Page:A Dictionary of Music and Musicians vol 2.djvu/338

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326

��MEYERBEER.

��whole of emotion and uttered it. Whatever was the source of such an inspiration (and the entire scene is said to have been an afterthought) it bears that stamp of truth which makes it a pos- session for all time. If Meyerbeer lives, it will be in virtue of such moments as these. And if the ' Prophete ' may be said to embody his in- tellectual side, and the ' Africaine ' his emotional side, the ' Huguenots ' is perhaps the work which best blends the two, and which, most completely typifying its composer, must be considered his masterpiece.

Presenting, as they do, splendid opportunities to singers of dramatic ability, his operas hold the stage, in spite of the exacting character which renders their perfect performance difficult and very rare. They will live long, although many of the ideas and associations which first made them popular belong already to the past.

Subjoined is a list of his principal works :

OPERAS AND DRAMATIC PIECES.

��i. jepntna s uemoae. renorm- ed 1811 ; 2. Les Amours de Teve-

�liranaenourger inor, itwo: iu. n CrociatoinEgitto,1824; 11. Robert

�Hnde. (in German, Monodrama

�le D!able,1831 ; 12. Les Huguenots,

�for Soprano, Chorus, and Clari-

�1836 ; 13. Bin Feldlager in Schle-

�net obbligato, in which the instru-

�sien, 1840 ; 14. Struensee (overture

�mentalist figured as a dramatic personage); 3. Allmelek, or The

�and entr'actes), 1846 ; 15. Le Pro- phete, 1849; 16. L'Etoile du Nord,

�Two Caliphs (German, Wirth und

�1854 ; 17. Le Pardon de Ploennel

�Cast), 1813; 4. RomildaeCostanza,

�(Ital. Dlnorah). 1859; 18. L'Afri-

�1815 ; fl. Semiramide riconosciuta.

�caine, 1864.

�1819; 6. Emma di Resburgo, 1819;

� �7. Margherita d'Anjou. 1820; 8.

�An Oratorio Gott und die Xa-

�L'Esule di Granata, 1822 ; 9. Das tur. Performed 1811.

�CANTATAS AND VOCAL MUSIC.

�7 sacred cantatas of Klopstock,

�Cantata for 4 voices and Male

�for 4 voices, unaccompanied.

�Chorus, with accompaniment of

�AnGott. Hymn.byGubitz. For

�brass instruments.

�4 voices.

�Ode to Rauch the sculptor.

�Le Genie de la Musique a la

�Solos, Chorus, and Orchestra.

�Tombe de Beethoven. For Solos

�Festal Hymn. Composed for the

�and Chorus.

�silver wedding of the King of

�Cantata, for 4 voices. Written

�Prussia. 4 voices and Chorus.

�for the inauguration of Guten-

�Freundschaft. Quartet for men's

�berg's statue at Mayence.

�voices.

�Cantata, ' Maria und ihr Genius. 1

�The 91st Psalm, for 8 voices.

�Composed for the silver wedding

�Composed for the Choir of Berlin

�of Prince and Princess Charles of

�Cathedral. Published, in score.

�Prussia. For Solos and Chorus.

�by Brandus. at Paris.

�Serenade, ' Braut geleite aus der

�Pater Noster, for 4 voices, with

�Heimath.' Composed for the wed-

�organ accompaniment.

�ding of Princess Louise of Prussia.

�12 Psalms, for Double Chorus,

�For 8 voices, unaccompanied.

�unaccompanied. (MS.)

�La Festa nella Corte di Ferrara.

�Stabat Mater. (MS.)

�Grand Cantata, with tableaux.

�Miserere. (MS.)

�Ilarch of the Bavarian Archers.

�TeDeum. (MS.)

��SONGS.

A large number of Songs with f ' Neben Dir,' Song, for Tenor P. F. accompaniment, among voice, with Violoncello obbligato. which the best known are per- 1 'DesJBger's Lied,' lor Bass voice, haps 'Le Moine 1 (for Bass) and with Horns obbligati. Das FischermSdchen.' The whole I 'Dichter's Wahlspruch,' Canon of them have been published, to- for 3 voices.

