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246 Earl of Derby as Chancellor of Oxford, in 1853. On this occasion he received the degree of Doctor in Music, the Ode being considered as his probational exercise. [App. p. 547 adds "he was twice married—first to a Miss Lyon, a singer who appeared in his 'Circassian Bride,' and, second, to Ann Rivière. [See ../Bishop, Ann, in Appendix.]"]

Besides his dramatic productions, and the 'Seventh Day,' Bishop composed an oratorio, 'The Fallen Angel,' which has never been performed; music for three tragedies, 'The Apostate,' 'Retribution,' and 'Mirandola'; and a 'Triumphal Ode,' performed at the Oratorios. He also arranged the first volume of 'Melodies of Various Nations'; three volumes of 'National Melodies,' to which Moore wrote the poetry; and a number of English melodies with Dr. Mackay's verses. He edited the 'Messiah,' a large collection of Handel's songs, and many other works of importance.

He died April 30, 1855, and was buried in the cemetery at Finchley, where a monument to his memory has been erected by subscription.

The following chronological list of his productions for the stage includes the works which he altered or adapted:—

Angelina, 1804; Tamerlan et Bajazet, 1806; Narcisse et les Graces, 1806; Caractacus, 1806 [App. p. 547 "1808"]; Love in a Tub, 1806; The Mysterious Bride, 1808; The Circassian Bride, 1809; Mora's Love, 1809; The Vintagers, 1809; The Maniac, 1810; Knight of Snowdon, 1811; Virgin of the Sun, 1812; The Æthiop, 1812; The Renegade, 1812; Haroun Alraschid [App. p.547 "an alteration of 'The Æthiop'"], 1813; The Brazen Bust, 1813; Harry le Roy, 1813; The Miller and his Men, 1813; For England, ho! 1813; The Farmer's Wife (with Davy, Reeve, etc.), 1814; The Wandering Boys, 1814; Sadak and Kalasrade [App. p.547 "Kalastrade"], 1814; The Grand Alliance, 1814; Doctor Sangrado, 1814; The Forest of Bondy, 1814; The Maid of the Mill (additions), 1814; John of Paris (compiled from Boieldieu), 1814; Brother and Sister (with Reeve), 1815; The Noble Outlaw, 1815; Telemachus, 1815; Magpie or the Maid, 1815; John du Bart, 1815; Cymon (additions), 1815; Comus (additions), 1815; Midsummer Night's Dream, 1816; Guy Mannering (with Whittaker, etc.), 1816; Who wants a Wife, 1816; Heir of Verona [App. p.547 "Veroni"] (with Whittaker), 1817; Humorous Lieutenant, 1817; The Libertine (adapted from Don Giovanni), 1817; Duke of Savoy, 1817; Father and his Children, 1817; Zuma (with Braliam), 1818; Illustrious Traveller, 1818; December and May, 1818; Barber of Seville (adapted from Rossini), 1818; The Marriage of Figaro (adapted from Mozart), 1819; Fortunatus, 1819; The Heart of Mid-Lothian, 1819; A Rowland for an Oliver, 1819; Swedish Patriotism, 1819; The Gnome King, 1819; The Comedy of Errors, 1819; The Antiquary, 1820; Battle of Bothwell Brig, 1820; Henri Quatre, 1820; Twelfth Night, 1820; Don John, 1821; Two Gentlemen of Verona, 1821; Montrose, 1822; The Law of Java, 1822; Maid Marian, 1822; Clari, 1823; The Beacon of Liberty, 1823; Cortez, 1823; Native Land, 1824; Charles the Second, 1824; The Fall of Algiers, 1825; Hofer (compiled from Bossini), 1830; Angelina (partly rewritten), 1825; Edward the Black Prince, 1825 [App. p.548 "1828"]; Coronation of Charles X, 1825; Aladdin, 1826; The Knights of the Cross, 1826; Englishman in India, 1826 [App. p.548 "1827"]; Under the Oak, 1830; Adelaide, 1830; The Tyrolese Peasant, 1832; Home sweet Home, 1832 [App. p.548 "1829"]; The Magic Fan, 1832; The Sedan Chair, 1832; The Battle of Champagne, 1832; The Romance of a Day, 1832 [App. p.548 "1831"]; Yelva, 1833 [App. p.548 "1829"]; The Rencontre, 1833 [App. p.548 "1828"]; Rural Felicity, 1834 [App. p.548 "1839"]; The Doom Kiss, 1836; Manfred, 1836 [App. p.548 "1834"]; The Fortunate Isles, 1841 [App. p.548 "1840"].

[App. p.548 "The following supplementary list completes the number of his productions for the stage.

