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Scan 89
A Biographical Dictionary Of Musicians, 1900
17 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.
1was taught at first by his father; then by G. P. Colonna and Don Giorgio Buoni (cello), at Bologna, where he brought out some masses and instrumental music (7 vols, publ. 1685-91). In 1690 he was called to Vienna as court cellist, went to Rome in 1694, there producing his first opera, Tullio Ostilio, and a second, Serse (both 1694). Returning to Vienna in 1699, he brought out La Fede pubblica (1699), and Ch. I'ofeth più grandi vanti dal più giusto (1701); then, under the patronage of Queen Sophie Charlotte, he spent two years (1703-5) at Berlin as court composer, and wrote Polifemo (1703), on the suppression of the opera-company after the Queen's death (Feb. 1, 1705), B. again betook himself to Vienna, where several new operas were performed (Endimione, 1706; Turno Trinino, 1707, Mario fuggitivo, 1708; Il Sacrificio di Romolo, 1708; Abdolommo, 1709; Musio Scevola, 1710; etc.). He also resided and wrote, at intervals, in various Italian cities; while at Rome, in 1716, he was invited to London as conductor and dramatic composer for the new King's Theatre, and more particularly, under the Duke of Marlborough's protection, as the rival of Handel. This operatic (almost political) warfare was waged with varying success; B. prod. Alcante (1720); 3 more, Cirro, Crispo, and Griselda, in 1722; Furnace (1723); Erminia (1723); Calpurnia (1724); and Astianatte [Astianata] (1727). In 1731, however, it was discovered that he had given out, four years previously, a madrigal by A. Lotti as of his own composition. Disgraced by this act of plagiarism, and crushed by Handel's dramatic supremacy, B. lost position and friends; in 1733 he fell into the hands of an alchemist, who swindled him out of the remains of the fortune amassed in his days of triumph. He now wandered from place to place; turned up in Paris, a few years later, when he comp. a motet for the "Chapelle royale," playing himself the cello-accomp. before the King; in 1737 his opera Alessandro in Sidone, and an oratorio, Reschia, were given in Vienna; and after the peace of Aix-la-Chapelle the Emperor summoned him to Vienna to compose the festival music celebrating the event (1748). Soon after this he went to Venice, where he was employed as theatre-composer, and was still in that position at the age of 90; after which all traces of him are lost.—In London B. publ. Suites f. harpsichord (n. d.); Cantate e Duetti, dedicated to George I. (1721); Divertimenti f. harpsichord (1722); and "12 sonatas or chamber airs for 2 violins and a bass" (1732). one of two readings
2was taught at first by his father; then by G. P. Colonna and Don Giorgio Buoni (cello), at Bologna, where he brought out some masses and instrumental music (7 vols, publ. 1685-91). In 1690 he was called to Vienna as court cellist, went to Rome in 1694, there producing his first opera, Tullio Ostilio, and a second, Serse (both 1694). Returning to Vienna in 1699, he brought out La Fede pubblica (1699), and Ch. l'èeth più grandi vanti dal più giusto (1701); then, under the patronage of Queen Sophie Charlotte, he spent two years (1703-5) at Berlin as court composer, and wrote Polifemo (1703), on the suppression of the opera-company after the Queen's death (Feb. 1, 1705), B. again betook himself to Vienna, where several new operas were performed (Endimione, 1706; Turno Trinino, 1707, Mario fuggitivo, 1708; Il Sacrificio di Romolo, 1708; Abdolommo, 1709; Musio Scevola, 1710; etc.). He also resided and wrote, at intervals, in various Italian cities; while at Rome, in 1716, he was invited to London as conductor and dramatic composer for the new King's Theatre, and more particularly, under the Duke of Marlborough's protection, as the rival of Handel. This operatic (almost political) warfare was waged with varying success; B. prod. Alcante (1720); 3 more, Cirro, Crispo, and Griselda, in 1722; Furnace (1723); Erminia (1723); Calpurnia (1724); and Astianata [Astianata] (1727). In 1731, however, it was discovered that he had given out, four years previously, a madrigal by A. Lotti as of his own composition. Disgraced by this act of plagiarism, and crushed by Handel's dramatic supremacy, B. lost position and friends; in 1733 he fell into the hands of an alchemist, who swindled him out of the remains of the fortune amassed in his days of triumph. He now wandered from place to place; turned up in Paris, a few years later, when he comp. a motet for the "Chapelle royale," playing himself the cello-accomp. before the King; in 1737 his opera Alessandro in Sidone, and an oratorio, Reschia, were given in Vienna; and after the peace of Aix-la-Chapelle the Emperor summoned him to Vienna to compose the festival music celebrating the event (1748). Soon after this he went to Venice, where he was employed as theatre-composer, and was still in that position at the age of 90; after which all traces of him are lost.—In London B. publ. Suites f. harpsichord (n. d.); Cantate e Duetti, dedicated to George I. (1721); Divertimenti f. harpsichord (1722); and "12 sonatas or chamber airs for 2 violins and a bass" (1732). one of two readings
