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Scan 432
Grove's Dictionary of music and musicians, 1927
27 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 372. See the scan on archive.org.
1workshop was in the Royal Exchange in London. He is said to have had a great knowledge of Italian instruments, but he followed his master in copying the Stainer and Amati models, and was another of the many craftsmen who at this time failed to recognise the outstanding merits of Stradivari's work. E. H. F.
3BETZ, FRANZ (b. Mayence, Mar. 19, 1835; d. Berlin, Aug. 11, 1900), a favourite baritone opera and concert singer, was educated at the Polytechnic, Carlsruhe, and made his début on the stage in 1856 at Hanover.
5He afterwards sang in smaller towns, and in May 1859 played at Berlin as Don Carlos in 'Ernani,' with such success that he was promptly engaged, and was a member of the royal opera company until his retirement in 1897. In 1868 he was the original Hans Sachs at Munich, and in 1876 he sang the part of Wotan at Bayreuth, and was admirable in both parts. He sang the part of Falstaff on the production of Verdi's opera in Berlin. He also, on leave of absence, played at Vienna and other cities of Germany and Austria. In 1882 he visited England, and sang with great success at the Crystal Palace, May 6 and 27, and at the Richter concert of May 8.
7A. C.
9BEVIGNANI, ENRICO (b. Naples, Sept. 29, 1841; d. 1903), operatic conductor and composer. He studied under Albanese and Lillo; produced his opera 'Caterina Bloom' at Naples in 1863, and a year later came to London, where he began as an accompanist. Engaged by Mapleson for Her Majesty's, he remained there six years in association with Costa and Arditi, and married a niece of Tietjens. In 1871 he went to Covent Garden, where his career as a conductor lasted with increasing success until the end of the Gye régime. Among other new operas he directed the first performance in this country of Verdi's 'Aida' in June 1876. His singular aptitude for accompanying the voice attracted the notice of Mme. Patti, who made it a condition that Bevignani should conduct the whole of the operas in which she appeared at Covent Garden, and with one or two exceptions he did so. He also conducted for several years the Italian opera seasons at St. Petersburg, Moscow and (under Abbey and Grau) at New York. For a long time he made London his permanent home. During one of his visits to Russia the Tsar conferred upon him the knighthood of the Order of St. Stanislas, and he was likewise a Cavaliere of the Crown of Italy.
11H. K.
13BEVIN, ELWAY, an eminent theoretical and practical musician of Welsh extraction, who received his musical education under Tallis.
15He was vicar-choral of Wells Cathedral, 1575-84,1 and in the latter year was suspended for not having communicated for four years. one of two readings
16He was vicar-choral of Wells Cathedral, 1575–84,1 and in the latter year was suspended for not having communicated for four years. one of two readings
181 Information from W. H. G. F.
20A Roman tendency is inferred; nevertheless he was retained, and he signed a Wells Charter in 1583-84. Archbishop Laud, in his visitation of Bristol, 1634, describes Bevin as 'a very old man.' According to Wood (Fasti Oxon. (Bliss), ii. 265), he was organist of Bristol Cathedral in 1589, and is also referred to in Harl. MSS. 7339/5b (B.M.) as 'organist of ye Cathedral at Bristol, 1620.' He taught music to William Child (b. Bristol, 1606). Hawkins says it was upon Tallis's recommendation that he was admitted a gentleman extraordinary of the Chapel Royal, June 3, 1589; but this is an error—he was not admitted until June 3, 1605, at which period Tallis had been dead just upon 20 years. It has been stated that in 1637, on the discovery that Bevin was a papist, he was expelled the chapel, but no evidence of the expulsion can be found. The work by which Bevin is best known is his Brief and Short Introduction to the Art of Musicke, a treatise dedicated to Dr. Goodman, Bishop of Gloucester, to whom he says he is 'bound for many favours.' In it, he shows 'how to make discant of all proportions that are in use,' and claims that he can teach all who can sing to 'soone be able to compose