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Scan 65
A Biographical Dictionary Of Musicians, 1900
22 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1of notation), "Die Hymnen des Dionysios und Mesomedes" (Berlin, 1840), and "Anonymi scriptio de musica et Bacchus seniors introduc- tio, etc" (1841), are smaller treatises on Greek music as practised.
3Bel'lermann, Johann Gottfried Heinrich, son of preceding; b. Berlin, Mar. 10, 1832; pupil of the R. Inst. f. Ch.-music, also of F. A. Grell. 1853, teacher of singing at the "Graues Kloster"; 1861, R. Musikdirektor; 1866, prof. of mus. at Berlin Univ., succeeding Marx. He has composed many vocal works. His book, "Die Mensuralnoten und Taktzeichen im 15 u. 16. Jahrh." (Berlin, 1858), gives an excellent exposition of the theory of mensural music; his treatise "Der Kontrapunkt" (1862; 2d ed. 1877) revives the theories of J. J. Fux's "Gradus ad Parnassum," his adherence to which B. attempted to justify in a pamphlet "Die Grosse d. mus. Intervalle als Grundlage d. Harmonie" (1873). He has also contributed interesting articles to the "Allg. musikal. Zeitung." one of two readings
4Bel'lermann, Johann Gottfried Heinrich, son of preceding; b. Berlin, Mar. 10, 1832; pupil of the R. Inst. f. Ch.-music, also of F. A. Griell. 1853, teacher of singing at the "Graues Kloster"; 1861, R. Musikdirektor; 1866, prof. of mus. at Berlin Univ., succeeding Marx. He has composed many vocal works. His book, "Die Mensuralnoten und Taktzeichen im 15 u. 16. Jahrh." (Berlin, 1858), gives an excellent exposition of the theory of mensural music; his treatise "Der Kontrapunkt" (1862; 2d ed. 1877) revives the theories of J. J. Fux's "Gradus ad Parnassum," his adherence to which B. attempted to justify in a pamphlet "Die Grosse d. mus. Intervalle als Grundlage d. Harmonie" (1873). He has also contributed interesting articles to the "Allg. musikal. Zeitung." one of two readings
6Bellet'ti, Giovanni Battista, baritone stage-singer, b. Sauzana, 1815, was a pupil of Pilotti at the Bologna Liceo. Début 1838, at Stockholm, in the Barbiere; he then sang with Jenny Lind in Denmark and in London (1848), Paris and the United States (1850-2). Retired in 1862.
8Belleville-Oury, Emilie, brilliant pianist, b. Munich, 1808; d. there July 23 (22?), 1880. Pupil of Karl Czerny; made long concert-tours, and lived for many years in London, where she married the violinist Oury. Her popular pf.-comp.s are, properly speaking, arrangements.
10Bell'Haver, Vincenzo. See Bell'AVFRE.
12Bel'li, Girolamo, composer of the Venetian school, chapel-singer to the Duke of Mantua. Publ. 1 book of 6-p. motets (1580), one of 8-p. motets (1580), one of 6-p. madrigals (1580), one of 10-p. motets and magnificats (1594); and some 5-p. madrigals in the collection "De'floridi virtuosi d'Italia" (1586).
14Bel'li, Giulio, b. Longiano, abt. 1560; choir-master at S. Antonio, Padua, abt. 1600, and m. di capp. at Imola cathedral abt. 1620. Publ. 4-p. masses (1599); 5-p. masses (1597); 8-p. masses and madrigals (new ed., with continuo, 1607); 4-p. canzonette (1586; 2nd ed. 1595); 4- and 8-p. masses (1608); 8-p. psalms (1600, 1604, 1615, the last with continuo); motets, litanies, etc., f. double choir (1605, 1607), "Concerti ecclesiastici a 2 e 3 voci con basso d'organo" (1613, 1621).
16Bel'li, Domenico, musician at the court of Parma; publ. "Arie a 1 e 2 voci per sonare con il chitarrone" (1616), and "Orfeo dolente" (5 Intermezzi to Tasso's Aminta; 1616).
18Bellin, Guill. and Julien. See BELIN.
