The Meister, the organ of the Wagner Society, made its first appearance on Feb. 13, 1888. It is issued quarterly by Redway, under the honorary editorship of Mr. Ashton Ellis and Mr. E. F. Jacques. Messrs. Dowdeswell, Shedlock, Glasenapp and Barry are among the contributors.
MUSICAL UNION. Add that the association ceased to exist in 1880, and that its founder, Mr. John Ella, died Oct. 2, 1888.
MUSIC-PRINTING. P. 433, note 1, for now read a copy of which is. The book referred to was one of the most interesting exhibits in the Loan Collection of the Inventions Exhibition of 1885. P. 435b, l. 28 from bottom, correct statement as to 'The Musical Miscellany,' as that was printed not from types, but from engraved blocks.
Henry Fougt's Patent, mentioned in vol. ii. p. 435b, of which the specification may be read in the Patent Office (No. 888, year 1767) states that the old 'choral' type consisted of the whole figure of the note with its tail and the five lines; but that in his system every note with its five lines is divided into five separate types. The modern system is therefore very similar to this.
A new process for printing music is that called 'Gravure Chimique,' examples of which have been occasionally seen in the French 'Figaro.' The music is first punched on a pewter plate in the ordinary way, from which a paper proof is taken and transferred to a zinc plate. Nitric acid is then applied, which dissolves the zinc where it is not protected by the ink, and leaves the notes in relief. This stereotype plate is then used to print from in the ordinary typographic press. Mr. Lefman, 57 Rue d'Hauteville, Paris, who kindly explained the process to the writer, also informed him that these clichés, of the ordinary music size, can be made for 50 francs (£2) each. [See also Scheurmann, vol. iii. p. 248.]
Mr. Augener, of Newgate Street, London, has produced some beautiful specimens of music-printing. The music is first punched on pewter plates in the usual way, and is then transferred to a stone, from which it is printed. The ornamental title-pages are equal to the finest copperplate engravings.
MUSIC SCHOOL, OXFORD. Add that the portraits, of which a list is given, have been lately moved to the New Schools. They were exhibited at the Inventions Exhibition in 1885, when Salomon's portrait was identified. See Add. MS. 23071, fol. 65, for a list of them in 1733–4.
MUSIKALISCHES OPFER. To end of article add references to English edition of Spitta's Bach, iii. 191–7, 233, 292, 294.
MUTE. Omit reference to Dolce Campana.
MYSLIWECZEK, Josef. Line 15, for Nov. 1772, read Oct. 1770.
MYSTÈRES D'ISIS. Line 4 of article, for Aug. 26 read Aug. 23.
N.
NABUCCO. Line 3 of article, for in Lent read March 9.
NACHBAUR, Franz. Add that in 1882 he was a member of the German Opera Company at Drury Lane, and on June 3 sang the part of Walther in 'Die Meistersinger,' originally sung by him on the production of the work at Munich in 1868. He also appeared as Adolar in 'Euryanthe' on June 13.
NACHRUF. The German word expresses the idea, not merely of farewell, but of fame after death; thus 'Elegy' would be a more accurate translation.
NADESCHDA. Romantic opera in four acts; words by Julian Sturgis; music by A. Goring Thomas. Produced by the Carl Rosa Company at Drury Lane, April 16, 1885.
NÄGELI, J. G. Mention should be made of the 'Lied vom Rhein,' given on p. 16 of Scherer's collection.
NAENIA. Add that a setting of the same words for chorus and orchestra is op. 82 of the published works of Brahms.
NAPLES. P. 446a, l. 1, for towards the end of 1584 read in the year 1583. See also Musical Libraries, vol. ii. p. 425b.
NAPOLEON, Arthur, son of Alexandre Napoleon, an Italian, and Doña Joaquina dos Santos, a Portuguese lady, was born at Oporto, March 6, 1843. He began to learn the piano at four years of age under the direction of his father, who was a professor of music in that city. At six years of age he played at the Philharmonic of Oporto. His extraordinary precocity at once excited attention in Portuguese musical circles. In 1850, 1851, and 1852 he gave successful concerts at Lisbon and Oporto, and was invited to the Court, where he played several times before the Queen, Doña Maria II. In 1852 he went to London, and, under the patronage of the Duchess of Somerset, gained the favourable notice of the English aristocracy. In 1853 he gave concerts in the Salle Herz, Paris, and played before the Emperor and Empress. Returning to London he played at the Musical Union. In Jan. 1854 he was engaged for 12 concerts at the Kroll Theatre, Berlin, and having been presented by Meyerbeer, played at the palace of Charlottenburg before the King of Prussia. He studied with Mr. Hallé at Manchester in the same year, and undertook tours in the United Kingdom and Ireland (where the Lord Mayor of Dublin presented him, in public, with a testimonial of silver plate worth £100).
