George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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est success, and is
to this day known as
the ' Besson Model.'
It was recognised at
the time as a de-
cided improvement
on all previous in-
struments of the
same kind. In 184 1
he invented an en-
tirely new system of rotary action, with six
valves, the right hand being applied to the top
valves, the left to those at the bottom. But he
was not satisfied with this advance, as, owing



1st and 3rd valves.



to its internal proportions, it did not allow of
a full bore when the valves were down. In 1854
he elaborated an improved system of full bore,
by means of which the notes of the first and
third valves separately, and those of the first
and third together were perfectly in tune — a
result which had never before been obtained.
The year following he was successful in turning
out an instrument with a full bore, the valve and
open notes being in all respects perfect.

In 1858 were manufactured a series of instru-
ments known to the profession as the 'Besson
Girardin,' the feature of which was that the
player was enabled to change from one key to
another, without changing mouthpiece, slide, or

In the same year he introduced the circular
Bystem. By this method of manufacture the
tubing was coiled in a circle round the pistons,
the result being that, by doing away with all
angles, the instruments obtained a greater
volume of tone. This system was found to be
remarkably effective with trombones and French
horns. His invention of 1859 consisted of
instruments having eight independent positions,
and giving the entire scale, a note to each valve.
But the greatest of all Mr. Besson's inven-
tions, which has won for him upwards of thirty
awards from different nations, and with which
his name will always be associated, is what
is known as the 'Prototype System,' and repre-
sents in a condensed form the sum of all the
experience he had previously acquired. This
system consists in having conical steel mandrils
of exact mathematical proportions representing
the different parts of the instrument. By this
means an unbroken column of air is assured,
and the player is enabled to obtain the utmost
volume of tone, so that by the inert mechanism
of the valves perfect tune is secured throughout
the whole register. There is this further ad-
vantage in the Prototype System ; it dispenses
with anything like guesswork in the manu-
facture of musical instruments, and by its aid
any number of instruments exactly alike in every
respect and in perfect tune can be turned out.
These important inventions, together with others
of minor importance, j'et in their way useful
and deservedly appreciated by acousticians, have
placed Besson in the foremost rank of musical
instrument makers. [J.Sd.l

BETZ, Fkanz, born 19 March, 1835, at
Mayence, was educated at the Polytechnic,
Carlsruhe, made his d^but on the stage in '56 at
Hanover, afterwards sang in smaller towns, and
in May '59 play( d at Berlin as Don Carlos in
•Ernani,' with such success that he was promptly
engaged, and has been a member of that company
ever since. Among his best parts are Don Juan,
Orestes, William Tell, I.ysiart, HansHeiling, and
the baritone parts of Wagner. At the produc-
tion of ' Die Meistersinger ' at Munich, June 21,
'68, he sang the part of Hans Sachs, and in
1876 he sang the part of Wotan at Bayreuth.
He has also, on leave of absence, played at
Vienna and other cities of Germany and Austria.


In 1882 he visited England, and sang with great
success at the Crystal Palace, May 6 and 27, and
at the Richter concert of May 8. [A.C.]

BEVINGTON & SONS are organ-builders
m London. Henry Bevington, the founder of
the house about the beginning of this century,
had been an apprentice to Ohrmann & Nutt,
who were the successors of Snetzler. The busi-
ness^ is now carried on by Henry and Martin
Bevington, sons of the founder, in Eose Street,
Soho, in the same premises as were occupied by
Ohrmann. The organ of St. ]\Iartin's in the
Fields and of the Foundling Hospital in London,
and that of St. Patrick's Cathedral, Dublin,
were built by this firm. [V. de P.]

BEXFIELD. Last three words of article,
for the latter posthumously read besides his
oratorio. (The anthems were published before his
death. Corrected in later editions.) [W.H.H.]

BICINIUM (Lat. hi& and canere), described
by Walther as ' a two-part song,' is an obsolete
name formerly used in Germany for any short
two-part composition. In the preface to Rhau's
'Secundus Tomus Biciniorum' (1545), he uses
as an equivalent the Greek U<pwva : ' Nee video
quomodo Tyrones canendo melius exerceri pos-
sint, quam si haec Si<puva iUis proponantur.
Sunt praeterea ad omnia instrumenta valde
accomoda.' The title-page of Lindner's ' Bicinia
Sacra ' (1591) is in both Latin and German, the
latter translating 'Bicinia' by 'Zweystimmige
Gesiinglein,' though the above extract from
Bhau's preface proves sufficiently that the term
was not confined to vocal music only. ' Trici-
nium,' which is more rarely found, is an obsolete
term for a short three-part composition. Tha
following ^ are the chief collections of Bicinisr
and Tricinia mentioned by Eitner and other
editors : —

Tricinia . . . Latina, Germanica, Brabantica, et Gallica
, . . G. Ehaw. W'ittemberg : 1M2.

