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Scan 434
Grove's Dictionary of music and musicians, 1927
35 lines. Read by computer on 5 September 2026. Printed page 374. See the scan on archive.org.
1work on the theory of music, portions of which are printed in the Q. Mus. Rev. (ii. 22).
3M. C. C., with addns.
5BIANCHI (BIANCO, BLANCHIS), Pietro Antonio (b. Venice, late 16th cent.), priest; Kapellmeister and almoner of Archduke Ferdinand of Austria, 1597; canon of St. Salvator, Venice, 1609; composer of 'Canzoni napoletani' a 3 v. (1572); 1 book of madrigals (1582); 'Sacri concentus' a 8 v. (1609); 'Partimenti di bassi per l' organo dei voi motetti' a 8 v.; and several other vocal MS. compositions in various libraries. (See Q.-L.)
7BIANCIARDA, FRANCESCO (b. Casola, Siena, c. 1572; d. there, c. 1607), born at the castle of Siena. He was maestro di cappella at the cathedral of Siena, an excellent organist and composer, and one of the early introducers of the figured bass. In the dedication of his first book of motets he says that he was of humble birth. Eitner enumerates, as known to him, a book of masses in 4 and 8 parts, and 4 books of motets of which 2 were posthumous works, as well as his Short Rules to play from a (Figured) Bass on any kind of Instrument, which was published by Zucchi on Sept. 21, 1607, after his death. Banchieri says that Viadana, Bianciarda and Agazzari were the sweetest composers of his time. Fétis mentions a much greater number of works, but does not say whether they are still in existence.
9E. v. d. s.
11BIBER, HEINRICH JOHANN FRANZ VON (b. Wartenburg, Bohemia, Aug. 12, 1644; d. Salzburg, May 3, 1704), a celebrated German violin-player and composer, who occupied the double post of high steward and conductor of music at the court of the Prince-Archbishop of Salzburg. His reputation as a performer and composer was very great, and the Emperor Leopold was so delighted with him that he not only presented him with a gold chain and a considerable sum of money, but also ennobled him by the prefix 'von' in 1681. We, who have to form our estimate of Biber's merits and of his place in the history of VIOLIN-PLAYING (q.v.) from those of his compositions which have come down to us, may well contend that his is the first German violin music of any artistic worth at all. At that period the art of violin-playing and the style of composing for the instrument in Germany were entirely under the influence of Italy. Unfortunately the earliest German violinists appear to be more connected with Farina and his school than with Vitali, Torelli and Veracini. Thus we find that the works of J. J. WALTHER (q.v.), a contemporary of Biber, who enjoyed a great reputation in Germany, chiefly consist, like those of Farina, of unconnected phrases, equally void of musical ideas and form, apparently invented to show off the performer's skill in execution, and often only devoted to crude and childish imitation of natural sounds. Although Biber cannot be pronounced free from the faults of his German contemporaries—since his forms are often vague and his ideas somewhat aphoristic—still his sonatas contain some pieces which not only exhibit a well-defined form, but also contain fine and deeply felt ideas, and a style which, though nearly related to that of the best Italians of his time, has something characteristically German in its grave and pathetic severity. That Biber's powers of execution were very considerable we must conclude from his mode of writing for the violin, which presupposes great proficiency in the playing of double stops as well as dexterity in bowing. It is also worth notice that he appears to have been the first occasionally to modify the usual way of tuning the instrument (see SCORDATURA).
13The following compositions of his have been published:
15(1) 'Sonatae tam aris quam aulis servientes,' Salzburg, 1676. (2) Six sonatas for violin with figured bass; Salzburg, 1681. (The sixth of these was edited by F. David in his 'Hohe Schule des Violin-spiels.') (3) 'Fidicinium sacro-profanum,' a set of twelve sonatas in four and five parts; Nürnberg, no date. (4) 'Harmonia artificiosa-ariosa,' a collection of seven partitas or suites for three instruments; Nürnberg, no date. (5) 'Vesperae longiores ac breviores' for 4 voices, 3 violins, 2 violas and 3 trombones ad libitum; Salzburg, 1693. (6) 'Trattenimento musicale,' Salzburg, 1699.
17There is also a dramma musicale, 'Chi la dura la vince,' of his in MS., and much church music at Salzburg. An engraved portrait of him at the age of 36 is extant.
19BIBL, (1) ANDREAS (b. Vienna, Apr. 8, 1797; d. 1878), from 1818 organist at S. Stephen's.
20He came to the cathedral in Albrechtsberger's time as a singing boy, and learned organ-playing and composition from Josef Preindl. His style of playing was noble, and his compositions are clear and thoroughly church-like in character. He published preludes and fugues for the organ (Diabelli and Haslinger).
21His son, (2) RUDOLPH (b. Jan. 6, 1832; d. Aug. 2, 1902), studied under Sechter, and became organist at the cathedral 1859, at the Imperial Chapel 1863, and Hofkapellmeister in 1897. His playing was that of a sound musician, and his compositions include:
23Preludes and Fugues for organ.
24Organ Sonata, op. 74.
25Concerto for organ and orch., op. 68.
26Organ 'School,' op. 81.
27Two Requiems and other church pieces.
28Vln. sonata, PF. pieces, etc. (Riemann.)
30BICINIUM (Lat. bis and canere), described by Walther as 'a two-part song,' is an obsolete name formerly used in Germany for any short 2-part composition. In the preface to Rhau's Secundus tomus biciniorum (1545) he uses as an equivalent the Greek δίφωνα:
32'Nec video quomodo Tyrones canendo melius exerceri possint, quam si hae δίφωνα illis proponantur. Sunt praeterea ad omnia instrumenta valde accommoda.'
34The title-page of Lindner's Bicinia sacra (1591) is in both Latin and German, the latter translating 'Bicinia' by 'Zweystimmige Gesänglein,' though the above extract from Rhau's preface
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