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known to every musical reader. Dr. Burney also wrote 'An Essay towards the History of Comets,' 1769; 'A Plan for a Music School,' 1774; and the 'Life and Letters of Metastasio,' 3 vols. 8vo, 1796. His last labour was on Rees' Cyclopedia, for which work he furnished all the musical articles, except those of a philosophical and mathematical kind. His remuneration for this was £1000, and as most of the matter was extracted without alteration from his History, the price was large.

During a long life Dr. Burney enjoyed the intimate acquaintance of almost every contemporary who was distinguished either in literature or the arts; with Johnson he was in habits of friendship; and it is known that soon after Johnson's death, he had serious thoughts of becoming his biographer. For many years Dr. Burney lived in St. Martin's Street, Leicester Square, in a house once the residence of Newton, and still standing; but about 1789, on being appointed organist of Chelsea College, he removed to a suite of apartments in that building, where he spent the last twenty-five years of his life in the enjoyment of independence, and of a family, each individual of which (thanks to their parents' early care and example) had attained high distinction in some walk of literature or science. 'In all the relations of private life,' says one of his biographers, 'his character was exemplary, and his happiness such as that character deserved and honoured. His manners were peculiarly easy, spirited and gentlemanlike; he possessed all the suavity of the Chesterfield school without its stiffness—all its graces, unalloyed by its laxity of moral principle.' At length, full of years, and rich in all that should accompany old age, he breathed his last on April 12, 1814, at Chelsea College. His remains were deposited, on the 20th of the same month, in the burial-ground of that institution, attended by his own family (of which he lived to see the fourth generation), the chief officers of the college, and many others of rank and talent.

His intelligent and expressive face has been preserved by Reynolds, in a fine portrait, engraved by Bartolozzi, and Barry has introduced him in his large picture at the Society of Arts.

As a composer Dr. Burney's principal works, in addition to those already mentioned, are 'Sonatas for two Violins and a Base,' two sets; 'Six Cornet Pieces with Introduction and Fugue for the Organ'; 'Twelve Canzonetti a due voci in canone, poesie dell' abate Metastasio'; 'Six Duets for German Flutes'; 'Six Concertos for Violin, etc. in eight parts'; 'Two Sonatas for Pianoforte, Violin and Violoncello'; and 'Six Harpsichord Lessons.'

[ E. F. R. ]

[App. pp. 571–2 "Add that [H]e wrote the music for Thomson's 'Alfred,' produced at Drury Lane, March 30, 1745, and that in 1747 he published six sonatas for two violins and bass. Shortly afterwards Fulke Greville paid Arne £200 to cancel his articles, and took Burney to live with him. In 1749 he married Miss Esther Sleep, who died in 1761. Eight years after her death he married Mrs. Stephen Allen of Lynn. In 1759 he wrote an Ode for St. Cecilia's Day, which was performed at Ranelagh Gardens. In 1806 Fox gave him a pension of £300, and in the following year he had a paralytic stroke. His appointment to Chelsea Hospital was given him by Burke in 1783. (Dict. of Nat. Biog.)

The following is a catalogue of the musical extracts in his 'History of Music':—

Vol. 1. contains no musical example of consequence.

