minor) is for the seven wind instruments in combination. After the last repetition of the minuet, a coda for all the instruments concludes the movement. The three trios are as strongly contrasted in musical character as in orchestral colour. Many similar instances might easily be given from the works of Mozart.
To Beethoven we owe the transformation of the minuet into the Scherzo. Even in his first works this alteration is made. Of the three piano trios, op. 1, the first and second have a scherzo, and only the third a minuet. The examination of the different varieties of the scherzo will be treated elsewhere (Scherzo); it will be sufficient here to explain that the difference between the minuet and the scherzo is one of character rather than of form. The time is frequently quicker; the rhythm is more varied (see, for instance, the scherzi in Beethoven's 4th Symphony, in the Sonata, op. 28, and in the Bagatelle, op. 33, No. 2); and sometimes, as in the 7th and 9th Symphonies, the form itself is enlarged. Still Beethoven does not entirely abandon the older minuet. Out of 63 examples of the minuet or scherzo (not counting those in common time) to be found in his works, 17 are entitled 'Minuet,' or 'Tempo di Minuetto.' Besides this, in two works (the Piano and Violin Sonata in G, op. 30, No. 3, and the Piano Solo Sonata in E♭, op. 31, No. 3), the Tempo di Minuetto takes the place of the slow movement; in the Sonata, op. 49, No. 2, it serves as finale (as with Haydn and Mozart); and in the Sonata, op. 54, the first movement is a Tempo di Minuetto. In these minuets we sometimes find a grace akin to that of Mozart (Sonata, op. 10, No. 3; Septet), sometimes, as it were, a reflexion of the humour of Haydn (Sonata, op. 22); but more often the purest individuality of Beethoven himself. In some cases a movement is entitled 'Minuet,' though its character is decidedly that of the scherzo (e.g. in the 1st Symphony). The only one of the nine symphonies in which a minuet of the old style is to be seen is No. 8. Occasionally we meet in Beethoven with minuets simply entitled 'Allegretto' (e.g. Sonata quasi Fantasia, op. 27, No. 2; Trio in E♭, op. 70, No. 2); in other cases the same term is used for what is in reality a veritable scherzo (Sonatas, op. 14, no. 1, op. 27, no. 1). It may be said that with Beethoven the minuet reached its highest development.
The transformation of the minuet into the scherzo, just adverted to, has had an important influence on modern composers. In the large majority of works produced since the time of Beethoven, the scherzo has replaced its predecessor. Occasionally the older form still appears, as in Mendelssohn's 'Italian Symphony,' the third movement of which is a genuine minuet, and in the second movement of Schumann's E♭ Symphony; but with Beethoven the history of the minuet practically closes. One of the best specimens of a modern minuet will be seen in Sterndale Bennett's Symphony in G minor.
MIREILLE. Opera in 5 acts; words by M. l' Carré (from Mirèlo, a Provençal poem by Mistral),; music by Gounod. Produced at the Théatre Lyrique March 19, 1864. Reduced to 3 acts, with the addition of the waltz, and reproduced Dec. 15, 1864 at the same theatre. In London, in Italian and 5 acts, as Mirella, at Her Majesty's Theatre, July 5, 1864.
MISERERE. The Psalm, Miserere mei Deus, as sung in the Sistine Chapel, has excited more admiration, and attained a more lasting celebrity, than any other musical performance on record. Its effect has been described, over and over again, in sober Histories, Guide-books, and Journals without end; but, never very satisfactorily. In truth, it is difficult to convey, in intelligible language, any idea of the profound impression it never fails to produce upon the minds of all who hear it; since it owes its irresistible charm, less to the presence of any easily definable characteristic, than to a combination of circumstances, each of which influences the feelings of the listener in its own peculiar way. Chief among these are, the extraordinary solemnity of the Service into which it is introduced; the richness of its simple harmonies; and, the consummate art with which it is sung: on each of which points a few words of explanation will be necessary.
The Miserere forms part of the Service called Tenebræ; which is sung, late in the afternoon, on three days, only, in the year—the Wednesday in Holy Week, Maundy Thursday, and Good Friday. [See Tenebræ.] The Office is an exceedingly long one: consisting, besides the Miserere itself, of sixteen Psalms and a Canticle from the Old Testament, (sung, with their proper Antiphons, in fourteen divisions); nine Lessons; as many Responsories; and the Canticle, Benedictus Dominus Deus Israel. The whole of this, with the exception of the First Lesson, [see Lamentations], and the Responsories, is sung in unisonous Plain Chaunt: and the sternness of this antient music forms the most striking possible preparation for the plaintive tones which are to follow, while the Ceremonial with which it is accompanied adds immeasurably to the intended effect.
At the beginning of the Service, the Chapel is lighted by six tall Candles, on the Altar; and fifteen others, placed on a large triangular Candlestick, in front. Of these last, one is extinguished at the end of each division of the Psalms. The six Altar-Candles are put out, one by one, during the singing of Benedictus. The only light then remaining is the uppermost one on the triangular Candlestick. This is removed, and carried behind the Altar, where it is completely hidden from view, though not extinguished. The Chapel is, by this time, so dark, that it is only just possible to discern the red Vestments of the Pope, as he kneels at his Genuflexorium, in front of the Altar. Meanwhile, a single Soprano voice sings, with exquisite expression, the Antiphon, 'Christus factus est pro nobis obediens usque ad mortem.' An awful silence follows, during which the Paternoster is said in secret—and the first sad wail of the Miserere then swells, from the softest possible pianissimo, into a bitter cry for mercy, so thrilling
