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    12 views4 pages

    Mordent

    Uploaded by

    Gianfranco Saponaro
    mordent

    Copyright:

    © All Rights Reserved
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    258 MOOREHEAD claims which thus arose he, however, honourably discharged by his literary labours. "The evening of Moore's life was saddened by the successive deaths of his children. His wife,! an admirable woman, was his mainstay under these trials ; and in 1885 the government of the day, through Lord John Russell, almost forced upon him a pension of £300 perannum. He died, enfeebled, but in the possession of his faculties, Feb. 25, 1852, at Sloperton Cottage, near Devizes. R.P with additions in square brackets by ¥. K. and Wo G. F. MOOREHEAD, Jou, was born about the middle of the 18th contury, in Ireland, where he received his first musical instruction. He came to England when young, and was forseveral years engaged in the orchestrasof variouscountry theatres. [He was one of the violins at the Worcester Festival of 1794, and in 1796 was principal viola at Sadler's Wells Theatre.] In. 1798 he was engaged in the orchestra at Covent Garden, and soon after was employed to compose, for that theatre. During his engagement he com- posed musie for “The Philosopher's Stone,’ 1795 ; * Birds of a Feather,’ 1796 ; ‘The Volcano’ and ‘Speed the Plough,’ ‘Hatlequin's Tour’ an «The Dominion of Fancy ’(both with Attwood), 1880; ‘Il Bondocani? (with Attwood) and “Perouse” (with Davy), 1801; ‘Harlequin's Habeas,’ “The Cabinet’ (with Braham, Davy, ete,), and ‘ Family Quarrels’ (with Braham and Reeve), 1802, [In that year he became insane, and having transgressed the laws, was confined successively in Tothillfields’ Prison and North- ampton House, Clerkenwell. On his liberation he entered the navy as a common sailor, and was quickly promoted to be bandmaster. A. short time afterwards he hanged himself in a fit of insanity near Deal, in March 1804. ‘The “F, Moorehead ’ who is described as the com- poser of ‘The Naval Pillar,’ 1799 (sce tho Quellen- Lexikon) is probably ‘a printer's error for John Moorehead. His brother, Alexander, was also a violinist of merit, and Ted the band at Sadler's Wells; he also became insane and died in an asylum in Liverpool. See T. D din’s Reminiscances, 1827, vol. i. pp. 314-333.) a famous Swiss organ- w. H. H.; additions by Fr. K. MOOSER, Avoys, builder, whose greatest instruments are those at Fribourg and in the New Temple at Berne. He. was born at Fribourg in 1770, and died there Dec. 19, 1829. Mooser also made pianos. a. MORALES, Crrsrornno, horn at Seville, Jai 2, 1512, was & member of the papal chapel in 1535-40, [He is supposed to have been maestro de capilla at Toledo in 1544-45, and was a singer in the cathedral of Malaga in 1551. In 1552 he seems to have returned to Seville ; he died either thero or at Malaga, June 14, 1553.] His published works, dating between the years pd ise Beste Dykes a young and Vesutful Irish actrem whom MORDENT 1539 and 1569, consist of sixteen Masses (in two books), Magnificats, and several Motets pub- lished in various collections. Morales ? ‘despised all worldly, to say nothing of light, music, and had nothing to do with it, regarding with anger those who applied that noble gitt of God, the power of making music, to frivolous, and even to objectionable uses.” Ambitious that his works should be worthy of God and the papal chapel, he surely gained his end, and for nearly 350 years they have been annually sung® in the place for which he designed them, In modern score Eslava gives six pieces ; Rochlitz4 some extracts from a mass; Schlesinger the cele- brated motet ‘Lamentabatur Jacob,’ which Adami deseribes as a ‘marvel of art’; Martini # three movements from the Magnificats. Two motets (a 3),‘Domine Deus’ and ‘Puer est natus,” and a Magnificat are in score in the British Museum in Burney’s Musical Extracts, vol. iv. (Add. MS. 11,584.) [Sec the Qnetlen-Levikon.] An interesting portrait is given by Adami, and copied in Hawkins's History. TR. 8.-B. MORALT. Five brothers of great celebrity in Munich, celebrated for their rendering of Haydn's quartets, ‘The first, Josepu, born 1775, entered the court band in 1797, and became concertmeister in 1800, which post he held till his death in 1828, ‘The next brother, Jouswn Barrisr, born Jan. 10, 1777, was violinist in the Mannheim Court, band, and entered the Munich band in 1792, was the second violin in the quartet, and also com- posed two symphonies for orchestra, and ‘Legons tnéthodiques* for the violin, two string quartets, besidesa MS. Mass, ete, He died Oct. 7, 182 Purrr, the violoncello of the quartet, born 1780, was in the band from 1795 to his death March 18,1847. Hehadatwin-brother, Jacques, who played in the orchestra, but not in the cele- brated quartet. Gxona, the tenor-player, was born in 1781 and died 1818. ‘A Moralt, probably one of the same family, was well known in England in the early part of the 19th century. He was first viola player at the Philharmonic till 1842, when his name disappears, possibly on account of his death, and is succeeded by that of Hill. He took a prominent part in the provincial festivals and music generally. M. MORDENT (Ital. Mordente ; Ger. Mordent, also Beisser ; Fr. Pineé). One of the most im: portant of the agrémens or graces of instrumental music. Tt consists of the rapid alternation of 1 Frou pretvoo to second book of ans 3 Bhoteetugte enone tin nell. Capella Sirting enella Bastion ERRORS PRM Scenty eer election ae "ESamemtuong Geaangruckt, vik 3 Fes ec Ean Hak ‘Ele inotet can be had sepa. “Romplare . . . dé contrapmunto (Rolocna 1774.) The three ‘iledion quartious winch they ahtecaee ont Maron sete MORDENT a written note with the note immediately below it. Mordents are of two kinds, the Simple or Short Mordent, indicated by the sign on, and consisting of three notes, the lower or auxiliary note occurring but once, and the Double or Long Mordent, the sign ‘for which is in which the auxiliary note appears twice or oftener. Both kinds begin and end with the principal note, and are played with great rapidity, and, like all graces, occupy a part of the value of ‘the written note, and are never introduced before it, 1. Single Mordent. Double Mordent. aw messof the term Mordent(from ‘mordere, ‘to bite’)is found in the suddenness with which the prineipal note is, as it were, attacked by the dissonant note and immediately released. ‘Walther says its effect is ‘like cracking a nub with the teeth,’ and the sume idea is expressed vy the old German term Beisser. ‘The Mordent may be applied to any note of a chord, as well as toa single note, When this is the case its rendering is as follows : 2, Bacu, Sarabande trom No. 4.’ “Suite Fraugaise Sometimes an accidental is added to the sign of the Mordent, thus f, or ‘fj the effect of this is to raiso the lower or auxiliary note a. semitone. ‘This raising takes place in accordance with the rale that a lower auxiliary note should be only & semitone distant from its principal note, and the alteration must be made by the player even when there is no indication of it in the sign (Ex, 4), except in certain understood cases. 4 Ue opinion of many excelent authorities, wo be psed wilt ra Suny kes Boe | the anxiliary note together wi MORDENT 259 ‘The exceptions are as follows,—when the note bearing the Mordent is either preceded or fol- lowed by a note a whole tone lower (Exs. 5 and 6) and, generally, when the Mordeni is applied to either the third or seventh degree of the seale (Ex. 7). In these cases the auxiliary note is played a whole tone distant from its | principal. 4 Bacu, Organ Fugue in E minor. a 6‘ Well-tempered Clavier,’ No. 1, vol. 2. Sarabande from ‘Suite Frangaise,’ No. 5. Bar. Bar 5. ‘The Long Mordent (pincé double) usually con- sists of five notes, though if applied to a note of great length it may, according to Emanuel Bach, contain more; it must, however, never fill up the entire value of the note, as the trill does, but must leave time for ‘a sustained cipal note at the end (Ex. 8). Its sign 1s not to be confounded with ww, or aw, the signs for a trill with or without a turn, 8 Bacu, Sarabande from ‘Partita No. 1. Besides the above, Emanuel Bach gave the name of Mordent to two other graces, now nearly or quite obsolete. Ono, called the Abbreviated Mordent (ined etoupé) was rendered by strikinss jrivcipal, 260 MORDENT and instantly releasing it (Ex. 9). This grace, which is identical with the AcctavcaTuKA (see the word), was said by Marpurg to be of great service in playing full chords on the organ, but, its employment is condemned by the ‘best modern organists. The other kind, called the Slow Mordent, had no distinctive sign, but was introduced in vocal music at the discretion of the singer, usually at the close of the phrase or before a pause (EX. 10). 9. Abbreviated ‘Mordent. 10, Slow Mordent. MORDENT giatura, or a slurred note one degree above the principal note, its entrance is slightly delayed (Ex. 13), and the same is the case if the Mor- dent is preceded by a note one degree below (Ex. 14). 18 W. F, Bacu, Sonata in D. Closely allied to the Mordent is another kind of ornament, called in German the Praditrilier (pralien, ‘to rebound,’ or ‘ bounce"), for which term there is no exact equivalent in English, the ornament in question being variously named Passing Shake, Beat, and Inverted Mordent (pincé renverss), none of which designations are very appropriate. ‘The sign for this grace is Tie), the short vertical line being omitted ; and it consists, like the Mordent, of three notes, rapidly executed, the auxiliary note being one degree above the principal note instead of below it. UL Written. Played. —- 7 The Pralltriller is characterised by Emanuel Bach as the most agreeable and at the same time the most indispensable of all graces, but also the most difficult. He says that it’ ought to be made with snch extreme rapidity that even when introduced on a very short note, the listener must not be aware of any loss of value. ‘The proper, and according to some writers the only place for the introduction of the Prall- triller is on the first of two notes which descend diatonically, aposition which the Mordent cannot properly occupy. ‘This being the case, there can be no doubt that in such instances as the follow- ing, where the Mordent is indicated in # false position, the Pralltriller is in reality intonded, ‘and the sign is an error either of the pen or of the press. 2 Mozant. Rondo in D. #265 Tw

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