Bicinia, Gallica, Latlna, Germanica. . . Tomus Primua.
G. Khaw. Wittemberg: 1.54.5.

Secundus Tomus Biciniorum . . . G. Ehaw. Wittem-
berg : 1.545.1

Diphona Amoena et florida ... J. Montanus et A,
Neuber. NUmberg : 1.549.

Selectissiraorum Triciniorum FBassns etc.] DiscantuB
... J. Montanus et A. Neuber : NUmberg 1.559.

VariarumLinguarum Tricinia. . .Tenor2 [Discantus]
Torai Secnndi. J. Montanus et A. Neuber. NUmbera:
1560(1.5.59?).! «*•

Bicinia ... P. Phalesius et J. Bellerus : Antwerp,
1590. (A later edition appeared in 1(X)9.)

Bicinia Sacra, ex variis autoribus . . . edita etc.
C. Gerlach. : Ntirnberg, 1591.1 r-^ B S 1

BILLET, Alexandre. See vol. ii. 732 a.

BILLINGTON, Mrs. Elizabeth. Line 3 of
article, for clarinet read oboist. Line 17, /or at
sixteen read on Oct. 13, 17S3. Line 30, before
Mrs. insert With the exception of a visit to
Paris at the end of her first season, where she
went to study with Sacchini. Line 3 from bottom,
for 1798 read 1799. Second colimm of page,
1. 10, for 1809 read 1811. Line 22, for 28 read
25. (Diet, of Nat. Biog.)

> A copy is In the British Uiueum.
s The bass has a diSereQt title.



BILLINGTON, Thomas. Line 2 of article,
mit ' probably.' Add that he died at Tunis in

BIRCH, Chablotte Ann, soprano singer,
cm about 181 5, was musically educated at the
toyal Academy of Music and by Sir George
mart. She appeared in public about 1834,
Dnfining herself at first to minor concerts. In
836 she was engaged by the Sacred Harmonic
ociety and soon took a good position as a concert
inger. In 1838 she made her fiirst appearance
t the Three Choirs Festivals at Gloucester, and
ling subsequently at Hereford in 1840 and 1846,
tGloucester in 1841, and at Worcester in 1842,
nd was engaged at the Birmingham Festival of
840. In 1844 she visited Germany and sang
t Leipzig and other places. She returned to
iJngland in 1845, but quitted it again at the end
f the season for Italy, where she essayed operatic
inging. She reappeared in England early in
846. On Dec. 20, 1847, she appeared on the
Snglish stage at Drury Lane in Balfe's ' Maid
f Honour,' but did not succeed in establishing
.erself as an operatic singer. About 1856 in-
reasing deafness compelled her to abandon the
inblic exercise of her profession. Miss Birch
ossessed a beautiful soprano voice, rich, clear,
nd mellow, and was a good musician, but her
xtremely cold and inanimate manner and want
f dramatic feeling greatly marred the eflPect of
ler singing. Her younger sister, Eliza Ann,
lom about 1830, also a soprano singer and pupil
if Sir Georcre Smart, first appeared about 1 844,
nd died March 26, 1857. [W.H.H.]

he festival of 1882 was the last conducted by
»ir Michael Costa. It was distinguished by the
irst performance of Gounod's ' Redemption.' In
:885 Herr Richter was appointed conductor, and
naugurated his direction by producing the 'Mes-
iah ' as far as possible in the manner intended
)y Handel, i.e. without the additional accom-
)animent and the alterations introduced for
iffect. Gounod's ' Mors et Vita,' Stanford's
Three Holy Children,' Dvorak's 'Spectre's
Jride,' and Cowen's ' Sleeping Beauty,' were
mong the new works commissioned for the
estival. [M.]

