Books › He Biographical Dictionary Of Musicians, 1939 › scan 47
Scan 47
He Biographical Dictionary Of Musicians, 1939
19 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Barret (bär-rä), A. M. Rose, Paris, 1808—London, 1879; oboist.
2Barrett, (1) J., 1674—London, 1735 (8?); organist. (2) Thos., violin-maker, London, 1710-30. (3) Wm. Alex., Hackney, Middlesex, 1836—London, 1891; editor and writer; co-editor with Sir John Stainer of a "Dict. of Music. Terms."
3Barrientos, Maria, b. Barcelona, March 4, 1885; coloratura soprano; sang with success in Rome at 11 years; took two medals for violin-playing; later heard in Madrid and various Italian theatres as a singer; at Met. Op., N. Y., for several seasons after 1916; also in South America.
4Barrington, Daines, London, 1727—1800; lawyer and musical essayist.
5Barry, Chas. Ainslie, London, June 10, 1830—March 21, 1915, pupil of Cologne Cons. and Leipzig Cons.; editor and organist; composed a symphony, 2 overtures, etc.
6Barsanti (bär-sän'-tē), Fran., Lucca, ca. 1690—1760; flutist, oboist, and composer; 1750, viola-player at London.
7Barsotti, Tommaso G. F., Florence, 1786—Marseilles, 1868; teacher and composer.
8Bartay (bär'-tä-ē), (1) Andreas, Széplak, Hungary, 1798—Mayence, 1856; 1838 dir. Nat. Th., Pesth; composed Hungarian operas, etc. (2) Ede, Oct. 6, 1825—Sept., 1901, son of above; pupil Nat. Mus. Academy, Pesth; founded pension-fund for musicians; composed overture, "Pericles," etc.
9Bartei (bär-tä'-ē), Girolamo, general of Augustinian monks at Rome; publisher and composer (1607-18).
10Barth (bärt), (1) Chr. Samuel, Glaucheau, Saxony, 1735—Copenhagen, 1809; oboist. (2) F. Phil. K. Ant., b. Cassel, ca 1775; son of above; composer. (3) Jos. Jn. Aug., b. Grosslippen, Bohemia, 1781; 1810-30, tenor, Vienna. (4) Gustav, Vienna, 1800—Frankfort, 1897; son of (3); pianist and conductor. (5) K. H., Pillau, Prussia, July 12, 1847—Berlin, Dec. 23, 1923; pianist, pupil of Von Bülow, Bronsart, and Tausig; 1871, teacher at R. Hochschule für Musik, conductor of the Philh. concerts at Hamburg (vice von Bülow). (6) Richard, Grosswanzleben, Saxony, June 5, 1850—Hamburg, 1923; left-handed violin-virtuoso; Univ. Mus. Dir. Marburg, till 1894; then Dir. of Hamburg Philh. Concerts; 1908, dir. Cons. there; sonatas, string quartet, etc.
11Barthe, Grat-Norbert (gra-nôr-běrbârt), Bayonne, 1828—Asnières, Aug. 1898; pupil Paris Cons., 1854: won the Grand Prix de Rome; wrote cantata "Francesca da Rimini"; composed operas "Don Carlos" and "La Fiancée d'Abydos" (1865); oratorio, "Judith," etc. one of two readings
12Barthe, Grat-Norbert (gra-nôr-běr-bârt), Bayonne, 1828—Asnières, Aug. 1898; pupil Paris Cons., 1854: won the Grand Prix de Rome; wrote cantata "Francesca da Rimini"; composed operas "Don Carlos" and "La Fiancée d'Abydos" (1865); oratorio, "Judith," etc. one of two readings
13Barthel (bär'-těl), Jn. Chr., Plauen, Saxony, 1776—Altenburg, 1831; court-organist.
14Barthélemon (bär-tă-lŭ-môn) (in English Bar'tleman), Fran. Hip., Bordeaux, 1741—London, 1808; violinist and composer.
15Barthol'omew, Wm., London, 1793—1867; translator.
16Bart'lett, (1) J., 17th century English composer. (2) Homer Newton, Olive, N. Y., Dec. 28, 1846—Hoboken, N. J., April 3, 1920; pupil of S. B. Mills, Max Braun, Jacobson, etc. From 14 organist New York churches, including [address hidden]. Bapt. Ch.; published a sextet, a cantata "The Last Chieftain," many songs, etc.; opera, "La Vallière," oratorio, "Samuel," etc.
17Bart'muss, Richard, Bitterfeld, Dec. 23, 1859—Dessau, Dec. 25, 1910; organist; pupil of Grell, Haupt, Löschhorn; 1896 royal music director; 1902, professor; c. oratorio "Der Tag des Pfingsten," 4 organ sonatas and much sacred music.
18Bartók, Béla (bä'-lä bär-tök'), b. Nagy Szent Miklos, Hungary, March 25, 1881; composer, pianist, noted for his researches in folk-music and for compositions in original modern idiom; studied with Kersch and Erkel, and at Budapest Acad.; prof. at latter school after 1906; his music employs various ancient scales and harmonies, abandoning traditional diatonic and chromatic system, and treating twelve tones of chromatic scale as separate entities; the influence of archaic folk music was noted in B's. turning, about 1907, to this new style, which then sounded extremely formidable to listeners and roused considerable opposition; for a time he retired from active composition, visiting Biskra to collect Arabian folk music; his first major recognition came in 1917 when the
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