evident ambition, this opera seems less original .and less homogeneous in style than 'Galathée' or 'Les Noces de Jeannette,' and its best parts, us in all his operas, are the short pieces and the simple romances.
To complete the list of his operas we may mention 'La Favorita e la Schiava' (Venice, 1855), and 'Le Cousin Marivaux' (Baden, 1857); also two drawing-room operettas 'Le Prix de Famille' and 'Une loi Somptuaire.' He has published 3 'Recueils' of 20 songs each, selected from his numerous romances. Many of these are charming little pieces.
In 1877 he was made an officer of the Legion of Honour. For the last two years he has been suffering from a malady which compelled him to resign his post at the Académie in 1876, and has since caused his complete withdrawal from the world. He is engaged on an opera, 'Cléopâtre,' from which he expects much; and it is to be hoped he may recover sufficiently to superintend its production. We also wish he could be persuaded to give to the world other specimens of musical criticism besides his 'Notice sur la vie et l'œuvre d'Auber,' a valuable contribution to musical literature.
[ G. C. ]
MASSENET, Jules Emile Frederic, born at Montaud, near St. Etienne, May 12, 1842, was educated at the Paris Conservatoire, where he won the first piano prize in 1859; the second prize for fugue in 1862; the first prize for fugue, and the 'Prix de Rome' in 1863. On his return from Italy, through the influence of Ambroise Thomas, his 'La Grand' tante' was produced at the Opéra Comique (April 3, 1867). Even in this first attempt Massenet showed himself a skilled and graceful musician. Some 'Suites d'orchestre' performed at the 'Concerts populaires' attracted attention for their new and ingenious effects. It was only, however, after the Franco-German war that he rose to the first rank among young French composers by the production of 'Don César de Bazan,' opéra-comique in 3 acts and 4 tableaux (Nov. 30, 1872); incidental music to the tragedy 'Les Erynnies' (Jan. 6, 1873); and an oratorio 'Marie Magdeleine' (April 11, 1873). He has since composed 'Eve' (March 18, 1875), an oratorio something in the style of Gounod's 'Gallia'; more 'Suites d'orchestre'; an 'Ouverture de Concert,' and the overture to 'Phèdre'; a number of melodies for 1 and 2 voices; pianoforte music for 2 and 4 hands; choruses for 4 equal voices; 'Le Roi de Lahore' (April 27, 1877), opera in 4 acts and 6 tableaux; and 'Narcisse,' a cantata with orchestral accompaniment. In July 1879 he completed another oratorio, 'La Vierge,' and is at work upon two new operas. From this enumeration it will be seen that his published compositions are numerous and varied. His best and most individual work is 'Marie Magdeleine.' The 'Roi de Lahore' can scarcely be considered an advance upon 'Don César de Bazan.' The 'Suites d'orchestre' may be blemished here and there by mannerism and affectation, but if M. Massenet will refrain from all mere cleverness, and draw his inspiration solely from within, he will prove an honour to the French school, and to his art.
[ G. C. ]
MATASSINS, MATACINS, or MATACHINS—also called Bouffons—a dance of men in armour, popular in France during the 16th and 17th centuries. It was probably derived from the ancient Pyrrhic dance, although the name has been traced to an Arabic root. Jehan Tabourot in his 'Orchésographie' (Langres, 1588) gives a long and interesting account of this dance, with six illustrations of the different positions of the dancers, 'qui sont vestus de petits corcelets, auec fimbries és espaules, et soubs la ceinture, une pente de taffetats soubz icelles, le morion de papier doré, les bras nuds, les sonnettes aux iambes, l'espee au poing droit, le bouclier au poing gaulche.' The Matassins were four in number, generally all men, but sometimes two men and two women. They danced several distinct figures, between which they performed mimic fights with one another. Molière has introduced Matassins into his comédie-ballet of M. de Pourceaugnac, and the dance is said to have been common at Bordeaux, Marseilles, and Strasburg as late as 1735. The following, according to Tabourot, is the air which usually accompanied the dance.
[ W. B. S. ]
MATELOTTE, a Dutch sailors' dance, somewhat similar to the English hornpipe. The dancers wore wooden shoes, and their arms were interlaced behind their backs. The music of the Matelotte consists of two parts in 2-4 time, and is remarkable for its short decided rhythm. There is a sabot dance in Lortzing's 'Czar und Zimmermann,' but it is not a true Matelotte, being written in waltz time. The following example is quoted by Schubert, Die Tanzmusik (Leipzig, 1867): it is there attributed to the 17th century, but no information is given as to whether it is a genuine dance tune or merely an adaptation. We quote the first strain only:—
[ W. B. S. ]
MATERNA, Amalie (Frau Friedrich), a distinguished prima donna in German opera, was born at St. Georgen, Styria [App. p.715 "1847"], where her father was a schoolmaster. Her first stage-appearances were made at the Thalia-Theater, Gratz, about 1864. She married soon afterwards Karl
