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MARSEILLAISE. magnificent effect; and also introduces it in his Overture to Hermann und Dorothea. [App. p.711 "another instance of Schumann's use of the tune, though in a disguised form, occurs in the 'Faschingsschwank aus Wien.'"]

A picture by Pils, representing Rouget de Lisle singing the 'Marseillaise,' is well-known from the engraving. [ G. C. ]

MARSH,, son of Robert Marsh, one of the musicians in ordinary to Charles I., was baptized at St. Margaret's Westminster, Jan. 28, 1627. He was appointed a Gentleman of the Chapel Royal in 1660. Songs composed by him appear in 'The Treasury of Musick,' 1669, 'Choice Ayres and Dialogues,' 1676, and other publications of the time. He died April 9, 1681. His son was admitted a Gentleman of the Chapel Royal April 25, 1676. Songs by him are contained in 'The Theater of Music,' 1685–7, 'The Banquet of Musick,' 1688–92, and other publications. He died April 5, 1692, and was buried April 9, in the west cloister of Westminster Abbey. [ W. H. H. ]

MARSH,, born at Dorking, 1750, a distinguished amateur composer and performer, resident at Salisbury (1776–81), Canterbury (1781–6), and Chichester (1787–1828), in each of which places he led the band at the subscription concerts and occasionally officiated for the cathedral and church organists. He composed two Services, many anthems, chants, and psalm tunes, glees, songs, symphonies, overtures, quartets, etc., and organ and pianoforte music, besides treatises on harmony, thorough bass, etc. He died in 1828. A fully detailed account of his career is given in the 'Dictionary of Musicians,' 1824, but it does not possess sufficient interest to be repeated here. [ W. H. H. ]

MARSHALL,, Mus. Doc., son of William Marshall of Oxford, music-seller, born 1806, was a chorister of the Chapel Royal under John Stafford Smith and William Hawes. He was appointed organist of Christ Church Cathedral and St. John's College, Oxford, in 1823 [App. p.711 "1825"], and was also organist of All Saints' Church. He graduated as Mus. Bac. Dec. 7, 1836, and Mus. Doc. Jan. 14, 1840. He resigned his Oxford appointments in 1846, and afterwards became organist of St. Mary's Church, Kidderminster. He was author of 'The Art of Reading Church Music,' 1842, and editor (jointly with Alfred Bennett) of a collection of chants, 1829, and also editor of a book of words of anthems, 1840, 4th edit. 1862. He died at Handsworth, Aug. 17. 1875.

His younger brother,, born 1808, about 1835 appeared, under the assumed name of , on the London stage as a tenor singer, with success. In 1842 he quitted the theatre for concert and oratorio singing, in which he met with greater success. After 1847 he withdrew from public life. He died at Islington Feb. 22, 1874. [ W. H. H. ]

MARSON,, Mus. Bac., contributed to 'The Triumphes of Oriana,' 1601, the five-part madrigal 'The nimphes and shepheards.' He composed services and anthems, some of which are still extant in MS. [ W. H. H. ]

MARTELÉ and MARTELLATO (Ital.), from marteler and martellare, to hammer; said of notes struck or sung with especial force, and left before the expiration of the time due to them. Notes dashed, dotted, or emphasized by > or fz., are Martelées or Martellate in execution. The term Martellement is sometimes employed for acciaccatura. [ J. H. ]

MARTHA. Opera in 3 acts; music by Flotow. Produced at Vienna Nov. 25, 1847. It was an extension of, in which Flotow had only a third share. The alterations in the book are said to have been made by St. Georges, and translated into German by Friedrich. It was produced in Italian at Covent Garden, as Marta, July 1, 1858; in English at Drury Lane, Oct. 11, 1858, and in French at the Théâtre Lyrique, Dec. 16, 1865. The air of 'The last rose of summer' is a prominent motif in this opera. [ G. ]

MARTIN,, born March 8, 1825 [App. p.711 "1828"], received his early musical education in the choir of St. Paul's cathedral under William Hawes. He has composed many glees, madrigals, and part-songs, for some of which he has been awarded prizes, and has edited and published cheap arrangements of the popular oratorios and other works of Handel, Haydn, and others. For some years he directed performances given under the name of the National Choral Society. He has an aptitude for training choirs of school children, and has conducted many public performances by them. [App. p.711 "he died in great poverty, April 16, 1881 at Bolingbroke House Hospital, Wandsworth."] [ W. H. H. ]<section end="Martin, George William" />

<section begin="Martin, Jonathan" />MARTIN,, born 1715, was a chorister of the Chapel Royal under Dr. Croft. On quitting the choir he was placed under Thomas Roseingrave for instruction on the organ, and soon attained such proficiency as to be able to deputise for his master at St. George's, Hanover Square, and for Weldon at the Chapel Royal. On June 21, 1736 he was admitted organist of the Chapel Royal on the death of Weldon, and promised 'to compose anthems or services for the use of His Majesty's Chapel, whenever required by the Subdean for the time being.' Probably he was never called upon to fulfil his promise, as his only known composition is a song in Rowe's tragedy, 'Tamerlane,' 'To thee, O gentle sleep.' He died of consumption, April 4, 1737, and was buried April 9, in the west cloister of Westminster Abbey. [ W. H. H. ]<section end="Martin, Jonathan" />

<section begin="Martines, Marianne" />MARTINES, or MARTINEZ,, daughter of the master of the ceremonies to the Pope's Nuncio, born May 4, 1744, at Vienna. Metastasio, a great friend of her father's, lived for nearly half a century with the family, and undertook her education. Haydn, then young, poor, and unknown, occupied a wretched garret in the same house, and taught her the harpsichord, while Porpora gave her lessons in singing and composition, her general cultivation being under Metastasio's own care. Of these advantages she made good use. Burney, who knew her in 1772, speaks of her in the highest terms,<section end="Martines, Marianne" />