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Scan 69
A biographical dictionary of musicians. [With portraits from drawings in pen and ink, 1900
16 lines. Read by computer on 3 September 2026. Printed page 57. See the scan on archive.org.
1op. 30, 4 sacred duets; op. 31, Tema e variazioni f. pf.; op. 32, Sonata f. pf. and 'cello, 1852; op. 33, 60 Preludes and lessons f. pf.; op. 34, Rondo f. pf.; op. 35, 6 songs w. pf.; op. 36, "Flowers of the month"; op. 37, Rondo à la polonaise, f. pf.; op. 38, Toccata f. pf.; op. 39, "The May Queen, a Pastoral" (cantata by Chorley), f. soli, ch. and orch. (Leeds, 1858); op. 40, Ode (by Tennyson); op. 41, Cambridge Installation Ode, 1862; op. 42, Fantaisie-Overture, "Paradise and the Peri," f., orch., 1863; op. 43, symphony in G minor; op. 44, oratorio The Woman of Samaria, Birmingham, 1867; op. 45, music to Sophocles' Ajax; op. 46, pf.-sonata "The Maid of Orleans." Also, overtures "The Merry Wives of Windsor" and "Marie du Bois"; a pf.-quintet, w. wind; pf.-music, part-songs, songs, and coll.s of chants.
3Bennett, Joseph, prominent English mus. critic and writer; b. Berkeley, Gloucestershire, Nov. 29, 1831. He learned to play several instr.s; was precentor at the Weigh House Chapel, and organist of Westminster Chapel; then mus. critic for the "Sunday Times," "Pall Mall Gazette," and "Graphic," also contributing to the "Mus. World" and "Mus. Standard"; at present on the staff of the "Musical Times" and "Daily Telegraph." He edited the "Concordia" 1875-6, and "The Lute" 1883-6. Since 1885 he has annotated the programs of the Philharm. Soc.; he also succeeded J. W. Davison as writer of the analytical programs for the Saturday and Monday Popular Concerts. B. has furnished several English composers with some of their best libretti.—Publ. "Letters from Bayreuth" (1877); "The Musical Year" (1883); "History of the Leeds Mus. Festivals, 1858-89" (1892; with F. R. Spark); and Primers of mus. biography.
5Ben'newitz, Wilhelm, b. Berlin, Apr. 19, 1832; d. there Jan., 1871. Pupil of Fr. Kiel; player in the royal orch.—Opera, Die Rose von Woodstock (1876), and pcs. f. pf. and 'cello.
7Ben'newitz, Anton, b. Privat, Bohemia, Mar. 26, 1833. Violinist; since 1882, Director of Prague Cons.
9Benois, Marie, pianist; b. St. Petersburg, Jan. 1, 1861. Pupil of Leschetizky at St. Petersburg Cons., where she won gold medal (1876). For two years she made brilliant tours, then (1878) married Wassily Benois, her cousin.
11Benoist, François, b. Nantes, Sept. 10, 1794; d. Paris, Apr., 1878. Pupil of Paris Cons., 1811-15, and Grand Prix de Rome; returning from Italy in 1819, he became organist of the Chapel Royal, and org.-prof. at the Cons.; in 1840, chef du chant at the Opéra; pensioned in 1872.—Works: 2 operas, Léonore et Félix (1821) and l'Apparition (1848); 4 ballets, La Gipsy (1839), Le Diable amoureux (1840), Nisida ou les Amazons des Açores (1848), and Pâquerette (1851); a Requiem mass f. 3 men's voices and a child's voice, w. org. ad lib.; and 12 books of organ-works, "Bibliothèque de l'organiste."
13Benoît, Pierre-Léonard-Léopold, eminent Flemish composer and man of letters; b. Harlebeke, Belgium, Aug. 17, 1834. While studying in the Brussels Cons., 1851-55, he prod. a small opera in the Parktheater, and wrote the music to a number of Flemish melodramas; he became cond. of the above theatre in 1856, and won the Prix de Rome in 1857 with his cantata Le Meurtre d'Abel. He now studied in Leipzig, Dresden, Munich and Berlin, and sent an essay to the Brussels Academy on "L'école de musique flamande et son avenir." In 1861 the Théâtre-Lyrique of Paris accepted his opera Le roi des aulnes; while awaiting its performance, B. acted as cond. at the Bouffes-Parisiens; but the opera was not given. Since 1867, B. has been Director of the Antwerp Cons. The tendency of his compositions is strongly influenced by modern German music.—Works: Messe solennelle (1862); Te Deum (1863); Requiem (1863); the Flemish oratorio Lucifer (1866); the 2 Flemish operas Het dorp int gebergte and Isa; oratorio, De Schelde; Drama Christi, a sacred drama f. soli, ch., org., 'celli, double-basses, trumpets and trombones; De Oorlog (War; a cantata f. double ch., soli, and enlarged orch.); a "Children's Oratorio"; a choral symphony, "De Maaiers" [The Mowers]; music to Charlotte Corday, and to van Goethem's drama Willem de Zwijger (1876); the "Rubens cantata" Flandervens kunstroem, f. mixed ch., children's ch., and orch. (1877); "Antwerpen," f. triple male ch. (1877); "Joncfrou Katheijne," scena f. alto solo and orch. (1879); "Muse der Geschiedenis," f. ch. and orch. (1880); "Hucbald," f. double ch., baritone solo, and orch. w. harp (1880); "Triomfmarsch" (1880); grand cantata De Rhyn, f. soli, ch. and orch. (1889); a mass; motets w. org.; "Liefde int leven" and "Liefdedrama," songs; "Sagen en Balladen" f. pf.; a pf.-concerto; a flute-concerto, etc.—Writings: "De vlaamsche Musiekschool van Antwerpen" (1873); "Considérations à propos d'un projet pour l'institution de Festivals en Belgique" (1874); "Verhandeling over de nationale Toonkunde" (2 vol.s, 1877-9); "De musikale Opvoeding en Opleiding in Belgie" (no date); "Het droombeeld eener musikale Wereldkunst" (n. d.); "De oorsprong van het Cosmopolitisme in de Musiek" (1876); "Overschijn en blijk in onze musikale vlaamsche beweging" (n. d.); "Onze musikale beweging op dramatisch gebied" (n. d.); "Onze nederlandsche musikale eenheid" (n. d.): "Brieven over Noord-Nederland" (n. d.); "Een koninklijk vlaamsch Conservatorium te Antwerpen" (n. d.); and many contributions to musical and other journals. In 1880 B. became corresponding member, and in 1882 full member, of the Royal Academy, Berlin.
15Benson, Harry, b. Birmingham, England, Dec. 14, 1848; pupil of A. Deakin there, of Geo. A. Browning in Bath, and of G. A. Whit-
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