Page:A Dictionary of Music and Musicians vol 2.djvu/421

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MUNDY.
409
MUSARD.

transcribed in 1591 by John Baldwin, singing man of Windsor, recounting the celebrated musicians of the time. In 1594 he published 'Songs and Psalmes, composed into 3, 4, and 5 parts, for the use and delight of such as either love or learne Musicke.' He contributed a madrigal, 'Lightly she tripped o'er the dales,' to 'The Triumphes of Oriana,' 1601. He took his Mus. Doc. degree in 1624. An anthem by him is contained in Barnard's MS. collections, and three of the pieces in his 'Songs and Psalmes' were scored by Burney (Brit. Mus. Add. MS. 11,588). Several of his compositions for organ and virginals are contained in Queen Elizabeth's Virginal Book, among them a curious Fantasia describing 'Faire Wether,' 'Lightning,' 'Thunder,' 'Calme Wether,' and 'A faire Day.' He died in 1630 and was buried in the Cloisters at Windsor.

William Mundy, his father, was a vicar choral of St. Paul's, and on Feb. 21, 1563–4 was sworn a Gentleman of the Chapel Royal. A service and three anthems by him, and also the anthem 'O Lord, the Maker of all thing' (sometimes assigned to Henry VIII.), are printed in Barnard's 'Selected Church Music.' Another service and two other anthems are contained in Barnard's MS. collections, and eleven Latin motets in a set of MS. parts by him, both in the library of the Sacred Harmonic Society. The words of several of his anthems are contained in Clifford's 'Divine Services and Anthems,' 1664. He was probably one of those who, although outwardly conforming to the Reformed worship, retained a secret preference for the old faith, since he is mentioned by Morley in his 'Introduction,' in company with Byrd and others, as never having 'thought it greater sacriledge to spurne against the Image of a Saint then to take two perfect cordes of one kinde together.' The date of his death is not recorded, but it was probably in 1591, as on Oct. 12 in that year Anthony Anderson was sworn Gentleman of the Chapel Royal in his room.

[ W. H. H. ]

MURSCHHAUSER, Franz Xaver Anton, born at Zabern in Alsace, about 1670; came early to Munich, and became a pupil of Johann Caspar Kerl, with whom he remained till his death in 1690. From the title-page of his book 'des Vespertinus Cultus' (Ulm, 1700; for 4 voices, 2 principal and 4 ripieno violins), we learn that he was then Capellmeister to the Frauenkirche at Munich. He died there 1733.[1] Besides the work already mentioned, he left:—'Octitonum novum Organum' (Augsburg 1696); 'Prototypon longebreve organicum' (Nuremberg)—preludes and fugues for organ, lately re-edited by Franz Commer. A second part appeared later. His most important and best-known work is the 'Academia Musico poetica bipartita, oder hohe Schule der musikalischen Composition' (Nuremberg 1721). Towards the close of the first part he incautiously used the words 'to give a little more light to the excellent Heir Matheson,' for which he was so severely taken to task by that irascible musician in a pamphlet 'melopoetische Lichtscheere in drei verschiedenen Schneutzungen' (Critica Musica, pp. 1–88), that he relinquished the publication of the 'Academia.' An 'Aria pastoralis variata' of his is given in Pauer's 'Alte Klaviermusik' (Senff).

[ F. G. ]

MURSKA, Ilma de, a native of Croatia, born about 1843 [App. p.820 "1836"], and taught singing at Vienna and Paris by Madame and Signor Marchesi; made her début in opera at the Pergola, Florence, in 1862, sang at Pesth, Berlin, Hamburg, etc.; obtained an engagement in Vienna and appeared in London at Her Majesty's Theatre, as Lucia, May 11, 1865. She played also Linda, Amina, and Astrifiammante, and sang at the Philharmonic May 29, and always with great applause. Between this date and 1873 she acted and sang repeatedly in London, at Her Majesty's, Covent Garden, and Drury Lane, returning to the continent in the off seasons. One of her most congenial parts and best achievements was Senta in the 'Ollandese dannato,' July 23, 1870. Between 1873 and 1876 she visited America, Australia, New Zealand, etc., returning to this country in 1879. Her voice is a soprano of nearly three octaves compass, with great execution. Her acting is brilliant and original, though sometimes bordering on extravagance. Her parts, besides those mentioned, include Dinorah, Isabella, Ophelia, Marguerite de Valois, Gilda, Marta, Filine, etc. [App. p.820 "date of death, Jan. 14, 1889. She married (1) Dec. 29, 1875, Alfred Anderson, at Sydney; and (2) May 15, 1876, J. T. Hill at Otago."]

[ A. C. ]

MUSARD, Philippe, born in Paris in 1793, was not educated at the Conservatoire, but took private lessons for some years from Reicha, to whom he dedicated his 'Nouvelle Méthode de Composition musicale' (1832). This long-forgotten work, of which only eight chapters appeared, contains the announcement of a 'Traite complet et raisonné du système musical,' with curious historical notes, implying that Musard was dissatisfied with his position as an obscure violinist and conductor, and proposed to make his mark as a solid and erudite musician. A series of concerts and 'bals masqués,' held in the bazaar in the Rue St. Honoré (now the Salle Valentino), however, gave him the opportunity of distinguishing himself in a different direction. The most salient feature of these promenade concerts (instituted Nov. 1833) was the introduction of the cornet-à-pistons. In fact Dufresne, the cornet-player, owed much of his success to the solos composed for him by the conductor. In 1835 and 36 Musard conducted the balls at the Opéra, and his band of seventy musicians was rapturously applauded. 'Gustavo III' had set the fashion of the galop, and with Musard's music, and the 'entrain' of the orchestra, the new dance deserved its nickname of 'Le galop infernal.' Meantime a better room had been built in the Rue Vivienne, and thither Musard removed in 1837. Here he had to sustain a competition with Johann Strauss of Vienna, whose waltzes were so superior to his own, that in order to avoid sinking to the level of a mere composer of quadrilles, Musard was driven to expedients. His first experiment, the introduction of a chorus, having

  1. Lipowsky, 'Baierisches Musiklexicon.'