Scan 36
university dictionary of music and musicians, 1912
20 lines. Read by computer on 17 September 2026. Printed page 402. See the scan on archive.org.
1ignorance. The "Cruda Amarilli" of his Fifth Book of Madrigals, 1605, was the beginning of the revolution in art. Artusi of Bologna published a severe attack on the young composer under the title "Delle imperfettione della moderna musica," to which Monteverde replied by a letter prefixed to his next work, addressed "Agli studiosi lettori," and disputes among the musicians became so bitter that Monteverde visited Pope Clement VIII to enlist the sympathy of the church in his new style. In 1602 he became chapelmaster at Mantua, and five years later, on the occasion of the marriage of the duke's son, produced his opera "Orfeo," which was orchestrated for 36 instruments, and is said to have embodied what are still regarded as "new conceptions" in opera. "Arianna," a serious opera which had a great success, but which is no longer extant, and "Il ballo delle ingrate," a mythological spectacle, were the remaining works of the composer during his residence in Mantua, which he quitted, 1613, to become chapelmaster at St. Mark's, Venice. There he received a salary of 300 ducats, the use of a house, an allowance for his expenses in moving, and in 1616 had his salary increased to 500 ducats, or more than twice as much as any of his predecessors had received. Notwithstanding the enmity of the theorists, he was soon the most popular composer in Europe. Among the works which spread his fame abroad were a Requiem for Duke Cosmo II of Florence, "Il Combattimento di Tancredi e Florinda," a dramatic interlude, "Licori, la finta pazza," for the court of Parma; the cantata "Il Rosajo fiorito," the opera "Proserpina rapita," and a mass with trombone accompaniment to the Gloria and Credo, in thanksgiving for the cessation of a plague which had ravaged Venice. In 1633 Monteverde was admitted to the priesthood, and was not again heard of as a composer until 1637, when the first opera house was opened in Venice. "L'Adone" was written for this occasion, and later he composed the operas "Le Nozze di Enea con Lavinia," "L'Incoronazione di Poppea" (his last work), and the ballet "Vittoria d'Amore." Three volumes of church music, eight books of madrigals, a set of scherzi musicali, the volume of canzonettes of 1584, and "Orfeo" survive in printed form. B. May, 1567, Cremona; d. Nov. 29, 1643, Venice.
3Montgomery (Hugh, Earl of Eglington) composed Strathspeys published anonymously by Gow in Edinburgh, songs, marches, etc. B. Nov. 29, 1739; d. 1819.
5Monticelli (Angelo Maria) sang sopranist rôles with complete success in Rome, debut 1730, later in Venice, London, Vienna, and Dresden. B. about 1710, Milan; d. 1764, Dresden.
7Montigny-Remaury (Fanny M. Caroline) played piano, touring Europe with success; pupil of her sister, Mme. Ambrose Thomas; and of the Paris Conservatoire, first prize, piano, 1858; prize, solfège, 1859; first prize, harmony, 1862. B. Jan. 21, 1843, Pamirs; add. Paris.
9Montre. Fr. Pipes, generally diapason, mounted and "shown" in the front of an organ.
11Morceau. Fr. Small composition; excerpt.
13Mordente. It. Beat, shake, passing turn.
15Monzani (Theobald) played flute; manufactured flutes and published music in London in partnership with Cungdor or Cundon, 1804-20. A son also became known as a flautist.
17Mood. Distinction as to the duration of the Large, Long, and Breve, in obsolete notation, depended upon signs which indicated that the Mood or Mode was Greater or Lesser.
19Moonlight Sonata. Ludwig von Beethoven's sonata for harpsichord or piano, Op. 27, was published in Mar., 1802, with a dedication to Contessa Giulietta Guicciardi. The composer did not class it with his best works. The title comes from a criticism written by Rellstab, describing the first movement as resembling a boat on Lake Geneva in moonlight. Beethoven was content to style it "Sonata quasi una fantasia."
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