small that she could only learn her parts by having them played to her over and over again. In spite of this (in which indeed she is not singular), she was as much admired by composers and critics as by the court and the public. Zelter describes her golden voice as 'positively belonging to the class of rarities,' and herself as 'the only singer who gives you complete satisfaction.' There is no doubt that her success and steady hold on the public favour had a most important influence in upholding German opera and the classical style, and in counteracting the frivolous fashion for foreign talent of every kind which reigned at Berlin.
Chorley tells an amusing story, on the authority of an eye-witness, of an occasion when Mme. Milder's stately calm was for a moment overcome during one of her magnificent impersonations of Gluck's heroines. 'At the moment where Blum, the bass singer, who used to strengthen himself for the part of Hercules upon champagne, was carrying off the colossal Alcestis from the shades below, Queen Milder, aware of the risk she ran in arms so unsteady, and overpowered with sudden terror, exclaimed, "Herr Jesu! Ich falle!" This exclamation elicited a simultaneous roar from all parts of the theatre. And from that day forward, Milder was led, not carried, from the stage by the God of Strength.' (Modern German Music, vol. i. p. 186.)
In 1829 she abdicated her sceptre in Berlin, owing to misunderstandings and differences with the opera-director, Spontini. She then visited Russia, Sweden, and Denmark, but her voice was failing fast. Her last public appearance was at Vienna in 1836, two years before her death, which happened at Berlin on May 29, 1838.
[ F. A. M. ]
MILITARY DRUM is another term for the side drum. [Drum, 3.]
[ V. de P. ]
MILLER, Edward, Mus. Doc., born at Norwich in 1731, studied music under Dr. Burney, and was elected organist of Doncaster July 25, 1756, upon the recommendation of Nares. He graduated as Mus. Doc. at Cambridge in 1786. He died at Doncaster, Sept. 12, 1807. His compositions comprise elegies, songs, harpsichord sonatas, flute solos, psalm tunes, etc., and he was the author of 'The Elements of Thorough-bass and Composition' and a 'History of Doncaster,' 1804.
[ W. H. H. ]
MILLICO, Giuseppe, a good composer and better singer, was born in 1739 at Terlizzi (Poviglio), Modena. Gluck, who heard him in Italy, thought him one of the greatest soprani of his day, and, when Millico visited Vienna in 1772, and was attached to the Court Theatre, Gluck showed his estimation of him by choosing him as singing-master for his own niece. In the spring of that year, Millico had already come to London, where however he found the public but little disposed in his favour. Though a judicious artist and a most worthy man, he was not an Adonis, and his voice had received its greatest beauties from art (Burney); 'Of a singularly dark complexion, ill-made, and uncommonly plain in features' (Lord Mount-Edgcumbe). By the end of the season, Millico had reversed the first unfavourable impression, and his benefit was a bumper. He had then appeared in 'Artaserse' and 'Sofonisba,' and he took part in 'Il Cid' and 'Tamerlano' in the following year. In 1774 he appeared here in 'Perseo,' after which he went to Berlin. In 1780 he was in Italy again, attached to the Neapolitan Court, where he is said to have profited by his own influence to oppress other artists. Fétis gives a list of his compositions, including 3 operas, 3 cantatas, a collection of canzonette, published in London (1777), and other pieces.
[ J. M. ]
MILTON, John, father of the poet, was of an ancient Roman Catholic family seated at Milton, Oxfordshire. He was educated at Christ Church, Oxford, but being disinherited for embracing Protestantism, commenced business as a scrivener in Bread Street, Cheapside, at the sign of the Spread Eagle, the family arms. He was a skilled musician, and admitted into fellowship with the best composers of his time. To 'The Triumphes of Oriana,' 1601, he contributed the six-part madrigal 'Fayre Oriana in the morne,' and to Leighton's 'Teares or Lamentacions,' 1614, four motets. Ravenscroft's 'Whole Booke of Psalmes,' 1621, contains some tunes by him, among them the well-known 'York' and 'Norwich.' He is said to have composed an 'In Nomine' in 40 parts, and presented it to a Polish prince, who rewarded him with a gold chain and medal. His musical abilities are celebrated by his son in a Latin poem, 'Ad Patrem.' He died at an advanced age in March 1646–7, and was buried at St. Giles', Cripplegate. Specimens of his compositions are given by both Hawkins and Burney.
[ W. H. H. ]
MINACCIANDO, 'threateningly'; a term used once by Beethoven, in a letter to Schott, dated Jan. 28, 1826 (Nohl, Neue Briefe Beethoven's, p. 282), in which, after some playful abuse, the following postscript occurs:—
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Trombone, 16 ft.
[ J. A. F. M. ]
MINGOTTI, Regina, a very celebrated singer, whose family name was Valentini, was born at Naples, of German parents, in 1728. Her father, an officer in the Austrian service, being ordered to Grätz in Silesia in the same year, took his daughter with him. Here he died, leaving her to the care of an uncle, who placed her in the Ursuline Convent, where she received her first instruction in music. At the age of 14, however, she lost her uncle by death, and the pension which ensured her an asylum with the nuns ceased with his life. Compelled to return to her family, she spent some time very unhappily.
