Page:A Dictionary of Music and Musicians vol 1.djvu/246

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Op. 5. 'Grande Messe des Morts' (Requiem).
Op. 6. 'Le 5 Mai.' Chant sur la mort de l'empereur Napoléon, pour voix de basse avec choeurs et orchestre.
Op. 7. 'Les nuits d'été.' Six mélodies pour une voix avec orchestre ou piano.
Op. 8. 'Reverie et caprice.' Romance pour le violon avec orchestre ou piano.
Op. 9. Le Carnaval Romain, Ouverture Caracteristique.
Op. 10. Grand Traité d'instrumentation et d'orchestration modernes. Avec supplément 'Le chef d'orchestre.'
Op. 11. 'Sarah la Baigneuse.' Ballade a trois chceurs avec orchestre.
Op. 12. 'La Captive.' Réverie pour mezzo soprano avec orchestre.
Op. 13. 'Fleurs des Landes.' Cinq mélodies pour une voix avec piano.
Op. 14. 'Episode de la vie d'un artiste.' Symphonie fantastique en cinq parties.
Op. 14 bis. Lelio, ou Le retour à la Vie.' Monodrame lyrique, 2e partie de l'episode.
Op. 15. Grande symphonie funèbre et triomphale pour grande harmonie militaire, avec un orchestre d'instruments à cordes et un choeur ad libit.
Op. 16. 'Harold en Italie' Symphonie en 4 parties, avec un alto principal.
Op. 17. 'Roméo et Juliette.' Symphonie dramatique avec choeurs, solos de chant et prologue en récitatif choral.
Op. 18. 'Tristia.' 3 Choeurs avec orchestre. (Méditation religieuse, Ballade sur la Mort d'Ophélie, Marche funèbre.')
Op. 19, 'Feuillets d'Album.' 3 morceaux de chant avec piano.
Op. 20. 'Vox populi.' Deux grands choeurs avec orchestre. (La menace des Francs, Hymne à la France.)
Op. 21. Ouverture du 'Corsaire.'
Op. 22. 'Te Deum,' à trois choeurs avec orchestre et orgue concertants.
Op. 23. 'Benvenuto Cellini.' Opera en trois actes. Paroles de Leon de Wailly et August Barbier. (Partition de piano. Paris, Choudens.)
Op. 24. 'La Damnation de Faust.' Légende dramatique en quatre parties.
Op. 25. 'L'Enfance du Christ.' Trilogie Sacrée. 1. 'Le songe d'Herode.' 2. 'La fuite en Egypte.' 3. 'L'arrivée à Sais.
Op. 26. 'L'Imperiale.' cantate à deux choeurs et orchestre.
'Le Temple universel.' Choeur à quatre voix et piano.
'Prière du Matin.' Choeur a deux voix et piano.
'La belle Isabeau.' Conte pendant l'orage, avec choeur.
'Le Chasseur danois.' Pour voix de basse avec piano.
'L'Invitatlon à la valse de Weber.' Orchestration.
'Marche Marocaine' de L. de Meyer. Orchestration.
'Recitatives' pour 'le Freischütz.'
'Béatrice et Bénedict.' Opéra en deux actes imité de Shakespeare. Paroles de Hector Berlioz. (Partition de piano. Paris, Brandus.)
'Les Troyens.' Poème lyrique en deux parties: (1) 'La prise de Troie.' (MS.) (2) 'Les Troyens à Carthage' (Partition de piano. Paris, Choudens.)

Besides the 'Traité d'instrumentation,' with its sequel 'Le chef d'orchestre,' included above amongst his musical works as op. 10, the sub-joined literary productions have been issued in book-form:—

Voyage Musical … études sur Beethoven, Gluck et Weber, 2 vols Paris, 1844.
Les soirées de l'orchestre, 1853.
Les grotesques de la musique; 1859.
À travers chants; 1862,
Memoires, comprenant ses voyages, etc., 1803–1865. Paris, 1870.
Historiettes et Scenes musicales;
Les musiciens et la musique.
Advertised by M. Levy frères in 1872, but not yet published.

[ E. D. ]

BERMUDO, Juan, born near Astorga in Spain about 1510, a Franciscan monk, author of 'Libro de la declaracion de instrumentos.' Volume I. only has been printed (Ossuna, 1549). Soriano-Fuertes ('Historia de la Musica española') states that the original in four volumes is among the MSS. in the National Library at Madrid.

BERNACCHI, Antonio, born at Bologna about 1690, is equally celebrated as a singer and as a master. During several years he received the instruction of Pistocchi, then the first singing-master in Italy, where there were at that time not a few; and to his care and skill, as well as to his own application, genius, and splendid soprano voice, the young Bernacchi owed his early superiority over all the other singers of his day, and the title which he gained of 'Il Re dei cantatori.' Fétis says that he made his first appearance in 1722; but it is much more likely that he did this ten years earlier, for he was singing in London in 1716 in the opera 'Clearte,' and in Handel's 'Rinaldo' in 1717. when he sang the part of Goffredo, which had previously been sung by Vanini Boschi and Galerati, two female contralti. While in England, his voice was thought to be weak and defective; but he covered these faults with so much skill that his singing was always much more admired by musicians than by the public. He remained here at first only for one season, after which he returned to Italy. Shortly afterwards he entered the service of the Elector of Bavaria, and subsequently that of the Emperor. Bernacchi now altered his style, making use of an embroidery of roulades,—a great innovation upon the old simple method of singing. This novelty had an immense success; and was immediately adopted by all the other singers, in spite of the outcry raised by the purists of the old school. Martinelli and Algarotti agree in blaming him for sacrificing expression to execution, and for 'opening the door to all the innovations which have debased the art.' Rousseau relates that Pistocchi, on hearing his former pupil, exclaimed 'Ah! woe is me! I taught thee to sing, and now thou wilt "play"!' The 'Daily Courant' of July 2, 1729, announced that 'Mr. Handel, who is just returned from Italy, has contracted with the following persons to perform in the Italian Opera: Sig. Bernacchi, who is esteemed the best singer in Italy;' etc. The new company disembarked at Dover at the end of September; and the Opera, which had been closed for eighteen months, re-opened December 2 with 'Lotario,' and a revival of 'Tolomeo,' in both of which Bernacchi played the principal character, formerly sustained by Senesino. In the season of 1730 he sang in Handel's 'Partenope,' after which he returned once more to Italy, with the desire of founding there a school for teaching his own method. Raff, Amadori, Mancini, Guarducci, and many more, were his scholars. The objection of the purists to Bemacchi's fioriture as new, has no foundation; for these embellishments were as old as the 16th century, and were only developed by him and employed more after the manner of instrumental music. He was also a good composer, having learnt composition from G. A. Bernabei; the Conservatoire at Paris possesses some songs and duets of his. He was admitted as a member of the Società Philarm. of Bologna in 1722, of which he became Princeps in 1748 and 49. He died March 1756. (See Farinelli.)

[ J. M. ]

BERNARD, surnamed il tedesco, 'the German,' is said to have been organist at the church of St. Mark at Venice in the last half of the 15th century, and to have invented organ pedals. The catalogue of the organists of St. Mark—given in von Winterfeld's 'Gabrieli'—contains the name of 'Bernardo di Stefanino Murer,' as having held the post from April 15, 1445, to Sept. 22, 1459.

BERNARDI. (See Senesino.)

BERNASCONI, Antonia, was the daughter of a valet-de-chambre of the Prince of Würtemburg, whose widow married Andrea Bernasconi,