three, four and five parts, and also to compose all sorts of canons that are usuall, by these directions of two or three parts in one upon the plain-song.' Bevin would seem to have been an authority on musical theory, and in his book, extracts from which are preserved in an early 18th-century copy (B.M. Add. MSS. 30,933/141-57), there are instructions for the making of canons even up to 60 parts in one. Although the rules given are comparatively few, the book is full of ingenious examples at all possible intervals, by augmentation and diminution, and every other known device, all constructed upon the same plain-song. There is a double canon by him (in organ score) (B.M. Add. MSS. 31,403/21), also a song, 'Hark, jolly shepherds,' and an anthem arranged as a canon of 20 parts in one (see below). There is further a volume of canons, bearing his autograph and the date 1611, in the Royal Library (B.M.), while Q.-L. also mentions a piece by Bevin in Benjamin Cosyn's Virginal Book (c. 1600). The treble and tenor parts of a 3-part 'Browning' by him are in the library at Ch. Ch. (979-83). Bevin's service in D minor (4 and 5 v.) (B.M. Harl. MSS. 7339/5-15b), was printed by Barnard ('Selected Church Music'), and later by Boyce in his 'Cathedral Music.' Besides such compositions as have already been mentioned, the following also exist in MS. : one of two readings
21A Roman tendency is inferred; nevertheless he was retained, and he signed a Wells Charter in 1583–84. Archbishop Laud, in his visitation of Bristol, 1634, describes Bevin as 'a very old man.' According to Wood (Fasti Oxon. (Bliss), ii. 265), he was organist of Bristol Cathedral in 1589, and is also referred to in Harl. MSS. 7339/5b (B.M.) as 'organist of ye Cathedral at Bristol, 1620.' He taught music to William Child (b. Bristol, 1606). Hawkins says it was upon Tallis's recommendation that he was admitted a gentleman extraordinary of the Chapel Royal, June 3, 1589; but this is an error—he was not admitted until June 3, 1605, at which period Tallis had been dead just upon 20 years. It has been stated that in 1637, on the discovery that Bevin was a papist, he was expelled the chapel, but no evidence of the expulsion can be found. The work by which Bevin is best known is his Brief and Short Introduction to the Art of Musicke, a treatise dedicated to Dr. Goodman, Bishop of Gloucester, to whom he says he is 'bound for many favours.' In it, he shows 'how to make discant of all proportions that are in use,' and claims that he can teach all who can sing to 'soone be able to compose three, four and five parts, and also to compose all sorts of canons that are usuall, by these directions of two or three parts in one upon the plain-song.' Bevin would seem to have been an authority on musical theory, and in his book, extracts from which are preserved in an early 18th-century copy (B.M. Add. MSS. 30,933/141-57), there are instructions for the making of canons even up to 60 parts in one. Although the rules given are comparatively few, the book is full of ingenious examples at all possible intervals, by augmentation and diminution, and every other known device, all constructed upon the same plain-song. There is a double canon by him (in organ score) (B.M. Add. MSS. 31,403/21), also a song, 'Hark, jolly shepherds,' and an anthem arranged as a canon of 20 parts in one (see below). There is further a volume of canons, bearing his autograph and the date 1611, in the Royal Library (B.M.), while Q.-L. also mentions a piece by Bevin in Benjamin Cosyn's Virginal Book (c. 1600). The treble and tenor parts of a 3-part 'Browning' by him are in the library at Ch. Ch. (979-83). Bevin's service in D minor (4 and 5 v.) (B.M. Harl. MSS. 7339/5-15b), was printed by Barnard ('Selected Church Music'), and later by Boyce in his 'Cathedral Music.' Besides such compositions as have already been mentioned, the following also exist in MS. : one of two readings
23SERVICES
24First Whole Service (including Venite). Add. MSS. 29,289/57 (Altus part only).
25Whole Service in D (including Venite). Add. MSS. 17,784/135b (Bassus part only).
26Service in A minor (M. unfinished and N.D. lacking). Add. MSS. 29,430/38 (Tenor part only).
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