Books › A cyclopaedic dictionary of music; comprising 18,000 musical terms and phrases, over 6,000 biographical notices of musicians, and 500 articles on musical topics, with an appendix .., 1919 › scan 74
Scan 74
A cyclopaedic dictionary of music; comprising 18,000 musical terms and phrases, over 6,000 biographical notices of musicians, and 500 articles on musical topics, with an appendix .., 1919
32 lines. Read by computer on 11 September 2026. Printed page 52. See the scan on archive.org.
1BEER, Jos. 1744-1811. Bohemian clarinettist. Added a "fifth key" to the instrument. Wrote clar. concertos, &c.
3BEER, Max J. Viennese composer; b. 1851. Works: operas, Friedel mit der leeren Tasche, Der Streik der Schmiede, and others; pf. pieces, songs, cantatas, &c.
5BEETH (pron. Bayt), Lola. Dramatic soprano; b. Cracow, 1862. Made her début as "Elsa" in Lohengrin, Berlin, 1882. Has sung at Vienna, Paris, New York, &c.
7BEETHOVEN (pron. Bayt'-hō-vn), Ludwig van. The "Prince of Composers"; b. of Flemish parents, Bonn-on-Rhine, Dec. 16, 1770; d. Vienna, Mar. 26, 1827. His grandfather, Ludwig, was Capellmeister at Bonn, and his father, Johann, was a tenor singer in the Electoral Choir. His father commenced to teach him music in his 4th year. At 8 he was a good violinist, and at 11 could play Bach's pf. fugues ("Wohltemperirtes Clavier"). He was next taught by Pfeiffer, Van der Eeden, and Neefe. In 1782 he was appointed Neefe's deputy at the organ, and in 1783, cembalist of the opera orchestra, where he also played 2nd viola under Reicha. His ability at extemporising on the piano was already remarkable; and Mozart who heard him at Vienna, 1787, exclaimed "He will give the world something worth listening to." About this time he became acquainted with his lifelong friend and patron, Count Waldstein. In 1792, the Elector, influenced no doubt by Haydn's commendation, sent Beethoven to Vienna, where he had a few lessons from Haydn, and, in 1794, took a course of counterpoint under Albrechtsberger. He played his C major concerto for the pf. at a public concert in 1795, and in 1796 visited Nuremberg, Prague, and Berlin. Revisited Prague, 1798, his playing "making a profound impression." About 1800 a disease, which afterwards resulted in total deafness, began seriously to trouble him. With the increase of this malady his character, which, though "original" was genuine, honest, and sturdily independent, gradually changed, and he became taciturn and morose. He was totally deaf from about 1822; and the ingratitude of a worthless nephew still further saddened his later years.
9Beethoven's music is of unsurpassable nobility and greatness; and probably no other composer has so justly and admirably blended the emotional and intellectual qualities. He stands supreme in "absolute" instrumental music; and he brought the symphony and the sonata—forms moulded by Haydn and Mozart—to their highest point of development. His works have been divided into three styles, or "periods"—not strictly chronological, but roughly as follows: 1st period to 1800, including Ops. 1 to 18 (Symphonies 1 and 2,* nine pf. sonatas, &c.), Beethoven being still largely an imitator of Haydn and Mozart. 2nd period to 1815—Beethoven individualised and at his prime. The chief works of this period are Symphonies 3 to 8, the opera Fidelio, Mass in C, pf. Concertos in G and Eb, the Violin Concerto, 14 pf. sonatas, including the "Pastorale," "Waldstein," and "Appassionata," &c. The 3rd period to 1827 includes the later pf. sonatas, from Op. 101, the great Mass in D, the 9th Symphony, and the later string quartets. This last period, which was regarded as a "striving after the infinite and unattainable," was not generally appreciated even among musicians until half a century after Beethoven's death.
11Chief works: (a) Instrumental—Nine symphonies, including No. 3, "The Eroica," in Eb; No. 5, in C minor; No. 6, "The Pastoral," in F; and No. 9, "The Choral," in D minor; "The Battle of Vittoria;" music to Prometheus, and to Egmont. Nine overtures, including Leonora, Nos. 1, 2, and 3, and Fidelio. Violin Concerto in D, Op. 61. Five pf. concertos (No. 5, "The Emperor," in E2). Choral fantasia; 2 octets for wind; the septet for strings and wind, in E2; 3 quintets for strings; 5 string trios; 8 pf trios; 10 sonatas for violin and pf. ("Kreutzer," in A, Op. 47); 5 sonatas for 'cello and pf.; 38 sonatas for pf.; 21 sets of variations for pf.; and many detached pieces of various kinds.
13(b) Vocal: The opera Fidelio (1st production, 1805); Two masses—in C and D; the oratorio, Christus am Oelberg (Eng. trans. as "Mount of Olives"); cantata, Der glorreiche Augenblick; several scenas, arias, vocal canons, songs, &c., including the fine tenor song "Adelaide." Thayer's chronological and Nottebohm's thematic lists of Beethoven's compositions are of great value.
15BEFFARÁ, Louis F. 1751-1838. Commissaire de Police, Paris, 1792-1816. Wrote a Dictionary of "l'Académie Royale de Musique," and several other historical works on the Grand Opéra.
17BEFFROY de Reigny. (Cousin-Jacques). B. Laon, 1757; d. 1811. Wrote several farcical pieces, of which Nicodème dans la lune was performed 191 times.
19Befil'zen (G.). To put felt on pf. hammers.
20Befing'ern (G.). To finger.
21Begei'sterung (G.). Enthusiasm, spirit, exaltation, rapture, inspiration.
22Beggar's Opera. A celebrated "ballad" opera, words by John Gay 1727, music arranged from popular tunes by Pepusch. Its success led to the foundation of En lish ballad opera.
23Beglei'(t)stimmen (G.). Accompanying voices (or parts).
24Beglei'ten (G.). To accompany.
25Beglei'tende Stim'men. Accompanying parts
26Beglei'ter. An accompanist.
27Beglei'tung. Accompaniment.
28Oh ne Beglei'tung. Without accompaniment.
29Behag'lich (G.). Easy, agreeable.
31* Some authorities place the 2nd Sym. in the 2nd period.
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