Sequences also, and imitations and anticipations, and all the most elaborate devices of resolution, come into play, such as interpolation of notes between the discordant note and its resolution. Further, there are endless refinements of grouping of phrases, and repetition of rhythms and groups of intervals in condensed forms and in different parts of the scale, which introduce an intellectual element even into the department of pure melody.
Lastly, it may be pointed out that the order and character of the successions of harmony which any special form of melody represents has a great deal to do with its importance. Commonplace tunes represent commonplace and trite successions of harmony in a commonplace way, while melody of a higher order usually represents successions which are in themselves more significant and more freely distributed. The giants of art have produced tunes the melody of which may represent the simplest harmonic successions, but they do it in their own way, and the result is proportionate to their powers and judgment. Unfortunately, the material of the simpler order of melody tends to be exhausted, and a large proportion of new melody has to be constructed on a more complicated basis. To take simple forms is often only to make use of what the great masters rejected; and indeed the old forms by which tunes are constructively defined are growing so hackneyed that their introduction in many cases is a matter for great tact and consideration. More subtle means of defining the outlines of these forms are possible, as well as more subtle construction in the periods themselves. The result in both cases will be to give melody an appearance of greater expansion and continuity, which it may perfectly have without being either diffuse or chaotic, except to those who have not sufficient musical gift or cultivation to realise it. In instrumental music there is more need for distinctness in the outline of the subjects than in the music of the drama; but even in that case it may be suggested that a thing may stand out by reason of its own proper individuality quite as well and more artistically than if it is only to be distinguished from its surroundings by having a heavy blank line round it. Melody will always be one of the most important factors in the musical art, but it has gone through different phases, and will go through more. Some insight into its direction may be gained by examination of existing examples, and comparison of average characters at different periods of the history of music, but every fresh great composer who comes is sure to be ahead of our calculations, and if he rings true will tell us things that are not dreamed of in our philosophy.
[ C. H. H. P. ]
MELOPHONIC SOCIETY, THE. Established 1837, 'for the practice of the most classical specimens of choral and other music,' by band and choir, under the management of J. H. Griesbach, H. Westrop, J. Surman, and H. J. Banister. The first performance, on Nov. 23, 1837, at Wornum's Music Hall, Store Street, was the Creation, followed during the season by Beethoven's Mass in C, Romberg's Ode 'The Transient and the Eternal,' Judas Maccabæus, and St. Paul. In subsequent years the programmes comprised works of smaller dimensions, including Beethoven's Choral Fantasia.
[ C. M. ]
MELOPIANO. A grand piano with a sostinente attachment, the invention of Signor Caldera, applied in England by Messrs. Kirkman & Son, who have secured the sole right to use it here, and have made several instruments with it. The principle is original, the apparently sustained sounds being produced by reiterated blows of small hammers placed nearer the wrestplank bridge than the striking-place of the ordinary hammers, and suspended by a bar above and crossing the strings. The bar is kept in tremulous motion by means of a fly-wheel and pedal which the player has to keep going. These additional hammers would cause a continuous sound were it not for the dampers of the ordinary action which govern by simple string communication the checks that keep them still. Pressing down the keys the dampers rise and the checks are withdrawn. A crescendo to the sostinente is obtained by a knee movement which raises the transverse bar, directs the little hammers into closer proximity with the strings, and strengthens their blow. The quick repetition deceives and at the same time flatters the ear by a peculiar charm of timbre inherent in steel wire when the sounds can be prolonged. The ordinary hammers are controlled by the performer as usual, and may be accompanied by the attachment, or the damper pedal may be used, for which due provision is made. It will be observed that the Melopiano has a special expression for which special music will no doubt be written or improvised. The cost of the application of this ingenious invention is about 30 guineas.
[ A. J. H. ]
MELUSINE. 'To the legend of the lovely Melusine' is the title of an overture of Mendelssohn's for orchestra, completed at Düsseldorf, November 14, 1833, first performed there in the following July, and published as op. 32, the 4th of the Concert Overtures. In the autograph Mendelssohn spells the name with an a—Melusina.'
[ G. ]
MENDEL, Hermann, editor of the largest and most comprehensive dictionary of music that has yet appeared, born at Halle, Aug. 6, 1834. He studied music with energy in Leipzig and Berlin. From 1862 to 68 he carried on a music business in the latter city, and at the same time wrote in various musical periodicals and took an active part in music generally. His lives of Meyerbeer and Otto Nicolai have been published separately. In 1870 Mendel started the work already mentioned—'Musikalisches Conversations-Lexikon,' and completed in 11 vols.—with the help of a large and distinguished staff of writers. He died on Oct. 26, 1876, and the Lexicon has been since completed in 11 vols. under the editorship of Dr. Reissmann. [App. p.716 "in 1883 the supplementary volume appeared, edited by Dr. Reissmann."]
[ G. ]
