founded Conservatorium (1823), and Kammervirtues to the Emperor (1834). He died at Vienna in June 1852 [App. p.717 "June 16"]. He was much associated with Mayseder, and was often called the Mayseder of the violoncello.
His compositions for his instrument are numerous and of merit:—Concertos, Variations, Fantasias, Polonaises, etc., and especially 20 Exercises (op. 11), and 6 grand Studies (op. 20), which are valuable contributions to the répertoire of the instrument.
[ T. P. H. ]
MERKEL, Gustav, born in 1827 at Oberoderwitz in Saxony, studied music under Julius Otto, and the eminent organist, Dr. Johann Schneider of Dresden, and also received some instruction from the composers Reissiger and Schumann; was appointed organist of the Waisenkirche, Dresden, in 1858, of the Kreuzkirche, in 1860, and court organist in 1864. From 1867 to 1873 he was director of the Dresden Singakademie, and since 1861 has been a professor at the Conservatorium there. Merkel's printed compositions have reached the number of 130. Of these, a large proportion is for his instrument, for which he has composed Preludes, Fugues, Fantasias, Variations, Sonatas, etc., and pieces for violin (or cello) and organ. He has also published many solos and duets for pianoforte, motets (op. 106) and songs with pianoforte accompaniment. As organist and organ composer, Merkel deservedly ranks very high. His organ music is of great excellence, and is not surpassed by any living composer for that instrument, being written by a true disciple of the lofty and imperishable school of which his great compatriot, Sebastian Bach, was founder and consummate master. Many of Merkel's fugues are 'alla capella,' and in five parts, and all are well constructed. Promise of dignity and grandeur of style in fugue writing, which has been subsequently realised, was first manifested in an early work (op. 5), the Fantasie, etc., dedicated to Schneider. His later organ sonatas (op. 80, 115, and 118), are noble specimens of that great form of writing, and would alone entitle him to the highest position as a composer for his noble instrument. [App. p.717 "date of death, Oct. 30, 1885."]
[ H. S. O. ]
MERSENNUS, Marin, le Père Mersenne, born in the village of Oizé, in Maine, Sept. 8, 1588, educated at Le Mans and La Fleche; became a Minorite, entering upon his noviciate July 17, 1611, and receiving full orders (after a course of theology and Hebrew in Paris) from Monsignor de Gondi in 1613. For a time he taught philosophy at Nevers, but soon returned to Paris, where with other kindred spirits, such as Descartes, Pascal (père), Roberval, and Peiresc, he studied deeply both mathematics and music. He corresponded with Doni, Huyghens, and other learned men in Italy, England, and Holland; and visited Italy three times (1640, 41, and 45). He died Sept. 1, 1648, after a painful operation. His most important work is his 'Traité de 1'harmonie universelle' (1627), of which he published an epitome in Latin; 'Harmonicorum libri XII' etc. (1648, with the names of three publishers, Baudry, Cramoisy, and Robert Ballard). These are more important even than Cerone's great work as sources of information on music in the 17th century, especially French music and musicians.
[ F. G. ]
MERULO, Claudio, or Claudio da Correggio, organist and distinguished teacher, born at Correggio, in 1533.[1] At the age of 24, after competition with nine other candidates, he took his place at the 2nd organ of S. Mark's, Venice. This early success points to a first-rate education, received probably at Venice itself, but possibly at Brescia, where he had been appointed organist in the previous year (Sept. 17, 1566). Venice was rich in great musicians at the time, and Claudio's duties would bring him into daily intercourse with Willaert, Cipriano di Rore, Zarlino, A. Gabrieli, Annibale Padovano, and Costanzo Porta. It is delightful to be carried back[2] to a May evening more than 300 years ago, to find Zarlino waiting on the Piazza of S. Mark till vespers are over, that he may present 'M. Claudio Merulo soavissimo organista del detto tempio' to Francesco Viola,[3] who was visiting Venice, and then to follow them all to the house of old Adrian Willaert, kept at home by the gout, yet holding a grand reception, and ready to discuss with them the subjects of Zarlino's famous book. Claudio satisfied his employers as well as his colleagues, and while they increased his salary from time to time,[4] they repeatedly expressed their appreciation of his services, and their anxiety to retain them.[5] But his income was never a large one, and it was probably for this reason that he set up as a publisher in 1566,[6] and 12 years later (in his 46th year) as a composer of motets and madrigals,[7] neither attempt succeeding very well, or lasting more than 3 years.
After 27 years service Claudio left Venice, went first to Mantua, and thence to Parma, in May 1586, as organist of the Steccata, or ducal chapel. Here he lived 16 years, was knighted by the Duke, and died at the age of 71, May 4, 1604. The following letter was written at the time by one of his pupils to Sig. Ferrante Carli.[8]
According to your wish I send you some particulars of Sig. Claudio's death. On Sunday, the 25th of April, S. Mark's Day, after playing the organ at Vespers in the
- ↑ Entered in baptismal register of S. Quirino on April 8 as son of Antonio and Giovanni Merlotti, which was the true form of his name.
- ↑ Dimonstrationi Harmoniche (Zarlino, Venice 1571). See Introduction.
- ↑ Chapelmaster to the Duke of Ferrara, and an old pupil of Willaert's.
- ↑ Catelani, 'Memorie della Vita … di C. Merulo' (Milan, Ricordi).
- ↑ They had learnt a lesson from Jachet de Buus, who, having appealed in vain for an increase of salary, ran off from S. Mark's on pretence of a holiday, and found the Emperor glad enough to take him on his own terms.
- ↑ Editing madrigals by Verdelot, and, as a partner with Betanio, a set of the same by Porta. Betanio only joined him for a short time, perhaps owing to an unexpected pressure of work at St. Mark's by the resignation of the other organist and delay in appointing another. Claudio published one set of madrigals (à 5) of his own.
- ↑ Between 1578 and 81. Gardane printed 2 books of Sacræ Cantiones (à 5) and 2 books of Madrigals (à 4 and à 5). The 1st and 2nd books of Motets (à 6) were not printed till 1583 and 93 respectively. To the various collections Claudio did not contribute much till late in life. 2 Masses (à 8 and à 12) and Litanies (à 8), published some years after his death, complete the list of his vocal works.
- ↑ G. Tiraboschi, 'Biblioteca Modenese,' tom. vi. pt. i. (Modena 1786).
