Scan 242
A dictionary of music and musicians (A.D. 1450-1889), 1890
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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).
2[J. R. S. B.]
4BERENSTADT, 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.
5[J. M.]
7BERG, 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:—
9VOL. I. 1573.
10O. de Lasso. Cantiones. 4 voices.
111. Pater noster.
122. Salve Regina misericordiae.
133. Gaudent in coelis.
144. Nos qui sumus.
155. Pulvis et umbra.
166. Landa anima mea.
177. Pauper sum ego.
185 voices.
198. Exurgat Deus.
209. Misericordiam Domini.
2110. Oculi omnium (2 pts.).
2211. Domine clamavi (3 do.).
2312. Quis mihi det lacrimas.
2413. Martini festum (2 pts.).
2514. Exaudi Domine.
266 voices.
271. Media in vita (2 pts.).
282. Ante me non est.
293. Confitemini (2 pts.).
304. O Gloriosa Domina.
315. In Deo salutare (2 pts.).
326. Regnum mundi.
337. Agimus tibi gratias.
35VOL. II. 1574.
36O. de Lasso. Massae.
371. Super 'Ita rime dolenti.'
382. .. Motetam 'Credidi propter.'
393. .. do. 'Sydus ex claro.'
404. .. do. 'Credidi propter.'
415. .. 'Le Berger et la Bergère.'
43VOL. III. 1574.
44O. de Lasso. Officia.
45Vidi aquam.
46Asperges me.
48Officium Natalis Christi.
49Do. Resurrectionis.
50Do. Pentecostes.
51Do. Corporis Christi.
53VOL. IV. 1575.
54O. de Lasso.
55Passio. 5 vocum.
56Vigiliae mortuorum. 4 voc.
57Lectionis matutinae.
58De Nativitate Christi. 4 voc.
60VOL. V. 1576.
61O. de Lasso. Magnificats.
621. 1mi Toni, 4 voc.
632. 2ti Toni, 4 voc.
643. 1mi Toni, 5 voc.
654. 2di Toni, 5 voc.
665. 4ti Toni, 5 voc.
676. 4ti Toni, 6 voc.
687. 5ti Toni, 6 voc.
698. 7mi Toni, 6 voc.
709. 6ti Toni, 8 voc.
7110. 7mi Toni, 8 voc.
73VOL. VI. 1580.
74O de Lasso. Massae.
751. Super 'Pittes Maturae.'
762. .. 'Amar Donne.'
773. .. 'Qual douma attende.'
784. .. 'In die tribulationis.'
795. .. 'Io son ferito Hallasso.'
806. Pro defunctis.
82VOL. VII. 1588.
83Francesco Sale. Officia. 5 et 6 vocum.
841. S. Andreas Apostoli.
852. Nicolai Episcopi.
863. Conceptionis Mariae.
874. Thomae Apostoli.
895. Nativitatis Christi, in lmi missa.
906. In summa missa. 6 voc.
917. Stephanii Proto Mart.
928. Johannis Evang.
939. Olcrumcisionis. 6 voc.
9410. Epiphaniae. 6 voc.
9511. Conversionis Pauli.
9612. Purificationis Mariae.
9713. Matthiae Apostoli.
9814. Annuntiationis Mariae.
9915. De Communi & Mariae. Conceptione, Nativitate, Visitacione et Presentatione eiusdem Mariae.
101VOL. VIII. 1591.
102Blastus Amon. Massae. 4 voc.
1031. Super Ut. re, mi, fa, sol, la, La. sol, fa, mi, re, ut.
1042. .. 'Pour ung plaisir.'
1053. .. 'Surre propra.'
1064. .. 'Dirit Dominus mulier Cha-nanese.'
1075. Pro Defunctis.
109VOL. IX. 1594.
110Cesar de Zaccharis. Intonaciones.
1111. Vespertina.
112Alia intonatio.
1131. Primus tonus.
1142. Secondus do.
1153. Tertius do.
1164. Quartus do.
1175. Quintus do.
1186. Sextus do.
1197. Septimus do.
1208. Octavus do.
1219. Mixtus do.
123Hymni.
124Conditor almae.
126VOL. X. 1598.
127Francesco di Sale.
128Missa. Super 'Erulandi tempus est.' 5 voc.
130Veni redemptor.
131Verbum superbum.
132Christe Redemptor.
133A solus ortus.
134Deus tuorum.
135Stephano primo mart.
136Exultet coelum.
137Solennis dies advenit.
138Salvete flores.
139Ibid.
140Hostis Herodes.
141O lux beata.
142Deus Creator.
143Corre natura.
144Lucis creator.
145Dies absoluti.
146Audi benigne.
147Te lucis ante.
148Ad preces nostras.
149Ex more docti.
150Christe qui lux es.
151Jam ter quaternis.
152Jesu quadragenaria.
153Vexilla regis.
154Salve festa dies.
155Claram decus jejunii.
156Ad omnem agni.
157Vita sanctorum.
158Jesu nostra redemptio.
159Festum nunc.
160Veni creator.
161O lux beata.
162Pange lingua.
163Sactis solenniis.
164Conditor almae siderum.
166VOL. XI. 1598.
167Francesco di Sale.
168Missa. Super 'Erulandi tempus est.' 5 voc.
170[F. G.]
172BERG, 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.
173[W.H.H.]
175BERG, 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.]
177BERGAMASCA—in the 'Midsummer Night's Dream,' a 'Bergomask.' 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.
179According 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:—
181Signor Piatti has himself published a Bergamasca for Cello and Pianoforte (op. 14) which partakes of this character. Mendelssohn, however, in setting Shakspeare's 'Bergomask dance
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