Scan 64
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
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1until 1795, when, on the strength of his continually growing reputation as a concert-violinist, he was app. prof. of vln. at the Cons. He made up for lost time by diligent study under Cherubini, Reicha, and Catel. His first foreign tour, to Russia, was undertaken 1805–8, and followed by others through Belgium, Holland and England (1815–16), Switzerland and Italy (1833), etc. In 1821 he was made leader at the Grand Opéra, and in 1825 solo violinist in the royal orch.—His chief work is the admirable text-book, L’Art du Violon (1834). With Rode and Kreutzer he wrote a Méthode du Violon, adopted by Paris Cons., and republished in countless editions and many languages; he also edited the Méthode de Violoncelle by Levasseur, Catel and Baudiot, and wrote essays: Notice sur Grétry (1814); Notice sur Viotti (1825); and others.—His principal compositions are 10 vln.-concertos; 3 string-quartets; 15 trios for 2 vlns. and bass, 6 duos for 2 vlns.; 30 sets of airs variés; 24 preludes in all keys; a symphonie concertante for 2 vlns. with orch.; a sonata for pf. and vln., etc.; mostly difficult, and not much played nowadays. He had several distinguished pupils—Habeneck ainé, Mazas, the two Danclas, etc.
3Baillot, René-Paul, son of preceding; b. Paris, Oct. 23, 1813; d. there Mar. 28, 1889; prof. of ensemble-playing at Paris Cons.
5Bai’ni, Abbate Giuseppe, a composer, writer, and critic of ultra-conservative tendency; b. Rome, Oct. 21, 1775; d. there May 21, 1844. Pupil of his uncle, Lorenzo B.; later of Jannaconi, the maestro of St. Peter’s, who had him app. singer in the Pontifical choir, and whom he succeeded in 1817. B.’s life-work was the monograph Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina (Rome, 1828; German transl. by Kandler, w. notes by Kiesewetter, 1834). He likewise wrote a Saggio sopra l’identità de’ ritmi musicali e poetici (1820). His most celebrated comp. is a 10-part Miserere (1821), given alternately, during his lifetime, with those of Allegri and Bai at the Sistine Chapel, during Holy Week. Others are Psalms and Hymns a 4; Hymns a 8; masses, motets, church-concertos, a Te Deum, etc.—Haberl publ. an essay on B. in the ‘Kchm. J.’ (1894).—See Q.-Lex.
7Baj, Tommaso. See Bai.
9Bajet’ti, Giovanni, stage-composer; b. Brescia, Italy, circa 1815; d. Milan, April 28, 1876. For many years leader of orch. in La Scala, Milan, where he produced Gonzalvo (opera, 1841), L’Assedio di Brescia (1844), Caterina o la figlia del bandito (1847), Faust (ballet, 1848), Uberto da Brescia (1866), and Il genio d’Italia (Piacenza, 1843); all with success.
11Baker, Benjamin Franklin, b. Wenham, Mass., July 10, 1811; sang in churches in Salem, Boston, and Portland; in 1837, took charge of the music in Dr. Channing’s church at Boston, and in 1841 succeeded Lowell Mason as teacher of music in the public schools; was also vice-pres. of the Handel and Haydn Society for 6 years, frequently singing solos at their concerts. Est. the Boston Music School (1851–68). Editor of the Boston ‘Musical Journal.’ Retired in 1868.—Works: 3 cantatas, The Storm-King, The Burning Ship, and Camillus, the Roman Conqueror; various vocal quartets, songs, etc. Author of a text-book, Thorough-bass and Harmony; compiled several volumes of glees and anthems.
13Baker, George, b. Exeter, Engl., in 1773; d. Rugeley, Feb. 19, 1847. Organ-pupil of Hugh Bond and William Jackson (Exeter); st. the violin with Ward, and pf. with Dussek and Cramer at London. Org. at Stafford (1795), Derby (1810), Rugeley (1824); Mus. Bac. Oxon., 1797.—Works: The Cuffres, ‘musical entertainment’ (London, 1802; unsucc.); 4-, 5-, and 6-part anthems; glees for 3 and 4 voices; songs; organ-voluntaries; pf.-sonatas.
15Bala’kirev, Mily Alexeievitch, b. Nishni Novgorod, Russia, Jan. 2, 1837; d. Petrograd, May 28, 1910. St. at Kazan Univ.; self-taught, as a musician. Pianistic début at Petrograd, 1855, was very successful. With Lomakin, in 1862, he founded the ‘Free Music School,’ the concerts of which (excepting the period 1874–81) he directed until his death; 1866, app. opera-conductor at Prague; 1867–70, conducted concerts of the Imp. Music Society at Petrograd and introduced compositions of Berlioz and Liszt to the Russian public. From 1883–95 he was cond. of the Court-chapel. A passionate admirer of Glinka and Dargomyzhsky, he gathered about him a number of younger musicians, chief among whom were Cui, Mussorgsky, Rimsky-Korsakov and Borodin, inspired them with his own enthusiasm, and thus became the founder and head of a new national Russian school. His own works are 2 symphonic poems, Russia and Tamara; 2 symphonies (C, 1897; D m., 1909); music to King Lear; overtures with Russian, Czechish and Spanish themes; an Oriental Fantasia, Islamei, for pf.; pieces and arrangements for pf.; etc. He published (1866) a fine collection of Russian folk-songs.
17Balart’, Gabriel, comp. of ‘zarzuelas’ (Spanish operettas); b. Barcelona, June 8, 1824; d. there July 5, 1893. He finished his mus. studies in Paris, returned to Spain in 1852, was opera-cond. in various Spanish theatres, and, finally, Dir. of the Barcelona Cons.
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