slightest derogation from his strict principles as an instructor. A significant instance is related of his determination to keep up a strict adherence to the purest style of music in the Academy. On entering the building one morning he fancied he detected from one of the practising rooms the sounds of the overture to 'Zampa,' and opened door after door till he found the culprits, two young ladies, who in answer to his grave enquiry 'how they came to be playing such music?' explained that they were only practising sight-reading of piano duets to which the Professor replied by carrying away the offending volume, returning presently from the library with a duet of Mozart's which he placed before them in lieu of it. What he preached to his pupils he practised himself. In his whole career he never condescended to write a single note for popular effect, nor can a bar of his music be quoted which in style and aim does not belong to what is highest in musical art. Neither this quality nor his amiability of character preserved him, however, from attacks and detraction of the most ungenerous kind during his lifetime, from those who had their own motives in endeavouring to obscure his fame, and who found an unworthy assistance to their aims from so-called 'critics' in public journals, one of which for a long time conspicuously disgraced its musical columns by repeated sneers and inuendoes against a musician who was an ornament to the art and an honour to his country—a process which, as might be expected, only redounded to the discredit of those who stooped to it.
The following is a list of Sterndale Bennett's published works:—
Op. 1. First Concerto, in D minor.
" 2. Capriccio for Pianoforte, in D minor.
" 3. Overture. ' Parisina.'
" 4. Second Concerto, in E flat.
" 8. Sestet for Pianoforte and Strings.
" 9. Third Concerto, in C minor.
" 10. Three Musical Sketches—'Lake,' 'Millstream,' and 'Fountain.'
" 11. Six Studies, in Capriccio form.
" 12. Three Impromptus.
" 13. Pianoforte Sonata, dedicated to Mendelssohn.
" 14. Three Romances for Pianoforte.
" 15. Overture, 'The Naiads.'
" 16. Fantasia for Pianoforte, dedicated to Schumann.
" 17. 'Three Diversions.' Pianoforte for four hands.
" 18. Allegro Grazioso.
" 19. Fourth Concerto, in F minor.
" 20. Overture, 'The Woodnymph.'
" 22. Caprice, In E major, Piano and Orchestra.
" 23. Six Songs (First Set).
" 24. Suite de Pieces, for Piano.
" 25. Rondo piacevole for Pianoforte.
" 26. Chamber Trio.
" 27. Scherzo, for Pianoforte.
" 28. Introductione e Pastorale, Rondino; Capriccio, in A minor—for Piano.
" 29. Two Studies—L'Amabile e L'Appassionata.
" 30. Four Sacred Duets, for Two Trebles.
" 31. Tema e Variationi, for Piano.
" 32. Sonata-duo. Pianoforte and Violoncello.
" 33. Preludes and Lessons—60 pieces in all the keys, composed for Queen's College, London.
" 34. Rondeau—'Pas triste pas gal.'
" 35. Six Songs (Second Set).
" 36. 'Flowers of the Months,' of which January and February were completed and published, 1876.
" 37. Rondeau à la Polonaise, for Piano.
" 38. Toccata, for ditto.
" 39. 'The May Queen'—a Pastoral.
" 40. Ode for the Opening of the International Exhibition, 1862. Words by Mr. Tennyson.
" 41. Cambridge Installation Ode. 1862. Words by Rev. C. Kingsley.
" 42. Fantasie-Overture, 'Paradise and the Peri.' 1862.
" 43. Symphony in G minor.
" 44. Oratorio, 'Woman of Samaria.'
" 45. Music to Sophocles' 'Ajax.'
" 46. Pianoforte Sonata, 'The Maid of Orleans.'
The Major, Minor, and Chromatic Scales, with Remarks on Practice, Fingering, etc.
Sonatina in C.
Two Songs—'The better land'; In radiant loveliness.'
The Chorale Book, 1862; and Supplement to ditto, 1864; edited in conjunction with Mr. Otto Goldschmidt. The supplement contains two original tunes by W. S. B.
Anthems—'Now, my God, let, I beseech Thee'; 'Remember now thy Creator'; 'O that I knew'; 'The fool hath said in his heart.'
Four-part Songs—'Sweet stream that winds': 'Of all the Arts beneath the Heaven'; 'Come live with me.'
Four Songs in course of publication when he died.
[ H. H. S. ]
BENUCCI, an Italian basso engaged at Vienna in 1783, appeared in London in 1788 as first buffo; but, notwithstanding his fine voice and acting, was not so much admired as he deserved. He sang one more season here, appearing as Bartolo in Paisiello's 'Barbiere,' and as Zefiro in Gazzanigha's 'Vendemmia.'
[ J. M. ]
BENVENUTO CELLINI. Opera in two acts, the words by Wailly and Barbier, the music by Berlioz, produced at the Académie Royale de Musique Sept. 3, 1838, and withdrawn after three representations, and what its author calls 'une chute éclatante.' It was performed at Covent Garden ('grand semi-seria,' in three acts) June 25, 1853.
BERALTA, an Italian soprano singer, engaged at London in 1757. She sang the part of 'Deceit' in Handel's last oratorio, 'The Triumph of Time and Truth,' at its production at Covent Garden, March n, 1757, and at the subsequent performances of it.
[ J. M. ]
BERBIGUIER, Benoit Tranquille, famous flute-player, born Dec. 21, 1782, at Caderousse in the Vaucluse; intended for the law, but the love of music being too strong for him, ran away from home and entered himself at the Conservatoire in Paris. From 1813 to 1819 he served in the army, and after that resided in Paris. As an adherent of the Bourbons he was driven thence by the Revolution of 1830 to take refuge at Pont le Voyé, where he died Jan. 29, 1838. As a player he stood in the first rank. His contemporaries praise the softness and peculiar sweetness of his tone and the astonishing perfection of his technique. As a composer he was very fertile in music for his instrument, both solo and accompanied—11 concertos, many fantasias and variations, 140 duos, 32 trios, with quartets and symphonies. But they are very unequal in excellence, generally more brilliant and showy than really good, the work of the virtuoso rather than of the musician.
[ A. M. ]
BERCEUSE, a cradle song. A piano piece consisting of a melody with a lulling rocking accompaniment. Chopin's Op. 57 is a well-known example. Schumann has a 'Wiegenliedchen'—which is the same thing—in the Albumblätter (Op. 124), and his 'Schlummerlied' is a berceuse in all but the name.
BERCHEM, Jacques or Jachet, was born in Flanders at the commencement of the 16th century, and flourished in the epoch immediately preceding that of Lassus and Palestrina. He passed the greater part of his life, from 1535 to 1565, in the service of the Duke of Mantua,