"Armide et Benaud. 1806; The Wife of Two Husbands, and The Siege of S. Quentin, 1808; The Lord of the Manor, 1812; Poor Vulcan, 1813; Lionel and Clarissa, Aurora, and a cantata entitled 'Hanover,' 1814; Exit by Mistake, The Slave, and Royal Nuptials, 1816; The Apostate, and Teasing made Easy, 1817; Fazio, The Burgomaster of Saardam, and The Devil's Bridge (additions), 1818; Montoni, 1820; Henry IV, part 2, 1821; The Vision of the Sun, and The Vespers of Palermo, 1823; As You Like It, 1824; Faustus, 1825, Don Pedro, 1828; The Night before the Wedding, 1829; Ninetta, and Hamlet 1830; Kenilworth, Waverley, The Demon (Robert le Diable) and The Election (scored only), 1832; The Captain and the Colonel, 1836; Love's Labour's Lost, and additions to The Beggar's Opera, 1839. "[ M. ]"]

(Imp. Dict. of Biog.; Gentleman's Mag.; Private Sources.) [ E. F. R. ]

BISHOP,, was born at Cheltenham July 31, 1817. When about six years of age he was placed at a boarding-school at Oxford, where he remained two years and a half, and learned music from Daniel Feldon, organist of St. Peter's-in-the-East in that city. His next master was Arnold Merrick, organist of the parish church of Cirencester, and translator of the theoretical works of Albrechtsberger, and several other valuable treatises. Returning to Cheltenham Bishop became a pupil of Thomas Woodward, organist of the parish church there, under whom he studied for about five or six years. On the opening of the new church of St. Paul, Cheltenham, in 1831 Bishop, then fourteen years of age, was appointed its organist. He subsequently completed his musical education under Migliorucci, a favourite pupil of Zingarelli. In 1838 he became organist at Blackburn, Lancashire, but in the following year returned to Cheltenham, where he has since resided, and where he has filled successively the post of organist at St. James's Church, the Roman Catholic Chapel, and St. John's Church, from the latter of which he withdrew at the end of 1852. Bishop has directed his attention much to the study of the theory and history of music, and has translated and edited many valuable theoretical and other works, besides arranging and editing a large number of the masterpieces of the great classical composers. [ W. H. H. ]

BIZET,, [App. p.548 "his proper names were Alexandre César Léopold"] born at Paris Oct. 35, 1838, was a brilliant pupil and laureate at the Conservatoire from 1848 to 1857. He studied composition under Halévy, whose daughter he afterwards married [App. p.548 "married in 1869"]. Before winning his 'prix de Rome,' he gave an insignificant operetta 'Docteur Miracle' (Bouffes Parisiens, April, 1857); and, after his return from Italy, composed 'Vasco de Gama' (1863), which did not gain him much credit. At the Théâtre Lyrique were performed 'Les Pêcheurs de perles,' in 3 acts (Sept. 30 [App. p.548 "Sept. 29"], 63), and 'La jolie Fille de Perth,' in 4 acts (Dec. 26, 67). [App. p.548 "'Les Pêcheurs de perles' was given in Italian as 'Leila' at Covent Garden on Apr. 22, 1887"] 'Djamileh' (May 22, 72) was not successful, but the interludes to 'l'Arlésienne' (Sept. 30 [App. p.548 "Oct. 1"], 72), and his Overture 'Patrie' were received with applause. Bizet's last effort was 'Carmen,' in 4 acts, a sombre libretto, but a fine score, which was heard at the Opéra Comique on March 3, 75. This highly gifted composer and very talented pianist died almost suddenly on June 3, 75. Much was expected from him. He was a musician of superior abilities, though his vocal style is deficient in ease. [App. p.548 "he took part, with Jonas, Legouix, and Delibes, in the composition of the operetta 'Malbrough s'en-va-t-en guerrè,' produced at the Athénée, Dec. 13, 1867. Of his three symphonies, one, entitled 'Souvenirs de Rome' was played under Pasdeloup's direction, Feb. 28, 1869, and at the Crystal Palace, Oct. 23, 1880. He finished Halévy's biblical opera 'Noé.'"][ G. C. ]

BLACK DOMINO, THE, the English version of Auber's ; translated by H. F. Chorley. Produced at Covent Garden (Pyne & Harrison) Feb. 20, 1861.

BLAES,, a great clarinet-player, born at Brussels 1814; pupil of Bachmann in the Conservatoire there, where he obtained the second prize in 1829 and the first in 1834. He visited Holland, Germany, and Russia, and in 39 was awarded a medal for his performance before the Société des Concerts in Paris; was solo clarinet to the King of the Belgians; and in 42 succeeded Bachmann as Professor in the Brussels Conservatoire. [ M. C. C. ]

BLAES,, whose maiden name was , born in Antwerp about 1820, a distinguished singer, and wife of the foregoing. She was engaged by Mendelssohn to sing at the Gewandhaus concerts at Leipsic (Oct. 6, 1839, and onwards), where her cultivated style, sympathetic voice, and great personal gifts, were long and highly appreciated. She has been heard in most of the European capitals, is now (1875) a teacher in Brussels. [ M. C. C. ]

BLAGROVE,, was the son of a professor of music at Nottingham, where 