the Gesellschaft der Musikfreunde he put additional instruments to several of Handel's [1]oratorios, and translated the text. He also composed three operas (court-theatre), one Singspiel, several overtures and entr'actes for plays, a Missa solennis, etc. He published three collections of songs, dedicating one to Vogl, the celebrated singer of Schubert's songs, and another to Rochlitz (Steiner). Among his writings the following are of value:—'Versuch einer Aesthetik des dramatischen Tonsatzes' (Vienna, Strauss, 1813); 'Ueber das Leben und die Werke des Antonio Salieri' (ibid., Wallishauser, 1827); 'Geschichte der Hofbibliothek' (ibid., Beck, 1835); and articles in various periodicals on the history of music, including ' Die Tonkunst in Wien während der letzten 5 Dezennien' (1808, revised and republished 1840). Von Mosel died in Vienna, April 8, 1844.
[ C. F. P. ]
MOSE IN EGITTO. An 'oratorio'; libretto by Tottola, music by Rossini. Produced at the San Carlo Theatre, Naples, in Lent 1818 [App. p.720 "March 5"], and at the Théâtre Italien, Paris, in 1822 [App. p.720 "Oct. 23"]. The libretto was adapted by Balocchi and De Jouy, and the music much modified by the composer; and it was re-produced, under the title of Moïse, at the Academie Royal, Paris, March 26, 1827. On the bills it was entitled 'Oratorio,' and on the book 'Moïse et Pharaon, ou le Passage de la Mer Rouge.' The opera was produced at the King's Theatre, Haymarket, London, as Pietro l'Eremita, April 23, 1822. On Feb. 22, 1833, it was brought out at the Covent Garden oratorios as 'The Israelites in Egypt; or, The Passage of the Red Sea,' with scenery and dresses, and additions from Israel in Egypt. On April 20 it was again brought out at the Royal Italian Opera, Covent Garden, as Zora. In 1845 it was performed by the Handel and Haydn Society of Boston, U.S.A., in an English version of the original [2]libretto, and on May 24, 1878, was also performed with great success by the Sacred Harmonic Society, at Exeter Hall, in an English version by Arthur Matthison.
[ G. ]
MOSES. An oratorio, the words and music of which were composed by A. B. Marx, and which was first performed at Breslau in Dec. 1841, and a few times subsequently in Germany. The book was originally compiled, at Marx's request, by Mendelssohn, though afterwards rejected; and the autograph is preserved by the Mendelssohn family in Berlin, with the date Aug. 21, 1832.
[ G. ]
MOSEWIUS, Johann Theodor, born Sept. 25, 1788, at Königsberg in Prussia; like so many others, forsook the law for music and the theatre. After a regular musical education he became in 1814 director of the opera in his native town. He married, and in 1816 went to Breslau, and for 8 years he and his wife were the pillars of the opera. His wife dying in 1825 he forsook the stage, and founded the Breslau Singakademie. He had before this started the Liedertafel of the town. In 1827 he followed Berner as Professor at the University, and in 1829 became Director of the music there. In 1831 he succeeded Schnabel as head of the Royal Institution for Church Music, which he appears to have conducted most efficiently, bringing forward a large number of pieces by the greatest of the old Italian masters, as well as the vocal works of Mendelssohn, Lowe, Spohr, Marx, etc. His activity was further shown in the foundation of an elementary class as a preparative for the Singakademie, and a society called the Musikalische Cirkel (1834) for the practice of secular music. He also initiated the musical section of the Vaterländische Gesellschaft of Silesia, and became its secretary. In England this active and useful man is probably only known through two pamphlets—reprints from the Allg. Musikalische Zeitung—'J. S. Bach in seinen Kirchen cantaten und Choralgesängen' (Berlin, 1845), and 'J. S. Bach's Matthäus Passion' (Berlin, 1852). These valuable treatises are now superseded by the publication of the works of which they treat, but in the copious examples which they contain, some Englishmen made their first acquaintance with Bach's finest compositions.
[ G. ]
MOSKOWA. See Prince de la Moskowa.
MOSZKOWSKI, Moritz, pianist and composer, born at Berlin [App. p.720 "Breslau"] August 23, 1854, studied first at Dresden and afterwards at Berlin. He has published several pianoforte solos and duets (among the latter, some charming 'Spanish Dances' in two books), also two concert pieces for violin and piano. A pianoforte concerto, and two symphonies, remain in MS. [App. p.720 "Add the following to the list of his works:—'Aus allen Herren Länder,' PF. duet; 'Johanna d'Arc,' symphony in four movements, op. 19; 2 Concertstücke for violin and PF.; 3 Concert studies for PF., op. 24; 3 pieces for cello and PF., op. 29; Violin Concerto, op. 30; Suite for orchestra, op. 39; Scherzo for violin and PF. op. 40; besides many PF. solos and duets, and four books of songs."]
[ J. A. F. M. ]
MOTET (Barb. Lat. Motetum, Motectum, Mutetus, Motellus, Motulus; Ital. Mottetto). A term, which for the last three hundred years has been almost exclusively applied to certain pieces of Church Music, of moderate length, adapted to Latin words (selected, for the most part, either from Holy Scripture, or the Roman Office-Books), and intended to be sung, at High Mass, either in place of, or immediately after, the Plain Chaunt Offertorium for the Day. [See Mass; Offertorium.] This definition, however, extends no farther than the conventional meaning of the word. Its origin involves some very grave etymological difficulties, immeasurably increased by the varied mode of spelling adopted by early writers. For instance, the form Motulus, can scarcely fail to suggest a corruption of Modulus—a Cantilena, or Melody; and, in support of this derivation, we may remind our readers, that in the 13th and 14th Centuries, and even earlier, the terms Motetus and Motellus, were constantly applied to the Voice-part afterwards called Medius or Altus. On the other hand, the idea that the true etymon is supplied by the Italian word, Mottetto, diminutive of Motto, and equivalent to the French mot, or bon mot, a jest, derives some colour from the fact that it was unquestionably applied, in the first instance, to a certain kind of profane music, which, in the 13th Century, was severely censured
