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Scan 61
A Cyclopaedic Dictionary of Music, 1908
59 lines. Read by computer on 10 September 2026, twice; the two readings disagreed in places. Printed page 45. See the scan on archive.org.
1ARNARD, D'Auvergne Henry. Song Composer; b. London, 1867.
3ARNARD, Rev. John. Published the first collection of "Cathedral Music," 1641. He was a Minor Canon of St. Paul's.
5ARNBY, Henry. 1826-1885. Lay-clerk, St. George's, Windsor. A fine bass singer.
7ARNBY, Sir Joseph. Conductor and composer; b. York, 1838; d. London, 1896. Entered York Minster choir at 7, and the R.A.M. in 1854. Studied under C. Lucas and C. Potter. Organist successively at St. Michael's, St. James the Less, to the Sacred Harmonic Society, and at St. Andrew's, 1862. Founded "Barnby's Choir," 1864. Organist St. Anne's, Soho, 1871, and succeeded Gounod as conductor of the Albert Hall Choir. Precentor at Eton, 1875. Principal, G. S. M., 1892. Knighted, 1892.
9Works: oratorio, Rebekah, 1870; Psalm 97; Service in E; Magnificat and Nunc Dimittis in E; Motet, "King all-glorious;" and many anthems, part-songs, hymn-tunes, carols, songs, &c. "Sweet and low" is probably his most widely-known composition.
11ARNBY, Robert. 1821-1875. Brother of J. Alto singer, Westminster Abbey and Chapel Royal.
13AR'NETT, John. B. Bedford, 1802; d. 1890. Pupil of C. E. Horn. His first operetta, Before Breakfast, was produced at the Lyceum, 1825. Then followed other small pieces and the operas The Mountain Sylph, 1834, Fair Rosamond, 1837, and Farinelli, 1838. He settled in Cheltenham, 1841, as a teacher of singing. one of two readings
14ARNETT, John. B. Bedford, 1802; d. 1890. Pupil of C. E. Horn. His first operetta, Before Breakfast, was produced at the Lyceum, 1825. Then followed other small pieces and the operas The Mountain Sylph, 1834, Fair Rosamond, 1837, and Farinelli, 1838. He settled in Cheltenham, 1841, as a teacher of singing. one of two readings
16Other works: 2 unfinished oratorios, 2 string quartets, part-songs, &c., and many songs.
18AR'NETT, John Francis. Pianist and composer; nephew of John. B. London, 1837. Won Queen's scholarships, R.A.M., 1850 and 1852. Studied also at Leipzig under Moscheles, Plaidy, and Hauptmann, 1856-9, and played at the Gewandhaus, 1860. Prof. R.C.M. 1883. one of two readings
19ARNETT, John Francis. Pianist and composer; nephew of John. B. London, 1837. Won Queen's scholarships, R.A.M., 1850 and 1852. Studied also at Leipzig under Moscheles, Plaidy, and Hauptmann, 1856-9, and played at the Gewandhaus, 1860. Prof. R.C.M. 1883. one of two readings
21Works: oratorio, The Raising of Lazarus; cantatas, The Ancient Mariner, Paradise and the Peri, The Good Shepherd, The Building of the Ship, The Wishing Bell; a symphony in A min., overtures, orchestral pieces, part-songs, songs, pf. pieces, &c.
23AR'NETT, Jos. A. Tenor singer; brother of John. 1810-1898. Wrote songs, &c., and some sacred music. one of two readings
24ARNETT, Jos. A. Tenor singer; brother of John. 1810-1898. Wrote songs, &c., and some sacred music. one of two readings
26RNS, Ethel (Mrs. C. Phillips). Violinist and composer; b. London, 1875.
28roc'co (Baro'co) (I.) Singular, whimsical, eccentric.
29rock' (G.) "Applied to music having a confused harmony, an unnatural melody, and full of modulations and discords."—Hamilton.
31RON', Ernst G. 1696-1760. Famous lutenist at the court of Gotha. Wrote important works on the lute and theorbo and several unpublished compositions.
33Barox'yton. A deep-toned brass instrument invented by Červeny, Königgrätz, 1853.
34Bär'pfeife, Bär'pipe, Baar'pyp (lit. a bear's pipe). A reed stop found in some old organs.
35Barquarde (F.). An old term for Barcarolle.
36BARR, Samuel. Glasgow composer, teacher, and writer; 1807-1866.
37Bar'ra (I.). A bar-line.
38Barré (F.). "In guitar playing, a temporary nut, formed by placing the forefinger of the left hand across the strings."—Hamilton.
39Barre (F.), Barre de Mesure (F.). A bar-line.
40Barre d'harmonie (F.). The bass bar (of a violin, &c.).
41Barre de luth (F.). The bridge of a lute.
42Barre de répétition (F.). A dotted double-bar.
43BARRÉ, Antonio. French composer of madrigals, &c., 16th century.
44BARRE (or BARRA), Léonard. Pupil of Willaert. B. Limoges, 16th century. Singer in the Papal Chapel; member of the musical commission, Council of Trent, 1545. Wrote madrigals and motets.
45Barred C. The sign C, used for 2/2 or 4/2 time.
46Barrel organ. A hand organ.
47An organ containing a cylinder turned by a crank, and fitted with pins or pegs which open valves to admit a current of air to a set of pipes. The bellows are filled by turning the handle, or (occasionally) by using the foot.
48BARRET, Apollon M. R. Oboist; Paris, 1804-1879. Wrote a "Complete Method for the Oboe."
49BARRETT, John. English composer; 1674-1735. Pupil of Dr. Blow. Wrote theatrical music, popular songs, &c.
50BARRETT, William Alex. Singer and writer. B. Hackney, 1836; d. 1891. Musical critic, Morning Post, 1869; Globe, 1874-5. Editor, Monthly Musical Record, 1877; Orchestra and Choir, 1881; Musical Times, 1887.
51Compiled with Sir J. Stainer a "Dictionary of Musical Terms," 1875. Wrote "English Glee and Madrigal Writers," 1877; "Balfe, His Life and Work," 1882, &c.
52BARRETT, William L. Excellent flautist. B. London, 1847.
53BARRI, Odoardo (Ed. Slater). Song composer; b. 1844.
54BARRIENTOS, Maria. Singer and violinist; b. Barcelona, abt. 1884.
55BARRINGTON, Daines. B. London, 1727; d. 1800. Wrote essays on Crotch, the Wesleys, and Mozart; and "Experiments and Observations on the Singing of Birds." (See Bird music.)
56BARRINGTON, Rutland. Contemporary actor and vocalist.
57BARROW, J. Pub. a Book of Psalmody, 1730.
58BARRY, Charles A. B. London, 1830. Studied at Leipzig, 1856-7. Editor, Monthly Musical Record, 1875-7. Sec. of the Liszt
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