4Bononci'ni, Marco Antonio, brother of the preceding; b. Modena, 1675 (?); d. there July 8, 1726. Also a dramatic comp. of distinction; from 1721 he was maestro to the Duke of Modena. Before this, he travelled in Italy and Germany, bringing out a number of operas, praised by Padre Martini for their "lofty style," and thought by him superior to those of most contemporaries.—Works: The operas Camilla, regina de' Tolsci (Vienna, 1692); Griselda (1700?), Andromeda; Armino, Sesostris, Il Turno Alcino (Florence, 1704), Isterco (Vienna, 1707), La Regina ceduta re (Venice, 1707); Tigrane, re d'Armenia, Capo Gracco (Venice, 1710); Astianatte (Venice, 1718); and an oratorio, La Decollazione di S. Giovanni Battista (Vienna, 1709). one of two readings
5Bononci'ni, Marco Antonio, brother of the preceding; b. Modena, 1675 (?); d. there July 8, 1726. Also a dramatic comp. of distinction; from 1721 he was maestro to the Duke of Modena. Before this, he travelled in Italy and Germany, bringing out a number of operas, praised by Padre Martini for their "lofty style," and thought by him superior to those of most contemporaries.—Works: The operas Camilla, regina de' Tolsci (Vienna, 1692); Griselda (1700?), Andromeda; Armino, Sesostris, Il Turno Alcino (Florence, 1704), Isterco (Vienna, 1707), La Regina ceduta re (Venice, 1707); Tigrane, re d'Armenia, Capo Gracco (Venice, 1710); Astianate (Venice, 1718); and an oratorio, La Decollazione di S. Giovanni Battista (Vienna, 1709). one of two readings
7Bontem'pi (surnamed Angel'ni), Giovanni Andrea, b. Perugia, abt. 1624; d. Bruso, n. Perugia, July 1, 1705. Maestro at Rome and Venice, later in Berlin and Dresden, returned to Italy in 1694, and was in Paris in 1697.—Works: 3 operas, Paride (1662), Apollo e Dafne (1671), Jupiter ed Io (1673), the oratorio Martirio di S. Emiliano; and the treatises "Nova quatuor vocibus componendi methodus . . ." (1660), "Tract. in quo demonstrantur occultae convenientiae sonorum systematis participati" (1690), and an "Istoria musica, nella quale si ha piena cognizione della teoria e della pratica antica della musica armonica" (1695).
9Bonvin, Ludwig, b. Sidlers, Switzerland, Feb. 17, 1850. His mus. training in early youth was irregular; as a musician he is chiefly self-taught. After a course of medical study in Vienna, and a journey to Italy, he entered the Jesuit novitiate in Holland, becoming org. and choirmaster, and studying harmony and cpt.; further study of early church-music at Feldkirch, Austria, and of Wagner scores in England, gave him insight into the mysteries of composition, and awakened his talent for composing. Since 1887 Father Bonvin has been director of chorus and orchestra at Canisius College, Buffalo, N. Y., devoting all his spare moments to theoretical study and to composing.—His publ. works include 3 masses, and much other sacred music (Litany, Vesper, Ave Maria, Ecce sacerdos, Omne die dic Mariae, antiphones, chants, sacred songs, hymns, etc.); "Wittekind," f. soli, male ch., and orch. (Ger. text); "Du sonnige, wondrige Welt," f. sopr. and bau. soli, mixed ch., and orch.; "In the summer night," f. bar. solo, ch., and orch.; Drei Tonbilder, a Ballade, and a Festzug, f. full orch.; "Xmas Night's Dream," f. string-orch.; organ-pieces, songs, etc. (44 opus-numbers). one of two readings
10Bonvin, Ludwig, b. Sidlers, Switzerland, Feb. 17, 1850. His mus. training in early youth was irregular; as a musician he is chiefly self-taught. After a course of medical study in Vienna, and a journey to Italy, he entered the Jesuit novitiate in Holland, becoming org. and choirmaster, and studying harmony and cpt.; further study of early church-music at Feldkirch, Austria, and of Wagner scores in England, gave him insight into the mysteries of composition, and awakened his talent for composing. Since 1887 Father Bonvin has been director of chorus and orchestra at Canisius College, Buffalo, N. Y., devoting all his spare moments to theoretical study and to composing.—His publ. works include 3 masses, and much other sacred music (Litany, Vesper, Ave Maria, Ecce sacerdos, Omne die dic Mariae, antiphones, chants, sacred songs, hymns, etc.); "Wittekind," f. soli, male ch., and orch. (Ger. text); "Du sonnige, wond'ige Welt," f. sopr. and bau. soli, mixed ch., and orch.; "In the summer night," f. bar. solo, ch., and orch.; Drei Tonbilder, a Ballade, and a Festzug, f. full orch.; "Xmas Night's Dream," f. string-orch.; organ-pieces, songs, etc. (44 opus-numbers). one of two readings
12Boom [böm], Jan E. G. van (Senior), b. Rotterdam, Apr. 17, 1783. Flutist and composer f. flute; lived in Utrecht.
14Boom, Jan [Johannes] van, son of preceding; b. Utrecht, Oct. 15, 1807; d. Stockholm, April, 1872. Accomplished pianist; on a concert-tour through Scandinavia in 1825 he was induced to settle in Stockholm, where he was prof. at the Royal Acad. 1849-65.—Works: Operas, symphonies, overtures, string-quartet, trios, a pf.-concerto, and much pf.-music (studies, duets, etc.).
16Boom, Hermann M. van, brother of preceding; b. Utrecht, Feb. 9, 1809; d. there Jan. 6, 1883; fine flutist, pupil of his father, and of
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