��gether with ' Le Ci'nie de la Mus- ique a la tombe de Beethoven,' In one volume, entitled 'Quarante

��' A Venezia,' Barcarole. Des Schflfer's Lied,' for Tenor voice with Clarinet obbligato.

��Melodies a une et plusleurs vobc," | And many others of less import- by Brandus, at Paris. ance.

INSTRUMENTAL MUSIC.

��First Dance, with Torches (Fack- eltanz), for brass orchestra. Com- posed for the King of Bavaria's wedding, 1846.

Second ditto, for the wedding of Princess Charlotte of Prussia, 1850.

Third ditto, for the wedding of Princess Anne of Prussia, 1853.

Grand March, for the Schiller

��Centenary Festival, 1859.

Overture, In the form of a March, for the opening of the Inter- national Exhibition In London.

��Coronation March. 1863. A quantity of P.F. music, written in youth, all unpublished.

[F.A.M.]

MEZZO, MEZZA (Ital.), ' half or 'medium' ; whence MEZZA VOCK, ' with restrained force,' and MEZZO SOPRANO, the female voice intermediate to the Soprano and Contralto. [J.H.]

��MICROLOGUS.

MICHELI, an extremely useful basso, who sang second parts, serious and comic, on the London stage in most of the operas which were performed, from the 'Buona Figliuola' in 1767 to the ' Viaggiatori Felice* in 1782. He was one of the company engaged by Mr. Gordon, in the autumn of 1766, and seems to have re- mained a faithful servant of the establishment for 1 8 years. [J.M.]

MI CONTRA FA. In pure Ecclesiastical Music, the use of the Tritonus, or Augmented Fourth, is strictly forbidden ; as is also that of its inversion, the Quint a falsa, or Diminished Fifth. It is scarcely necessary to say that the presence of these intervals is felt, whenever F and B are brought either into direct or indirect correspondence with each other, whatever may be the Mode in which the contact takes place. Now, according to the system of Solmisation adopted by Guido d'Arezzo, B, the third sound of the Ifexachordon durum, was called MI ; and F, the fourth sound of the Hexachordon natumle, was called FA. Mediaeval writers, therefore, expressed their abhorrence of the false relation existing between these two sounds, in the proverb

Mi contra fa est dialolus in nnisica.

When the use of the Hexachords was super- seded by a more modern system of immutable Solmisation (see SOLMISATION ; HEXACHORD), F still retained its name of FA, while B took that of the newly-added syllable, SI : and the old saw then ran thus

Si contra fa est diabohts in mitsica.

In this form it became more readily intelligible to musicians unacquainted with the machinery of the Hexachords ; while its signification remained unchanged, and its teaching was as sternly en- forced as ever. That that teaching continues in full force still is proved by the fact, that neither Pietro Aron, nor any other early writer, ever censured the ' False relation of the Tritone ' more severely than Cherubini, who condemns it, with equal rigour, whether it be used as an element of Harmony, or of Melody. [W. S. R.]

MICROLOGUS (from the Gr. adj. \micpo- \6yos, having regard to small things from //i/f/jos, little, and ^.070?, a word ; Lat. Sermo brevis, an Epitome, or Compendium). A name, given, by two celebrated authors, to works containing an epitome of all that was known of music at the time they were written.

I. The Micrologus of Guido d'Arezzo is believed to have been compiled about the year 1024. Valuable MS. copies of this curious work are preserved in the Vatican Library, as well as in the ' King's Library' at Paris, and in other European collections. The treatise was printed, in 1784, by Gerbert, Prince Abbat of S. Blasien, in his great work entitled Scriptorcs ecclesiastici de musica ; and, in 1 8 76, Hermesdorff published a copy of the original text, at Treves, side by side with a German translation. Con- siderable variations occur in the antient MSS. ;

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