BISHOP, Ann, better known as Mme. Anna
iishop, was the daughter of a singing master
lamed Rivifere, and was born in London in

14. She studied the pianoforte under Mo-
icheles, and in 1824 became a student at the
Royal Academy of Music. Here she remained
mtil her marriage with SiK Hensy Bishop in
[831. In this year she appeared as a singer at
;he Philharmonic and other concerts. [See vol. i.
57 J.] In 1839 she went on a tour in the pro-
nnces with Bochsa the harpist, and shortly after
Jieir return to London eloped with him to the
jontinent. Almost all the remainder of her life
WHS spent in travelling. Before her return to
England in 1846 she had been singing for more
than two years at the San Carlo in Naples. In
1847 she went to America, and remained there



for some years. In 1855, while on a tour in
Australia, Bochsa died, and Mme. Bishop re-
turned by way of South America to New York,
where she married a certain Schulz. Shortly
afterwards she visited England, singing at the
Crystal Palace in '58, and giving a farewell
concert on Aug. 17, '59. Another considerable
period was now passed in various parts of
America. In 1865 she sailed from California
for the Sandwich Islands, and in the following
year suff"ered considerable loss in a wreck be-
tween Honolulu and China. India and Australia
were next visited, and after a final visit to Lon-
don she settled down in New York, where she
died of apoplexy in March 1884. Her voice was
a high soprano of brilliant but unsympathetic
quality. (Diet, of Nat. Biog.) [M.]

BISHOP & SON, organ-builders in London.
This factory was established about the end of
the 1 8th century by James C. Bishop, and was
known successively as Bishop, Son & Starr,
Bishop, Starr & Richardson, Bishop & Starr, and
now Bishop & Son. At different times they
have built the organs of St. George's (Catholic)
Cathedral, Southwark ; St. James's Piccadilly,
and the Oratory, Brompton, all in London;
also those of the Cathedral and of the Town
Hall, Bombay. They are the inventors of the
Claribella stop, the Anti-concussion Valves, and
the Composition Pedals. [See vol. ii. pp. 598,
599.] [V. de P.]

BISHOP, John, bom in 1665, and educated
(according to Hawkins) under Daniel Rosein-
grave. Between Michaelmas and Christmas,
1687, he was a lay clerk of King's College, Cam-
bridge, and in the following year was appointed
to teach the choristers. In 1695 he succeeded
Jeremiah Clark as organist of Winchester Col-
lege ; he was afterwards appointed a lay- vicar
of the Cathedral in place of T. Corfe, and in
1729 succeeded Vaughan Richardson as Cathe-
dral organist. (Hawkins is wrong in calling him
organist of Salisbury Cathedral.) He died Dec.
19, 1737, and was buried in the west side of the
cloisters. MSS. by him are contained in the
collections of the British Museum, Royal College
of Music, and Christ Church, Oxford. Philip
Hayes's ' Harmonia Wiccamica ' includes some
of his compositions. (Diet, of Nat. Biog.) [M.]

BISHOP, SiK Henrt Rowley. Vol. i. p.
245 b, 1. 22 from bottom, /or 1833 read 1832, as
the cantata was commissioned in that year and
performed in 1833 ; for 1. 8 from bottom read
on the death of Dr. Crotch in 1847 he was
appointed, in 1848. Add that he was twice
married — first to a Miss Lyon, a singer who ap-
peared in his ' Circassian Bride,' and, second, to
Ann Rivifere. [See Bishop, A nn, in Appendix.]

In the list of his productions the following cor-
rections are to be made : — The date of ' Caracta-
cus' is 1808. Add that ' Haroun Alraschid ' is
an alteration of ' The Aethiop.' ' Sadak and
Kalastrade' is the correct title of one of the
works of 1814. For 'Heir of Verona' read
' Heir of Vironi.' The date of ' Edward the



1S21 ; The Vision of the Sun, and
The Vespers of ralermo, 1823 ; As
Tou Like It. is'ii ; Faustus, 1S25,
Don Pedro. 1S2S ; The Night be-
fore the Wedding, 1829 ; Ninetta,
and Hamlet 1830 ; Kenilworth,
Waverley, The Demon (Kobert le
Diable) and The Election (scored
only), 1832 ; The Captain and the
Colonel, 163.5 ; Love's Labour's
Lost, and additions to The Beg-
gar's Opera, 1839.

