Scan 60
The American history and encyclopedia of Music: Musical Biographies, 1908
19 lines. Read by computer on 15 September 2026. Printed page 40. See the scan on archive.org.
1Mazas
2Auber was very successful. He then became a member of the orchestra of an Italian Opera Company, and from 1811 to 1829 traveled through Spain, Russia, Belgium, Germany and Italy. After his return to Paris he was, for a while, first violin at the Palais Royal. From 1837 to 1841 he was director of a music school at Cambrai. As a violinist his tone was very brilliant and melodious. He wrote a method for the violin and a method for viola, beside many concertos, trios, string quartets, fantasias, variations, romances and violin duets.
4Mazzinghi (mäd-zēn'-gī), Joseph. 1765-1844.
5Piano teacher, organist and composer; of ancient Corsican blood; born in London. He studied music with Bertolini, Sacchini, Anfossi and John Sebastian Bach, progressing so amazingly that in 1775, when he was only ten years old, he was made organist of the Portuguese Chapel. In 1784 he became director at the King's Theatre. He became piano teacher of the Princess of Wales, afterward Queen Caroline, and in 1830 was made a Count. He had a great many pupils on the piano, and besides this composed a large number of pieces and wrote some operas. Some of his operas are Il Tesero; A Day in Turkey; The Magician no Conjurer; La belle Arsène; Paul and Virginia; The Blind Girl; Ramah Droog; Chains of the Heart; The Wife of Two Husbands; The Exile; and The Free Knights. He composed almost seventy sonatas, besides a great number of songs and glees, also a mass and some hymns.
7Mazzochi (mäd-zôk'-ki), Domenico.
8A Sixteenth Century composer, chiefly known as the originator of the marks used at present to indicate crescendo and diminuendo; also the pf for pianoforte and the tr for trilo. Little is known of his life, except that he studied with Nanini, became a prominent lawyer in Rome, and was employed possibly in some musical capacity by Aldobrandini Borghese for a number of years. Among his works are La Catena d' Adone, an opera; a book of sacred music; a book of madrigals; several oratorios; and a collection of Dialoghi e Sonatti. His works date from 1626 to 1640.
10Mees
11Mazzucato (mäd-zoo-kät'-tō), Alberto. 1813-1877.
12Dramatic composer, teacher and musical writer; born at Udine, Fruili. He became the pupil of Bresciano at Padua, where in 1834 he produced his first opera, La Fidanzeta di Lammermoor. This was temporarily successful, as were several other operas which followed. In 1839 he was appointed instructor in singing at Milan Conservatory, and in 1851 he taught composition there. In 1852 he became lecturer on history of music and aesthetics, and in 1872 director, succeeding Lauro Rossi. He was editor of the Gazzetta Musicale for some years, besides writing principi elementari di musica di Asioli, reformati ed ampliati; an Atlas of Ancient Music; a Trottato d'estetica musicale; and Italian translations of musical works. His operas are La Fidanzeta di Lammermoor; Esmeralda; I due sergenti, and I corsari.
14Meerts (mārts), Lambert Joseph. 1800-1863.
15Violinist and composer of valuable instructive music for the violin; born at Brussels. When sixteen he became a member of the theatre orchestra in Antwerp. He studied in Paris with Habeneck, Lafont and Baillot, then returned to Brussels and began to teach. In 1828 he commenced to play in the city orchestra; in 1832 he was made solo violinist, and in 1835 was appointed to teach violin at the local Conservatory. Among his instructive compositions for the violin is a series of duets for two violins, founded on rhythms from the symphonies of Beethoven. Some of his other writings are three books of études of the second, fourth and sixth position; three études in fugue and staccato; and Mécanisme du Violon.
17Mees (māz), Arthur. 1850-
18Musical conductor and writer on musical subjects; born at Columbus, Ohio. His early musical education was obtained at Concordia College, Fort Wayne, Ind., after which he went to Berlin, where he studied piano with Theodore Kullak, theory with C. F. Weitzmann and score-reading and conducting with Heinrich Dorn. He afterward studied at Leipsic. For six years he conducted the Cincinnati May Festival chorus. He was assistant conductor of an American opera
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