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Scan 152
Grove's Dictionary of music and musicians, 1927
32 lines. Read by computer on 11 September 2026. Printed page 138. See the scan on archive.org.
1three Gregorian Masses (Coppenroth, Herder and Breitkopf respectively).
2'O World, Full of Sunny Delight,' op. 20, for chorus, soli and orchestra (Breitkopf).
3'Wittekind,' op. 28, ballad for men's chorus, soli and orchestra (Breitkopf).
4'In the Summer Night,' op. 39, for chorus, baritone and orchestra (Breitkopf).
5'Faring Minstrels,' op. 43, for men's chorus (Siegel) — also in German version.
6'Song of the Spinning-Wheel,' op. 48, for women's chorus and piano (Hug).
7'Morn on the Northern Coast,' op. 50, for chorus, baritone and orchestra (Breitkopf).
8'Brittany,' op. 60, for chorus, baritone and orchestra (Breitkopf).
9'Springtime,' op. 73, for soprano and alto with orchestra (Breitkopf).
10Masses: Cordis Jesu, op. 6, three arrangements (Capra, J. Fischer).
11St. Canisius, op. 26 (Boessnecker).
12Marie Virginis, op. 49 (Schwann).
13St. Caecilia, op. 63 (Breitkopf).
14'Te Christe Supplices,' op. 83 (Capra).
15St. Ignatius, op. 84 (Coppenroth).
16Gregoriana, op. 88 (Feuchtinger).
17Immaculate Conception, op. 114 (in 'Caecilia,' 1915).
18Gregorian (eight), including Requiem (Breitkopf, Coppenroth).
19Psalm 103, op. 68, for chorus, soprano and orchestra, German and English text (Breitkopf).
20Many other works for the Catholic service, including Vespers, Litanies, Offertories, Hymns, etc.
21Many songs, sacred and secular.
23He has been a frequent contributor to musical journals in Europe and America, especially upon liturgical music. [R.7]
24BOOTT, FRANCIS (1813–1904). See Register, 6.
26† BORDES, CHARLES (May 12, 1863, Vouvray-sur-Loire, France : Nov. 8, 1909, near Toulon). See article in Vol. i. 362. In 1905 he was compelled by a nervous breakdown to leave the Schola Cantorum, but in the same year founded the Schola de Montpellier. His opera 'Les Trois Vagues' was not quite complete at his death. For orchestra he composed the overture 'Errege Juan' and 'Danses Béarnaises,' for piano and orchestra a 'Rhapsodie Basque,' for trumpet and orchestra, a 'Divertissement,' for flute and string-quartet, and a 'Suite Basque.' To these should be added pieces for piano and organ and choruses. He collaborated with Saint-Saëns on the new French edition of Rameau's works. See article in Musiciens Français d'Aujourd'hui, 2nd ed., 1911.
27BORI, LUCREZIA (b. 1888). See Register, 10.
29BORNSCHEIN, FRANZ CARL (Feb. 10, 1879, Baltimore), had his first musical instruction from his father, Theodore W. Bornschein, and then entered the Peabody Conservatory in 1896 as violin-student under Van Husteyn and of theory and composition under Hamerik, Kahmer and Boise. He gained a prize for his String-Quartet in D in 1900 and received his diploma in 1902, giving a program of original works which included the prize string-quartet, groups of songs and a concerto in G minor for violin, played by himself. In 1905 he became violin-instructor and conductor of student-orchestras at the Conservatory. In 1906 his setting of Cunningham's 'A Wet Sheet and a Flowing Sea' was awarded the prize offered by Kimball through the Chicago Madrigal Club. In 1912, in the competition of the Mendelssohn Club of Cleveland, he won part of the divided first prize for a setting of Hugo's 'The Djinns' for orchestra, mixed chorus and baritone solo. In 1915 his cantata 'Onowa,' for mixed voices, soprano and orchestra, was awarded the first prize ($500) by the Tri-City Music Festival Association of New Jersey. His published works include a violin-concerto, groups of violin-compositions, choruses, cantatas with orchestra, piano-pieces and songs. His material in manuscript includes orchestral works in large forms, like the symphonic suite 'The Phantom Canoe,' the symphonic ballad 'Louisiana,' the symphonic poems 'The Rime of the Ancient Mariner' and 'A Hero's Espousal.' Other works are a Sextet for flute and strings, a Quintet in B minor for piano and strings, pieces for violin, songs and numerous choral works. He was music-critic on the Baltimore 'Evening Sun' for several years. In 1913 he became correspondent for 'Musical America.' He has contributed to leading periodicals, made editorial revisions and enlargements of standard violin-works, and supplied pedagogical material for his instrument in the Ditson Edition. In 1915 he became director of the orchestras at the Baltimore Music School Settlement and in 1916 organized a choral society at Smithsburg, Md. In 1918 he took charge of the Women's Chorus of the Myrtle Club in Baltimore, and was also appointed choir-director at the First Unitarian Church. [R.9]
31BOROWSKI, FELIX (Mar. 10, 1872, Burton, England), came of distinguished Polish stock. His father gave him his early instruction on the piano and the violin. His mother was English, a pupil of Sterndale Bennett. She too had a large part in his training. During his school-days at London and at Tunbridge Wells he studied the violin with Jacques Rosenthal, a pupil of Léonard. He gained much from the constant practice of chamber-music at home. In 1887 he went to the Cologne Conservatory, taking violin with Japha, piano with Ernst Heuser and composition with Gustav Jensen. In London from 1889 he had violin-lessons from Pollitzer and counterpoint with Pearce. In 1892 he became violin-teacher at a school in Aberdeen, but the school soon failed and he returned to
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