1837:—'I will arise' (Creighton); 'Cynthia, thy song and chanting' (G. Croce); 'Flora gave me' (Wilbye); 'To shorten Winter's sadness' (Weelkes); 'In pride of May' (Morley); '0 that the learned poets' (0. Gibbons); 'All creatures now' (Benet); 'Hosanna' (Gibbons); 'April is in my Mistress' face' (Morley); 'So saith my fair' (L. Marenzio); 'Down in a flow'ry vale' (Festa); 'Soon as I careless stray'd' (Festa); 'The Waits' (Saville). In subsequent programmes we find the names of the great madrigal writers of England and Italy. A sacred work occasionally finds a place in the programmes, and the last number is always 'The Waits.'
BRITO, Estéban de, lived about 1625, musical director at the cathedrals of Badajos and Malaga, and composer of motets, etc. preserved in the King of Portugal's library.BRITTON, Thomas, called the 'Musical Small-Coal Man,' was born at or near Higham Ferrers, Northamptonshire, about the year 1651. He was apprenticed in London to a coal-dealer, and afterwards commenced business in Aylesbury Street, Clerkenwell, as a dealer in 'small-coal' (charcoal ?), which he carried through the streets on his back. He obtained an extensive knowledge of chemistry, of old books, chiefly on the occult sciences, and of both the theoretical and practical part of music. He established weekly concerts [App. p.565 "in 1678"], and formed a sort of club for the practice of music. These concerts were held in a long narrow room over his shop, the entrance to which is described as being by a stair outside the house. Notwithstanding the humbleness of the attempt these gatherings are said to have been attractive and very genteel. The performers were Handel (who presided at the harpsichord), Pepusch, John Banister, Henry Needler, John Hughes (the poet), Philip Hart, Henry Symonds, Abel Whichello, Obadiah Shuttleworth, Woollaston (the painter), and many other professors and amateurs. The concerts were at first free to all comers; subsequently the visitors paid ten shillings a year each. Britton provided his guests with coffee at a penny a dish. The small-coal man was acknowledged by the Earls of Oxford, Pembroke, Sunderland, and Winchelsea (the great bookcollectors of the day), who appreciated his conversation and book-learning. He had a hand in the formation of the celebrated Harleian Library; and the Somers tracts were entirely his collecting. His reception by these noblemen led many persons to imagine that Britton was not the character he seemed to be, and that his musical assemblies were only a cover for seditious purposes. Indeed he was severally suspected of being a magician, an atheist, a presbyterian, and a Jesuit. These conjectures were all ill-grounded. Britton was a plain, simple, honest man, perfectly inoffensive, and with tastes above his condition in life. His death was brought about by a ventriloquist, who so frightened him that he never recovered. He died Sept. 27, 1714, and was buried in St. James' Churchyard, Clerkenwell, his funeral being attended by the members of his musical club. [App. p.565 "Refer to article Concert; and for further information to the Dictionary of National Biography."]
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BROADWOOD (John Broadwood and Sons). The house which has borne this name and been identified with pianoforte-making in London from