dicea' (Naples, 1817), 'La Morte d'Abel' (Dresden), and 'Donna Aurora' (Milan), both in 1821.
MORLEY, Thomas. The date of birth is established as 1557 by the title of a 'Domine, non est,' in the Bodleian Library. It runs, 'Thomae Morley, aetatis suae 19. Anno Domini 1576.'
MORNINGTON, Lord. Add date of his election to the professorship, 1764, and that he held it till 1774.
MORRIS DANCE. P. 369b, for the sentence between the two musical examples, read In Yorkshire the following tune, founded on that of 'The Literary Dustman,' is generally used.
MORTIER DE FONTAINE. P. 369b, for 1818 read May 13, 1816. Add date of death, May 10, 1883.
MOSCHELES, Ignaz. P. 370a, l. 17, for early in 1822 read in 1821. Line 32, for May 29, 1826, read June 11, 1821. Add that the 'Life of Moscheles,' referred to in the last paragraph, was translated by Mr. A. D. Coleridge (Hurst & Blackett). His correspondence with Mendelssohn was published in 1888.
MOSÈ IN EGITTO. Line 3 of article, add date of the Naples production, March 5, and of that in Paris, Oct. 23.
MOSEL. P. 370b, add that he was one of the three chief mourners at Beethoven's funeral.
MOSZKOWSKI, Moritz. Line 2 of article, for Berlin read Breslau, and add day of birth, Aug. 23. Add the following to the list of his works:—'Aus allen Herren Länder,' PF. duet; 'Johanna d'Arc,' symphony in four movements, op. 19; 2 Concertstücke for violin and PF.; 3 Concert studies for PF., op. 24; 3 pieces for cello and PF., op. 29; Violin Concerto, op. 30; Suite for orchestra, op. 39; Scherzo for violin and PF. op. 40; besides many PF. solos and duets, and four books of songs.
MOTET. P. 374a, l. 7 from bottom, for 'Motetti c. C.' read 'Motetti C,' and add that the British Museum possesses a single part-book of this work. P. 375 a, in the musical example, for deviderat read desiderat. (Corrected in late editions.)
MOTETT SOCIETY. In the list of contents, the title of the fifth number of Division I is 'Almighty and ever-living.' Six lines from end of the same division, for Nannino read Nanini. Line 3 of Division 2, omit the 'Do.' implying that a Nunc Dimittis of Gabrieli's is included. At end of Division 3, add the following:—
Lasso, Hear my prayer, 4 voices.
Byrd, Save me O God, 4 v.
Tye, From the depth, 4 v.
Lasso, I will love thee, 4 v.
Vittoria, Save me, O God, 4 v.
Mel, O praise the Lord, 4 v.
Tallis, Blessed are those, 5 v.
Shepherd, Haste thee, O God, 4 v.
Croce, Behold now, praise, 4 v.
Croce. O praise the Lord, 4 v.
Do. O give thanks 4 v.
Do. Teach me Thy way, 4 v.
Do. Give ear, Lord. 4 v.
Do, Behold, I bring you, 4 v.
Lasso, Save me, O God. 4 v.
Vittoria, O God. wherefore, 4 v.
Hooper, Teach me Thy way, 4 v.
[ M. ]
MOTTL, Felix, a celebrated and highly gifted conductor, was born at Vienna in 1856. As a boy he possessed a fine soprano voice, and obtained admission to the Löwenburgische Convict, the preparatory school of the Imperial Court Chapel. Later on he entered the Vienna Conservatory, where Josef Hellmesberger soon recognized the eminent gifts of young Mottl, who in due course obtained all the prizes the college could award. The Academical Richard Wagner Verein of Vienna elected him to the post of conductor of the society's concerts, and it was there that his eminent ability as a chef d'orchestre attracted general notice. In 1876 Mottl took part in the Bayreuth Festival performances of Wagner's 'Ring of the Niblung' as stage conductor, and he became one of the most active members of the so-called 'Niblungenkanzlei.' Upon the recommendation of Dessoff he obtained the post of conductor at the Grand Ducal Opera House at Karlsruhe, which post he holds to the present day. It is due to Mottl's energetic activity that the performances at this opera house are now amongst the finest to be heard in Germany. A sworn enemy of all routine work, he produced at Karlsruhe many important stage works of modern times, including Berlioz's 'Benvenuto Cellini,' and all the musical dramas of Richard Wagner. Mottl has also obtained brilliant successes as a conductor of concerts, and was in 1886 appointed by the Bayreuth authorities to conduct the festival performances of 'Tristan and Isolde,' a task which he accomplished to perfection. He has composed an opera, 'Agnes Bernauer' (successfully produced at Weimar in 1880), and a considerable number of songs for one voice and pianoforte accompaniment. He has lately orchestrated Liszt's pianoforte solo 'St. Francis of Assisi preaching to the birds.' It was played at the Richter Concert of June 4, 1888.
[ C. A. ]
MOUTON, Jean. P. 378b, at end of note 6, correct reference to K. 1, d. 7. P. 379a, l. 16, for 8 à read a 8.
MOZART. P. 381a, l. 15 from bottom, for pianoforte read harpsichord. P. 384a, l. 25, for 1872 read 1772. P. 387b, l. 14, for 1871 read 1781. P. 388b, l. 33, for Aug. 16 read Aug. 4. P. 400b, l. 19 from bottom, for 1778 read 1788. P. 401a, l. 26, for PF read violin. P. 405b, l. 21, for considerably advanced read completed. P. 406a, l. 8 from bottom, for 1859 read 1858.
The notice of Mozart can scarcely be considered complete without some mention of works, undoubtedly spurious, which have been attributed to him, and of those which the best authorities consider at least doubtful, especially as some important works are included in these categories. Of the former class Köchel's Catalogue enumerates 63, of the latter 47. The most important are various masses, published, together with Mozart's genuine ones, by Novello in his arrangement for organ and voices. Those in E♭ (Novello's nos. 13 and 16), and in C (his no. 17), Köchel regards as of doubtful authorship (Appendix nos. 185, 186). Novello's no. 7 in B♭, of which the score and parts were published by C. F. Peters at Leipzig as by Mozart, is believed by a writer