Page:A Dictionary of Music and Musicians vol 4.djvu/734

718 of putting it in a new light, or adapting it to changed conditions. In the later stages of the development of abstract music, composers have concentrated a great deal of energy on devising new ways of enhancing the intellectual interest of their works—as by making the continuity of the component sections more close, and giving a new aspect to the relationship of various movements, or distinct portions of single movements; and most of these are based upon some variation or modification of a well-defined melodic or rhythmic figure. Such devices can be found occasionally in the early stages of modern instrumental music, as in J. S. Bach; and an example from Mozart, in which he welds together a Minuet and Trio, is quoted in the article, vol. i. p. 555. Beethoven was the first to make any very conspicuous use of them, and they are frequently met with in the 'working out' portion of the movements of his sonatas and symphonies. A very striking example is quoted in the article, vol. iv. p. 489. The device is to be met with also in other situations, as in the first movement of the C minor Symphony, where the well-known figure  at the outset becomes   in the contrasting key. Berlioz makes ingenious and characteristic use of the device in his Symphonic Fantastique, in his treatment of what he calls the 'idée fixe.' Liszt also makes it a conspicuous feature in his experiments in programme music. Wagner makes more elaborate use of it than any one else in his great music dramas, and constantly transforms the character of his Leitmotiven in conformity with the varying nature of the situations. See also and. [ C. H. H. P. ]

METASTASIO. The following additions are to be made to the Chronological List on p. 316a:—

'Didone abbandonata.' For Sarro read Sarri, and correct the date of Jommelli's composition to 1745. Add to the names of composers who set the libretto those of Galuppi; Scarlatti, about 1724; Porpora, 1742; Piccinni, 1767; Kozeluch, 1795; Paisiello, 1797; Paer, 1810; Mercadante, 1823; Reissiger, 1823.

'Siroe.' Add the setting by Piccinni, 1759.

'Catone in Utica.' Add Leo and Hasse, 1732; Graun, 1744; Piccinni, 1770.

'Ezio.' Add Handel, 1731; Mercadante, 1826.

'Alessandro nell' Indie.' Correct date of Vinci's work to 1730. Add Leo, 1727; Gluck, 1745; Piccinni, 1758 and 1774.

'Artaserse.' Add Leo, 1740.

'Demetrio.' Add Hasse, 1732.

'Issipile.' Add Porpora, 1723.

'Olimpiade.' Add Pergolesi, 1735; Leo, 1740; Jommelli, 1765; Piccinni, 1761 and 1771. [See .]

'Demofoonte.' Add Leo, 1741; Piccinni, 1762; Paisiello, 1773.

'Clemenza di Tito.' Add Leo, 1735.

'Achille in Sciro.' Correct date of Jommelli's work to 1745.

'Ciro riconosciuto.' Scarlatti, 1712; Leo, 1727; Jommelli, 1744.

'Temistocle.' Omit Caldara, as his work is not composed to Metastasio's libretto. Add Porpora, 1742; Pacini, 1838.

'Zenobia.' Add Hasse, 1763.

'Antigono.' Add Gluck, 1754.

'Ipermestra.' Add Jommelli, 1752; Gluck, 1742; Hasse, 1751.

'Attilio Regolo.' Add Jommelli, 1752.

'L'Isola disabitata.' Correct date of Scarlatti's work to 1757.

METHFESSEL,, born Oct. 6, 1785, at Stadt Ilm, in Thuringia, became Kammermusikus at Rudolstadt, 1810, and Hofkapellmeister in Brunswick in 1832. He published a large number of songs of a popular type, and part-songs for male voices; some of his productions, as for instance, 'Krieger's Abschied,' 'Rheinweinlied' and 'Deutscher Ehrenpreis,' are still popular to a certain extent, and are included in most of the collections. Methfessel died March 23, 1869. [ M. ]

METRONOME. P. 320a, l. 37, for 108 read 208.

METZLER. The founder of this well-known business was Valentine Metzler, a native of Bingen on the Rhine, who opened a shop in Wardour Street for the sale of flutes and other instruments about the year 1790. He married an Englishwoman, and his only child was George Richard Metzler (1797–1867), so well and kindly remembered by many of the musical profession and trade in this country. The firm is said to have entered upon music publishing in 1816, and removed in course of time to 37 Great Marlborough Street, where, on the site of the original shop, but including neighbouring houses, the present warehouse stands. The only surviving child of George Richard was George Thomas Metzler (1835–1879). He gained a practical knowledge of the pianoforte in Germany, and had a distinct literary bias, which he followed as far as opportunity permitted. He became known as a writer of words for songs, Mrs. George March (Virginia Gabriel), Mme. Sainton-Dolby, Henry Smart, and J. L. Hatton, having set his graceful lyrics to music. In 1867 Frank Chappell, who had acquired his knowledge of business in the Bond Street firm of that name, joined the late G. T. Metzler in partnership, and from his suggestion the important agency of Messrs. Mason & Hamlin, which practically introduced the American organ into this country, became a specialty of the Metzler business. Frank Chappell died in 1886, and since that date the business has been carried on by the trustees of the estate (1888). The new premises referred to were completed and opened in 1878. So comprehensive is their plan that there may be said to be no musical instrument in present use, or even part of a musical instrument, unrepresented in the stock, while the valuable copy