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Scan 83
Dictionary of music, 1908
19 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 75. See the scan on archive.org.
1known by his "Neueste Schule der Geläufigkeit" (excellent pianoforte studies, Op. 61).
3Beretta, Giovanni Battista, b. Feb. 24, 1819, Verona, d. April 28, 1876, Milan. He commenced life as a wealthy amateur, but later on, after the loss of his fortune, was for some time director of the Conservatorio (Liceo musicale) at Bologna. Finally he worked at Milan at the great musical dictionary commenced by Americo Barberi, which, however, he was only able to bring up to the letter G. ("Dizionario artistico, scientifico storico, tecnologico musicale," Milan, published by Gir. Polani).
5Berg, (1) Adam, celebrated music printer at Munich, 1540-99; he gave a striking proof of his extraordinary productive activity by taking up the publishing of the great collection ("Patrocinium musicum," ten vols.) at the Duke's expense, the first five volumes of which were exclusively devoted to the works of Orlandus Lassus.—(2) Johann von, also a celebrated music printer, b. Ghent, settled down in Nuremberg, where he entered into partnership in 1550 with Ulrich Neuber; he always named himself Johannes Montanus on the title-page of his books. As Neuber entered into partnership with Gerlach in 1556, B. would seem to have died about this time.—(3) Konrad Mathias, b. April 27, 1785, Colmar (Alsace), violin pupil of Fränzl, in Mannheim, then (1806-1807) pupil of the Paris Conservatoire, d. Dec. 13, 1852, Strassburg, where he settled in 1808 as pianoforte teacher. He wrote pf. works (three concertos, sonatas, variations, ten pf. trios, etc., pieces for four hands), four quartets for strings, etc.; also "Ideen zu einer rationellen Lehrmethode der Musik mit Anwendung auf das Klavierspiel," in G. Weber's "Cäcilia" (vol. 5), and "Aperçu historique sur l'état de la musique à Strasbourg pendant les 50 dernières années" (1840).
7Bergamasca (Bergamask dance), an old Italian dance, deriving its name from Bergamo. In Midsummer Night's Dream, Bottom asks the Duke if he would care to see a Bergamask dance; hence the dance was already in vogue in England in the 16th century.
9Berger, (1) Ludwig, b. April 18, 1777, Berlin, son of an architect, d. there Feb. 16, 1839; passed his youth in Templin and Frankfort-on-Oder, studied harmony and counterpoint under J. A. Gürrlich at Berlin in 1799, travelled in 1801 to Dresden, in order to become a pupil of J. G. Naumann, but when he arrived found that the latter had just died. He dedicated a funeral cantata to his memory. In 1804 he went with M. Clementi, whose acquaintance he had made in Berlin, to St. Petersburg in order to study with him; he there became intimate with A. Klenzel, and found, in addition to his teacher, excellent models in Steibelt and Field. He made a happy marriage with the vocalist Wilhelmina Karges, but soon lost wife and child, and went in 1812 to Stockholm, and from thence to London, where he joined Clementi, and also made the acquaintance of J. B. Cramer. In 1815 he returned to Berlin, where, until his death, he was highly esteemed as a teacher; and among his many distinguished pupils were Mendelssohn, Taubert, Henselt, Fanny Hensel, H. Küster, etc. B. published many excellent pianoforte works, also songs, quartets for male voices, cantatas, etc. In 1819 he founded with B. Klein, G. Reichart, and L. Rellstab, afterwards his biographer, the junior "Liedertafel."—(2) Francesco, composer and pianist, b. June 10, 1835, London, pupil of Luigi Ricci and C. Lickl, and also of Hauptmann. He was for some years director of the Philharmonic Society, and is now Honorary Secretary. He has composed an opera and a mass, part songs, pf. pieces, etc. one of two readings
10Berger, (1) Ludwig, b. April 18, 1777, Berlin, son of an architect, d. there Feb. 16, 1839; passed his youth in Templin and Frankfort-on-Oder, studied harmony and counterpoint under J. A. Gürrlich at Berlin in 1799, travelled in 1801 to Dresden, in order to become a pupil of J. G. Naumann, but when he arrived found that the latter had just died. He dedicated a funeral cantata to his memory. In 1804 he went with M. Clementi, whose acquaintance he had made in Berlin, to St. Petersburg in order to study with him; he there became intimate with A. Klen- gel, and found, in addition to his teacher, excellent models in Steibelt and Field. He made a happy marriage with the vocalist Wilhelmina Karges, but soon lost wife and child, and went in 1812 to Stockholm, and from thence to London, where he joined Clementi, and also made the acquaintance of J. B. Cramer. In 1815 he returned to Berlin, where, until his death, he was highly esteemed as a teacher; and among his many distinguished pupils were Mendelssohn, Taubert, Henselt, Fanny Hensel, H. Küster, etc. B. published many excellent pianoforte works, also songs, quartets for male voices, cantatas, etc. In 1819 he founded with B. Klein, G. Reichart, and L. Rellstab, afterwards his biographer, the junior "Liedertafel."—(2) Francesco, composer and pianist, b. June 10, 1835, London, pupil of Luigi Ricci and C. Lickl, and also of Hauptmann. He was for some years director of the Philharmonic Society, and is now Honorary Secretary. He has composed an opera and a mass, part songs, pf. pieces, etc. one of two readings
12Berggreen, Andreas Peter, b. March 2, 1801, Copenhagen, d. there Nov. 9, 1880. He first studied law, then turned his attention to music, and in 1838 became organist of Trinity Church, in 1843 teacher of singing at the metropolitan school, Copenhagen, and in 1859 inspector of singing at the public schools. In 1829 he wrote music to Öhlenschläger's Bridalcantata; later on an opera, Billedet og bustan, music to several of Öhlenschläger's dramas, also pf. pieces and songs. B. edited a collection (eleven vols.) of popular songs of various nations, and from 1836 a musical paper, Musikalisk Tidende; he also wrote the biography of Weyse (1875).
14Berghem. (See Berchem.)
16Bergkreyen (Bergreihen), originally secular songs, and, as the name indicates, songs accompanied by dancing, to which, however, in the time of the Reformation, sacred words were composed. Collections of secular and sacred B. (but without the melodies) appeared in 1531, 1533, 1537, and 1547. The name Bergreihen probably arose from the fact that these songs—as it appears from the title of the 3rd part of Daubmann's B. (1547)—originated in the Erzgebirge; the title runs as follows: "Etzliche schöne Bergreyen vom Schneeberg, Annaberg, Marienberg, Freiberg, und St. Joachimsthal."
18Bergmann, Karl, b. 1821, Ebersbach (Saxony), d. Aug. 10, 1876, New York. He was 'cellist and conductor, a pupil of Zimmermann in Zittau, and of Hesse in Breslau. In 1850 he went to the United States, as member of the strolling orchestra, "Germania," of which he soon became the director, and which post he held until the company broke up in 1854. In 1855 he entered the Philharmonic orchestra in New York, and conducted the concerts alternately with Th. Eisfeld, but alone from 1862 until his death. For several years B. conducted the German male choral union, "New York Arion," and rendered important service in the spreading of
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