Page:A Dictionary of Music and Musicians vol 4.djvu/583

BRUNETTES. BRUNETTES. See vol. i. 335 b and ii 593 b note 4.

BRUNI, A. B. Line 2 of article, for in read Feb. 2.

BRUSSELS CONSERVATOIRE. See, and vol. ii. 426 a.

BRYCESON, BROTHERS, organ-builders London. [See ../Electric Action, vol. i. p. 485.] The organ mentioned in the note, built for Mr Holmes, is now in the Albert Palace, Battersea Park. [See ../Organ, vol. ii. p. 607 b.] [ V. de P. ]

BRYNE,, organist, born about 1621, received his musical education from John Tomkins, organist of St. Paul's. It was probably on the death of his master that Bryne obtained the same post, which he held until the Commonwealth. At the Restoration he was re-appointed, a petition having been presented to the King on his behalf. After the great fire he became organist of Westminster, a post which he probably retained until the appointment of Blow in 1669. He is said to have died in that year, but there is evidence to prove that he was organist and fourth fellow of Dulwich College from 1671 to 1677. A 'Mr. Bryan' who was appointed organist of Allhallows' Barking in 1676, with a salary of £18 per annum, may very possibly have been the same person. In 'The Virgin's Pattern' (Life of Susanna Perwick), 1661, among the famous musicians of the time, mention is made of 'Albertus Bryne, that famous velvet-fingered organist.' A Morning and Evening Service by him are in many collections, and he wrote besides many sets of words for anthems, as well as dances, 'grounds,' etc. His name is variously spelt Bryan, Brian, and as above. ( etc.) [ W. B. S. ]

 BUCK,, born at Hartford, Connecticut, U.S., March 10, 1839, the son of a merchant, who intended him for a mercantile life. But the son, showing at an early age a taste for music, having in fact acquired by self-instruction a knowledge of the rudiments of the art with sufficient practical attainments to be able to play the accompaniments for the masses of Haydn and Mozart, the father, realising the extent of Dudley's gifts, spared nothing to cultivate and npen them. Dudley's first lessons on the piano were given him by Mr. W. J. Babcock of Hartford, at the age of sixteen. Being employed as a substitute for the regular organist at St. John's Church, Hartford, he gave such satisfaction that he retained the position until his departure for Europe in 1858. Before leaving home he entered Trinity College, Hartford, where he remained three years. Four years were passed in Europe, eighteen months of which were spent at Leipzig, where he studied theory and composition under Hauptmann and Richter, orchestration and musical form under Rietz, and the piano under Plaidy and Moscheles. Among his fellow pupils at the conservatory were Arthur Sullivan, J. F. Barnett, Walter Bache, and Carl Rosa. In order to increase his knowledge of Bach he then went to Schneider of Dresden. Rietz being called thither at the same time to direct the Royal Opera, Buck was enabled to continue his studies under him. A year was also spent at Paris. Returning to Hartford in 1862, he was appointed organist at the Park Church. His plans for seeking employment in a larger field were frustrated by the death of his mother in 1862. His father dying in 1867, Buck went to Chicago in 1868, where he held the position of organist at St. James's Church for three years, his reputation as a performer and composer steadily growing during this period. The great fire at Chicago, Oct. 9, 1871, destroyed his house, with a large library, including several important compositions in manuscript. Buck then removed to Boston, where he was appointed organist at St. Paul's Church and for the Music Hall, and subsequently at the Shawmut (Congregational) Church. In 1874 he went to New York, where he held the position of assistant conductor in Theodore Thomas's orchestra for one season. He also had charge of the music at St. Ann's Church, Brooklyn, until 1877, when he was appointed organist at the church of the Holy Trinity, Brooklyn; and this position he still holds (1887).

Buck's compositions embrace nearly every variety of music. They have been received with great favour by musicians of every grade, and are extensively played and sung throughout the Union. He is one of the first American composers, with high aims, who has met with anything like a proper recognition of his labours. At the time of his first publications—during his residence at Hartford, in 1862—the proverb concerning the lack of honour which a prophet receives in his own country applied with full force to aspiring musicians in the United States. The wide popularity which Buck's music enjoys is due to the fact that the strictness and thoroughness of his early training have not interfered with the play of his fancy or the freedom of his invention. His orchestral scores show him to be a master of the art of colouring as well as of form, and in all his compositions, vocal or instrumental, there is displayed a technical knowledge of the colour and resources of the natural or artificial means employed, combined with an artistic treatment, which has earned the warmest praise from the most critical judges.

The following is a list of Buck's published works:—

Solos, Chorus, and Orchestra:—

Psalm xlvi. (op. 20).

Easter Morning, Cantata (op. 21).

Festival Hymn, 'O Peace, on thine upsoarlng pinions' (original words), for the Peace Jubilee, Boston, June 1872 (op. 57).

'Legend of Don Munio,' Dramatic Cantata (original words) (op. 62).

Centennial Meditation of Columbia,' by appointment of U. S. Commission, Cantata, written for the opening of the Centennial Industrial Exhibition, Philadelphia, May 10, 1876; words by Sidney Lanier.

'The Golden Legend,' Symphonic Cantata, extracts from Longfellow's poem, prize composition at the Cincinnati Festival, June 1880.

'The Light of Asia,' Cantata, on a text from Edwin Arnold's poem. {Novello, Ewer & Co., 1886.)

'Columbus,' Cantata for male voice (original words, German and English).