Black Prince' is 1828 ; that of 'The English-
man {sic) in India,' 1827 ; ' Home, sweet home,'
1829; ' The Komance of a Day,' 1831 ; ' Yelva,'
1829; 'The Eencontre,' 1828 ; ' Rural Felicity,'
1839; 'Manfred,' 1834; ^^^ 'The Fortunate
Isles,' 1840. The following supplementary list
completes the number of his productions for the
stage. (Diet, of Nat. Biog.)

Armlde et Eenaud, 1806 ; The
■Wife of Two Husbands, and The
Siege of S. Quentin, 1808 ; The
Lord of the Manor, 1812 ; Poor
Vulcan, 1813 ; Lionel and Clarissa.
Aurora, and a cantata entitled
' Hanover,' 1814 : Exit by Mistake.
The Slave, and Eoyal Nuptials.
1816 : The Apostate, and Teasing
made Easy, 1817 ; Fazio, The Bur-
gomaster of Saardam, and The

Devil's Bridie (additions), 1818 : gars upera, i»aa. fM" "1

Montoni, 1820; Henry IV, part 2, L-"-'-J

BITTER, Karl Hermann, was bom Feb. 27,
1813, atSchwedton the Oder, and died Sept. 12,
1885, at Berlin. Having studied law and
finance at the universities of Berlin and Bonn,
he entered upon his legal career in the former
ciby in 1833. After holding various high offi-
cial positions from 1846 onwards, at Frankfort,
Minden, Posen, Schleswig, and Diisseklorf, he
was appointed, in 1S77, Under Secretary of
State for the Interior ; and in July, 1879, was
made Minister of Finance, which post he held
until June 1882. During the war with France
he had been Prefect of the department of the
Vosges, and subsequently Civil Commissioner at
Nancy. His activity in affairs of state found
ample recognition. His lively interest in music
had many practical results — among other things
the Schleswig-Holstein Festival of 1875 owed
its existence chiefly to him; and his contribu-
tions to musical literature are of no small im-
portance. The most valuable of these are the
biographies of the Bachs — (i) 'Johann Sebas-
tian Bach,' in 2 vols. (1865) — 2nd ed., revised,
in 4 vols (1881) ; (2) 'Carl Philipp Emanuel
Bach and Wilhelm Fiiedemann Bach und deren
Briider,' in 2 vols. (1868). The latter is the
most exhaustive and trustworthy work yet pub-
lished on the subject of Bach's sons ; the former
has been superseded by Spitta's great ' Life of
Bach,' with which it cannot compare for
thoroughness or penetration. Although it is by
no means free from errors and superficiality, it
obtained a wide success soon after its appear-
ance, on account of the enthusiastic homage
displayed in the presentment of its subject. It
was especially successful among those who
knew little or nothing about Bach, and it con-
tributed in no small degree to the general appre-
ciation of the master. Bitter's other literary
works are : ' Mozart's Don Juan und Gluck's
Iphigenia in Tauris,' with new translations of
the words of both operas (1866) ; ' Ueber Ger-
vinus' Handel und Shakespeare ' (1870) ; ' Bei-
trage zur Geschichte des Oratoriums' (1872);
'Eine Studie zum Stabat Mater ' (18S3) ; 'Die
Reform der Oper durch Gluck und E. Wagner's
Kunstwerk der Zukunft' (18S4). To these
must be added various contributions to periodi-


cal literature, the most recent of which (in tb
' Deutsche Revue ' for October, 1885), 'Ge(iankei
■iiber die Bildungeines Mini.steriums der schonei
Kiinste fiir Preussen' is remarkable. In 1S7
Bitter edited Lowe's autobiography. [A.D.

BIZET, Georges. Add that his prope
names were Alexandre C(?sar Leopold. Line 5 o
article, ybr afterwards married retJi^ married ii
1869 ; 1, II, for Sept. 30 read Sept 29, and adi
that ' Les Pecheurs de perles ' was given in Italia)
as'Leila'atCoventGardenonApr.22,1887; ]. 14
for Sept. 30 read Oct. i. Add that he took part
with Jonas, Legouix, and Delibes, in the com
position of the operetta * Malbrough s'en-va-t-ei
guerre,' produced at the Athent^e, Dec. 13, 1867
Of his three symphonies, one, entitled ' Souvenir
de Rome ' was played under Pasdeloup's direc
tion, Feb. 28, 1869, and at the Crystal Palace]
Oct. 23, 1880. He finished Halevy's biblica
opera ' Noti.' [M.

