George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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quently buried at Marshfield, Massachusetts,
where the family had long lived on a fine estate
purchased by Adelaide. She left a sister,
Mathilde, also a contralto of excellent reputation
in America, and three brothers. Brothers and
sister were alike indebted to Adelaide for their
education and start in life. Miss Phillipps's per-
sonal reputation was the best that a woman could
enjoy. She was especially noted for her free-
dom from professional jealousy, and for her readi-



ness to advise and encoirage youn? singers. Her
life was one of constant and hard labour, the care
of a large family having early in life been thrown
upon her, but she was always patient and
cheerful. [F.H.J.]

PHILP, Elizabeth, born 1827 at Falmouth,
educated at Bristol under the care of Mary
Carpenter, was taught singing by Manuel Garcia,
and received instruction in harmony and compo-
sition from Hiller at the last-named place. She
afterwards devoted herself to teaching singing
and composition. Her first works were published
in 1855, and comprised a Ballad, ' TeU me, the
summer stars,' words by Edwin Arnold; also
six songs from Longfellow, etc. Among other
of her compositions we may name her setting of
songs from 'The Water Babies,' of Elizabeth
Barrett Browning's ' Inclusions ' and ' Insuffi-
ciency,' of Victor Hugo's ' Chant des Lavan-
diferes,' also arranged by her as a duet; _' Le
Soupir ' (Prudhomme) ; ' Lillie's good morning,'
'Lillie's good night'; Duets 'The Moon is up,'
and ' It was the time of roses ; Part-songs,
' What is Love? ' ' The Owl in the Ivy Bush,'
etc. many of which were sung by herself and
other vocalists at her own concerts, and became
popular. Miss Philp was also the author of
' How to sing an English BaUad.' She died in
London Nov. 26, 1885. [A.C.]

PHRASING. P. 707 a, 1. 7, for dominant
read subdominant.

PIANOFORTE, P. 7136, 1. 8, concerning
Frederick the Great's pianofortes see Silbek-
MANN, vol. iii. p. 494 h. The examination
of the one at the Neues Palais was made
at the request of the writer, who had pecu-
liar facilities for examining the pianofortes
and harpsichords at Potsdam and Berlin ac-
corded to him by H.I.H. the Crown Prin-
cess (since Empress) of Germany. P. 719 a,
1. 19 from bottom, add that Isaac Hawkins took
out the London patent for his son John Isaac
Hawkins the inventor, who was at that time
living in Philadelphia, U.S.A. P. 720 a, 1. 14
from bottom, add that Pierre Erard had patented
a system of fixed iron bars in Paris in 1 8 2 2 . He
could not do so in London, being barred by
Stodart's (Thorn & Allen's) patent. Stodart
refrained from opposing the Broadwoods when
James Shudi Broadwood took out his patent for
stringplate and bars in 1827. The writer had
this particular information from Mr. Joseph
Ries who died in 1882. For tension bars,
throughout the article, read iron bars. P. 723,
in the synopsis of inventions, etc., the date of
John Broadwood's first 5^ F-C octave piano
should be 1790, and that of his first six-octave
C-C piano should be 1794. [A.J.H.]

PIANOFORTE MUSIC. P. 724 a, 1. 19
from bottom, /or 1712-1795 read 1710-1792;
four lines below, /or 1 716-1776 rea^f 1 702-1 762.
P. 7246, 1. 4,/ori768 read 1767; 1. 9, /or 1730
read 1729; 1. 21, for I'j^i^read 1734. P- 7^5 «>
1. 20, for ilil read 1754; 1. 40, for 1757 read


