Scan 239
A Dictionary of music and musicians : (A.D. 1450-1880), 1880
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1and was called by the Italians Giachetto di Mantova. He must be carefully distinguished from two other composers, Jachet de Buus and Jachet de Wert, who lived in Italy at the same period; but it is impossible to decide which of the three is the author of certain pieces which bear the name of Jachet only. His motets, masses, and madrigals are to be found in the various collections printed at Venice between the years 1539 and 1545. One of his chief productions is a setting in four-part music of ninety-three stanzas of the 'Orlando Furioso' of Ariosto (Venice, 1561). [J. R. S. B.]
3BERENSTADT, GAETAN. The name of this singer, of whom we have elsewhere no record, appears for the first time in the bass part of Argante in Handel's 'Rinaldo,' as revived in 1717, in which he took the place of the celebrated Boschi. After this we do not find him again in London till 1723, in which year he sang in Buononcini's 'Farnace' and Attilio's 'Coriolano,' as well as in the 'Flavio' and 'Ottone' of Handel. In the next year he performed in the 'Vespasiano' of Attilio, Buononcini's 'Calfurnia,' and Handel's 'Giulio Cesare.' His name does not occur again. [J. M.]
5BERG, ADAM, a renowned music printer of Munich, whose publications extend from 1540 to about 1599. His great work was the 'Patrocinium musices,' published under the patronage of the Dukes of Bavaria, the first volume of which appeared in 1573. After the death of Duke Albrecht V, in 1579, the publication was interrupted, and not resumed till 1589, when the second series appeared, also containing five volumes. The following is a list of the contents of the entire work:—
7VOL. I. 1573.
8O. de Lasso. Cantiones.
94 voices.
101. Pater noster.
112. Salve Regina misericordiae.
123. Gaudent in coelis.
134. Nos qui sumus.
145. Pulvis et umbra.
156. Landa anima mea.
167. Pauper sum ego.
178. Krungat Deus.
189. Misericordiam Domini.
1910. Oculi omnium (2 parts).
2011. Domine clamavi (3 do.).
2112. Quis milhi det lacrimas.
2213. Martini festum (2 pts.)
2314. Enaudi Domine.
246 voices.
251. Media in vita (3 pts.).
262. Ante me non est.
273. Constatmini (2 pts.).
284. O Gloriosa Domina.
295. In Deo salutare (3 pts.).
306. Regnum mundi.
317. Agimus tibi gratias.
33VOL. II. 1574.
34O. de Lasso. Masses.
351. Super 'Ita rime dolenti.'
362. " Motetam 'Credidi propter.'
373. " do. 'Sydus ex claro.'
384. " do. 'Credidi propter.'
395. " 'Le Berger et la Bergère.'
41VOL. III. 1574.
42O. de Lasso. Officia.
43Vidi aquam.
44Asperges me.
46VOL. IV. 1575.
47O. de Lasso.
48Passio. 5 vocum.
49Vigiliae mortuorum. 4 voc.
50Lectiones matutinae.
51De Nativitate Christi. 4 voc.
53VOL. V. 1576.
54O. de Lasso. Magnificata.
551. 1mi Toni, 4 voc.
562. 8ti Toni, 4 voc.
573. 1mi Toni, 5 voc.
584. 2di Toni, 5 voc.
595. 4ti Toni, 5 voc.
606. 4ti Toni, 6 voc.
617. 5ti Toni, 6 voc.
628. 7mi Toni, 6 voc.
639. 8ti Toni, 8 voc.
6410. 7mi Toni, 8 voc.
66VOL. VI. 1580.
67O de Lasso. Masses.
681. Super 'Pittes Maistresse.'
692. " 'Amar Doane.'
703. " 'Qual donna attende.'
714. " 'In die tribulationis.'
725. " 'Io son ferito Hallasso.'
736. Pro defunctis.
75VOL. VII. 1580.
76Francesco Sala. Officia. 5 et 6 vocum.
