Page:A Dictionary of Music and Musicians vol 1.djvu/280

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268
BRACE.
BOYCE.

gout, from which Boyce had long suffered, terminated the blameless life of this most amiable man and excellent musician. He was buried on February 16 with uncommon marks of respect, in the vault under the centre of the dome of St. Paul's Cathedral. In the year following his death his widow published a volume containing 'Fifteen Anthems and a Te Deum and Jubilate' of her husband's composition; and in 1790 another volume containing twelve anthems and a service was published, under the editorship of Dr. Philip Hayes. These anthems and services (with others, to the extent in all of forty-six anthems and five services) were afterwards published in four volumes under the editorship of Vincent Novello, In 1788 John Ashley, who had purchased the plates of the 'Cathedral Music,' issued a reprint of it, with a memoir (by Sir John Hawkins) and a portrait (finely engraved by Sherwin) of Boyce prefixed. In 1849 a new edition, with additional services and anthems and new lives of the composers was issued under the care of Joseph Warren. Besides the compositions above mentioned, Boyce produced the following:—Dryden's 'Secular Masque,' 1745; twelve sonatas for two violins and bass, 1747; a concerto; eight symphonies; 'Ode to Charity,' composed for the Leicester Infirmary, containing the duet for tenor and bass, 'Here shall soft Charity repair,' which long remained an indispensable part of the programme of every concert given in aid of a charity; Rev. Walter Harte's paraphrase of part of Pindar's first Pythian ode, 1749; Masque in 'The Tempest'; dirge in 'Cymbeline'; dirge in 'Romeo and Juliet'; trio in 'The Winter's Tale'; two odes in Home's tragedy, 'Agis,' 1758; [App. p.560 "'Noah', an oratorio;"] besides many songs which appeared in 'The British Orpheus,' 'The Vocal Musical Mask,' etc. A collection of Dr. Boyce's songs, duets, and cantatas, entitled 'Lyra Britannica,' appeared from time to time in several books. Boyce's only son long filled a respectable position in the best orchestras as a double-bass player.

The following are the contents of the Cathedral Music:—

VOL. I.
Tallis, Preces, M. and E. Serv.
Morley, Burial Serv. G minor.
Farrant, M. and E. Serv. G minor.
Bevin, Do. D minor.
Gibbons, Do. F.
Child. Do. E minor.
Rogers, Do. D.
Blow. Do. A.
Aldrich. Do. G.
Blow. Do. G.
Do. Kyrie and Creed (triple measure) G.
14 Chants.

VOL. II.
Henry VIII, Full Anth., O Lord the maker. 4 voices.
Tallis, F. A. I call and cry. 5 v.
Tye, F. A. I will exalt Thee. 4 v.
Do. (2nd pt.) Sing unto the Lord 4 v.
Farrant, F. A. Call to remembrance. 4 v.
Do. F. A. Hide not Thou. 4 v.
Bird, F. A. O Lord, turn. 5 v.
Do. F. A. (2nd pt.) Bow Thine ear, O Lord. 5 v.
Do. F. A. Sing joyfully. 6 v.
Gibbons, F. A. Hosanna. 6 v.
Do. F. A. Lift up your heads. 6 v.
Do. F. A. Almighty and everlasting 4 v.
Do. F. A. O clap your hands. 8 v.
Do. (2nd pt) God is gone up. 8 v.
Battten, F. A. Hear my prayer. 5 v.
Do. F. A. O praise the Lord. 4 v.
Do. F. A. Deliver us, O Lord. 4 v.
Child, F. A. Praise the Lord. 4 v.
Do. F. A. O Lord, grant the King. 4 v.
Do. F. A. Sing we merrily. 7 v.
Rogers, F. A. Behold now. 4 v.
Do. F. A. Teach me, O Lord 4 v.
Blow, V. A. God is our hope 8 v.
Do. V. A. O God, wherefore art Thou absent. 5 v.
Do. V. A. Save me, O God. 4 v.
Do. F. A. The Lord hear thee. 4 v.
Do. F. A. My God, my God. 4 v.
Aldrich, V. A. Out of the deep. 4 v.
Do. F. A. O give thanks. 6 v.
Creyghton, F. A. I will arise. 4 v.
Purcell, V. A. O God, Thou art. 4 v.
Do. V. A. O God, Thou hast. 6 v.
Do. V. A. O Lord God of Hosts. 8 v.
Goldwin, V. A. I have set God. 4 v.
Clarke. F. A. Praise the Lord, O Jerusalem. 4 v.
Croft, V. A. God is gone up. 4 v.
Do. V. A. Put me not to rebuke. 4 v.
Weldon, V. A. In Thee, O Lord. 4 v.
Do. V. A. Hear my crying. 6 v.
Lawes (Wm.), V. A. The Lord is my light. 4 v.
Lock, V. A. Lord let me know mine end. 6 v.
Humphreys, V. A. Have mercy upon me. 3 v.
Do. V. A. O Lord my God. 3 v.
Blow, V. A. I was In the Spirit. 4 v.
Wise. V. A. Prepare ye the way of the Lord. 4 v.
Do. V. A. Awake, put on thy strength. 3 v.
Purcell. V. A. Thy way, God. 4 v.
Do. V. A. Be merciful. 3 v.
Clarke, V. A. How long wilt Thou. 1 v.
Croft, V. A. O praise the Lord. 3 v.
Do. V. A. Give the King. 5 T.
5 Chants.

