Scan 218
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 1, 1911
49 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1ductor of the Birmingham Amateur Orchestral Society.
3The choice of subjects, and the forms in which Mr. Bantock's compositions are cast, are enough to show that he belongs to that class of modern composers who regard abstract music more or less unfavourably, preferring it in its illustrative functions. As is usually the case with these composers, Bantock's chief power lies in the direction of colour rather than of form. His adaptations of oriental and other characteristics mark him as one of the most successful musical colourists of the day; his music is always admirably scored, and always sounds well. So many of his works have been publicly performed without being published, that it is best to include in the catalogue of his compositions a great number of things which are still in MS.
5CHORAL AND VOCAL WORKS WITH ORCHESTRA
6Christus, festival symphony in 10 parts (one, 'The Wilderness,' performed Hereford Festival, 1903), 1901.
7The Fire-Worshippers, dramatic cantata in 6 scenes, 1892.
8Oedemar, opera in one act, 1892.
9The Pearl of Iran, one-act opera, 1896.
10Wulstan, scene for baritone, 1892. MS.
11The Time-Spirit, rhapsody for chorus and orchestra, 1902. MS.
12Thorvenda's Dream, for recitation with orchestra, 1892.
13Songs of the East, 6 song-albums (Arabia, Japan, Egypt, Persia, India, China), 1896-7.
15ORCHESTRAL WORKS
16Tone-poem, No. 1. Th
17Variations, Helena, 18
18Suites, No. 1. Russian Scenes, 1890 (perf. Antwerp, 1900).
19Two Oriental Scenes (all that is to remain of the cycle from The Curse of Akhama).
20No. 1. Processional
21No. 2. Jaga-Naut
22Overture, Eugene Aram, to an unfinished opera, 1896. MS.
24INSTRUMENTAL WORKS
25Quartet in C minor for strings, 1890. MS.
26Serenade in F for four horns, 1903. MS.
27Elegiac Poem for Violoncello and orchestra, 1896.
28Twelve pianoforte pieces, 1893.
29Two pianoforte pieces.
30Aegypt, ballet in 3 acts, 1892. MS.
32VOCAL WORKS
33Rameses II., a five-act drama with incidental music, 1891. (The drama as well as the music by Bantock.)
34Mass in B flat for male voices, 1903. MS.
35Six Song albums. MS.
36Anthem, Psalm 88 (Milton), 1897.
37Cavalier Tunes (Browning) for male choir, 1896.
38Part-songs, and pianoforte pieces.
40BAPTIE, DAVID, born at Edinburgh, Nov. 30, 1822. Author of a useful Handbook of Musical Biography, 1883 (2nd ed. 1887). A similar work, Musicians of All Times, appeared in 1889. He has published many glees, and has many more in MS. He has edited many hymn-books, and compiled a 'descriptive catalogue,' or index, of vocal part music, the MS. of which is now deposited in the reading-room of the British Museum. G.
42BAPTISTE, a violin-player, who flourished at the beginning of the 18th century; his real name was Baptiste Anet; he was a pupil of Corelli, and apparently one of the first to introduce the works and style of his great master at Paris, thereby materially influencing the development of violin-playing in France. When French writers of the period speak of him as an extraordinary phenomenon, and as the first of all violinists, we must remember that at that time instrumental music, and especially the art of violin-playing, was still in its infancy in France. Baptiste did not settle in Paris, in spite of his great success, owing probably to the circumstance of Louis XIV.'s exclusive liking for old French music and for Lully. From Paris he went to Poland, where he spent the rest of his life as conductor of the private band of a nobleman. [Eitner (Quellen-Lexikon) quotes from Jacquot's La Musique en Lorraine a statement that he was in the service of the King of Poland, and accompanied him to Lunéville, dying there about 1755.] He published two sets of sonatas for the violin, 1724 and 1729; two suites de pièces pour deux musettes, op. 2, 1726; and six duos pour deux musettes, op. 3. P. D.
44BAPTISTIN, JEAN, a violoncellist whose real name was Johann Baptist Struck; of German parentage, born at Florence about 1690, He came to Paris, and he and Labbé were the earliest players of the violoncello in the orchestra of the Opéra. He had two pensions from the King, fixing him—the first to France, and the second to Paris. He produced 3 operas and 15 ballets, and published 4 books of cantatas. He died 1755.
46BAR. A vertical line drawn across the stave to divide a musical composition into portions of equal duration, and to indicate the periodical recurrence of the accent. The word bar is also commonly, though incorrectly, applied to the portion contained between any two such vertical lines, such portion being termed a 'measure.' In the ancient 'measured music' (musica mensuralis—that is, music consisting of notes of various and determined length, and so called to distinguish it from the still older musica choralis or plana, in which all the notes were of the same length) there were no bars, the rhythm being shown by the value of the notes. But as this value was not constant, being affected by the order in which the longer or shorter notes followed each other, doubtful cases occasionally arose, for the better understanding of which a sign called punctum divisionis was introduced, written . or √, which had the effect of separating the rhythmic periods without affecting the value of the notes, and thus corresponded precisely to the modern bar, of which it was the earliest precursor. [See also ALTERATIO, and POINT.]
48The employment of the bar dates from the beginning of the 16th century, and its object appears to have been in the first place to facilitate the reading of compositions written in score, by keeping the different parts properly under each other, rather than to mark the rhythmic divisions. One of the earliest instances of the use of the bar is found in Agricola's
The computer misreads some letters and numbers. Where a name matters to you, read the scan.