Page:A Dictionary of Music and Musicians vol 1.djvu/132

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120
BACHELOR OF MUSIC.
BACH-GESELLSCHAFT.

84. Ich bin vergungt.
85. Ich bin ein guter Hirt.
86. Wahrlich, ich sage euch.
87. Bisher habt ihr nichts.
88. Siehe, ich will viel Fischer.
89. Was soll ich aus dir machen.
90. Es reifet euch.

3 Dramas for various festivities.

1871. Twenty-first Year.
Chamber Music. Vols. 4 and 5.
2 Concertos for Violin and Orchestra.
1 ditto for 2 ditto and ditto.
1 Symphony movement for Violin.
3 Concertos for 2 Claviers and Orchestra.

Easter Oratorio.

1872. Twenty-second Year.
(Issued in 1876.)
Church Cantatas. Vol. 10.
91. Gelobet seist du.
92. Ich hab' in Gottes.
93. Wer nur den lieben Gott.
94. Was frag' ich.
95. Christus der ist mein Leben.
96. Herr Christ, der ein'ge.
97. In allen meinen Thalen.
98. Was Gott thut, das.
99. Ditto. (2nd version.)
100. Ditto. (3rd version.)

[App. p.529 "BACH-GESELLSCHAFT. The list of the contents of the edition of Bach's works is continued in the article Kirchen-Cantaten, vol. ii. 60 b. The following volumes have been issued since the date there mentioned:—

1875. Twenty-fifth Year.

(Issued in 1878.)

Clavier Works. Vol.4.


The Art of Fugue.



Organ Works.


Orgelbuchlein.

6 Chorales.

18 Chorales.



1876. Twenty-sixth Year.

(Issued in 1878.)

Church Cantatas. Vol. 13.


121. Christum wir sollen loben schon.

122. Das neugebor' ne Kindelein.

123. Liebster Immanuel.

124. Meinem Jesum lass' ich nicht.

125. Mit Fried' und Freud'.

126. Erhalt' uns Herr.

127. Herr Jesu Christ.

128. Auf Christi Himmelfahrt.

129. Gelobet sei der Herr.

130. Herr Gott, dich loben alle wir.



1877. Twenty-seventh Year.

(Issued in 1879.)

Chamber Music. Vol. 6.


6 Sonatas for Violin.

6 Suites for Violoncello.



Thematic Index to the Church Cantatas, Nos. 1–120.




1878. Twenty-eighth Year.

(Issued in 1881.)

Church Cantatas. Vol. 14.


131. Aus der Tiefe.

132. Bereitet die Wege,

133. Ich freue mich in dir.

134. Ein Herz, das seinen Jesum.

135. Ach, Herr, mich armen Sünder.

136. Erforsche mich.

137. Lobe den Herren.

138. Warum betrüb'st du dich.

139. Wohl dem, der slch auf seinen Gott.

140. Wachet auf, ruft uns die Stimme.



1879. Twenty-ninth Year.

(Issued in 1881.)

Chamber Music. Vocal.


Was mir behagt.

Non sa che sia dolore.

O holder Tag.

Höchsterwunschtes Frendenfest.

Schwiegt stille.

Mer hahn en neue Oberkeet.

(With appendix.)




1880. Thirtieth Year.

(Issued in 1884.)

Church Cantatas. Vol. 15.


141. Das ist je gewisslich wahr.

142. Uns ist ein Kind.

143. Lobe den Herrn.

144. Nimm was dein ist.

145. So du mit deinem Munde.

146. Wir müssen durch viel Trübsal.

147. Herz und Mund und That.

148. Bringet dem Herrn Ehre.

149. Man singet mit Freuden.

150. Nach dir, Herr.



1881. Thirty-first Year.

(Issued in 1885.)

Orchestral Works.


4 Overtures (Suites).

Symphony in F.

Musikalisches Opfer.

2 Concertos for 3 Claviers.



1882. Thirty-second Year.

(Issued in 1886.)

Church Cantatas. Vol. 16.


151. Süsser Trost.

152. Tritt auf die Glaubensbahn.

153. Schau', lieber Gott.

154. Mein liebster Jesu.

155. Mein Gott, wie lang'.

156. Ich steh' mit einem Fuss.

157. Ich lasse dich nicht. (Duet.)

158. Der Friede sei mit dir.

159. Sehet, wir geh'n hinauf.

160. Ich weiss, das mein Erlöser."]



[App. p.819

"Vol. XXXIV. 1884.

Kammermusik fur Gesang.

Serenata, 'Durchlauchster Leopold.'

Cantata, 'Schwingt freudig euch empor,' and 'Die Freude regt sich.' (Two versions of the same work.)

Dramma, (Die Wahl des Hercules) 'Lasst uns sorgen.'

Dramma, 'Tenet ihr Pauken.'

Cantata gratulatoria, and 'Preise dein Glucke'(appx.)

Dramma, 'Angenehmes Wiederau.'

Dramma, 'Auf, schmetternde Töne.'



Vol. XXXV. 1885.

Church cantatas.

