Books › A cyclopædic dictionary of music .., 1925 › scan 88
Scan 88
A cyclopædic dictionary of music .., 1925
84 lines. Read by computer on 7 September 2026. Printed page 72. See the scan on archive.org.
1BIAG'GI, G. A. B. Milan, 1819; d. 1897.
2Wrote an opera, Martino della Scala, Chiefly known as Editor of l'Italia Musicale, Milan, and writer of numerous essays on musical subjects.
4BIAL, Karl. Brother of R. (below); 1833-1892. Wrote pf. pieces and songs.
6BIAL, Rudolf. Violinist; b. Silesia, 1834; d. New York, 1881. Capellmeister, Wallner Theatre, Berlin, 1864, where his numerous farces, &c., were produced. Afterwards conductor, Berlin Italian Opera, and concert-agent, New York.
8Bian'ca (I.). "White." A minim (♩).
10BIANCHETTA. A celebrated female singer for whom Haydn is said to have written Ariadne.
12BIAN'CHI, Bianca. Celebrated high soprano singer; b. in a village on the Neckar, 1858. Pupil of Madame Viardot-Garcia. Made her début in Figaro, Karlsruhe, 1873. Has also sung in Vienna and London.
14BIAN'CHI, Eliodoro. Composer of operas, Gara d'Amore (Bari, 1873), Sarah, Almanzor, &c.
16BIAN'CHI, Francesco. B. Cremona, 1752; d. 1810. Organist, St. Mark's, Venice, 1785. Conductor, King's Theatre, London, 1793. Teacher of Sir H. Bishop. Wrote 47 operas, including La Réduction de Paris (Paris, 1775).
18BIANCHI'NI, Pietro. B. Venice, 1828. Began as an orchestral violinist; afterwards director, Padri Armeni music school, Venice. Works: symphonies, chamber music, masses, songs, pf. pieces, &c.
20Bi'belregal (G.). A regal shaped like a Bible.
22BI'BER, Aloys. 1804-1858. Esteemed Bavarian pf. maker.
24BI'BER, H. J. F. von. B. Bohemia, 1644; d. Salzburg, 1704.
25One of the founders of the German school of violin playing. Published violin sonatas, &c.
27Bibi (F.). A pianette.
29Bi'chord. Two strings to each note.
31Bici'nium (L.). A duet.
33Bicor'do (I.). A double-string (vn., &c.).
35BIE, Oscar. Prof., Dr. Phil., B. 1864 at Breslau; since 1896 in Berlin; author of "Das Klavier und seine Meister" and "Die Oper," 8th edition, 1923.
37BIE'DERMANN. Tax-gatherer, Thuringia, abt. 1786.
38"A real virtuoso on the hurdy-gurdy, which he considerably improved."—Th. Baker.
40BIE'DERMANN, Ed. Julius. B. Milwaukee, 1849. Organist successively of several New York churches. Works: masses, anthems, and vocal music.
42BIEHL, Albert. B. Rudolstadt, 1833. Published several works on pf. technique.
44Biel'de (Dan.). A bell.
46Bien (F.). Well; good.
47Bien chanté. Molto cantabile.
48Bien rythmé. The rhythm (to be) well marked.
50BIENE. (See Van Biene.)
52Bier'bass (G.). A rough bass voice.
54BIER'EY, G. B. B. Dresden, 1772; d. 1840. Capellmeister at Breslau.
55Works: 26 operas, including Wladimir (Vienna, 1807), The Swiss Shepherdess, &c.; cantatas, orchestral music, &c.
57Bi'fara (L.). An organ stop with two pipes to each note, tuned at slightly different pitches, producing an undulating effect, as the Vox Angelica, Celeste, &c.
59BIGA'GLIA, Padre Diogenio. Venetian monk. Published 12 sonatas for vn. or fl., 1725.
61BIGNA'MI, Carlo. B. Cremona, 1808; d. 1848. Director and 1st violin, Cremona orchestra, 1837. Paganini called him "the first Italian violinist."
62Wrote a violin concerto, several fantasias, &c.
64BIGNIO, Louis von. Noted baritone; b. Pesth, 1839. Début, 1858. Sang in London, &c.
66BIGOT, Marie (née Kiene). B. Colmar, Alsace, 1786; d. Paris, 1820. Fine pianist; lived for some years in Vienna, where she was an esteemed friend of Beethoven's.
68Bigotphones. Popular toy instruments of various forms made of papier maché (or some similar material) and provided with membranes to intensify and colour sounds "hummed" into them.
70Bild'er, Bild'ner (G.). Maker; artist, poet, musician, &c.
72BIL'LETER, Agathon. Popular composer of men's voice music. B. Lake Zurich, 1834. Organist, Burgdorf, Switzerland.
74BILLINGS, Wm. B. Boston, U.S.A., 1746; d. 1800.
75Published several collections of hymn-tunes, anthems, &c. ("The New England Psalm-Singer," "The Suffolk Harmony," &c.).
76"Billings was, in his rough way, a pioneer of good church music in America; he first used the pitch pipe, introduced the 'cello into church choirs, and is said to have originated concerts in New England."—Th. Baker.
78BIL'LINGTON, Elizabeth (née Weichsel). B. London, 1765; d. 1818. Pupil of Joh. C. Bach. A soprano singer of marvellous range:—
79Married Billington, a double-bass player, 1784. Made her début in opera in Dublin. First sang in London as "Rosetta" in Love in a Village, Covent Garden, 1786. Sang in Naples, 1794, and Venice, 1796. Returned to London and became a great favourite at Drury Lane, Covent Garden, &c. In 1818 she retired to her estate near Venice.
81BIL'LINGTON, Thos. Harpist, pianist, and composer. B. Exeter, 1754 (?); d. 1832.
83BILL'ROTH, Joh. G. F. B. nr. Lubeck, 1808; d. 1836. Published, with K. F. Becke, a collection of chorales of the 16th and 17th cents.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.