Montéclair

(mén-ta-klir), de, Chaumont, 1666— Saint-Denis, n. Paris, Sept., 1737; double-ba player; dram. composer and writer of methods. (mén-té-fi-d/-ré), Mosé, composer; Livorno, 1855—Rome, March 13, 1933; pupil of Mabellini; critic under the penname of “Puck,” editor; c. operas “Un bacio a port a tore’’ (Florence, 1884), 1905). “Cecilia” (Ravenna, (mén-té-méd’-sé), Italo, b. Verona, May 31, 1875; composer; studied at Milan Cons.; c. (operas) “Giovanni Gallurese’ (Turin, 1905, prod. at Met. Op., N. Y., with slight succ. 2 decades later); “ Heller a’’ (do., 1909); ““L’ Amore dei Tre Re’? (Milan, 1913) won immediate succ. for its tragic action, noble restraint and original adaptation of modern dram. and harmonic idiom to cla ic theme; Met. Op., following year, with equal succ. and has been eriodically restored; “‘La Nave” Chicago, 1918); ‘‘Principezza Lontana’ (unfinished); “Za Notte di Zoraima,” one-act opera with melodramatic story, which proved disappointing when given in Milan and at Met. Op. in 1931; also cantata, “Tl Cantico det Cantici,” etc. Monteux (m6n-tii’), Pierre, b. Paris, 4, 1875; conductor; studied Cons.; 1st prize there; after 1894 orch. and opera cond., in Paris, also as guest in London, Berlin, Vienna, Budapest; visited U. S. in 1916 with Diaghileff Ballet Ru e; cond. Met. Op., 1917-19; in 1918 called to take charge of Boston - Symph. for a time pending arrival of Rabaud; 1919-24 regular leader of that orch.; thereafter active also with Phila. Orch. and at Hollywood Bowl; following period as regular leader of Amsterdam Concertgebouw Orch., he returned to America for summer concerts at Los Angeles and was engaged as permanent leader of San Francisco Symph., beginning 10935; has especial rep. as interpreter of modern scores; leads series annually in spring and fall with Orchestre Symphonique in Paris, and also has a course of instruction for young conductors there. (mén-ta-vér’-dé) (he signed his name, Monte verd i), Claudio (Giov. A.), Cremona (bapt., May 15), 1567—Venice, Nov. 20, 1643; composer; young, vla.-player in the orch. of Duke Gonzaga, Mantua, and studied At 17 and at 20 cpt. with Ingegneri. pub. Canzonette a 3, and madrigals, in which appeared (among many unintentional or unbeautiful effects) the harmonic innovations for which he is famous and which led Rockstro to call him “not only the greatest musician of his own age, but the inventor of a system of harmony which has remained in uninterrupted use to the present day.’’ His progre ions include the unprepared entrance of di onances, the dominant seventh and the ninth (v. D. D., cHorp, pro PRE PARA SUSPENSION GRESSION, TION, etc.). He was bitterly a ailed in pamphlets, particularly by Artuso, and he replied in kind. The outcome was his complete triumph and the establishment of the new school of His vicsong and accompaniment. tory, while salutary for art in general and dramatic song in particular, was too complete; for the bigoted defenders of polyphonic music dragged down with them in their ruin the splendid edifice of church-mus. built to perfection by Pal estrin a and 1603, M. became his teach others. er’s succe or as Maestro to the Duke and c. for the wedding of the Duke’s son to Marg her it a of Savoy in which ‘‘Arianne,” the opera Ariadne’s grief moved the audience In 1608 he prod. his opera to tears. “Orfeo” with the unheard-of orchestra of 36 pieces (Riemann states that “Arianne’ was the 2d work and “Orfeo” the first). ‘“‘Orfeo’’ was published in 1609 and in 1615, and the score shows great modernity, Rockstro comparing its preludes with one ba -note sustained throughout to the Introduction to ‘Das Rheingold,” and its continual recitative also to that of Wagner. In 1608 appeared his mythological ‘Ballo Ingrate.” Vespers and motets (pub. 1610) gave him such fame that he was in 1613 made Maestro di Cappella at San Marco, Venice, at the unprecedented salary of 300 ducats (the usual salary had been 200), but it was raised to soo in 1616, and a house and travelling expenses given him. 1621, his very romantic Requiem was given with effect. In 1624, he intoduced - the then startling novelty of an instrumental tremolo (which the musicians at first refused to play) into his dramatic interlude, ‘“J/ Com batt i men to di Tancredi e Clorinda’; 1627 he c. 5 dramatic episodes incl. ‘‘Brad am ante” “Dido,” for the court at Parma; 1630, opera ‘‘Proser pin a Rapita”; in 1637 in the first opera-house opened at Venice, the Teatro di S. Ca ia no, operas having hitherto been performed at the palaces of the nobility (v. PERI) M. prod. the ‘‘Adone’’ (Venice, 1639); “Te Nozze di Enea con Lavinia” (1641), “Il Ritorno di Uli e in Patria” (1641), and ‘L’Inc or on azione di Poppea’’ (1642). He earned the title of “the father of the art of instrumentation”; was the most popular and influential composer of his time. In 1636 he joined the priesthood and is heard of no more. C. ma es, psalms, hymns, magnificats, motets, madrigals, etc. There has been a strong revival of interest in his music within recent years. D’Indy arranged ‘“‘Poppea” and “Orfeo” for prod. in Paris; and the latter work was also rescored by Respighi and prod. in biog. by Pruniéres was Rome. published, 19206.