Books › He Biographical Dictionary Of Musicians, 1939 › scan 47
Scan 47
He Biographical Dictionary Of Musicians, 1939
18 lines. Read by computer on 24 September 2026. 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-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.
12Barthel (bär'-těl), Jn. Chr., Plauen, Saxony, 1776—Altenburg, 1831; court-organist.
13Barthélemon (bär-tă-lŭ-môn) (in English Bar'tleman), Fran. Hip., Bordeaux, 1741—London, 1808; violinist and composer.
14Barthol'omew, Wm., London, 1793—1867; translator.
15Bart'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.
16Bart'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.
17Bartók, 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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