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Scan 155
Grove's dictionary of music and musicians, 1920
41 lines. Read by computer on 10 September 2026. Printed page 139. See the scan on archive.org.
1BOSETTI
3London. In 1896 he produced his 'Russian Sonata,' which won strong commendation from Grieg, as also from Leschetizky, Sauer, Rosenthal and others. Its success led to a call to join the faculty of the Chicago Musical College as teacher of composition, beginning in August, 1897. Here he also taught the violin and lectured on music-history. Recently (April, 1916) he has succeeded to the presidency of the College. In 1905 he also was Chicago correspondent of the 'Musical Courier,' from 1906 critic for the Chicago 'Evening Post,' and in 1909–18 for the 'Record-Herald.' Since 1908 he has been the maker of the program-books for the Chicago Symphony Orchestra. His chief compositions are
5'Marche Triomphale,' in D minor, for orchestra (1899, Chicago).
6Concerto for piano and orchestra (1914, Chicago).
7'Eugène Onégin,' symphonic poem.
8'Crépuscule' and 'Sérénade,' for string-orchestra (1914, Ravinia Park).
9'Allegro de Concert,' for organ and orchestra (1915, Chicago).
10'Valse Pathétique,' for orchestra (1915, Chicago).
11'Élégie Symphonique,' for orchestra (1917, Chicago).
12'Trois Peintures'—'Portrait d'une Jeune Fille,' 'Le Jardin de Nuit,' 'La Fête' (1918, Chicago).
13String-Quartet in A minor, dedicated to Grieg.
14'Boudour,' a pantomime-ballet (1920, Chicago).
15Two Organ-Sonatas, in A minor and C.
16Suite in E minor, for organ.
17Many piano-pieces, largely in small forms (over 60 published), but including the 'Russian Sonata' and a set of Seven Preludes.
18Many shorter violin-pieces, of which the best-known is 'Adoration.'
19Motet for 6-part chorus, organ and 'cello.
20About 20 songs.
22BOSETTI, JOSEPH (b. 1886). See Register, 10.
24†BOSSI, MARCO ENRICO (Apr. 25, 1861, Salò, Italy). See article in Vol. i. 366–7. In 1912 he resigned from the directorship of the Liceo Musicale at Bologna and has since lived at Como. Among his later works are a Suite for orchestra, op. 126, 'Intermezzi Goldoniani,' for string-orchestra, op. 127, and 'Giovanna d'Arco,' for soli, chorus and orchestra. See list of works in Baker, Dict. of Musicians, pp. 105–6.
26BOSTON ACADEMY OF MUSIC. See Academy of Music, Boston.
28BOSTON CONSERVATORY OF MUSIC, THE, was founded in 1867 by Julius Eichberg, the eminent violinist, who continued at its head till his death in 1893. For many years it was one of the leading schools of the country, and before 1886 is said to have educated some 15,000 pupils. In violin-instruction it was especially eminent. As with its competitor, the New England Conservatory (also founded in 1867), much teaching was for a long time done in small groups instead of individually.
30After Eichberg's death the Conservatory was for a time continued with success by Herman P. Chelius.
32BOSTON IDEAL OPERA COMPANY, THE, was the name used from 1879 by a troupe of light-opera singers, the best of whom later (1887) formed the more famous company known as 'The Bostonians.' 'The Ideals' were first assembled by Miss Ober for the production of 'Pinafore.' Leading singers were Barnabee and Karl.
34BOSTON MUSIC CO., THE, was started in 1885 by Gustave Schirmer, the son of the founder of the Schirmer house in New York, and conducted by him till 1891, when he returned to New York to succeed his father and the Boston house became a branch of that in New York. The Company has always maintained a considerable amount of independent publishing and has put forth much music by American composers.
36BOSTON MUSIC SCHOOL, THE, was one of the early attempts to establish an institution in several departments. Preparation for it was begun by Benjamin F. Baker in 1847, when the Academy of Music, started by Mason in 1833, came to an end. The School was incorporated in 1851 and opened with a considerable faculty. Baker remained at its head until 1868, when the enterprise was given up.
38BOSTON OPERA COMPANY, THE, was organized in 1908 on lines similar to those of the Metropolitan in New York and in such affiliation with it as to admit of more or less exchange of artists, especially for German works. A superb new opera-house was built and in November, 1909, the first season opened with 'La Gioconda.' To increase the supply of singers, the Boston Opera School was started, with an arrangement for 'débutante-nights' at intervals for the appearance of promising aspirants. In 1910 first American performances were given of Debussy's 'L'Enfant Prodigue,' Laparra's 'Habanera' and Rachmaninov's 'The Miser-Knight,' in 1911 of Converse's 'The Sacrifice,' and in 1913 of Bizet's 'Djamileh,' Aubert's 'La Forêt Bleue' and Février's 'Monna Vanna.' The number of performances each season was about 90. The outbreak of the war in 1914 led to the canceling of the next season, and in May, 1915, the enterprise went into bankruptcy. Many of its singers and most of its property were secured by Max Rabinoff, who for two years longer made tours with what was called the Boston National Opera Company, at first with remarkable success, especially in the fine presentation of ballets. But in 1917 this, too, became bankrupt.
40BOSTON SINGERS' SOCIETY, THE. See BOYLSTON CLUB.
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