1758; 1. 9 from bottom, /or 1757 read 17.:?"
P. 725 6, 1. 33. f>s to the date of Steibelt's bir;^
see vol, iii. p. 699 b. P. 726 b, 1. 31 from botto'f
as to the date of PoUini's birth see vol. ;■
p. 9 a ; the date of his death is 1746. P. 737:1;
1. i8,/or 1839 read 1840; 1. 28,/or 1835 re r
1853. P. 727 S, 1. 30 from bottom, /or IJ )
read 1784. P. 728 a, 1. 29, the date of Grunf,
death is 1874. P. 729 a, 1- 21 from bottc; j
add date of death of Benedict, [885 ; 1. 8 frj
bottom, for 1804 read 1806. P. 7296, L :j^
omit the word valse before 'Pluie des Perle:
1. 27, for 1S06 read 1808; 1. 25 from botte
for 1880 read 1879; 1. 18 from bottom, i
date of death 1882. P. 730 b, 1. 18, add datt
death of RoseUen, 1876 ; 1. 23, that of Hill
1885 ; 1. 33, that of Liszt, 1886. P. 731 a, 1.
add date of death of Alkan, May 1888. P. 73:
1. 7, add death of Le Couppey, 1887; 1. 18,,
1855 read 1856 ; 1. 36, add death of Volkma
1883 ; 1. 42, that of Voss, 1882. P. 732 b, I.
for 1818 read 1S14; 1. 18, add death of KuL
1882 ; 1. 31, add that of Lacombe, 1884; 1.
thatofGutmann, 1882; 1. 45, omit date of des'
as Ra\dna is still alive (1887); last Ime
column, add death of Evers, 1875. P. 73
1. 6, add death of Brinley Richards, 1S85 ; 1.
for 1820 read i8i8 ; 1. 16, add death of Koh
1886; 1. 29 from bottom, for 1821 read 18 ;i
1. 3 from bottom, add death of Raff, it '
p. ->33 6, 1. 22 from bottom, add death of H '
tana, 1884 ; 1. 5 from bottom, that of Eschmo
1882. P. 734 a, 1.7, that of Ehlert, 1884; 1.
that of Moritz Strakosch, 1887; 1. 30, that ,
Merkel, 1885. P. 734^. 1- "• ^bat of R.
Vilbac, 1884; 1. 14 from bottom, that of Js ,
1882 ; 1. 5 from bottom, that of Hecht, 16 .
P. 735 a, 1. 4 from bottom, that of Ritter, 18 ;;
last line, for 1838 read 1837.

from bottom, /or 1760 read I'Jhl-^ ?• 73'
1 13 from bottom, as to Steibelt's birth
vol. iii. p. 699. P. 738 i' 1- 5 from bottom, .
1805 read 1806. P. 739 «' 1- 26, for 1788 r
17S4. P. 741 &, 1. 14. /o'- 1847 ««^_J.;
P, 742 b, 1. 14 from bottom, add death of Hil^
1885. P. 743 a, 1. 2, add death of KuUak, i^ ■
In the table on p. 744 the following correct! 4
are to be made :— Col. a, death of Schobert ■>
be altered to 1767 ; birth of Nanette Streic '
(Stein) to 1769. Col. b, birth of Kalkbren •
to 1784, and that of Lucy Anderson to 1? ;■
death of Benedict added, 1885, and Mme Ou; i
birth corrected to 1808. Col. c, J. Kuff^ '
death to be added, 1882 ; do. Hiller and W. •
Holmes, 1885 ; do. Liszt, 1886, and Voss, x»
Dohler's death to be corrected to 1858. P- /
col. a of table, omit date of Ravina's death,
insert those of KuUak, 1882 ; Mortier de t
tainu, 1883; Lacombe, 1884; Gutmann, 18
Evers, 1875 ; and Kohler, 1886. LitoltTs bi ■
to be corrected to 1 818, and that of Horele: '
1822. Col. b, add deaths of Wehle, Mo
Strakosch, Lindsay Sloper, 1887; and J:
1882. Col. c, add dates of deaths ot Kit


i, and Brassin, 1884, whose birth is to be
ed to 1836. Col. d, add date of death of
■.Alkan, May iSSS.^

[ATTI, Alfredo. Add day of birth, Jan. 8.
[CCINNI. P. 748 a, 1. 27 from bottom,

17 read 27. P. 748 b, 1. 28, for Feb. 20
Feb. 22 ; L 19 from bottom, for Feb. 28
Feb. 35.

[CCOLOMINT, Mabia. The date of birth
836, as given by Pougin, Paloschi, and
del. Lines 5-6 of article, /or Signers Maz-
li and P. Eomani read Signora MazzarelU
Signor Pietro Romani. P. 751 b, 1. 6, for
1 33 read AprU 30, and add that the occa-
was the second performance of the opera,
h had been produced on the 26th of the
th. In 1884 a testimonial was set on foot
;he artist, who was reported to be in re-
d circumstances. ('Daily News,' March 21,

[ETEREZ, Adkian, bom at Bruges early in
15th century, is the earliest known organ-
ler in Belgium. He built an instrument in
, at Delft, which is still in the new church ;
it has been so often restored that notliing
lins of his work. [V. de P.]

