Page:A Dictionary of Music and Musicians vol 4.djvu/564

548 Black Prince' is 1828; that of 'The Englishman (sic) in India,' 1827; 'Home, sweet home,' 1829; 'The Romance of a Day,' 1831; 'Yelva,' 1829; 'The Rencontre,' 1828; 'Rural Felicity,' 1839; 'Manfred,' 1834; and 'The Fortunate Isles,' 1840. 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. ]

BITTER,, was born Feb. 27, 1813, at Schwedt on the Oder, and died Sept. 12, 1885, at Berlin. Having studied law and finance at the universities of Berlin and Bonn, he entered upon his legal career in the former city in 1833. After holding various high official positions from 1846 onwards, at Frankfort, Minden, Posen, Schleswig, and Düsseldorf, he was appointed, in 1877, Under Secretary of State for the Interior; and in July, 1879, was made Minister of Finance, which post he held until June 1882. During the war with France he had been Prefect of the department of the Vosges, and subsequently Civil Commissioner at Nancy. His activity in affairs of state found ample recognition. His lively interest in music had many practical results—among other things the Schleswig-Holstein Festival of 1875 owed its existence chiefly to him; and his contributions to musical literature are of no small importance. The most valuable of these are the biographies of the Bachs—(1) 'Johann Sebastian Bach,' in 2 vols. (1865)—2nd ed., revised, in 4 vols (1881); (2) 'Carl Philipp Emanuel Bach und Wilhelm Friedemann Bach und deren Brüder,' in 2 vols. (1868). The latter is the most exhaustive and trustworthy work yet published on the subject of Bach's sons; the former has been superseded by Spitta's great 'Life of Bach,' with which it cannot compare for thoroughness or penetration. Although it is by no means free from errors and superficiality, it obtained a wide success soon after its appearance, on account of the enthusiastic homage displayed in the presentment of its subject. It was especially successful among those who knew little or nothing about Bach, and it contributed in no small degree to the general appreciation of the master. Bitter's other literary works are: 'Mozart's Don Juan und Gluck's Iphigenia in Tauris,' with new translations of the words of both operas (1866); 'Ueber Gervinus' Händel und Shakespeare' (1870); 'Beiträge zur Geschichte des Oratoriums' (1872); 'Eine Studie zum Stabat Mater' (1883); 'Die Reform der Oper durch Gluck und R. Wagner's Kunstwerk der Zukunft' (1884). To these must be added various contributions to periodical literature, the most recent of which (in the 'Deutsche Revue' for October, 1885), 'Gedanken über die Bildung eines Ministeriums der schönen Künste für Preussen' is remarkable. In 1870 Bitter edited Löwe's autobiography. [ A. D. ] 

BIZET,. Add that his proper names were Alexandre César Léopold. Line 5 of article, for afterwards married read married in 1869; l. 11, for Sept. 30 read Sept 29, and add that 'Les Pêcheurs de perles' was given in Italian as 'Leila' at Covent Garden on Apr. 22, 1887; l. 14, for Sept. 30 read Oct. 1. Add that 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.' [ M. ]

BLAGROVE, H. G. P. 247 a, l. 1, for in October read Oct. 20; l. 17, for 1833 read 1832.

BLAKE, [vol. i. p. 247 a]. For William read Edward. For date of death read June 11, 1765. (Corrected in late editions). Add that he was born at Salisbury, was educated at Balliol College, Oxford, taking the degrees of B.A. 1733; M.A. 1737; B.D. 1744 ; and D.D. 1755. He was elected Fellow of Oriel in 1736, became curate of St. Thomas's, Salisbury, 1740, Vicar of St. Mary's, Oxford, in 1754, Prebendary of Salisbury and Rector of Tortworth, Gloucestershire, 1757. [ H.P. ]

BLAND,, born of Italian Jewish parents named Romanzini in 1769, made her first appearance in public in 1773 at Hughes's Riding School, and at a more advanced age appeared as a singer on the opening of the Royal Circus (afterwards Surrey Theatre), Nov. 7, 1782, in a pantomime called ' Mandarina, or, The Refusal of Harlequin.' She was very favourably received, and was next engaged at the Dublin Theatre, where she became an established favourite. On Oct. 24, 1786, she appeared at Drury Lane as Antonio in General Burgoyne's version of Grétry's 'Richard,' with complete success. She remained attached to the Drury Lane company for nearly forty years. In the summer of 1789 she visited Liverpool, where she performed both at the theatre and at concerts. On Oct. 21, 1790, she was married to Bland, the brother of Mrs. Jordan, the celebrated actress. She sang at the Haymarket in 1791 in Arnold's 'Inkle and Yarico.' She for many years sang at Vauxhall, where her popularity was unbounded. In 1812 she received a salary of £250 for the summer season; a considerable sum at that period. She excelled as a ballad singer, for which the beauty of her voice, simplicity of manner, and neatness of execution eminently qualified her. Having begun to show symptoms of mental weakness, she retired from public life in 1824, taking a 