Page:A Dictionary of Music and Musicians vol 4.djvu/723

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and at the Philharmonic, May 21, 1879. He sang at all the principal concerts, and at the various Handel and provincial festivals. He sang also in Paris at Pasdeloup's concerts, April 6, 1884, and at Brussels at the Bach and Handel Festival of 1885. His last important engagement was at the Birmingham Festival of 1885, where he sang in Dvořák's 'Spectre's Bride,' Aug. 27, and Stanford's 'Three Holy Children,' Aug. 28, on the production of those works. At the Norwich Festival of the previous year he had introduced 'Apollo's Invocation,' a scena written for him by Massenet. He died Jan. 16, 1886, from a complication of disorders, rheumatic fever, bronchitis, congestion of the lungs, brought on from a cold taken while fishing. Maas's 'greatest triumphs were gained in the concert room rather than on the stage. For several years he has stood in the very first rank of tenor singers, not only by reason of his magnificent voice, but of his thoroughly finished and artistic style.… By his amiable personal character the deceased artist won the esteem and affection of all who had the privilege of his friendship.'[1]

[ A. C. ]


MACBETH. Line 7 of article, read March 17.

MACBETH, Allan, born in Greenock, March 13, 1856, and received his musical education chiefly in Germany. In 1880 he was appointed conductor to the Glasgow Choral Union, but resigned the post in 1887. He is organist of St. George's-in-the-Fields Established Church. Mr. Macbeth, in spite of much occupation of his time in teaching (pianoforte and singing), has found leisure for composition, for which he has a decided gift. He has written a number of pleasing pianoforte pieces, besides two or three orchestral movements played at the Choral Union Concerts, and since transcribed for piano. As a song writer Mr. Macbeth has generally been very successful, and he has besides ably arranged for voices several Scotch melodies, as well as written some original part-songs. He has an operetta in MS., 'The Duke's Doctor.'

[ W. He. ]


Add that his oratorio 'King David' was produced at the Leeds Festival, 1883, and that in the same year he received the honour of knighthood. He died Oct. 31, 1887, his last published work being an Andante and Rondo in E for violin and organ, contained in the 'Organist's Quarterly Journal' for Oct. 1887. A cantata for female voices 'Around the Hearth,' was published posthumously. As Principal of the Royal Academy of Music, Sir G. A. Macfarren was succeeded in 1888 by Dr. A. C. Mackenzie, and as Professor of Music at Cambridge, by Dr. C. Villiers Stanford.

[ M. ]

McGUCKIN, Barton, born July 28, 1852, at Dublin, began his career as a chorister at Armagh Cathedral. He received instruction from the late R. Turle, then organist there, in singing, organ, violin, and pianoforte. He became first tenor at St. Patrick's Cathedral, Dublin, in 1871, and was for a time a pupil of Joseph Robinson. He sang at one of the Philharmonic concerts in Dublin in 1874, and in the following year made his début at the Crystal Palace Concerts July 5, 1875, after which he went to Milan and studied under Trevulsi. He reappeared with success at the same concerts Oct. 28, 1876, where he also made his début as an oratorio singer in the 'Lobgesang,' Nov. 3, 1877. He made his debut on the stage as Thaddeus under Carl Rosa at Birmingham Sept. 10, 1880; at Dublin as Wilhelm Meister May 9, 1881; in the same part at Her Majesty's Jan. 20, 1882, and as Moro on the production in England of 'The Painter of Antwerp,' an English version of Balfe's Italian opera 'Pittore e Duca,' Jan. 28, 1882. He remained in Rosa's company both in London and the provinces until the summer of 1887, and has become a great favourite both as a singer and actor. His most important parts are Lohengrin, Faust, and Don José; in new operas he has created at Drury Lane the parts of Phœbus ('Esmeralda'), March 26, 1883; Orso ('Colomba'), April 9, 1883; Waldemar ('Nadeshda'), April 16, 1885; Guillem de Cabestanh ('Troubadour'), June 8, 1886; Oscar ('Nordisa'), May 4, 1887; at Edinburgh, Renzo on the production in English of Ponchielli's 'Promessi Sposi,' and at Liverpool, Des Grieux ('Manon'), Jan. 17, 1885. Mr. McGuckin is extremely popular in the concert-room, and has sung at the Philharmonic, the Popular and Oratorio Concerts, and at the Handel and provincial festivals. His last important engagement was at the Norwich Festival of 1887, where he sang the tenor music in Mancinelli's ' Isaias.' He went to America as the principal tenor of the National Opera Company, and has lately returned.

[ A. C. ]


To list of works add the following:—Operas. 'Colomba,' op. 28 (Drury Lane, April 5, 1883); 'The Troubadour' (ibid. June 8, 1886), the words of both by Francis Hueffer. Oratorio: 'The Rose of Sharon' (Norwich Festival, 1884), words by Joseph Bennett. Cantatas: 'Jason' (Bristol Festival, 1882), and 'The Bride'; 'The Story of Sayid' (Leeds Festival, 1886). Orchestral: 'La Belle Dame sans Merci,' op. 29; two Scotch Rhapsodies, op. 21 and 24; overture, 'Twelfth Night,' op. 40; concerto for violin and orchestra, op. 32, played by Señor Sarasate at the Birmingham Festival, 1885. Piano, ops. 15, 20, and 23, six pieces for violin and piano, op. 37, besides songs, part-songs, and three organ pieces. His most important recent compositions are his 'Jubilee Ode,' words by Joseph Bennett (Crystal Palace, June 22, 1887, and Norwich Festival of same year), and an ode, 'The New Covenant,' composed for the opening of the Glasgow Exhibition of 1888. The composer received the honorary degree of Mus.D. from the University of St. Andrew's in 1886. He was elected principal of the Royal Academy of Music in Feb. 1888. Knighted, 1895.

[ M. ]

MADRIGAL SOCIETY. P. 193b. l. 30, add that since 1882 the meetings have been held

  1. Athenæum, Jan. 23, 1881.