[ETOSO, ' pitiful ' or ' compassionate.' As
isical direction it indicates that tlie passage
hich it refers is to be performed in a sym-
etic style, with much feeling. Although
term appears in Brossard's Dictionary, where
defined as 'd'une manifere capable d'exciter
I piti^ ou de la compassion,' it is not to be
d in Beethoven's works, and the ' romantic '
posers, in whose music it might be expected
xur frequently, seem to prefer other terms
idicate the same intention. 'Con duolo' is
)er'3 favourite equivalent, and most com-
rs find ' espressivo' suflBciently definite. [M.]
•tide, add that it had been previously played
jhonbrunn with French words in 1 764, that

18 produced in German in Vienna in 1776,
in Paris, as 'Les Foux de Medina,' 1790.
[NSUTI, CiRO. Add date of death, March

[RATA, IL. Line 3, /or in the autumn of,

I on Oct. 27.

ISCHEK, JoHANN Baptist. See vol. iii.

ITTMAN, JosiAH, Add date of death,

il 23, 18&6.

IXIS. Line 14 from end of article, for

21 read Dec. 20.
IZZICATO. Add that early instances of
use of this effect are to be found in Handel's
rippina,' 'Pastor Fido,' 'Terpsichore,' and
1 air by Hasse, written for Mingotti in 174S.
LAIN SONG. Add to references on p. 765 h,
766 a, a reference to Gregorian Tones in
endix, vol. iv. p. 655.

lenews of Alkan's death in Paris arrived after the earlier sheets
i Appendix were prijitcd.



PLANTfi, Francois, bom at Orthez in the
Basses Pyrenees, March 2, 1839, appeared in
Paris at a very early age as an infant prodigy,
playing the piano with much success. In Dec.
1849 he entered Marmontel's class at the Con-
servatoire, and in the following year carried off
the first prize. He was then before the public
again as a performer, for some three years, dur-
ing which time he played frequently at the
chamber concerts given by Alard and Franc-
homme; in 1853 he returned to the Conserva-
toire to study harmony under Bazin. Here he
obtained a second prize in 1855. It must be
regarded as a fortunate circumstance that, at a
party at which he was playing, the audience
persisted in talking to an extent that highly
offended Plante ; whereupon he retired in great
wrath to the Pyrenees, where he remained for
nearly ten years, becoming familiar with the
compositions of all schools, and counteracting the
evils which necessarily accompany such a career
as his had hitherto been. He did not reappear
in Paris until 1S72, when he devoted himself to
playing on behalf of various charitable objects.
A series of concerts given with Alard and Franc-
honune established his position, and thence-
forth he has held a distinguished place among
French pianists. He has undertaken many suc-
cessful concert-tours on the Continent, but has
never appeared in England. His playing is
characterized by repose, maturity of style, and
rare intelligence. He is Chevalier of the Legion
d'honneur. (Pougin's supplement to F(5tis.) [M.]

PLAYFORD, John. Add that he com-
menced business as a book publisher about 1648.
His first musical publication was ' The English
Dancing Master: or Plaine and easie rules for
the dancing of Country Dances,' with the tune
to each dance, bearing the date 1651, but really
issued in or about Nov. 1650, which became
very popular, and during the next 80 years,
under the title of ' The Dancing Master,' ran
through 18 editions. [W.H.H.]

Line 8 of article, /or 1679 read 1681. Line
10, the date 1680 should probably be 1681, as in
that year his house at Islington was advertised
for sale, and it is not likely that he would have
set up tiie house in Arundel Street before gettins:
rid of his former residence. Line 12 from end of
article, the date of Henry Purcell (the younger s)
death should probably be 1 703.

PLEYEL. P. 3 b, correct date of Camille
Pleyel's birth to Dec. 18, 1788. (Pougin;
Mendel's supplement.) Line 23 from bottom,
afier Moke add or Mooke. Add Berlioz in 1830
was violently in love with her, as an episode in
his great passion for Miss Smithson ; and her
coolness after his departure for Rome nearly
caused him to commit a frightful crime. See
his Biography, chap. 34, and ' Lettres iutimes,'
xxvii-xxxiii. Also in M. Jullien'a ' Hector Ber-
lioz,' 1888.

PLEYEL & CO. Line 12 of article, add date
of death of Henri Pape, Feb. 1887.



POHL, C. F. Line 13 from end of article,
add that the second volume of the Life of Haydn
was published in 18S2, and that the third is in
course of completion by Herr Mandyczewski, to
whom Herr Pohl left his materials at his death,
which took place in Vienna, April 28, 1887.

