Page:A Dictionary of Music and Musicians vol 4.djvu/587

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Motet, 'Exaltabo te Domine.' Palestrina 191
Madrigal, 'Ahi tu mei neghi.' Marenzio 205
Villota alla Napolitana. Perissone Cambio 214
Canzone Villanesche alia Napolitana. Baldassare Donate 216
Madrigal. 'Moro lasso,' Gesualdo, Prince of Venosa 223
Fugue, 'Diffusa est gratia.' Costanzo Porta 227
Balleto, 'Il Bell' humore.' Gastoldi 231
Do. 'L'Innamorato' 232
Monteverdi's New Discords 235
Madrigal, 'Straccia mi pur.' Monteverde 237
Motet, 'Quam pulcra.' Festa 245
Madrigal, 'Madonna, io v'amo.' Do 246
Motet, 'Domine, quid multiplicati.' Goudimel 267
Chanson, 'Bonjour.' Claudin le Jeune 271
Extracts from 'Le Ballet Comique de la Royne.' Baltazarini 279
Noel. Caurroy 285
Madrigal, 'Il bianco e dolce cigno.' Arcadelt 303
Chanson, 'Ta bonne grace.' Cornelius Canis 309
Madrigal, 'Alma Nemus.' Orlando Lasso 317
Do. 'Calami sonum.' Cipriano de Rore 319
Catch and Canons from 'Pammelia' 349
Rounds and Canons 350
Anthem in 8 parts, exercise for an Oxford degree 351
Song, 'Come my Celia.' A. Ferrabosco 354
Whitelocke's Coranto 378
Air in Comus. Henry Lawes 383
Song 'A lover once.' Do 397
'Sing to the King of Kings.' William Lawes 405
'Lord, judge my cause.' Do. 406
'Who trusts in thee.' Do 406
Five Bells Consort. John Jenkin 411
Canon, 'I am so weary.' Thomas Ford 415
Do. 'Lift up your heads.' Simon Ives. 415
Do. 'Non nobis Domine.' Hilton 416
Do. 'Look down, O Lord.' T. Ford 416
Do. 'Hold thy peace' 416
Examples of Blow's crudities 449
Anthem, 'The ways of Zion.' Michael Wise 455
'Gloria Patri.' Deering 479
Glee, 'Ne'er trouble thyself.' Matthew Locke 480
Three-part song, 'Sweet Tyrannies' by the father of Henry Purcell 486
Chant. Thomas Purcell 487
Canon. Turini 521
Divisions, specimens of. Seracini 528
Fragments of Italian melody from Pallavicini, Cifra, Rovetta, Merula and Facho 544
'Tinna Nonna,' lullaby. Barbella 571
Aria dal Tasso. Tartini 572
Aria alla Lecese. Leo 572
Licences in Monteverde 27
Fragments of Peri, Caccini, and Monteverde 31
Rec. and Air from Cesti's 'Orontea' 67
Fragment of Cavalli's 'Erismena' 69
Scena from Bontempi's 'Paride' 71
Scene from the first Oratorio. Emilio del Cavaliere 91
Rec. from Mazzochi's 'Tears of Mary Magdalen' 96
Air from Federici's 'Santa Caterina da Siena' 117
Duet from Stradella's 'John the Baptist' 118
Air from Pistocchi's 'Maddalena' 121
Air 'Il mio figlio.' Scarlatti 121
Extract from Vecchi's 'Amfiparnasso' 127
Extract from Caccini 137
Fragments and Air from Cantata by Carissimi 143
Beauties of his cantatas 147
Duet from 'Musurgia.' Kircher 150
Fragments of cantatas and motet by Cesti 151
Fragments of cantatas by Luigi Rossi 157
Air, 'Dolce amor.' Cavalli 158
Fragment of Bandini 158
Specimens of Salvator Rosa 165
Fragments of Bassani 168
Fragments from Scarlatti's Cantatas 171
Divisions by various singers 216
Fragment from Handel's 'Teseo' 241
Divisions by Nicolai and others 243
Air from Ariosti's 'Vespasiano' 293
Divisions by Farinelli 437
Air sung by Farinelli in Broschi's 'Artaxerxes' 439
Divisions (1740 and 1755) 461

[ M. ]

BUSBY, Thomas. Add month of birth, December. In the summer of 1769 he sang at Vauxhall at a salary of ten guineas a week, and about 1786 was elected organist of St. Mary's, Newington. The oratorio called 'The Prophecy' had been written much earlier than 1799; it was a setting of Pope's 'Messiah.' Line 15 of article, for next read had previously. 'Joanna' was produced at Covent Garden in January 1800. To the list of melodramas add 'The Fair Fugitive,' 1803. Line 20, for in April read on May 28. Line 23, for Day read Age. Line 24, for 1786 read 1785.

BUXTEHUDE, Dietrich. P. 286 a, line 6 from bottom, add a reference to English translation of Spitta's 'Bach,' i. 258 et seq. P. 286 b, l. 22, add reference to the same, i. 263, note 107.

BYFIELD, John, organ-builder. [See Harris & Byfield, vol. i. p. 692, and ii. p. 596; also Byfield, Jordan & Bridge below.

[ V. de P. ]

BYFIELD, John, junr., organ-builder. Nothing is known of his biography except that he died in 1774. The works of the two Byfields pass current under one head; but Dr. Rimbault is able to quote eighteen instruments (from 1750 to 1771) as made by the younger Byfield. The last six of these were built conjointly with Green. [See Green, vol. i. p. 624.]

[ V. de P. ]

BYFIELD, JORDAN & BRIDGE Conjointly. Many new organs were required for the new churches built at the beginning of the 18th century, and many incompetent persons were induced to become organ-builders. To prevent the sad consequences likely to follow, these three eminent artists formed a coalition to build organs at a very moderate charge, amongst which may be cited those of Great Yarmouth Church (1733) and of St. George's Chapel in the same town (1740). [See also each of these names.]

[ V. de P. ]

BYRD,[1] William, is generally said to have been the son of Thomas Byrd, a member of the Chapels Royal of Edward VI. and Mary; but this statement is purely conjectural, the only evidence upon which it rests—viz. that Byrd's second son was named Thomas, as it was supposed, after his grandfather having been disproved by the recent discovery that he was named after his godfather Thomas Tallis. The date (1538) usually given as that of his birth is conjectured from a statement that he was the senior chorister in St. Paul's Cathedral in 1554, when his name was alleged to appear in a petition of the choristers for the restoration of certain benefactions to which they were entitled. This petition cannot be found among the public records of the year, though documents relating to the restoration of the payments in question are in existence, and in these William Byrd's name does not occur, though two other choristers, named John and Simon Byrd, are mentioned. It seems most likely that the composer was a native of Lincoln, where a Henry Byrde, formerly mayor of Newcastle, died on July 13, 1512, and was buried in the Cathedral. According to Anthony à Wood, William Byrd was 'bred up to musick under Thomas Tallis,' but the first authentic fact in his biography is his appointment as organist of Lincoln Cathedral, which took place probably about 1563. He remained at Lincoln for some years, but no trace of his residence there has been found in the Chapter Records, except the appointment of his successor,

  1. Since the article on Byrd was written in Volume I. of the Dictionary, so much fresh information about him has come to light that it has been thought best to write a fresh account of his life. Most of the documents upon which the above article is based were printed by the writer in the 'Musical Review,' for 1881, Nos. 19–21.