771. S. Andreas Apostoli.
782. Nicolai Episcopi.
793. Conceptionis Mariae.
804. Thomas Apostoli.
825. Nativitatis Christi, in luna mis-
83sa.
846. In summa missa. 6 voc.
857. Stephani Proto Mart.
868. Johannis Evang.
879. Circumcisionis. 6 voc.
8810. Epiphaniae. 6 voc.
8911. Conversionis Pauli.
9012. Purificationis Mariae.
9113. Matthaei Apostoli.
9214. Annuntiationis Mariae.
9315. De Communi S. Mariae, Con-
94ceptione, Nativitate, Visitatione et Presentatione eius-
95dem Mariae.
96VOL. VIII. 1591.
97Blassus Amon. Massa. 4 voc.
981. Super Ut. re, mi, fa, sol, la, La,
99sol, fa, mi, re. ut.
1002. " 'Pour ung plaisir.'
1013. " 'Surge propra.'
1024. " 'Dirit Dominus mulier Oha-
103nanem.'
1045. Pro Defunctis.
105VOL. IX. 1594.
106Cesar de Zaocarlia. Intonaciones.
1071. Vespertina.
108Alia intonatio.
1091. Primus tonus.
1102. Secondus do.
1113. Tertius do.
1124. Quartus do.
1135. Quintus do.
1146. Sextus do.
1157. Septimus do.
1168. Octavus do.
1179. Mixtus do.
118Hymni.
119Conditor alma.
121Veni redeptor.
122Verbum superbum.
123Christe Redemptor.
124A solas ortus.
125Deus tuorum.
126Stephano primo mart.
127Exultet columbia.
128Solennis dies adventit.
129Salvete flores.
130Ibid.
131Hostis Herodes.
132O lux beata.
133Deus Creator.
134Corde natus.
135Locis creator.
136Dies absoluti.
137Audi benigna.
138Tu lucis ante.
139Ad preces nostras.
140Ex more docti.
141Christe qui lux es.
142Jam ter quaternia.
143Jesu quadragenaria.
144Verilla regis.
145Salve festa dies.
146Clarum decus iununii.
147Ad coenam agni.
148Vita saeptorum.
149Jesu nostra redemptio.
150Festum nunc.
151Veni creator.
152O lux beata.
153Pange lingua.
154Saceris solennis.
155Conditor alma siderum.
157VOL. X. 1598.
158Francesco di Sala.
159Missa. Super 'Krultandi tempus est.' 5 voc.
161[F. G.]
163BERG, GEORGE, a German by birth, was a pupil of Dr. Pepusch. In 1763 he gained the first prize medal awarded by the Catch Club for his glee 'On softest beds at leisure laid,' and obtained two other prizes in subsequent years. He published some books of songs sung at Marylebone Gardens, at which place in April 1765 he produced an ode called 'The Invitation.' Thirty-one of his glees and catches are included in Warren's collections. In 1771 he was organist of the church of St. Mary at Hill, near Billingsgate. He published several works for the organ, pianoforte, flute, horn, etc., besides those above mentioned. [W.H.H.]
165BERG, JOHANN, a music printer, born in Ghent, who set up a printing office in Nuremberg about 1550 in conjunction with Ulrich Neuber. After the death of Berg (about 1556) the office was carried on by Neuber and Gerlach. [F. G.]
167BERGAMASCA—in the 'Midsummer Nights Dream,' a 'Bergomaak.' An Italian dance, deriving its name from Bergamo, the well-known city of Tasso, Donizetti, and other eminent Italians. It is said to exist in old Italian suites de pièces.
169According to Signor Piatti, himself a native of Bergamo, the characteristic dance of that district is of the following measure, like a country-dance, but quicker, with a strong accent on the second half of the bar:—
171Signor Piatti has himself published a Bergamasca for Cello and Pianoforte (op. 14) which partakes of this character. Mendelssohn, however, in setting Shakespeare's 'Bergomaak dance
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