when they are associated with music is not the fault of musicians, but of the long-continued habit of mankind of classifying things according to outward resemblance, instead of regarding the true basis of the terms of classification. The term Lyric, then, originally implied music, and the Lyre stood as the type of accompaniment, of whatever kind; and it is strictly in conformity with this derivation to give the name 'Lyrical' to dramatic works which are associated with music; and we have a forcible and substantial reminder of this use of the term in the name of the celebrated 'Théâtre Lyrique' in Paris.
It has been necessary to enter into some detail on this subject in order to explain the confusion which exists in the use of the word. It must be confessed that nothing can now be gained by trying to go back to its original meaning; for the modern sense, as expressed by the editor of the Golden Treasury, has a prescriptive title of such great antiquity as would suffice to bar the most unquestionable prior claim. It would be well to bear in mind, however, that the term can have two significations, and that in relation to poetry pure and simple it does not necessarily imply music, in our language at least; and that in relation to the stage it should imply nothing else.
[ C. H. H. P. ]
M.
MACBETH. 1. Tragedy in 3 acts; words by Rouget de l'Isle and Hix, music by Chelard. Produced at the Académie, June 29, 1827, without success. In London, King's Theatre, July 4, 1832.
2. Opera in 4 acts; libretto by Piave, music by Verdi. Produced at the Pergola, Florence, March 1847 [App. p.707 "March 17"]; at Paris, with alterations, at the Théâtre Lyrique, April 21, 1865.
3. An overture for orchestra in B minor, by Spohr (op. 75).
4. The first act of an opera, Macbeth, was published by von Collin in 1809; and sketches by Beethoven for the overture (D minor, 6-8) and first chorus therein, are given by Mr. Nottebohm in Mus. Wochenblatt, 1879, No. 10.
[ G. ]
MACBETH MUSIC. Three musicians, of varied eminence, have successively composed music for Sir William Davenant's additions to—rather than alterations of—Shakespeare's tragedy of Macbeth. Sir William designed to increase its attractions for the public by combining with it music, improved scenery, and stage-machinery. He died before he could bring his experiment into practice; but it was carried out by his widow and son, at the new theatre in Dorset Garden in 1672. Downes, who was then, and for many years after, the prompter of the theatre, took advantage of the information he acquired through his position, to write a book, called 'Roscius Anglicanus, or an Historical Review of the Stage' (12mo. 1708). In this he says: 'The tragedy of Macbeth, altered by Sir William Davenant, being dressed in all its finery, as new clothes, new scenes, machines, as flying for the witches, with all the singing and dancing in it, the first composed by Mr. Lock, the other by Mr. Channell and Mr. Priest, it being all excellently performed, being in the nature of an Opera, it recompensed double the expenses; it proves still a lasting play.'
Downes is the only contemporary authority who refers to the authorship; but the Hon. Roger North, an accomplished musician, remarks generally, 'in music, Matthew Lock had a robust vein,' a criticism peculiarly applicable to the music in 'Macbeth.' Immediately after 'Macbeth,' Matthew Lock composed the instrumental music for Shakespeare's 'Tempest,' produced in 1673; also the vocal music for Shadwell's 'Psyche' in Feb. 1673–4. These were published by him in 1675; but music for witches was not well suited for private use, and the Macbeth music remained in manuscript until after his death in 1677. These three are Lock's only known productions for the theatre, and they were all parodied by a contemporary, one Thomas Duffett. The parody upon 'Macbeth' is 'An Epilogue spoken by Heccate and the three witches, according to the famous Mode of Macbeth,' printed with a farce called 'The Empress of Morocco,' 4to. 1674. That upon 'The Tempest' is entitled 'The Mock Tempest,' 4to. 1675; and that upon 'Psyche' is called 'Psyche Debauch'd,' 4to. 1678. Stage parodies are only written and accepted upon works that have been successful, and although the music in 'Macbeth' was ill adapted for private use, owing to its subject, that of 'Psyche' had a long-continued and widely spread popularity. Two of the vocal pieces, 'The delights of the bottle' and 'All joy to fair Psyche,' were lengthened into penny ballads, to be sung in the streets, and several other ballads which were written to the tune of the first are still extant—such as 'The Prodigal Son,' 'The Wine Cooper's Delight,' etc. Matthew Lock's robust vein is equally characterised in these airs. (See 'Popular Music of the Olden Time,' ii. 498–501.)
The only reason that can be assigned why modern musicians should have doubted Matthew Lock's authorship of the music in 'Macbeth' is that a manuscript score of it exists in the handwriting of Henry Purcell. His autograph seems to have been tolerably well ascertained. First, Dr. Philip Hayes recorded his judgment by writing on the manuscript 'Purcell's score of ye music in Macbeth, also the score from whence it was printed under Mat. Lock's name.' It may
