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 |
| VOL. IV. | |
| 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
