Page:A Dictionary of Music and Musicians vol 2.djvu/228

216 The above accounts agree in all important points, and even the descent from a noble Bergamese family is not inconsistent with the parents' poverty and their residence at Coccaglia. Marenzio certainly died at a comparatively early age, in 1599, and we may therefore place his birth about 1560, though not later, for he began to publish in 1581. On the 10th of April in that year he was in Venice, dedicating his first book of madrigals (á 6) to Alphonse d'Este, Duke of Ferrara. He was in Rome, Dec. 1, 1582, on April 24, and Dec. 15, 1584, was chapel-master to the Cardinal d'Este in the same year, and was still in the same city on July 15, 1585.

We do not think he went to Poland just yet, but we have no more publications for some years. Marenzio probably received his appointment soon after the accession of Sigismund III. (1587), and is said to have kept it for several years.

He was back in Rome in 1595, writing to Dowland, July 13, and to Don Diego de Campo, Oct. 20, and in the same year is said to have been appointed to the Papal chapel. It was now that he lived on such familiar terms with Cardinal Aldobrandino, the Pope's nephew, and taking this into account Peacham's tale may have some truth in it, and Marenzio may have fallen in love with a lady belonging to his patron's family. If, however, he died of a broken heart, as is suggested, it must have been caused simply by the Pope's refusal to allow a marriage. That Marenzio did nothing to forfeit his good name is proved by the certain fact that he retained his office in the Papal chapel till his death.

Marenzio's principal works are:—9 books of madrigals (á 5), 6 books (á 6), each book containing from 13 to 20 nos., and 1 book (á 4) containing 21 nos.; 5 books of 'Villanelle e Arie alla Napolitana,' containing 113 nos. (á 3) and 1 (á 4); 2 books of four-part motets, many of which have been printed in modern notation by Proske; 1 mass (á 8), and many other pieces for church use. The first five books of madrigals á 5 were printed 'in uno corpo ridotto,' in 1593, and a similar edition of those á 6 in 1594. These books, containing 78 and 76 pieces respectively, are both in the British Museum. Marenzio's works were introduced into England in 1588, in the collection entitled 'Musica Transalpina' (1588); and two years afterwards a similar book was printed, to which he contributed 23 out of 28 numbers. His reputation here was soon established, for in 1595 John Dowland, the lutenist, 'not being able to dissemble the great content he had found in the profered amity of the most famous Luca Marenzio,' thought the mere advertisement of their correspondence would add to the chance of his own works being well received. Burney does not hesitate to say that the madrigal style was brought to the highest degree of perfection by Marenzio's superior genius, and that the publication of the 'Musica Transalpina' gave birth to that passion for madrigals which became so prevalent among us when our own composers so happily contributed to gratify it.

Thus it came to pass that Luca Marenzio became bound up in our own musical history, and few foreign musicians of the 16th century have been kept so constantly before the English public. The Madrigal Society became a home for his works nearly 150 years ago, and they are continually sung by much younger societies. 'To guard faithfully and lovingly the beautiful things, and to reverence the great masters, of olden times, is quite a part of the English character, and one of its most beautiful traits.' [ J. R. S.-B. ]

MARGARITA. [See .]

MARIA DI ROHAN. Opera in 3 acts; music by Donizetti. Produced at Vienna, June 5, 1843; at the Théâtre Italien, Paris, Nov. 20, 1843, and in London, Covent Garden, May 8, 1847. [ G. ]

MARINO FALIERO. Opera seria, in 2 acts; music by Donizetti. Produced at the Théâtre Italien in 1835; in London, King's Theatre, May 14, 1835. [ G. ]

MARIO, [App. p.711 "Cavaliere"] CANDIA, the greatest operatic tenor that the present generation has heard, was born in 1812 at Genoa [App. p.711 "Cagliari"], of an old and noble family. His father had been a general in the Piedmontese army; and he himself was an officer in the Piedmontese Guard, when he first came to Paris in 1836, and immediately became a great favourite in society. Never was youth more richly gifted for the operatic stage; beauty of voice, face, and figure, with the most winning grace of Italian manner, were all his. But he was then only an amateur, and as yet all unfitted for public singing, which his friends constantly suggested to him, even if he could reconcile his pride with the taking of such a step. Tempted as he was by the offers made to him by Duponchel, the director of the Opera,—which are said to have reached the sum of frs. 1500 a month, a large sum for a beginning,—and pressed by the embarrassments created by expensive tastes, he still hesitated to sign his father's name to such a contract; but was finally persuaded to do so at the house of the Comtesse de Merlin, where he was dining one evening with Prince Belgiojoso and other wellknown amateurs; and he compromised the matter with his family pride by signing only the Christian name, under which he became afterwards so famous,—Mario. 