BLAGROVE, H. G. P. 247 a, 1. i, for iii
October read Oct. 20; 1. 17, for 1833 rear

BLAKE, Rev. Wilitam [vol. i. p. 247 «].
For William read Edward. For date of deatl
read June 11, 1765. (Corrected in lati
editions). Add that he was born at Salisbury
was educated at Balliol College, Oxford, takini
the degrees of B.A. 1733; M.A. 1737; B.D
17^4; and D.D. 1755. He was elected Fellow
of Oriel in 1736, became curate of St. Thomas s
Salisbury, 1740, Vicar of St. Mary's, Oxford, ir
1754, Prebendary of Salisbury and Rector o
Tortworth, Gloucestershire, 1757. [HP.'

BLAND, Maria Theresa, born of Italiar
Jewish parents named Romanzini in 1769, made
her first appearance in public in 1 773 at Hughes's
Riding School, and at a more advanced ag(
appeared as a singer on the opening of the
Royal Circus (afterwards Surrey Theatre), Nov
7, 1782, in a pantomime called ' Mandarina, or
The Refusal of Harlequin.' She was ver\
favourably received, and was next engagec
at the Dublin Theatre, where she became ar
established favourite. On Oct. 24, 1786, she
appeared at Drury Lane as Antonio in General
Burgoyne's version of Gr^try's ' Richard,' with
complete success. She remained attached to
the Drury Lane company for nearly forty
years. In the summer of 1789 she visited Liver-
pool, where she performed both at the theatre
and at concerts. On Oct. 21, 1790, she was
married to Bland, the brother of Mrs. Jor-
dan, the celebrated actress. She sang at the
Haymarket in 1791 in Arnold's 'Inkle and
Yarico.' She for many years sang at Vauxhall,
where her popularity was unbounded. In 18 12
she received a salary of £250 for the summer
season ; a considerable sum at that period. She
excelled as a ballad singer, for which the beauty
of her voice, simplicity of manner, and neatness
of execution eminently qualified her. Having
begun to show symptoms of mental weakness,
she retired from public life in 1824, taking a




aefit at Driiry Lane, July 5, when a list of
nations was printed in the play-bill. She was
;acked by apoplexy at the house of a friend,
d died Jan 15, 1838. Mrs. Bland had two
18, both singers. Chaeles, a tenor, appeared
I Covent Garden as Oberon in Weber's opera of
it name, on its production, April 12, 1S26.
I s success however was but moderate and he
i;S not engaged after that season. He subse-
I ently appeared in the provinces, and in 1831
i,s singing at the Manchester Theatre. He
' jn returned to London, and in 1 831-2 appeared
I the Olympic, and in 1833 ^^'^ 1S34 at Astley's.
I ) traces of his subsequent career have been
i jnd. His brother James, a bass, born 1798,
ipeared in 1826 at the English Opera House
I yeaum) in Winter's ' Oracle.' He was afterwards
; gaged at Drury Lane. In 183 1 he appeared at
'3 Olympic as an actor and singer in burlesque
,th such success that he gradually abandoned
iious singing and became the acknowledged
[jresentative of the kings and fathers in the
I'travaganzas of Blanche and others. He died
ddenly as he was about to enter upon the
I rformance of his duties at the Strand Theatre,
idyi7, 1S61. [W.H.H.]

I BLAZE, F. H. J. (Castil-Blaze). Add day
I death, Dec. 11.

'BLEWITT, Jonas. Add that about 1795 he
I IS organist of the united parishes of St. Mar-
1 ret Pattens and St. Gabriel Fenchurch, also of
J. Catherine Coleman, Fenchurch Street.

BLITHEIMAX, William, was in 1564 a
ismber of the choir and master of the choristers
Christ Church, Oxford, and also a gentleman
' d one of the organists of the Chapel Rojal. He
'ed on Whitsunday 1591, and was buried in the
urch of St. Nicholas Olave, Queenhithe, where
brass plate was placed with a metrical epitaph
wording not only his skill as an organist and
Jsician, but also that he was the instructor of
hn Bull. An organ piece by him is printed in
e appendix to Hawkins's History, and MR. com-
sitions of his are extant in the Mulliner MS.,
leen Elizabeth's Virginal Book, etc. [W.H.H.]