VOL III.
Bird, M. and E. Serv. D min.
Child, Do. D.
Blow. Do. E min.
Purcell. M. and E. Serv. (double), B flat.
Bull. V. A. Lord my God. 5 v.
Humphrey, V. A. Thou art my King. 4 v.
Do. V. A. Like as the hart. 4 v.
Do. V. A. Hear, O Heavens. 3 v.
Do. V. A. Rejoice in the Lord. 4 v.
Do. V. A. Haste Thee. O God. 4 v.
Wise, V. A. The ways of Zion. 2 v.
Do. V. A. Thy beauty, Israel. 4 v.
Do. V. A. Awake up, my glory. 3 v.
Do. V. A. Blessed is he. 3 v.
Blow, V. A. O Lord, I have sinned. 4 v.
Do. V. A. O sing unto God. 3 v.
Do. V. A. O Lord, Thou hast searched me out. 2 v.
Do. V. A. I beheld and lo! 4 v.
Turner, V. A. Lord, Thou hast been our refuge. 3 v.
Purcell, V. A. Behold, I bring you. 3 v.
Do. V, A. They that go down. 2 v.
Do. V. A. Thy word is a lantern. 3 v.
Do. V. A. O give thanks. 4 v.
Clarke, V. A. I will love Thee. 2 v.
Gibbons. Sanctus. 4 v. in F.
Child, Sanctus. 4 v. in E minor.
Rogers, Sanctus. 4 v. in D.
Creyghton, Sanctus. 4 v. in E flat.

[ W. H. H. ]

BRABANÇONNE, LA, the national air of the Belgians, dating from the revolution of 1830, when Belgium became an independent country. Both words and music were composed during the struggle; the former by a certain Jenneval, who was killed in one of the actions near Antwerp, the latter by Campenhout. The air is certainly unlike other 'national airs,' but it has taken a very firm hold in the country. The melody, and the words of the first stanza are subjoined:—

{ \time 4/4 \override Score.Rest #'style = #'classical \key ees \major \partial 4. \relative b'
 { \autoBeamOff s16 bes g8. aes16 | bes4 c8.[ d16] ees8.[ d16] ees8.[ g16] |
   bes,4.. c16 bes4 d8. ees16 | f4 f8. f16 f4. ees16[ d] |
   ees2. r8. c16 | bes4 c8. d16 ees8.[ d16] ees8. f16 |
   d4. f16[ ees] d4 r8. bes16 | bes4 bes8. d16 f4 ees8. c16 |
   bes2 r4 bes8. bes16 | bes4.. bes16 bes4 c8. d16 |
   f2 ees8. ees16 ees8. ees16 | d4 d8. d16 ees8.[ d16] ees8. g16 |
   f2\fermata r4 bes,8. d16 | ees2 ees8. ees16 f8. ees16 |
   d4.. ees16 f4 r8. f16 | ees4.. ees16 ees8 g f ees |
   d2 r4 d8. f16 | ees4 bes8. bes16 g'8.[ f16] ees8.[ d16] |
   c2 c4 r8. f16 | ees4.. ees16 d8. c16 d8. f16 |
   ees2 r4 bes8.[ g'16] | g4.. ees16 d8. bes16 c8. bes16 |
   bes2 r4 bes8.[ g'16] | g4.. ees16 d8. c16 d8. f16 | ees2 }
\addlyrics { Qui l'aur -- ait cru? de l'ar -- bi -- trai -- _ re, Con -- sa -- crant les aff -- reux pro -- jets,  Sur nous de l'ai -- rain san -- gui -- nai -- _ re, Un prince a lan -- cé les bon -- lets. C'en est fait! oui Bel -- ges tout chan -- ge. A -- vec Nas -- sau plus d'in -- dig -- ne trai -- té! La mi -- traille a bri -- sé l'o -- ran -- _ ge sur l'ar -- bre de la li -- ber -- té. La mi -- traille a bri -- sé l'o -- rang -- e sur l'ar -- bre de la li -- ber -- té Sur l'ar -- bre de la li -- ber -- té. Sur l'ar -- bre de la li -- ber -- té. } }

BRACE (Ger. Klammer; Fr. Accolade; Ital. Accolada). { \override Score.TimeSignature #'stencil = ##f \override Score.Clef #'stencil = ##f \new GrandStaff << \new Staff { s2 } \new Staff { s2 } >> } A vertical line, usually a double curve, used to couple together two or more staves, thus indicating that the music written therein is to be performed simultaneously, either by various instruments, or voices, or, in pianoforte, harp, or organ-music, by the two hands of the performer.