171. Gott wie dein Name.

172. Erschallet, ihr Lieder.

173. Erhöhtes Fleisch und Blut.

174. Ich liebe den Höchsten.

175. Er rufet seinen Schafen.

176. Es 1st ein trotzig und verzagt Ding.

177. Ich ruf zu dir, Herr Jesu Christ.

178. Wo Gott der Herr nicht bei uns hält

179. Siehe zu, dass deine Gottesfurcht.

180. Schmücke dich, O liebe Seele."]

[ A. M. ]

BACH SOCIETY, THE. This society was instituted in London in 1849, and its primary objects are stated in the prospectus to be—(1) the collection of the musical compositions of J. S. Bach, either printed or in MS., and of all works relating to him, his family, or his music; and (2) the furtherance and promotion of a general acquaintance with his music by its public performance. The original committee of management consisted of the late Sir W. S. Bennett (chairman), Messrs. R. Barnett, G. Cooper, F. R. Cox, J. H. B. Dando, W. Dorrell, W. H. Holmes, E. J. Hopkins, C. E. Horsley, John Hullah, H. J. Lincoln, O. May, and H. Smart, with Sir G. Smart and Mr. Cipriani Potter as auditors, and Dr. Charles Steggall as hon. secretary. Under the auspices of the society the first performance in England of the 'Passion according to St. Matthew' (Grosse Passions-Musik) took place at the Hanover Square Rooms on April 6, 1854, Dr. Bennett conducting. The principal vocalists were Mme. Ferrari, Misses B. Street, Dolby, Dianelli, and Freeman, and Messrs. Allen, Walworth, W. Bolton, and Signor Ferrari. Mr. W. Thomas was principal violin, Mr. Grattan Cooke first oboe, and Mr. E. J. Hopkins was at the organ, the new instrument by Gray and Davison being used on this occasion for the first time. The English version of the words was by Miss Helen F. H. Johnston. A second performance was given at St. Martin's Hall on March 23, 1858, Dr. Bennett again conducting. The audience on this occasion included the late Prince Consort. On June 21, 1859, the Society gave a performance of miscellaneous works by Bach, including the Concerto in C minor for two pianofortes, the Chaconne for violin (by Herr Joachim), and the Solo Fugue for pianoforte in D. The concert of 1860, on July 24, included the first eleven movements from the Mass in B minor. Three years later, on June 13, 1861, the Society gave the first performance in England of 'The Christmas Oratorio' (Weihnachts-Oratorium) also under Sir W. S. Bennett's direction. The Society was dissolved on March 21, 1870, when the library was handed over to the Royal Academy of Music.

[ C. M. ]

BACHE, Francis Edward, born at Birmingham Sept. 14, 1833; died there Aug. 24, 1858, in his twenty-fifth year. As a child he showed very great fondness and aptitude for music, studied the violin with Alfred Mellon (then conductor of the Birmingham theatre), and in 1846 was allowed to play in the festival orchestra when Mendelssohn conducted 'Elijah.'

In the autumn of 1849 he left school at Birmingham to study under Sterndale Bennett in London. His first overture was performed at the Adelphi Theatre in Nov. 1850, and about a year later his 'Three Impromptus' (his first piano piece) came out. He remained studying with Bennett, and during the latter part of the time writing for Addison, Hollier, and Lucas, from 1849 to 53. In Oct. 53 he went to Leipsic, studied with Hauptmann and Plaidy, and took occasional organ lessons from Schneider at Dresden. He returned to London (after a short visit to the opera, 'William Tell,' etc., at Paris) early in 1855. At the end of 55 he was driven by severe illness to Algiers, but returned to Leipsic for the summer and autumn of 56; then went to Rome for the winter, calling on old Czerny in Vienna, who was much pleased with him, and wrote to that effect to Kistner. He reached England very ill in June 57, passed that winter in Torquay, and returned to Birmingham, which he never again left, in April 58.

Bache's published compositions are numerous, and include four mazurkas, op. 13; five characteristic pieces, op. 15; Souvenirs d' Italie, op. 19, for piano solo; andante and rondo polonaise, for piano and orchestra; trio for piano and strings, op. 25; romance for piano and violin; six songs, op. 16; barcarola Veneziana. Also a concerto in E for piano and orchestra, and two operas, 'Rübezahl' and 'Which is Which,' all unpublished. With all their merit, however, none of these can be accepted by those who knew him as adequate specimens of his ability, which was unquestionably very great. His youth, his impressionable enthusiastic character, and continual ill-health must all be considered in forming a judgment of one who, had he lived, would in all probability have proved a lasting ornament to the English school.

[ G. ]

BACHELOR OF MUSIC. 'Bachelor,' a word whose derivation has been much disputed, is the title of the inferior degree conferred in various faculties by the Universities of this country. In Music, as in Divinity and Medicine, the degrees given are those of Bachelor and Doctor. There is no degree of Master, as in 'Arts.' The letters M.D. and M.B. being appropriated to degrees in Medicine, the abbreviations Mus. D. and Mus. B. are employed to distinguish those in Music. The degree of Bachelor must, in the ordinary course, precede that of Doctor; it is permitted, however, in cases of great merit, and especially where the candidate has obtained a high reputation in the art before offering himself for the degree, to pass at once to the degree of Doctor of Music without having previously taken that of Bachelor.

'Music' was one of the so-called seven arts taught in the monastic schools which arose in Western Europe under Charlemagne and his successors. The Universities, an expansion of these schools, inherited their curriculum; and during the Middle Ages the 'Ars Musica' was studied,