BLOW, John. There is a strong probability
at he was bom in London. A MS. note of
ttthony a Wood's, in his 'Athenae Oxon.' shows
at Dr. Rogers told Wood that this was the
se, and the registers of North Collingham in
attinghamshire do not confirm the statement
at Blow was born there. P. 250 a, 1. 12, for
me read Two. The statement made ten lines
^er, that Blow was not a graduate of either
diversity, requires confirmation. In the Music
hool at Oxford there was formerly a MS. which
smed to show that his degree was conferred at
rford. Line igfrnm end of article, add 1695 to
e dates when Blow composed odes for St.
cilia's Day. For further discussion of the
estions raised above, the reader is referred to
5 Diet, of Nat. Biog. [W.B.S.]

BOB. Last line of article, far Change-
VGiKG read Change II.

VOL. lY. PT. 5.

BOCCHERINI. Correct date of birth to
Feb. 19, 1743.

BOCHSA. Add day of birth, Aug. 9.

EOCKLET, C. M. von. Add date of death,
July 15, 18S1.

BOEHM, Joseph. Correct date of birth to
1795, and day of death to Mar. 28.

BOEHM, Theobald. For 1. 3 of article
read April 9, 1794, and add at the end re-
ferences to articles Flute and Gokdon. (Cor-
rected in late editions.)

BOHNER, JoHANN LuDWiG, deserves mention
as the original of Hoffmann's Capellmeister
Kreisler, and thus of Schumann's Kreisleriana.
He was born Jan. 8, 1787, at Tottelstedt, Gotha,
and had an immense talent for music, which
was developed by his father and by Kittl,
J. S. Bach's pupil; but, like Friedemann Bach,
his habits were so irregular that he could never
retain any regular employment. He wandered
about through Germany, and in 1808 lived at
Jena, where he made the acquaintance of Goethe
and Hoflfmann, but returned in the end to his na-
tive village. At length, drink and privation carried
him off on March 28, i860. He gave a concert
at Leipzig in Sept. 1S34, i^ speaking of which
Schumann "^ mentions that he '^ looked so poverty-
stricken as quite to depress me. He was like
an old lion with a thorn in his foot.' He had at
one time been celebrated for his improvisation,
but at. this date Schumann was disappointed
by it — 'it was so gloomy and dull.' This was
in the early days of the ' Neue Zeitschrift fiir
Musik,' and Schumann utters a half intention to
write Bohneriana for the paper, founded on the
old man's own confessions, ' both humorous and
pathetic' These were afterwards to be the basis of
the PF. pieces, op. 16, called the 'Kreisleriana'
(1838). Bohner's absurdities almost pass belief.
He announced an organ concert at Oldenburg,
the church was filled and every one full of ex-
pectation, when Eohner appeared in the organ-
loft and said ' It is impossible for Ludvvig Bohner
to play to such an idiotic audience.' ^ Fetis gives
a long list of his works, containing an opera,
orchestral pieces, quartets, sonatas, motets, etc.,
ending with op. 120. Seealso vol. ii. 727 b. [G.]

BOIELDIEXJ, Fb. Adeien. Add to the
works mentioned, the following, completing the

' L'heureuse nouvelle,' 1797 J 'LePari, ouMombreuil et Merville,"

1797 ; • Les Meprises espagnoles.' 1799 ; ' Emma, ou La Prisonni^re '
(with Cherubini), 1799; ' Le Baiser et la Quittance' (with M(5hul,
Kreutzer and Nicolo), 1803. Produced at St. Petersburg—' Amour
et Mystere," " Abderkhan." ' Un Tour de Soubrette.' ' La Dame in-
Tisible,' 1S03. After his return to Paris— 'Bayard i M^zieres' (with
Cherubini, Catel, and Nicolo). 1814; 'Les B^arnais. ou Henri IV
en voyage' (with Kreutzer). 1814; 'Angela, ou l'.\telier de Jean
Cousin' (with Mrae. Gail), 1S14 ; 'La Fete du Village voisin,' 1816;
'Charles de France, ou Amour et (iloire' (with Harold), 1816;
'Blanche de Provence, ou La Gourdes F^es' (with Berton, Cherubini.
Kreutzer, and Paer), isa ; ' La France et I'Espagrie,' 1823; 'LesTrois
Genres' (with Auber), 18'2t ; Tharamunfr (with Berton and

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 129 of 194)