Scan 343
Grove's Dictionary Of Music And Musicians Vol I A. To E., 1904
34 lines. Read by computer on 11 September 2026. Printed page 325. See the scan on archive.org.
1term for a short three-part composition. The following are the chief collections of Bicinia and Tricinia mentioned by Eitner and other editors:—
3Tricinia . . . Latina, Germanica, Brabantica, et Gallica . . . G. Rhaw. Wittenberg, 1542.
4Bicinia, Gallica, Latina, Germanica . . . Tomus Primus. G. Rhaw. Wittenberg, 1545.
5Secundus Tomus Biciniorum . . . G. Rhaw. Wittenberg, 1545.1
6Diphona Amcena et florida . . . J. Montanus et A. Neuber. Nürnberg, 1549.
7Selectissimorum Triciniorum [Bassus etc.] Discantus . . . J. Montanus et A. Neuber. Nürnberg, 1559.
8Variarum Linguarum Tricinia . . . Tenor2 [Discantus] Tomi Secundi. J. Montanus et A. Neuber. Nürnberg, 1560 (1559?).1
9Bicinia . . . P. Phalesius et J. Bellerus, Antwerp, 1590. (A later edition appeared in 1609.)
10Bicinia Sacra, ex variis autoribus . . . edita etc. C. Gerlach. Nürnberg, 1591.1
11W. B. S.
13BICKHAM, GEORGE (junior). An engraver, principally famous for his two illustrated folio volumes, The Musical Entertainer, which was issued in parts (each containing four plates), covering a period from 1736 to 1739. The plates, two hundred in number, are songs with music, headed and surrounded with pictorial embellishments illustrative of the song. This work was the first of its type published in England, and led the way to many other similar issues. There are two editions of it, his own, and a rather later one bearing the imprint of Charles Corbett.
15F. K.
17BIEREY, GOTLOB BENEDICT, born at Dresden, July 25, 1772, and instructed in music by Weinlig. His opera 'Wladimir' was produced at Vienna in 1807 with much applause. This success procured him the post of capellmeister in Breslau, vacated by C. M. von Weber, and in 1824 the direction of the theatre itself. He retired in 1828, and on May 5, 1840, he died of a chest complaint at his country house near Breslau. Comic opera, or rather the 'Singspiel,' was the sphere in which he mostly distinguished himself. Forty of his operas, great and small, are extant, and of these the following are printed with pianoforte arrangement:—'Das Blumenmädchen' (1802); 'Wladimir' (1807); 'Der Betrogene Betrüger'; 'Die Schweizer Schäferin'; 'Der Zufall,' 'Elias Ripsraps' (Breslau, 1810, much success); 'Die Pantoffeln' (Vienna, 1810); 'Der Zank.'
19F. G.
21BIGOT,3 MARIE (née Kiene), born at Colmar, Alsace, March 3, 1786; in 1804 married Mr. Bigot, librarian to Count Rasoumowsky, and accompanied him to Vienna. Here she made the acquaintance of Haydn, Salieri, and Beethoven. The first time she played to Haydn (then seventy-two or seventy-three) the old man was so delighted as to embrace her, and to say 'My dear child, that music is not mine; it is yours!' and on the book from which she had been playing he wrote 'Feb. 20, 1805: this day has Joseph Haydn been happy.' Beethoven also, after she had played to him a sonata of his own, is reported to have said, 'That is not exactly the reading I should have given; but go on, if it is not quite myself, it is something better.' These anecdotes are given by Fétis, who may be presumed to have heard them from Madame Bigot herself. On May 1, 1805, she played at the opening concert of the Augarten, and the report of the Allg. musik. Zeitung characterises her playing as pleasing and often delicate and refined—a verdict which hardly bears out the expressions attributed to Haydn and Beethoven. A letter of Beethoven's, however, first published by Otto Jahn and reprinted by Thayer (Beethoven, ii. 337), puts his relations to her family beyond doubt; and there is no reason to disbelieve the picturesque anecdote related by Nohl (Beethoven, ii. 246) of her having played the 'Sonata appassionata' at sight from the autograph.
23In 1809 the Bigots went to Paris. Here she became intimate with Baillot, Lamarre, Cherubini, and many other prominent musicians. She played the music of Beethoven and Mozart with the two former both in public and private, and was highly valued by Cramer, Dussek, and Clementi. The war of 1812, however, put a rude stop to this happiness; Bigot was taken prisoner at Milan, lost his post at Count Rasoumowsky's, and his wife was thrown on her own resources. She accordingly began to give lessons, but the exertion interfered with her health. She died at Paris Sept. 16, 1820. Before her death, however, she gave lessons to Felix Mendelssohn during a short visit to Paris in 1816 (his 7th year). He refers to her in a letter of Dec. 20, 1831, and the warmth of his attachment to her family may be seen from another letter of Feb. 24, 1838, to Madame Kiene (Goethe and Mendelssohn, 2nd ed. p. 136), which shows that Mr. Bigot was still alive, and that the relations between Madame Bigot's family and the great French musicians were still maintained. F. G.
25BILHON, JEAN DE, a French composer, contemporary with Josquin des Prés. Some of his masses, founded, as usual at the time, upon the themes of old French chansons, are preserved in the Pontifical Chapel, where (according to Fétis) he was a singer. This is denied by Haberl. Other compositions of his are to be found in various collections of church music published between the years 1534 and 1544 at Paris and Leyden.
27J. R. S. B.
29BILLINGTON, MRS. ELIZABETH, was the daughter of Carl Weichsel, a native of Freiberg in Saxony, and principal oboist at the King's Theatre. Her mother was for several years a favourite singer at Vauxhall Gardens and elsewhere. The date of Mrs. Billington's birth is variously stated, but it was most probably 1768. She and her brother Carl were from the earliest possible moment trained to music, and on March 10, 1774, performed on the pianoforte and violin at their mother's benefit concert at the Haymarket Theatre. Such was Miss Weichsel's progress that before she had completed her eleventh year two sets of pianoforte sonatas
311 A copy is in the British Museum.
322 The bass has a different title.
333 According to the Allg. musik. Zeitung, Bigot de Morognes.
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