointment of organist at Roeskilde Cathedral. He was an excellent organist and gave concerts in Norway in 1861 and the following year in Sweden, and in 1864 he appeared in England. He had received the Order of Danebrog in 1857, and in 1869 he was given the title of professor. He composed a cycle of church-music for Christmas, Easter and Pentecost; preludes and postludes for organ; 130th Psalm; two Kyrie eleison; The Lord's Prayer; Johannis, an oratorio; music to the 100th, 121st and 150th Psalms, with orchestral accompaniments, variations, symphonies, fantasies, and other music for organ.
7Maurel (mō-rēl), Victor. 1848-
8One of the greatest living baritones; born at Marseilles, and began his stage career in the comedy and light opera there. He finally went to Paris, however, and studied at the Conservatory under both Vauthrot and Duvernoy, winning honors for his work with both teachers. He made his debut as De Nevers in Les Huguenots at Paris in 1869. He then toured America, Spain and Italy. He first appeared in London in 1873, taking the role of Renato at the Royal Italian Opera, and his first appearance in America took place the following year. In 1879 he returned to Paris, where he made a successful Hamlet and Amonasro. He then took charge of the Italian Opera at the Theatre of Nations, now Sara Bernhardt's theatre, and though he surrounded himself with artists of the highest grade and produced Massenet's Herodiade with wonderful success, the venture resulted in financial disaster. He went back to comic opera, playing Zampa, Falstaff and Peter, and appeared again at Drury Lane and Covent Garden. His creation of the part of Iago in Verdi's Otello in 1887 is his great artistic success. In 1893 he brought out Falstaff, and in 1896 he was the first to give the role of Mathias in Erlanger's Juif Polonais. Among his best known parts are Don Giovanni, William Tell, Almaviva, Cacique, Wolfram in the Flying Dutchman, and Domingo in Massé's Paul and Virginia.
10Maurer (mow'-rēr), Ludwig Wilhelm. 1789-1878.
11Violinist; born in Potsdam. He studied the violin under Haak, and at the age of thirteen he played at a concert given by Mara in Berlin, and was permitted to join the Royal Orchestra. In 1806 Maurer traveled to Königsberg and Riga, where he met Rode and Baillot, then to St. Petersburg, where he played in concerts. Through Baillot he became conductor to the Chancellor Wsowologsky in Moscow, a position which he held until 1817, when he made another concert tour to Paris and Berlin. In 1818 he was made concert-master at Hanover, but he returned to Chancellor Wsowologsky in 1832, remaining with him until 1845, when he settled in Dresden. Among his writings, the best known is his Symphony Concertante for four violins with the orchestra, which he first played in Paris in 1838 with Wich, Spohr and Müller. Other compositions are The Three Russian Airs with variations; his operas, Alonzo, Aloise, Der entdeckte Diebstahl, and Der Neue Paris, of which only the overtures are printed.
13May, Edward Collett. 1806-1887.
14Organist and widely known musical educator; born at Greenwich, England. His first musical training began with his brother, a musical amateur and composer, and was continued under Thomas Adams, organist at St. Paul's, Deptford, and a family friend. Some time later May was a student of piano under Cipriani Potter, and of singing under Crivelli. In 1837 he became organist of Greenwich Hospital, remaining with that institution until it was abolished in 1869. In 1841 he organized classes in which thousands of grown people and children received musical instruction. These classes were enormous, that in the National Societies' Central School numbering over a thousand teachers and many children besides, while at his classes in the
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