him by the leading composers and literary men of the day to be preserved in the town library; the portrait sent by Wagner hung in one of the rooms of the Palazzo Civico; and his last bâton placed by the side of Paganini's violin in the civic museum.
Besides the works already named, and other orchestral pieces, he published several collections of songs, all of which are charmingly melodious:—'Rimembranze del Bosforo,' 'Il Trovatore nella Liguria,' 'Liete e tristi rimembranze,' 'Otto pezzi vocali,' 'Nuovo Album vocale.'
Mariani was the prince of Italian conductors; out of Italy he might have found his equal, but not his superior.
[ F. Rz. ]
MARIMON, Marie, born in 1839 at Liège, was taught singing by Duprez, and made her début at the Lyrique as Helene on the production of Semet's 'Demoiselle d'Honneur,' Dec. 30, 1857; as Zora in 'La Perle du Brésil,' and Fatima in 'Abu Hassan,' May 11, 1859. She next played at the Opéra Comique Maïma in Offenbach's unsuccessful 'Barkouf,' Dec. 24, 1860; Zerline in 'La Sirène' with Roger, Nov. 4, 1861, and Giralda in 1862. She returned to the Lyrique, and afterwards played at Brussels. On her return to Paris in 1869 she made a very great success at the Athénée in French versions of Ricci's 'Follia a Roma' and 'Crispino,' and Verdi's 'Masnadieri,' Feb. 3, 1870. She played, at Drury Lane in Italian in 1871–72, and at Covent Garden in the autumn of the first year, Amina, wherein she made her début May 4, 1871, Maria ('La Figlia'), Rosina, Norina, and Astrifiammante. She made at first a great success solely on account of her beautiful rich round voice, her brilliant execution and certainty of intonation. She did not maintain the hopes excited at her début, since it was discovered that she was a very mechanical actress and totally devoid of charm. The only part she really played well was Maria. Nevertheless she became a very useful singer at Covent Garden 1874–77 in all the above parts, Donna Elvira, Margaret of Valois, etc.; at Her Majesty's in 1878 and 1880, in Dinorah, etc.; at the Lyceum in 1881. She sang with success in the English provinces, Holland, Russia, America, and elsewhere. She reappeared in Paris at the Lyrique as Giralda, Oct. 21, 1876; as Suzanne in Gautier's unsuccessful 'La Clé d'Or,' Sept. 14, 1877, and Martha, and at the Italian Opera in the last part Jan. 3, 1884.
[ A. C. ]
MARIO. Line 1, for Conte read Cavaliere. Line 3, for Genoa read Cagliari. Add date of death, Dec. 11, 1883.
MARPURG, F. W. Add day of birth, Oct. 1. Line 19 from end of article, for 1744–62 read 1754–78.
MARSCHNER, H. Correct date of birth to 1795. P. 219a, l. 12, add date of production of 'Heinrich IV.' in Dresden, July 19, 1820. Line 13, add that in 1824 he was appointed Musikdirector. Line 23, for March 29 read March 28. Line 37 add date of production of 'Templer und Jüdin,' Dec. 1829. P. 219b, l. 1, add date of production of 'Der Holzdieb,' 1825 at Dresden.
MARSEILLAISE, LA. Page 219b, last stave of musical example, the quaver in the second bar should be C, not B. Second line of musical example on next page, the last note should be a quaver, not a crotchet. In sentence at end of article, add that another instance of Schumann's use of the tune, though in a disguised form, occurs in the 'Faschingsschwank aus Wien.'
MARSHALL, William, Mus. D. Line 6 of article, for 1823 read 1825.
MARTIN, George Clement, born Sept. 11, 1844, at Lambourne, Berks, received instruction in organ-playing from Mr. J. Pearson and Dr. Stainer, also in composition from the latter during the time he was organist there at the parish church. He was appointed private organist to the Duke of Buccleuch, at Dalkeith, in 1871; Master of the Charities, St. Paul's Cathedral, in 1874, deputy organist at the same on the death of Mr. George Cooper in 1876, and organist on the resignation of Dr. Stainer in 1888. He received the degrees of Mus. Bac., Oxon, in 1869, Fellow of the College of Organists in 1875, and Mus. Doc. (degree conferred by the Archbishop of Canterbury) in 1883, and was appointed the same year teacher of the organ at the Royal College of Music, which post he has since resigned. His compositions include Morning and Evening Communion and Evening Service in C for voices and orchestra; Magnificat and Nunc Dimittis in A, for the same; the same in B♭ for voices, organ, and military band; the same in G for voices and orchestra; 7 anthems; also a variety of compositions for parochial use; songs, part songs, etc. Knighted, Easter, 1898.
[ A. C. ]
MARTIN, G. W. Correct date of birth to 1828, and add that he died in great poverty, April 16, 1881, at Bolingbroke House Hospital, Wandsworth.
[ W. H. H. ]
MARTIN Y SOLAR, Vicente, born at Valencia in 1754 (whence he was known in Italy as 'Lo Spagnuolo'), was a choir-boy in the cathedral of his native town, and afterwards organist at Alicante. On the advice of an Italian singer, named Giuglietti, he went to Florence, where he was commissioned to write an opera for the next Carnival. His 'Iphigenia in Aulide' was accordingly brought out in 1781. Soon after this he produced a new opera, 'Astartea,' in Lucca, as well as a ballet, 'La Regina di Golconda.' In 1783 'La Donna festeggiata' and 'L'accorta cameriera' were brought out at Turin, and in the following year 'Ipermnestra' at Rome. In 1785 he went to Vienna, where he became acquainted with Da Ponte, who wrote for him the libretto of 'Il burbero di buon cuore,' produced Jan. 4, 1786. Here as elsewhere he speedily became the fashion, his operas, 'La capricciosa corretta,' 'L'arbore di Diana,' and 'La cosa rara' following one another in quick succession. This last work, produced Nov. 11, 1786,