20Belli'ni, Vincenzo, famous opera-composer; b. Catania, Sicily, Nov. 3, 1802; d. Puteaux, n. Paris, Sept. 23, 1835. Taught at first by his father, an organist, he was sent in 1819, at the expense of a nobleman impressed by the boy's talent, to the Conservatorio di San Sebastiano at Naples. Here his instruction from the masters Funico, Tritto and Zingarelli was carried on until 1827 with the slovenly lack of method then prevailing in the institution; B. probably profited far more by his private and zealous study of Haydn and Mozart, Jommelli and Paisiello, and, above all, Pergolesi. His student-compositions were a romance, an aria, a symphony for full orch., two masses, several psalms, and a cantata, Imene, finally his first opera, Adelson e Salvini, was perf. by Cons. pupils on Jan. 12, 1825, and its success encouraged him to further dramatic effort. Barbaja, manager of the San Carlo Th., Naples, and La Scala, Milan, commissioned B. to write an opera, and Bianca e Fernando was enthusiastically received at the former theatre in 1826; followed in 1827 by Il Pira, and in 1829 by La Stramera, both in Milan. It is interesting to note that the librettist of Il Pira, Felice Romani, wrote the books of all the succeeding operas except I Puritani. B. met his first reverse at Parma, for the inauguration of the Teatro Nuovo in which town he wrote to order the opera Zaira (1829), which was a flat failure. Undismayed, he accepted a fresh order from La Fenice Theatre at Venice, for which he composed in forty days the opera I Capuleti e Montecchi (1830), which was hailed as a masterwork. After a severe illness, he brought out La Sonnambula at the Teatro Carcano, Milan (1831); with this work, and Norma, which was given at La Scala on Dec. 26, 1831, B. rose to the height of his powers and the zenith of his fame—yet Norma, which B. himself considered his greatest work, and in which the Malibran created the title-rôle, was coldly received that first evening! But in brief space its beauties were recognized, and the warmth of its reception in other cities, notably in Paris (1835), amply justified its author's verdict. His Beatrice di Tenda (Venice, 1833) shows a distinct falling-off, and failed of popular appreciation. In 1834 he was invited to write an opera for the Théâtre Italien at Paris; this was I Puritani, libretto by Count Pepoli; its triumphant production was the composer's last great success, for, although commissioned immediately to write two more operas for the San Carlo Th., he died at the village of Puteaux, whither he had retired to work on the new scores. Forty years later, one of two readings
21Belli'ni, Vincenzo, famous opera-composer; b. Catania, Sicily, Nov. 3, 1802; d. Puteaux, n. Paris, Sept. 23, 1835. Taught at first by his father, an organist, he was sent in 1819, at the expense of a nobleman impressed by the boy's talent, to the Conservatorio di San Sebastiano at Naples. Here his instruction from the masters Funico, Tritto and Zingarelli was carried on until 1827 with the slovenly lack of method then prevailing in the institution; B. probably profited far more by his private and zealous study of Haydn and Mozart, Jommelli and Paisiello, and, above all, Pergolesi. His student-compositions were a romance, an aria, a symphony for full orch., two masses, several psalms, and a cantata, Imene, finally his first opera, Adelson e Salvini, was perf. by Cons. pupils on Jan. 12, 1825, and its success encouraged him to further dramatic effort. Barbaja, manager of the San Carlo Th., Naples, and La Scala, Milan, commissioned B. to write an opera, and Bianca e Fernando was enthusiastically received at the former theatre in 1826; followed in 1827 by Il Pira, and in 1829 by La Straniera, both in Milan. It is interesting to note that the librettist of Il Pira, Felice Romani, wrote the books of all the succeeding operas except I Puritani. B. met his first reverse at Parma, for the inauguration of the Teatro Nuovo in which town he wrote to order the opera Zaira (1829), which was a flat failure. Undismayed, he accepted a fresh order from La Fenice Theatre at Venice, for which he composed in forty days the opera I Capuleti e Montecchi (1830), which was hailed as a masterwork. After a severe illness, he brought out La Sonnambula at the Teatro Carcano, Milan (1831); with this work, and Norma, which was given at La Scala on Dec. 26, 1831, B. rose to the height of his powers and the zenith of his fame—yet Norma, which B. himself considered his greatest work, and in which the Malibran created the title-rôle, was coldly received that first evening! But in brief space its beauties were recognized, and the warmth of its reception in other cities, notably in Paris (1835), amply justified its author's verdict. His Beatrice di Tenda (Venice, 1833) shows a distinct falling-off, and failed of popular appreciation. In 1834 he was invited to write an opera for the Théâtre Italien at Paris; this was I Puritani, libretto by Count Pepoli; its triumphant production was the composer's last great success, for, although commissioned immediately to write two more operas for the San Carlo Th., he died at the village of Puteaux, whither he had retired to work on the new scores. Forty years later, one of two readings
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