Scan 82
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
10 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1BEER—BEETHOVEN
3operas Otto der Schutz and Der Pfeiferkönig (both not perf.), Friedel mit der leeren Tasche (Prague, 1892), Der Streik der Schmiede (1 act, Augsburg, 1897; succ.); operetta Das Stelldichein auf der Pfahlbrücke; cantata Der wilde Jäger, for soli, ch. and orch.; several lyrical pf.-pieces (Abendfeier, Eichendorffiana, Haidebilder, Spielmannsweisen, Was sich der Wald erzählt, etc.); a pf.-suite; various books of songs, etc.
5Beer-Walbrunn, Anton, b. Kohlberg, Bavaria, June 29, 1864. Pupil of Rheinberger, Bussmeyer and Abel at the Akademie der Tonkunst in Munich; since 1901 instructor there of pf. and comp.; made Prof. in 1908.—Works: The operas Sühne (Lübeck, 1894), Don Quixote (Munich, 1908), Das Ungeheuer (fin. 1916, not yet prod.); op. 1, choruses for mixed voices; op. 3, a fantasy for vl.; op. 8, pf.-quartet; op. 12, 13, songs; op. 14, string-quartet; op. 15, sonata for 'cello and pf.; op. 20, Ode for 'cello and pf.; op. 21, Reisebilder for pf.; op. 22, Deutsche Suite for orch. (also arr. for pf. 4 hands); op. 27, songs; op. 30, sonata for pf. and vl.; op. 31, Der Polenflüchtling for bar. with orch.; op. 32, sonata for organ; op. 35, 48, choruses for male and mixed voices; op. 36, symphony in E; op. 40, Burlesken for orch.; op. 43, incidental music to Hamlet; also a choral work with orch., Mahomets Gesang; 10 sonnets of Shakespeare for 1 voice and pf.; etc.—Interesting monograph by O. G. Sonneck in his "Suum cuique: Essays in Music" (Schirmer; N. Y., 1916).
7Beeth [bāt], Lola, b. Cracow, 1864; dramatic soprano, pupil of Frau Dustmann, and later of Mme. Viardot-Garcia and Désirée Artôt. Début 1882 at Berlin Court Opera as Elsa (Lohengrin); eng. there 1882–88; then eng. at Vienna Court Th. 1888–95. Then sang 3 months at Grand Opéra, Paris (Elsa, Elisabeth, etc.); later at New York, Monte Carlo and Pest; again at Vienna 1897–1902; since then only as star. Living now as 'Kgl. Kammersängerin' at Berlin.
9Beeth'oven [bāt'hōh-ven], Ludwig van, the composer who represents the fullest maturity (in emotional scope, in formal construction, and in instrumental treatment) of the allied classic forms of the pf.-sonata, pf.-concerto, string-quartet, and orchestral symphony, was born at Bonn-on-Rhine, Dec. 16 (baptized Dec. 17), 1770 [Beethoven himself said Dec. 16, 1772]; he died in Vienna, March 26, 1827. His grandfather, Ludwig van B., a native of Maestricht, was bass singer, opera-composer, and Kapellm. at Bonn to the Elector Clemens August. B.'s father, Johann van B., was a tenor singer in the Electoral choir, and married Maria Magdalena Laym (née Keverich), the widow of the chief cook at Ehrenbreitstein; Ludwig was the second child born to them.—B. attended the public schools at Bonn till his 14th year. His musical education was taken in hand in his fourth year by his father, a strict and stern master, who taught him till 1779. At eight he played the violin well; at eleven he could play Bach's 'Wohltemperirtes Clavier' fluently and skilfully. His next instructors were Pfeiffer, a music-director and oboist; Van den Eeden, the court organist; and the latter's successor, Neefe. He was already a notable improviser on the piano; and in 1781 ('82?) appeared his first published composition, 3 pf.-sonatas. In 1782, during Neefe's absence, B. was formally installed as his deputy at the organ; in 1783, he was app. cembalist for the rehearsals of the opera-orch.—for the present, to be sure, without emolument. In 1784 the new Elector, Max Franz, app. B. asst.-organist at a salary of 150 florins (about $63); this place he held till 1792; from 1788 he also played 2nd viola in the orch. of the theatre and church, Reicha being the conductor. On a visit of a few months to Vienna, in 1787, B. awakened great interest by his extraordinary ability as an extempore pianist; eliciting from Mozart the exclamation: 'He will give the world something worth listening to.' In July his mother died; his father gave way to intemperance, gradually losing his voice; and B.'s home-life became wretched. He found consolation in the family of Frau von Breuning, the widow of a court councillor, to. whose daughter and youngest son B. gave music-lessons. In their refined society his taste for German and English literature was quickened. About this time he made the acquaintance of the young Count Waldstein, his life-long friend, admirer, and benefactor. In his leisure hours he gave other lessons, took long walks, and occupied himself with composition. Despite his remarkable faculty for improvisation, the display of known works for the first ten years (1782–92) is comparatively meagre: half a dozen songs; a rondo, a minuet, and 3 preludes f. pf.; 3 pf.-quartets; a pf.-trio; a string-trio, op. 3; 4 sets of pf.-variations; a rondino f. wind; the Ritter-Ballet with orch. [publ. 1872]; the Bagatelles, op. 33; 2 violin-rondos, op. 51; the Serenade Trio, op. 8;—to which add the lost cantata praised by Haydn, a lost trio for pf., flute and bassoon, and an Allegro and Minuet for 2 flutes (all unpubl.). [Recent. investigations, however, have established almost with certainty the fact that when B. arrived in Vienna in 1792 he brought with him a considerable number of compositions in MS. Some of these he revised and publ. later (e. g., the violin-rondos, op. 51; which accounts for the high opus-number); others were lost. In 1910 Fritz Stein found in Jena
The computer misreads some letters and numbers. Where a name matters to you, read the scan.