POHLENZ, Christian August. See vol. iii.
p c,A.h, in which, for which he appears to have
held for nine years (p. 65 «. 1- 0, '•^"'^ ^^ had
held since 1827.

POLLEDRO, G, B. Line 12 of article, /or
that year read the previous year.

POLLINI, Francesco. Add a second chris-
tian name, Giuseppe. Correct date of death to
Sept. 17, 1846.

POLLITZER, Adolphe, was bom at Pesth
in 1832, and after studying music in his native
town, in 1S42 went to Vienna, where he studied
the violin under Bohm, and composition under
Preyer. After gaining the first prize at the
Conservatorium in 1846, he went on a concert
tour through the principal towns of Germany,
and finally went to Paris, where he continued
his studies under Alard. By the advice of
Erard, in 1851 Mr. Pollitzer came to London,
where' he has since resided, having occupied
the position of leader at Her Majesty's Opera,
the Royal Choral Society, the New Philhar-
monic, and a professorship at the London
Academy of Music. He has written viohn
concertos and solos which are still in manu-
script. [W.B.S.]
POLONAISE. P. II, last line but one before
first musical example, jfor major seventh read
leading note.

POLONINI. P. II 6, 1. 2 from end, add that
he died in the autumn of 18S0.

PONCHIELLL Amilcare. Add that 'La
Gioconda ' was produced with success at Covent
Garden, May 31, 1S83, and that the composer
died Jan. 16, 18S6. Among his last composi-
tions is a hymn in memory of Garibaldi, per-
formed in Sept. 1882. His last work of all was
an opera in 3 acts, ' Marion Delorme,' produced
at the Scala, March 17, 1885. In April, 1881,
Mr. Carl Rosa produced his ' Promessi Sposi at

Add that the author of ' Popular Music of the
Olden Time,' etc., Mr. W. Chappell, died Aug.
20, 1888, at his house in Upper Brook Street.
See the obituary notice in the ' Musical Times
for September, 1888.

PORTA, Costanzo, bom at Cremona (1.S20-
30 ?) ; studied under Willaert at Venice, where
his motets (Bk. I) were printed in 1555 (Drau-
dius alone giving 1546 as the date of theii' first
issue) ; became a Franciscan monk ; was chapel-
master at Osimo till 1564; then held similar
posts at Padua, first perhaps in the cathedral,
lor the 52 Introits published in 1566, are dedi-
cated to the cathedral chapter, and later in the
church of S. Antonio. These Introits, designed


for the Sundays throughout the year, and
second set of the same for saints' days, wei
among the first works printed by Claudio Merui(
the organist of St. jMark's, Venice, who wrote i
Porta as ' his very dear friend and one with vei
few equals in his profession.' IMerulo's opinio
has been endorsed by all competent critics dow
to our own times, and by common consent Port
ranks as one of the great contrapuntal master
Arisius, moreover, speaks of him as proficient i
all the liberal arts.

In 1 569 he left Padua to become chapel-masti
at Ravenna, and one of the teachers in the boj
school founded in that city in 1568 by the youi
cardinal Giulio Feltrio della Rovero, who hf
lately been appointed archbishop and was mec
tating reforms in the music of his cathedral,
accordance no floubt with the recent decisio!
of the council of Trent. The school was a succei
and Porta had several good pupils, but wi
reform in music itself lie liad scant sympath
Composers indeed at that time were passir
through a period of depression. Forbidden ar
longer to use in their choirs works of the old
masters which they reverenced, and had hither
regarded as models for their own art, they we
now called upon to supply new composition
written under such conditions in respect of sii
plicity and brevity as must greatly have lesseni
the interest in their task. Porta disliked tl
introduction of new masses. His mind
'hostile ' to the duty of composing them ; scrupl
of all kinds assailed him. 'I thought,' he writ*
' it behoved me rather to guard from an unju
oblivion the works which the great compose
have left to posterity, so apt as they are to th(
pm-pose, so full of beauty, delight, and chaw
Accordinglv, for many years he published r
thing, but in 1 5 75 the archbishop, in granting 1
request to be removed from Ravenna to t
church ' della Santa Casa ' at Loreto in suco
sion to Pionerio, extracted from him a me
distinct promise to publish some new wor)
urging him to aim at a style which would ma
it not only possible but even very easy to ht
the words of the mass, and recommending brem
as specially suitable to Loreto, where it wM
oijject not to tire the large congregations of f
grims in all ranks of life, who came to worst
at the shrine. Porta, however, still delayt
Further pressure was put upon him. His wo!
he was told, had been given and his honours
at stake. Moreover the serious illness of t
Archbishop in 1577 may have warned him_
delay no longer the fulfilment of hispromi
So, at length, without resting day or nig^t, a
with great anxiety of mind, he prepared
masses, the first six (a 4) of » simple charact
and the rest (05 and a 6, and some settings ot t
Atrnus Dei a 7^and a8) of somewhat more e
borate design. The dedication was signed Julj
1568 and addressed to the Archbishop, wLod
two months later (Sept. 3). A copy of this wo:
which must be rare, since certain dates faxea
the preface have not been given in fornier
i counts of the composer, is now m the Bnt


