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Scan 438
Grove's Dictionary of music and musicians, 1927
30 lines. Read by computer on 5 September 2026. Printed page 378. See the scan on archive.org.
1Tartini recommended Wiseman, his English friend, to Bini in the following words, which speak as highly for master as for scholar:
3'Io lo mando a un mio scolare che suona più di me, e me ne glorio per essere un angelo di costume e religioso'—'I recommend him to a scholar who plays better than myself, and I am proud of it, as he is an angel in religion and morals.'
5He was leader of the court band at Stuttgart in 1754; a violin sonata by him is in the State Library of Berlin, and a concerto in the collection of the Gesellschaft der Musikfreunde at Vienna.
7E. H. D., with addns.
9BINIOU, see BAGPIPE.
11BIONI, ANTONIO (b. Venice, c. 1698), dramatic composer, pupil of Giovanni Porta, produced his first opera, 'Climène,' in 1721, his next, 'Udine,' 1722, and during the next nine years 24 more, of which 'Endimione' (1727) had the highest reputation. In 1726 he was conductor, and in 1730 director, of the Italian theatre at Breslau, in 1731 the Elector of Mayence appointed him his chamber-composer, and in 1733 he probably returned to Italy. He conducted the performance of his 'Girita' at Vienna in 1738 and signed a dedication of a serenata for 5 v. from Vienna in 1739. A Mass for 4 v. is at Dresden, an opera, 'Issipile,' and the serenata above mentioned at Vienna, and smaller works at Schwerin and Berlin (Q.-L.).
13M. C. C.
15BIRCH, (1) CHARLOTTE ANN (b. circa 1815; d. London, Jan. 26, 1901), a soprano singer, was musically educated at the R.A.M. from 1831–34, and by Sir George Smart.
17She appeared in public about 1834, and in 1836 was engaged by the Sacred Harmonic Society, and soon took a good position as a concert singer. In 1838 she made her first appearance at the Three Choirs Festival at Gloucester, and sang subsequently at Hereford in 1840 and 1846, at Gloucester in 1841, and at Worcester in 1842, and was engaged at the Birmingham Festival of 1840. In 1844 she visited Germany, and sang at Leipzig and other places. On Dec. 20, 1847, she appeared on the English stage at Drury Lane in Balfe's 'Maid of Honour,' but did not succeed in establishing herself as an operatic singer. About 1856 increasing deafness compelled her to abandon the public exercise of her profession. Her younger sister, (2) ELIZA ANN (b. circa 1830; d. Mar. 26, 1857), also a soprano singer and pupil of Sir George Smart, first appeared about 1844.
19W. H. H.
21BIRCHALL, ROBERT (d. 1819), music-publisher, etc., said to have been apprenticed to Randall, the successor of Walsh, established a musical circulating library about 1784, prior to which, in 1783, he had been associated in business with Beardmore and also with Andrews, successively at 129, 133 and 140 New Bond Street, being alone in the business at the latter addresses.
23He managed the celebrated series of Ancient Concerts and most of the Benefit Concerts of those days. One of Birchall's earliest schemes was for a complete re-issue of Handel's works in 80 folio volumes (see proposals for printing these, dated 1783, and Burney's account of the Handel Commemoration, 1785). Birchall published many of Beethoven's works, including the original English editions of 'The Battle Symphony,' dedicated to the Prince Regent, in 1816, the sonata op. 96, the trio op. 97, an adaptation for the pianoforte of symphony No. 7—the copyrights of which he purchased from the composer. Beethoven's letters arranging for these, in queer English, and still queerer French, will be found in Nohl's two collections, Briefe and Neue Briefe. He amassed a large fortune and was succeeded by the firm named Birchall, Lonsdale & Mills. Christopher Lonsdale set up a separate business shortly before 1838 at 26 New Bond Street; Richard Mills, a nephew of Birchall, remained at the old address, the house which is now occupied by W. E. Hill & Sons, the eminent violin dealers and experts. Samuel Chappell, the founder of the well-known firm at 50 New Bond Street, was originally at Birchall's. The catalogue of the house contains the celebrated collections formed by Latrobe, Mozart's operas, and an immense collection of standard works by the greatest composers and performers of the day.
25R. E. L. and F. K.
27BIRD, HENRY RICHARD (b. Walthamstow, Nov. 14, 1842; d. Kensington, Nov. 21, 1915), organist and pianist, was the 3rd son of George Bird, organist of Walthamstow Parish Church.
29He was appointed in Feb. 1851, when little more than 8 years old, organist of St. John's Church, Walthamstow, where the incumbent was an ardent musical amateur, and arranged for Henry Bird to study with Turle of Westminster. This eminent organist stopped Bird's organ practice, and turned his attention to piano, harmony and reading vocal and orchestral scores. In 1859 Bird came to London, and occupied successively the posts of organist at St. Mark's, Pentonville, Holy Trinity, Chelsea, and St. Gabriel's, Pimlico. While in Chelsea he conducted a large choral and orchestral society at the Town Hall, accompanied at several good private societies, and for many years accompanied at the Civil Service Musical Society, when it was conducted by Sullivan and John Foster. In 1872 Bird was appointed organist of St. Mary Abbotts, Kensington, a post he filled with much distinction until his death. In 1896 he joined the teaching staff of the R.C.M. He gave many classical concerts in Kensington, at one of which Plunket Greene made his first appearance; this led to Bird's engagement as regular accompanist for Plunket Greene, and eventually procured him the appointment of permanent accompanist at the
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