Books › The new encyclopedia of music and musicians, 1929 › scan 632
Scan 632
The new encyclopedia of music and musicians, 1929
34 lines. Read by computer on 16 September 2026. Printed page 594. See the scan on archive.org.
1Monod, Edmond (Lyons, 1871). French pianist, pupil of B. Roth, Leschetizky and Mme. Stepanov, in 1899–1906 the latter’s assistant in Berlin and since 1907 professor at the Geneva Conservatory. Author of Harmonie et Mélodie, 1906 (emphasizing melodic motion as the occasion of dissonance), M. Lussy et le Rythme Musical, 1912, and essays in the Lyons Revue Musicale.
3Monpou, François Louis Hippolyte (Paris, 1804–1841, Orleans). French organist, holding several posts in Paris (as in 1818 at Tours Cathedral), pupil and assistant of Choron, but never really well trained. From 1828, however, he secured notice by settings of poems of the romantic school and from 1835 produced about 10 operas, all displaying a mixture of technical ignorance with some gifts for melody and dramatic effect. G.
5Monsigny, Pierre Alexandre (n. St. Omer, 1729–1817, Paris). Eminent French composer, pupil in part of Gianotti, besides early training as violinist, from about 1750 manager or steward for the Duke of Orleans at Paris and later also in royal employ. His opera-writing began after hearing a French version of Pergolesi’s Serva Padrona in 1754, though his first opera was not actually given till 1759. The series of works continued (mostly at the Comédie Italienne) till 1777, when he shrewdly ceased producing at the point of greatest success. In the Revolution he lost place and property. From 1798, however, he had a pension from the Opéra-Comique and in 1800–02 was inspector at the Conservatory. In 1813 he was chosen to follow Grétry in the Académie and in 1816 was admitted to the Légion d’Honneur. He was always hampered by the brevity and lateness of his technical training in composition. But he had positive gifts in melody, in delicate characterization and in refined dramatic appeal. He is counted as one of those who established the French comedy-opera as a distinct and enduring type. The list of his works includes 15 operas, viz.:
7Les Aveux Indiscrets, 1759, Le Maître en Droit, 1760, Le Cadi Dupé, 1761, On ne s’avisé jamais de tout, 1761, Le Roi et le Fermier, 1762, Rose et Colas, 1764, Aline, Reine de Golconde, 1766, L’Ile Sonnante, 1768, Le Déserteur, 1769, Le Faucon, 1772, La Belle Arsène, 1773, Le Rendezvous Bien Employé, 1774, Félix, 1777, besides Pagamin de Monègue and Philémon et Baucis, not given.
9Memoirs by Quatremère de Quincy, 1818, Alexandre, 1819, Hédouin, 1820, and Pougin, 1908. G.
11Montagnana, Antonio. Italian bass, in 1731–34 and ’38 employed by Handel in London for several of his most taxing rôles. In 1734–36 he sang for the rival enterprise under Porpora. For him Handel wrote noted arias in Ezio, Sosarme and Orlando. G.
13Montagnana, Domenico. Important Italian violin-maker at Cremona and Venice in about 1700–40, counted (with Bergonzi) among Stradivari’s best pupils. He excelled in violas and ’cellos as well as violins. But his fame has been obscured by attributions of many of his instruments to Guarneri or Bergonzi. G.
15Montal, Claude (n. Moulin, 1800–1865, Paris). Noted French piano-maker (blind), from 1834 taking prizes at competitions and from 1851 member of the Légion d’Honneur. Author of a manual on tuning (1834, enlarged, 1836) and a summary of advances in piano-making (1852). Biography by Guadet, 1845.
17Montanari, G. (Salerno, 1881). Italian composer of the comedy Il Birichino di Parigi, 1913. He studied at the Naples Conservatory.
19Montani, Nicola Aloysius (Utica, N. Y. 1880). American organist, pupil of Perosi, Capocci and Mocquereau, since 1907 at St. John the Evangelist’s in Philadelphia, founding an a cappella Choral Club and the Am. Society of St. Gregory and editing The Catholic Choirmaster. Has written a Missa Solemnis, a Stabat Mater, other church-music, the cantata The Bells, an orchestral suite, etc. A.
21Monte, Filippo de (1521–1603). 16th C. G.
23Montéclair, Michel Pignolet de (Chaumont, 1666–1737, n. Paris). French double-bassist, a pioneer in the use of the modern instrument, playing in the orchestra of the Paris Opéra in 1707–37. Wrote 2 operas (1716, ’32), cantatas, a Requiem, trio-sonatas, pieces for flute and violin, etc., and one of the earliest violin-methods (1720). G.
25Montefiori, Tommaso Mosè (Leghorn, 1855). Italian composer of the operas Un Bacio al Portatore, 1884, and Cecilia, 1905. He studied with Mabellini and has long been a critic in Rome, at present editing the Tribuna.
27Montemezzi, Italo (Verona, 1875). Able Italian composer, trained at the Milan Conservatory. Has written the operas Giovanni Gallurese, 1905, Hellera, 1909, L’Amore die Tre Rè, 1913, and La Nave, 1918, besides the cantata Il Canto dei Cantici, 1900, and the unfinished Principezza Lontana.
29Monteux, Pierre (Paris, 1875). Eminent French conductor, trained at the Paris Conservatory, from 1894 making a name in Paris in both concert and opera, also appearing as guest in London, Berlin, Vienna and Pest. In 1916 he came to New York with the Russian Ballet and in 1917–19 was one of the conductors at the Metropolitan, besides leading municipal concerts in 1917 (summer). In the fall of 1918 he took charge of the Boston Symphony Orchestra for a short time (pending Rabaud’s arrival) and in 1919–24 was permanent conductor. A.
31Monteverdi, Claudio (1567–1643). 16th C. G.
33Moody, Charles Harry (Stourbridge, 1874). English organist, pupil of T. W. Morgan, from 1893 at St. Michael’s in Tenbury, Wells Cathedral (deputy), Wigan (1895–99) and Holy Trinity in Coventry, and since 1902 at Ripon Cathedral, besides leading a choral society and lecturing at the Diocesan College. Has written services, anthems and songs (using the pseudonym ‘Coulthart Brayton’), besides Music and
The computer misreads some letters and numbers. Where a name matters to you, read the scan.