vol. ii. page
Romance on the death of Richard I. from the Provencal 242
Prologue to the Paraphrase of the Epistle for St. Stephen's Day 252
Plain Song for the Feast of St. John the Evangelist 255
Song for New Year's Day 256
Chanson de Roland 276
Two Chansons du Chatelain de Coucy 283
Chansons du Roman d'Alexandre 290
Song of Thibaut of Navarre 296
Chanson 'L'autrier par la matinée 300
Old French song (fragment) 'Faux semblant' 308
Hymn 'Alla Trinita beata' 328
Song on the victory obtained at Agincourt 384
'Sumer is icumen in' 407
Cantilena of Guido 415
Canon in epidiapente by Okenheim 474
La Deploratlon de Jehan Okenheim, par Josquin des Prés 481
Two canons from Josquin's Mlssa sine nomine 490
Trio 'Pleni sunt' from Josquin's Missa 'l'homme armé' 495
Osanna from Josquin's mass 'Faysan regrés' 499
Benedictus from Do 500
'Misericordias,' Motectus 503
'Murae Jovis ter maximi ' (monody on Josquin's death) Benedictus 513
'Anima mea.' Isaac 521
'De testimoniis' Do 523
Benedictus a 3. P. de la Rue 527
Crucifixus a 2. A. Brunnel 529
Kyrie a 4. Anthony Fevin 531
Et vitam. Do. 532
'Quam pulcra es' (Motetti della Corona, lib. lii, no. 12), Mouton 535
'Youre counterfeyting.' Wm. Newark 541
'My woful hart.' Sheryngham 544
'That was my woo.' R. Fayrfax 546
'Alas, it is I.' Edmund Turges 548
'Dum transisset.' Taverner 557
'Qui tollis' from mass 'O Michael.' Taverner 560
Do. from mass 'Albanus.' Fayrfax 561
'Quoniam' from Do 563
'Gloria,' from another mass by Fayrfax 564
'Esurientes.' John Shepherd 587
'Et In terra pax,' from mass 'Euge bone.' Tye 589
'Sabbatum Maria Magdalene.' Robert Johnson 593
Song, 'Enforced by love and feare.' Robert Parsons 596
vol. iii.
'Heare the Voyce and Prayer.' Tallys 27
Ps. cxxviii. 'Selig ist der gepreiset.' Luther 35
Easter Hymn 'Jesus Christus unser Heiland' 36
'Ein veste burg' 37
Hymn 'Es woll uns Gott' 38
Ps. c. harmonized by Claude Lejeune 40
'Erhalt uns Herr' 53
Four-part song, 'In deep distresse.' Mundy 55
Anthem, 'Lord, who shall dwell.' Robert White 67
'Salvator Mundi,' from 'Cantiones Sacrae,' Tallys 77
Motet, 'Derelinquit.' Tallys 87
The Carman's Whistle. W. Bird 89
'O Lord my God.' Do 95
'My mind to me a kingdom is.' Do 97
Canzonet. 'Cease mine eyes.' T. Morley 103
Do. 'See, see, mine own sweet jewel.' Do 103
Dr. Bull's difficult passages, from Virginal Book 115
Dr. Bull's Jewel 117
Alman by Robert Jhonson 118
'Fortune,' set by Bird for the Virginal 118
'My flockes feed not.' Weelkes 125
'Thou God of Night.' John Milton (Sir William Lelghton's 'Tears and Lamentations') 139
'An heart that's broken.' Dowland 139
'I shame, I shame.' Do 140
Airs, 'Like Hermit poore' and 'Singe we then.' A. Ferrabosco 141
Canon. 'Veni Creator.' Zarlino 169
'Deposuit' from Magnificat in Second Tone. Palestrina 170
'Sicut erat' from Do. Pietro Pontio 177
Miserere. Animuccia 184
Motet, 'Exaltabo te Domine.' Palestrina 191
Madrigal, 'Ahi tu mei neghi.' Marenzio 205
Villota alla Napolitana. Perissone Cambio 214
Canzone Villanesche alia Napolitana. Baldassare Donate 216
Madrigal. 'Moro lasso,' Gesualdo, Prince of Venosa 223
Fugue, 'Diffusa est gratia.' Costanzo Porta 227
Balleto, 'Il Bell' humore.' Gastoldi 231
Do. 'L'Innamorato' 232
Monteverdi's New Discords 235
Madrigal, 'Straccia mi pur.' Monteverde 237
Motet, 'Quam pulcra.' Festa 245
Madrigal, 'Madonna, io v'amo.' Do 246
Motet, 'Domine, quid multiplicati.' Goudimel 267
Chanson, 'Bonjour.' Claudin le Jeune 271
Extracts from 'Le Ballet Comique de la Royne.' Baltazarini 279
Noel. Caurroy 285
Madrigal, 'Il bianco e dolce cigno.' Arcadelt 303
Chanson, 'Ta bonne grace.' Cornelius Canis 309
Madrigal, 'Alma Nemus.' Orlando Lasso 317
Do. 'Calami sonum.' Cipriano de Rore 319
Catch and Canons from 'Pammelia' 349
Rounds and Canons 350
Anthem in 8 parts, exercise for an Oxford degree 351
Song, 'Come my Celia.' A. Ferrabosco 354
Whitelocke's Coranto 378
Air in Comus. Henry Lawes 383
Song 'A lover once.' Do 397
'Sing to the King of Kings.' William Lawes 405
'Lord, judge my cause.' Do. 406
'Who trusts in thee.' Do 406
Five Bells Consort. John Jenkin 411
Canon, 'I am so weary.' Thomas Ford 415
Do. 'Lift up your heads.' Simon Ives. 415
Do. 'Non nobis Domine.' Hilton 416
Do. 'Look down, O Lord.' T. Ford 416
Do. 'Hold thy peace' 416
Examples of Blow's crudities 449
Anthem, 'The ways of Zion.' Michael Wise 455
'Gloria Patri.' Deering 479
Glee, 'Ne'er trouble thyself.' Matthew Locke 480
Three-part song, 'Sweet Tyrannies' by the father of Henry Purcell 486
Chant. Thomas Purcell 487
Canon. Turini 521
Divisions, specimens of. Seracini 528
Fragments of Italian melody from Pallavicini, Cifra, Rovetta, Merula and Facho 544
'Tinna Nonna,' lullaby. Barbella 571
Aria dal Tasso. Tartini 572
Aria alla Lecese. Leo 572
Licences in Monteverde 27
Fragments of Peri, Caccini, and Monteverde 31
Rec. and Air from Cesti's 'Orontea' 67
Fragment of Cavalli's 'Erismena' 69
Scena from Bontempi's 'Paride' 71
Scene from the first Oratorio. Emilio del Cavaliere 91
Rec. from Mazzochi's 'Tears of Mary Magdalen' 96
Air from Federici's 'Santa Caterina da Siena' 117
Duet from Stradella's 'John the Baptist' 118
Air from Pistocchi's 'Maddalena' 121
Air 'Il mio figlio.' Scarlatti 121
Extract from Vecchi's 'Amfiparnasso' 127
Extract from Caccini 137
Fragments and Air from Cantata by Carissimi 143
Beauties of his cantatas 147
Duet from 'Musurgia.' Kircher 150
Fragments of cantatas and motet by Cesti 151
Fragments of cantatas by Luigi Rossi 157
Air, 'Dolce amor.' Cavalli 158
Fragment of Bandini 158
Specimens of Salvator Rosa 165
Fragments of Bassani 168
Fragments from Scarlatti's Cantatas 171
Divisions by various singers 216
Fragment from Handel's 'Teseo' 241
Divisions by Nicolai and others 243
Air from Ariosti's 'Vespasiano' 293
Divisions by Farinelli 437
Air sung by Farinelli in Broschi's 'Artaxerxes' 439
Divisions (1740 and 1755) 461

