Scan 94
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
12 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1BENNETT—BENOÎT
3Ben'nett, Sir William Sterndale, distinguished English comp.; b. Sheffield, April 13, 1816; d. London, Feb. 1, 1875. His father, an organist, died when B. was but 3 years old, and he was educated by his grandfather, John B., a lay-clerk at Cambridge. At 8 he entered the choir of King's College Chapel, and at 10 the R. A. M. (pupil of Ch. Lucas, Dr. Crotch, C. Potter and W. H. Holmes), where he played, in 1833, an original pf.-concerto in D m., publ. later by the Academy. In 1837 the Broadwoods sent him to Leipzig for one year, a visit repeated in 1841–2; he was intimate with Schumann and Mendelssohn, and the influence of both, particularly the latter, is reflected in some of his comps. From 1843–56, he gave a series of chamber-concerts in England; married Mary Anne Wood in 1844; founded the Bach Society in 1849; conducted the concerts of the Philh. Society 1856–66, and the Leeds Mus. Festival in 1858. In 1856, too, he received the title of Mus. Doc. from Cambridge, after his election to the chair of Musical Professor there. In 1866 he was chosen Principal of the R. A. M., then resigning the conductorship of the Philh. The additional degree of M. A. was conferred on him by Cambridge in 1867; that of D. C. L., by Oxford, in 1870; and in 1871 he was knighted. The subscription-fund of the Bennett testimonial presented him at St. James' Hall, 1872, was converted by the recipient into a scholarship at the R. A. M. He is buried in Westminster Abbey.—Sterndale Bennett ranks high among English composers of genuine originality. Himself a pianist of rare ability, he favors the piano above all, and his finest productions are, so to speak, inspired by its peculiarities. The tale of his works is scanty, but in polish, refinement and careful elaboration they vie with the best in musical art.—Works: Op. 1, 1st pf.-concerto, in D m. (1832); op. 2, Capriccio for pf., in D; op. 3, overture Parisina, for orch. (1834); op. 4, 2nd pf.-concerto, Eb; op. 8, sextet for pf. and strings; op. 9, 3rd pf.-concerto, in C m. (1834); op. 10, 3 Mus. Sketches for pf.; op. 11, 6 Studies for pf.; op. 12, 3 Impromptus for pf.; op. 13, Sonata f. pf.; op. 14, 3 Romances f. pf.; op. 15, overture The Naiads, for orch.; op. 16, Fantasia for pf. (1842); op. 17, 3 Diversions f. pf. 4 hands; op. 18, Allegro grazioso for pf.; op. 19, 4th pf.-concerto, in F m. (1836); op. 20, overture The Wood-nymphs, for orch.; op. 22, Caprice in E, for pf. and orch.; op. 23, 6 songs with pf.; op. 24, Suite de pièces for pf. (1843); op. 25, Rondo piacevole for pf.; op. 26, pf.-trio (1844); op. 27, Scherzo for pf.; op. 28, Rondino f. pf.; op. 29, 2 Studies f. pf.; op. 30, 4 sacred duets; op. 31, Tema e variazioni for pf.; op. 32, Sonata-Duo for pf. and 'cello (1852); op. 33, 60 Preludes and Lessons for pf.; op. 34, Rondo for pf.; op. 35, 6 songs w. pf.; op. 36, Flowers of the Months; op. 37, Rondo à la polonaise, for pf.; op. 38, Toccata for pf.; op. 39, The May Queen, a Pastoral (cantata by Chorley), for soli, ch. and orch. (Leeds, 1858); op. 40, Ode (by Tennyson); op. 41, Cambridge Installation Ode (1862); op. 42, Fantasie-Overture, Paradise and the Peri, for orch. (1863); op. 43, symphony in G m.; op. 44, oratorio The Woman of Samaria (Birmingham, 1867); op. 45, music to Sophocles' Ajax; op. 46, pf.-sonata The Maid of Orleans. Also, overtures The Merry Wives of Windsor and Marie du Bois; a pf.-quintet, with wind; pf.-music, part-songs, anthems, songs, and collections of chants.—Cf. J. R. S. Bennett, The Life of W. St. B. (Cambridge, 1907); 'The Musical Times' from May to August, 1903, contains an interesting series of articles on B.; also see F. Corder, W. S. B. and His Music (in 'Mus. Times,' May, 1916).
