Scan 56
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
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1Foote (1899).—Works: Overture, From the Plains; a sonata for pf. and vln.; a string-quartet; a pf.-trio; several fugues; songs.
3Ayrton, Edmund, English composer and org.; b. Ripon, Yorkshire, 1734; d. Westminster, May 22, 1808. Pupil of Nares. From 1780–1805, Master of Children of the Chapel Royal. Wrote 2 full services; also anthems.
5Ayrton, William, son of preceding; b. London, Feb. 24, 1777; d. there Mar. 8, 1858. Received a thorough liberal and musical education; one of the founders and a director of the London Philh. Soc. As conductor of the King's Theatre he introduced several of Mozart's operas to English audiences. 1813–26, critic of 'Morning Chronicle'; 1837–51, of 'Examiner'; 1823–33, editor of the 'Harmonicon.' Also edited Knight's Musical Library (1834–7), and Sacred Minstrelsy (1835).
7Azvedo [ăhth-vā-'], Alexis-Jacob, French writer and critic; b. Bordeaux, March 18, 1813; d. Paris, Dec. 21, 1875. Author of several valuable monographs, particularly G. Rossini, sa vie et ses œuvres (Paris, 1865); also of Félicien David (1868); contributor to 'La France musicale,' 'Le Siècle,' 'La Presse,' 'Le Ménestrel,' and (1859–70) correspondent to 'L'Opinion nationale.' He was a zealous partisan of the Italian school, and many of his criticisms are biased.
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11Bab'bi, Christoph (Cristoforo), violinist; b. Cesena, 1748; d. Dresden, 1814. From 1781, leader in the Electoral orch.—Works: Symphonies, vln.-concertos, and quartets and duets for flute.
13Babbi'ni, Matteo, celebrated tenor; b. Bologna, Feb. 19, 1754; d. there Sept. 22, 1816. Pupil of Cortoni; début 1780. His great success brought him engagements in London, Petrograd, Vienna (1785), and Berlin. Settled in Paris, a court favorite, till the Revolution drove him back to Italy; in 1792 he was again in Berlin; 1796, in Trieste. He died wealthy.—Brighenti published an 'Elogio' of B. (Bologna, 1822).
15Bac'chius (Senior), Greek theorist (circa 350 A.D.), two treatises by whom are still extant, published in Greek, Latin and French by Mersenne, Meibom, Morel, and Bellermann.
17Bacfart (or Bacfarc, Bacfarre, Bekwark), Valentin, a celebrated lutenist whose real name was Graew or Greff, b. Kronstadt, 1507; d. Padua, Aug. 13, 1576. Supposedly a pupil of Antonio Rotta; lived 1549–67 at the court of Sigismund Augustus of Poland, from 1566–68 at the Imperial court in Vienna, afterwards in Italy. Publ. various works in tablature: Intabulatura (Lyons, Part I, 1552), Tablature de Luth (Paris, 1564), and Harmonia musicae (two parts, Cracow, 1565–8).—Cf. monograph (in Polish) by H. v. Opienski, 'Bekwark, the Master-Lutenist' (1906).—See Q.-Lex.
19Bach is the name of the illustrious family which, during two centuries, supplied the world with a number of musicians and composers of distinction. History possesses few records of such remarkable examples of hereditary art, which culminated in Johann Sebastian.
21The genealogy of the family is traced to Hans Bach, born circa 1561 at Wechmar, a little town near Gotha. Veit Bach, d. Mar. 8, 1619, the presumed son of this Hans, and Caspar Bach, are the first of the family concerning whose musical tendencies we have any information. Veit was by trade a baker, and emigrated to Hungary; returning to Wechmar, he settled there as a miller and baker. His chief relaxation consisted in playing on the zither. His son, Hans, b. c. 1580, d. Dec. 26, 1626, was known as 'der Spielmann,' (i.e., 'the player'), although he followed the supplementary occupation of carpet-weaver. He received instruction from the town-musician of Gotha, the above-mentioned Caspar, thought to have been his uncle. As a travelling violinist, to be found at all the principal festivals, he was popular throughout Thuringia, and his three sons, Johann, Christoph, and Heinrich, inherited his ability. The Bach genealogy mentions a second son of Veit, presumably Lips Bach (d. Oct. 10, 1620), who also had three sons, who were sent to Italy, to study music, by the Count of Schwarzburg-Arnstadt. From Hans and Lips, the two sons of Veit, sprang the main branches of the Bach family, whose male members filled so many positions as organists, cantors and Kapellmeister throughout Thuringia, that, in some instances, even after there had ceased to be any member of the family among them, the town-musicians were known as 'the Bachs.' When the families became numerous and widely dispersed, they agreed to assemble on a fixed date each year. Erfurt, Arnstadt, Steinach, and Meiningen were the places chosen for these meetings, which continued until the middle of the 18th century, as many as 120 persons of the name of Bach then assembling. The hours, interspersed with music, were devoted to the narration of their experiences, mutual criticism, encouragement and advice, and the examination of the compositions of each member, which eventually formed a collection known as the Bach Archives. A part of
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