[ M. ]

BURROWES, John Freckleton, born in London, April 23, 1787, was a pupil of William Horsley. He first made himself known as a composer by an overture and several vocal pieces with orchestral accompaniments, and afterwards by an overture produced at the concerts of the Philharmonic Society, of which he was one of the original members. He soon however abandoned these pursuits for the less distinguished but more profitable one of composing and arranging for the pianoforte. Burrowes was the author of 'The Thorough Bass Primer' and 'The Pianoforte Primer,' both which have passed through many editions, and are still in request. He was also the composer of some ballads and many pianoforte pieces. For nearly forty years he held the situation of organist of St. James's Church, Piccadilly. He died March 31, 1852.

[ W. H. H. ]

BURTON, Avery, a cathedral musician in the time of Henry VIII, some of whose compositions are still preserved in the Music School at Oxford.

[ W. H. H. ]

BURTON, John, a native of Yorkshire, born 1730, was a pupil of John Keeble, the theorist. He became one of the first harpsichord players of his time, particularly as respects expression. He died in 1785.

[ W. H. H. ]

BUSBY, Thomas, Mus. Doc., born in Westminster, 1755 [App. p.571 "December"]. At the age of fourteen he was articled to Battishill; he also studied languages, became a good classical scholar, and for several years was connected with the press as reporter. [App. p.571 "In the summer of 1769 he sang at Vauxhall at a salary of ten guineas a week, and about 1786 was elected organist of St. Mary's, Newington."] He was successively organist at St. Mary's, Newington, and St. Mary Woolnoth, Lombard Street. In 1799 he produced an oratorio called 'The Prophecy,' which met with considerable success. [App. p.571 "The oratorio called 'The Prophecy' had been written much earlier than 1799; it was a setting of Pope's 'Messiah.'"] Encouraged by this he wrote an 'Ode to British Genius'; an 'Ode to St. Cecilia's Day' (by Pope); 'Comala' (from Ossian); and the oratorio of 'Britannia.' In 1801 he took his degree as Mus. Doc. at Cambridge, having previously enjoyed that of LL.D. He next [App. p.571 "had previously. 'Joanna' was produced at Covent Garden in January 1800"] composed the music to 'Joanna,' a five-act romance by Cumberland, and subsequently gained fame by his music to 'A Tale of Mystery,' and 'Rugantino, or the Bravo of Venice'—the first melodramatic music heard in this country. He died in April [App. p.571 "on May 28"], 1838. Busby was a man of great industry, and, besides the works enumerated, wrote and published the following:—'The Day [App. p.571 "Age"] of Genius,' a satire, 1786; 'A Dictionary of Music,' 1786—a work which went through many editions, and is still in print; 'The Divine Harmonist,' 1788; 'Melodia Britannica,' 1790; 'The Monthly Musical Journal' (4 numbers), 1801; 'Lucretiua,' translated from the Latin, 2 vols. 4to., 1813; 'A Grammar of Music,' 1818; 'A History of Music' (compiled from Burney and Hawkins), 2 vols. 8vo., 1819; 'Concert-Room and Orchestra Anecdotes,' 3 vols. 12mo., 1825; 'A Musical Manual, or Technical Directory,' 1828. (Dict. of Living Authors, 1816; Busby, Hist. of Music; Private Sources.)

[ E. F. R. ]

BUSNOIS, a Belgian musician in the latter part of the 15th century, who with Ockenheim and a few others represent the Netherland school immediately preceding Josquin des Prés. The date and place of his birth are unknown, but he was without doubt educated and passed the greater part of his life in Belgium. In 1476 he was appointed one of the chapel singers of