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A Dictionary of music and musicians (A.D. 1450-1889): with …, Volume 1, 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).
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. Lauda 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 (3 pts.)
2514. Exaudi Domine.
266 voices.
271. Media in vita (3 pts.).
282. Ante me non est.
293. Constatemini (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. Masses.
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.
45'Idi aquam.
46'sperges me.
48VOL. IV. 1575.
49O. de Lasso.
50Passio. 5 vocum.
51Vigiliae mortuorum. 4 voc.
52Lectionis matutinae.
53De Nativitate Christi. 4 voc.
55VOL. V. 1576.
56O. de Lasso. Magnificata.
571. 1mi Toni, 4 voc.
582. 5ti Toni, 4 voc.
593. 1mi Toni, 5 voc.
604. 2di Toni, 5 voc.
615. 4ti Toni, 5 voc.
626. 4ti Toni, 6 voc.
637. 8ti Toni, 6 voc.
648. 7mi Toni, 6 voc.
659. 8ti Toni, 8 voc.
6610. 7mi Toni, 8 voc.
68VOL. VI. 1589.
69O de Lasso. Masses.
701. Super 'Pittes Maltresse.'
712. " 'Amar Donne.'
723. " 'Qual donna attende.'
734. " 'In die tribulationis.'
745. " 'Io son ferito Hallasso.'
756. Pro defunctis.
77VOL. VII. 1589.
78Francesco Sala. Officia. 5 et 6 vocum.
791. S. Andreas Apostoli.
802. Nicolai Episcopi.
813. Conceptionis Mariae.
824. Thomas Apostoli.
845. Nativitas Christi, in Imâ mis-
85sa.
866. In summa missa. 6 voc.
877. Stephani Proto Mart.
888. Johannis Evang.
899. Circumcisionis. 6 voc.
9010. Epiphanias. 6 voc.
9111. Conversionis Paulli.
9212. Purificationis Mariae.
9313. Matthiae Apostoli.
9414. Annuntiationis Mariae.
9515. De Communi S. Mariae, Con-
96ceptione, Nativitate, Visitatione et Presentacione eius-
97dem Mariae.
99VOL. VIII. 1591.
100Blasius Amon. Masses. 4 voc.
1011. Super Ut. re, mi, fa, sol, la, Le.
102sol, fa, mi, re, ut.
1032. " 'Pour ung plaisir.'
1043. " 'Surge propeara.'
1054. " 'Dixit Dominus mulier Chanae.'
1065. Pro Defunctis.
108VOL. IX. 1594.
109Osser de Zaccharia. Intonaciones.
1101. Vespertina.
111Alia intonatio.
1121. Primus tonus.
1132. Secundus do.
1143. Tertius do.
1154. Quartus do.
1165. Quintus do.
1176. Sextus do.
1187. Septimus do.
1198. Octavus do.
1209. Mirtus do.
122Hymni.
123Conditor alme.
125Venit redemptor.
126Verbum superbium.
127Christe Redemptor.
128A solus ortus.
129Deus tuorum.
130Stephano primo mart.
131Exultet coelum.
132Solennis dies adventit.
133Salvete flores.
134Ibid.
135Hostis Herodes.
136O lux beata.
137Deus Creator.
138Corde natus.
139Lucis creator.
140Dies absoluti.
141Audi benigne.
142Te lucis ante.
143Ad preces nostras.
144Ex more docti.
145Christe qui lux es.
146Jam ter quaternis.
147Jesu quadragesimae.
148Vexilla regis,
149Salve festa dies.
150Claram decus juxta.
151Ad consummum.
152Vita sanctorum.
153Jesu nostra redemptio.
154Festum nunc.
155Venit creator.
156O lux beata.
157Pange lingua.
158Sacris solenniis.
159Conditor alme siderum.
161VOL. X. 1598.
162Francesco di Sale.
163Missa, Super 'Exultandi tempus est.' 5 voc.
165[F. G.]
167BERG, 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.
168[W. H. H.]
170BERG, 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.]
172BERGAMASCA—in the 'Midsummer Nights 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.
174According 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:—
176Signor 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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