ing School for Music.' He was then one of the 'Children of Her Majesty's Chapel Royal,' and he held the Scholarship for about four years, studying at the Royal Academy of Music, London, and afterwards at the Conservatorium at Leipzig.
In 1865, the funds having again accumulated, Mr. (now Dr.) C. Swinnerton Heap, of Birmingham, was elected to the Scholarship, which he held for rather more than two years. He was succeeded in the early part of 1871 by Mr. W. Shakespeare, a pupil of the Royal Academy of Music, who pursued his studies at Leipzig and subsequently in Italy. At the time of his election, a two years' Scholarship of £20 per annum was offered, out of the accumulated interest; and this was held for a year by Miss Crawford, and again (1873) by Mr. Eaton Faning. The Society's capital then consisted of £1350 in 5 per cent India Stock, now (1879) increased to nearly £2000 by fresh subscriptions and donations, enabling the Society to give their Scholar a stipend of about £90 per annum.
In June, 1875, Mr. F. Corder was elected Mendelssohn Scholar; and he held the Scholarship for four years, studying at Cologne under Dr. Hiller. Miss Maude V. White, the present scholar [App. p.717 "omit the words the present scholar."], was elected in February, 1879. [App. p.717 "Eugene d' Albert held the scholarship in 1881–2, and that the late scholar, Miss Marie Wurm, was elected in Jan. 1884."]
The Committee has consisted, since the institution of the Scholarship, of the following names:—*Sir G. Smart, *Mr. C. Klingemann, *Mr. E. Buxton, Sir Julius Benedict, *Sir W. Sterndale Bennett, Mr. W. J. Beale, Mr C. V. Benecke (Trustee), Mr. A. D. Coleridge, Mr. W. G. Cusins, Mr. J. W. Davison, Mr. Otto Goldschmidt, Sir John Goss, Mr. G. Grove, Mr. C. Halle, Mr. John Hullah, Mr. A. G. Kurtz, Mr. H. Leslie, Prof. G. A. Macfarren, Rev. Sir F. A. G. Ouseley, Bt., Mr. Kellow J. Pye, Mr. L. Sloper (resigned), Dr. J. Stainer, Mr. Arthur S. Sullivan, Mr. R. R. Pym (Trustee and Hon. Treasurer), and Mr. Julian Marshall (Hon. Secretary). Mr. W. Godden is the Hon. Solicitor. Death has removed some of the above names (marked with asterisks) from the list, others having been put in their places from time to time. [App. p.717 "The following is a list of the committee, as at present constituted (1887): Mr. Otto Goldschmidt, Mr. J. Barnby, Mr. J. Bennett, Dr. J. F. Bridge, Mr. A. D. Coleridge, Mr. W. G. Cusins, Sir George Grove, Mr. A. G. Kurtz, Mr. Henry Leslie, Rev. Sir F. A. G. Ouseley, Mr. K. J. Pye, Mr. R. R. Pym, Dr. Stainer, Sir Arthur Sullivan, and Mr. Julian Marshall (Hon. Sec.)"]
[ J. M. ]
MÉNESTREL, LE. This weekly musical periodical, of which the first number was issued Dec. 1, 1833, originally consisted of a romance occupying 2 pages, with printed matter at the back; increased in 1840 to 4 pages of musical information and criticism; and since Dec. 1858 has contained 8 folio pages on fine paper, besides music. Its great success is due to the editor, M. Jacques Heugel, who during the last twenty years has inserted contributions from almost every musician of note in France, including MM. Barbedette, Blaze de Bury, Paul Bernard, Gustave Chouquet, Félix Clément, Oscar Commettant, Ernest David, Octave Fouque, Edouard Fournier, A. de Gasperini, Eugène Gaultier, Gevaert, Léon Halévy, G. Héquet, B. Jouvin, Adolphe Jullien, Lacome, Th. de Lajarte, A. de Lauzières, Marmontel, Amédée Méreaux, A. Morel, H. Moreno, Ch. Nuitter, A. de Pontmartin, Prosper Pascal, Ch. Poisot, Arthur Pougin, Alphonse Royer, J. B. Weckerlir., and Victor Wilder. The Ménestrel has also published, among others, the following works afterwards printed separately:—articles on Schubert, Mendelssohn, Haydn, Chopin, and Weber by Barbedette; Blaze de Bury's 'Meyerbeer'; B. Jouvin's 'Auber' and 'Hérold'; de Gasperini's 'R. Wagner et la nouvelle Allemagne'; Méreaux's 'Les Clavecinistes et leurs œuvres'; Bertrand's 'Les Nationalités musicales dans le drame lyrique'; Héquet's 'A. Boieldieu'; Marmontel's 'Les Pianistes celebres'; and Wilder's 'Vie de Mozart' and 'Jeunesse de Beethoven.'
[ G. C. ]
MENGOZZI, Bernardo, distinguished both as a singer and a composer, was born in 1758 at Florence, where he first studied music. He afterwards had instruction at Venice from Pasquale Potenza, cantor of St. Mark's. In Lent of 1785, Lord Mount-Edgcumbe found him singing in oratorio at Naples, with Signora Benini, whom he soon afterwards married. After singing together at several Italian theatres, the two came to London in 1786, but our climate was very ill-suited to Mengozzi, whose voice, a good tenor, but wanting in power, suffered much and permanently from its rigour. He was too ill, indeed, to appear with Benini in the first opera in which she sang here, the 'Giannina e Bernardone' of Cimarosa, with new songs by Cherubini. He played, however, the principal part in 'Il Tutor Burlato' of Paisiello, and showed himself 'a good musician, with a good style of singing, but still too feeble to excite any other sensation in the audience than pity for the state of his health' (Burney). In March, Handel's 'Giulio Cesare' was revived, with additions from others of his works; and in this pasticcio (1787) Mengozzi took part. But he did not do himself justice, and was soon superseded by Morelli, as his wife was by la Storace.
From London Mengozzi went to Paris, where he was heard to advantage in the concerts given by Marie Antoinette, and among the Italian company of the Théâtre de Monsieur, with Mandini and Viganoni. He remained at Paris after the Revolution, and supported himself by giving lessons and writing operettas for the Feydeau and Montansier Theatres. When the Conservatoire was established, he was named 'Professeur de Chant,' and is remembered as having formed several distinguished pupils.
Mengozzi had, during many years, compiled the materials for a 'Méthode de Chant' for the Conservatoire; but he died, before he had completed it, in March, 1800. The work was edited by Langlé. Fétis gives a list of his operas, now all long forgotten.
[ J. M. ]
MENO MOSSO, lit. 'with less motion'; hence, rather slower. A direction, which, like Più lento, generally occurs in the middle of a movement, the latter term properly being used where the whole movement is already a slow one, and the former in a quick movement. These terms, however, are constantly used for one another.
