Page:A Dictionary of Music and Musicians vol 1.djvu/253

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bass; Salzburg, 1681. (The sixth of these was recently edited by F. David in his 'Hohe Schule des Violinspiels.') (2) Fidicinium sacro-profanum, a set of twelve sonatas in four and five parts; Nürnberg no date. (3) Harmonia artificiosa, a collection of seven partitas or suites for three instruments; Nürnberg, no date. (4) A set of sonatas; Salzburg, 1676. (5) Vesperae longiores ac breviores for 4 voices, 2 violins, 2 violas, and 3 trombones ad libitum; Salzburg, 1693. There is also a 'Dramma Musicale' of his in MS. in the museum at Salzburg.

An engraved portrait of him at the age of thirty-six is extant.

[ P. D. ]

BIBL, Andreas, born at Vienna April 8, 1797; and from 1818 organist at S. Stephen's. He came to the cathedral in Albrechtsberger's time as a singing boy, and learned organ-playing and composition from Josef Preindl. His style of playing was noble, and his compositions are clear and thoroughly church-like in character. He published preludes and fugues for the organ (Diabelli and Haslinger). His son Rudolph, born Jan. 6, 1832, studied under Sechter, and became organist at the cathedral 1859 and at the imperial chapel 1863. His playing was that of a sound musician, and his compositions for church and chamber, many of them still in MS., show that he knew how to keep pace with the times.

[ C. F. P. ]

BIEREY, Gottlob Benedict, born at Dresden July 25, 1772, and instructed in music by Weinlig. His opera 'Wladimir' was produced at Vienna in 1807 with much applause. This success procured him the post of capellmeister in Breslau, vacated by C. M. von Weber, and in 1824 the direction of the theatre itself. On May 5, 1840, he died of a chest complaint at his country house near Breslau. Comic opera, or rather the 'Singspiel,' was the sphere in which he mostly distinguished himself. Forty of his operas, great and small, are extant, and of these the following are printed with pianoforte arrangement:—'Blumenmädchen' (1802); 'Wladimir' (1807); 'Der Betrogene Betrüger'; 'Die Schweizer Schäferin'; 'Der Zufall,' 'Elias Ripsraps' (Breslau, 1810, much success); 'Die Pantoffeln' (Vienna, 1810); 'Der Zank.'

[ F. G. ]

BIFARIA. A name affixed to a quick movement in 3-bar rhythm in an 'Invention' or suite ascribed to J. S. Bach. (See Peters' 'Thematic Catalogue,' Anhang i. series 3). The name suggests the Pifara, but there is nothing in the piece itself like pipe-music.

{ \time 4/4 \key d \major \tempo "Presto" << \relative a' { a4 d << { e a } \\ { cis, a } >> | d8( fis) b b, cis( e) a a, | b a' gis8.\trill( fis32 gis) a,2_\markup { \null \lower #2 \smaller etc. } | }
\new Staff { \clef bass \key d \major \relative d { d8 e fis g a g fis e | fis d g e a g fis cis | d cis16 d e8 e, a2 | } } >> }

BIGONSI, or BIGONZI, an Italian contralto, who sang in London in 1724 in Attilio's 'Vespasiano,' Buononcini's 'Calfurnia,' and the first performances of Handel's 'Giulio Cesare.' He only remained here one year.

[ J. M. ]

BIGOT,[1] Marie (née Kiene), born at Colmar, Alsace, March 3, 1786; in 1804 married Mr. Bigot, librarian to Count Rasumoffsky, and accompanied him to Vienna. Here she made the acquaintance of Haydn, Salieri, and Beethoven, and found much enjoyment in their society. The first time she played to Haydn (then 72 or 73) the old man was so delighted as to embrace her, and to say 'My dear child, that music is not mine; it is yours!' and on the book from which she had been playing he wrote '20th Feb. 1805; this day has Joseph Haydn been happy.' Beethoven also, after she had played to him a sonata of his own, is reported to have said 'that is not exactly the reading I should have given; but go on, if it is not quite myself, it is something better.' These anecdotes are given by Fétis, who may be presumed to have heard them from Madame Bigot herself. On May 1, 1805, she played at the opening concert of the Augarten, and the report of the 'Allg. musik. Zeitung' characterises her playing as pleasing and often delicate and refined—a verdict which hardly bears out the expressions attributed to Haydn and Beethoven. A letter of Beethoven's, however, first published by Otto Jahn and reprinted by Thayer ('Beethoven.' ii. 337), puts his relations to her family beyond doubt; and there is no reason to disbelieve the picturesque anecdote related by Nohl (Beethoven, ii. 246) of her having played the 'Sonata appassionata' at sight from the autograph.

In 1809 the Bigots went to Paris. Here she became intimate with Baillot, Lamarre, Cherubini, and all the great musical characters. She played the music of Beethoven and Mozart with the two former both in public and private, and was highly valued by Cramer, Dussek, and Clementi. The war of 1812, however, put a rude stop to this happiness; Bigot was taken prisoner at Milan, lost his post at Count Rasumoffsky's, and his wife was thrown on her own resources. She accordingly began to give lessons, but the exertion interfered with her health. She died at Paris Sept. 16, 1820. Before her death however she had the honour of giving pianoforte lessons to Felix Mendelssohn during a short visit to Paris in 1816 (his 7th year). He refers to her in a letter of Dec. 20, 1831, and the warmth of his attachment to her family may be seen from another letter of Feb. 24, 1838, to Madame Kiene ('Goethe and Mendelssohn,' 2nd ed. p. 136), which shews that Mr. Bigot was still alive, and that the relations between Madame Bigot's family and the great French musicians were still maintained.

[ F. G. ]

BILHON, Jean de, a French composer, contemporary with Josquin des Prés. Some of his masses, founded, as usual at the time, upon the themes of old French chansons, are preserved in the Pontifical Chapel, where he was

  1. According to the Allg. musik. Zeitung. Bigot de Morugnes