5Ben'newitz, Anton, b. Přivret, Bohemia, March 26, 1833. Violinist; from 1882–1901 Director of Prague Cons.
7Benoist [bū-nwāh'], François, b. Nantes, Sept. 10, 1794; d. Paris, April, 1878. Pupil of Paris Cons., 1811–15, and Grand Prix de Rome; returning from Italy in 1819, he became organist of the Chapel Royal, and organ-prof. at the Cons.; in 1840, 'chef du chant' at the Opéra; pensioned in 1872.—Works: 2 operas, Léonore et Félix (1821) and l'Apparition (1848); 4 ballets, La Gipsy (1839), Le Diable amoureux (1840), Nisida, ou les Amazons des Açores (1848), and Pâquerette (1851); a Requiem mass for 3 men's voices and a child's voice, with organ ad lib.; and 12 books of organ-works, 'Bibliothèque de l'organiste.' one of two readings
8Benoist [bŭ-nwăh'], François, b. Nantes, Sept. 10, 1794; d. Paris, April, 1878. Pupil of Paris Cons., 1811–15, and Grand Prix de Rome; returning from Italy in 1819, he became organist of the Chapel Royal, and organ-prof. at the Cons.; in 1840, 'chef du chant' at the Opéra; pensioned in 1872.—Works: 2 operas, Léonore et Félix (1821) and l'Apparition (1848); 4 ballets, La Gipsy (1839), Le Diable amoureux (1840), Nisida, ou les Amazons des Açores (1848), and Pâquerette (1851); a Requiem mass for 3 men's voices and a child's voice, with organ ad lib.; and 12 books of organ-works, 'Bibliothèque de l'organiste.' one of two readings
10Benoît [bū-nwāh'], Pierre-Léonard-Léopold, eminent Flemish composer and man of letters; b. Harlebeke, Belgium, Aug. 17, 1834; d. Antwerp, March 8, 1901. While studying in the Brussels Cons., 1851–55, he prod. a small opera in the Parktheater, and wrote the music to a number of Flemish melodramas; he became cond. of the above theatre in 1856, and won the Prix de Rome in 1857 with his cantata Le Meurtre d'Abel. He now studied in Leipzig, Dresden, Munich and Berlin, and sent an essay to the Brussels Academy on L'école de musique flamande et son avenir. In 1861 the Théâtre-Lyrique of Paris accepted his opera Le Roi des aulnes; while awaiting its performance, B. acted as cond. at the Bouffes-Parisiens; but the opera was not given. In 1867 he founded the Flemish Music-School at Antwerp, which in 1899 was instituted the Royal Flemish Cons., B. remaining as its director. The goal of his life-work was to create a national Flemish school of musical composition; but the tendency of his compositions is strongly influ- one of two readings
11Benoît [bŭ-nwăh'], Pierre-Léonard-Léopold, eminent Flemish composer and man of letters; b. Harlebeke, Belgium, Aug. 17, 1834; d. Antwerp, March 8, 1901. While studying in the Brussels Cons., 1851–55, he prod. a small opera in the Parktheater, and wrote the music to a number of Flemish melodramas; he became cond. of the above theatre in 1856, and won the Prix de Rome in 1857 with his cantata Le Meurtre d'Abel. He now studied in Leipzig, Dresden, Munich and Berlin, and sent an essay to the Brussels Academy on L'école de musique flamande et son avenir. In 1861 the Théâtre-Lyrique of Paris accepted his opera Le Roi des aulnes; while awaiting its performance, B. acted as cond. at the Bouffes-Parisiens; but the opera was not given. In 1867 he founded the Flemish Music-School at Antwerp, which in 1899 was instituted the Royal Flemish Cons., B. remaining as its director. The goal of his life-work was to create a national Flemish school of musical composition; but the tendency of his compositions is strongly influ- one of two readings
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