Page:A Dictionary of Music and Musicians vol 4.djvu/584

568 Church Music:—Two collections of motets, anthems, etc; full services for the Protestant Episcopal Church.

Vocal Music:—Songs; part-songs for male and mixed voices; arias, sacred and secular, with piano, organ, and orchestral accompaniment.

Piano and Chamber Music:—.Compositions for PF. solo and in conjunction with stringed and wind instruments.

Organ Music:—Sonatas, concert-pieces, variations, marches, transcriptions of overtures.

Educational:—Studies on pedal phrasing (op. 28); illustrations in choir accompaniment, with hints in registration.

His most important unpublished works are:—

'Deseret,' Operetta, three acts, words by W. A. Croffut; produced at the Lyceum Theatre, New York, October, 1880: 'Marmion,' Symphonic overture: Symphony, E&#x266d; (op. 70): Concertino for four horns and orchestra (op. 71): String Quintets (op. 66 and 68).

[App. p.819 "his 'Light of Asia' was given for the first time in England at Novello's Oratorio Concerts, March 19, 1889."][ F. H. J. ]

BUCK,, Mus. D., born at Norwich, Sept. 9, 1798, became in 1807 a chorister of Norwich Cathedral under Dr. Beckwith, and continued such under his son and successor, John Charles Beckwith. On the breaking of his voice he became an articled pupil of the latter, and, on the expiration of his articles, his partner as a teacher. On the death of J. C. Beckwith in 1828 Buck was appointed his successor as organist and master of the choristers. The degree of Mus. D. was conferred upon him in 1853 by Dr. Sumner, Archbishop of Canterbury. He composed some church music, not remarkable for either quantity or quality; but although an indifferent player, and still more indifferent composer, he possessed an extraordinary faculty for training choir boys, and was also an able teacher of the organ. Many of his pupils obtained posts as organists. He resigned his appointments in 1877, and died at Newport, Essex, Aug. 5, 1879. [ W. H. H. ]

BÜLOW,. Add that he remained two years at Hanover, and was then appointed Hofmusikintendant to the Duke of Meiningen. During the five years of his tenure of this post he did wonders with the orchestra, forming it into an unrivalled body of players. Since his resignation of this appointment, in Oct. 1885, he has directed various sets of concerts in Berlin, St. Petersburg, etc., and has employed his exceptional talents as a teacher in the Raff Conservatorium at Frankfort, and in Klindworth's establishment in Berlin. He also conducted a Musical Festival at Glasgow in 1878. He has recently taken up his residence in Hamburg. (Died Feb. 12, 1894.) [ M. ]

BÜRDE-NEY,, whose maiden name was Ney (said by Pougin to be a relative of Marshal Ney), was born Dec. 21, 1826, at Gratz. She was taught singing by her mother, herself a singer, and first appeared in opera at Olmütz (1847), afterwards at Prague, Lemberg, and Vienna (1850-53), and finally at Dresden. In the last-named city, where she first appeared Dec. 1853, as Valentine, she attained a great reputation as the successor of Schroeder-Devrient, and was engaged there until her retirement from the stage about 1868, having in the meanwhile married, Jan. 31, 1855, Paul Bürde, an actor at the same theatre. In 1855–56 she was engaged at the Royal Italian Opera, Covent Garden, and Lyceum. She first appeared April 19, '55, as Leonora (Fidelio), on the occasion of the state visit of Her Majesty and the Emperor and Empress of the French, on whose account no attention was paid to the singer. She repeated this part twice, but was very coolly received. Professor Morley remarked her performance with favour in his 'Journal of a London Playgoer.' On May 10, 1855, she was better received as Leonora on the production in England of 'Trovatore,' the only other part she played during her engagement. She also sang with some success at the Philharmonic. It would be hard … to name a soprano voice more rich, more sweet, more even than hers. It was a voice better taught, too, than the generality of German voices—a voice delivered without force and inequality,—with due regard to beauty of tone and grace in ornament. But the new language and accent hampered Madame Ney; and her powers as an actress here seemed to be only limited.' (Chorley.) She died May 17, 1886. [ A. C. ]

BULL,. Line 2 of article, for about 1563 read in 1562. (This date is proved by a portrait in the possession of Mr. Julian Marshall.) Line 18, for In read On Nov. 30. P. 282, l. 32, for In the same month read Two days before. Concerning Bull's residence abroad, it should be added that he went to Brussels and became one of the organists of the Chapel Royal under Géry de Ghersem. His name occurs in a list of persons to whom James I. ordered 'Gold chains, plates or medals' to be given, Dec. 31, 1606. (Devon's 'Issues of the Exchequer,' 1836, p. 301.)[ M. ]

BULL,, a remarkable violin virtuoso, was born Feb. 5, 1810, at Bergen in Norway, where his father practised as a physician. Some members of the family, especially an uncle, were very musical, and at the frequent meetings held for quartet-playing, the boy became early familiar with the masterpieces of Haydn, Mozart, and Beethoven. Without having regular instruction he soon tried his hand at fiddling, and made such progress as to enable him not only to take part in these domestic practices, but also to play first violin in the public orchestra. His first teacher was Paulsen, a Dane, and later on he received some instruction from a pupil of Baillot's, a Swede named Lundholm who had settled at Bergen. In the main, however, he was a self-taught player. His individuality was so strongly marked as to leave but little room for the direct influence of a teacher. He was himself a true son of the North, of athletic build and independent character; and the ruling passion of his life was the love he bore to his native land. The glorious scenery of the mountains and fjords of his home, the weird poetry of the Sagas of the North, took hold of his sensitive mind from early childhood and filled his imagination. They were reflected in his style of playing, and gave to it that originality and poetic charm by which he never failed to captivate his audience. His father did not approve of a musical career, and, after having gone through the grammar school at Bergen, Ole 