geum. The masses are of great interest, for
/belong to the same period as the three famous
ises of Palestrina, and owe their existence

style to the same circumstances. Leaving
eto, Porta went back to Eavenna; for Pom-
ius Spretus, describing the entry of Cardinal
•za into that city on Nov. 6, 1580, mentions
performance of ' a delightful piece of music
iposed by M. Costanzo Porta of Cremona, the
; musician of the time, and chapel-master of

cathedral.' To this year belong 52 motets
, 6, 7) S), irom which Bumey has chosen the
>orate ' Diffusa est gratia ' to print in his His-
K In 1585 aset of motets (a6) were dedicated
'ope Sixtus "V, from the title-page of which we
w that Porta had returned to Padua as chapel-
ter in the cathedral. In 1595 he was ap-
ited to the church of S. Antonio ' for the
ind time,' and held this post till his death in
le 1601. An assistant, B. Eatti, had been ap-
ited the previous year to help him on account
is great age. Many extracts from his works
given in modern notation by Paolucci, Cho-

Martini, Proske, etc. A curious example is
piece which Hawkins has copied from Artusi,
part setting of ' Vobis datum est nosce mys-
um ' which can be sung upside down. Four
£s of madi'igals represent Porta's contribution
ecular music. [J.E.S.-B.]

OETOGALLO. Line 2 of article, add
istian name, Maecantonio. Line 4,jfoj' in
3 read March 24, 1762. Line 11 from end
rticle, add exact date of death, Feb. 7, 1830.

OTT, August. Add that he died in Nov.

OTTEE, CiPEiANi. P. 23 a, 1. 27, for
■ndale Bennett read Charles Lucas (cor-
ed in late editions). Add that on March 8,
4, he introduced Beethoven's C minor Con-
o at the Philharmonic Concert.

OUGIN, Akthuk. Add the most impor-
; of his later works, a ' Life of Verdi,' pub-
ed first in Italian, 1881, and translated by

1. Matthew, 1887.

EACTICAL HAEMONr. Lines 14, 15,

jticle, for vols. i. and ii. alone read all the


EAETORIUS. P. 25 S, 1. 19 and note 3,/or

8 and 1519 read 1618 and 1619. Add that

is's date is correct. The order of publication

ie ' Syntagma ' is as follows : —

'ol. I. Part I. Wolfenbiittel, 1614 ; Part 2.

itenberg, 1615.

'ol. II. Part I. Wolfeubuttel, 1619 ; Part 2.

0, 1620. [W.B.S.]

EENTICE, Thomas Exdlet, born July 6,

2, at Paslow Hall, Ongar, entered the Eoyal
idemy in 1S61, studying the piano under Mr.
Iter Macfarren, and harmony and composi-
. under the late Sir. G. A. Macfarren. In
3 he obtained the Silver Medal and the
ter Exhibition. On leaving the institution
was elected an associate, and since that
e has been chiefly engaged in pianoforte



teaching. In 1869 ^^ started ' monthly popular
concerts ' at Brixton, which were carried on for
five years, the assistance of first-rate artists being
secured, and many new works, both English and
foreign, being performed. For some years he
gave an annual concert at the Hanover Square
Eooms. At the Crystal Palace he played Beetho-
ven's Eondo in B b with orchestra, for the first time
in England. [See vol. iv. p. 538, no. 151.] For
some time he held the post of organist at Christ
Church, Lee Park. In 1880 he was appointed
professor of the piano at the Guildhall School of
Music, and in the same year he organized an
extremely successful series of ' twopenny con-
certs ' in Kensington Town Hall, especially in-
tended for the working class. During the tw^o
seasons in which the scheme was earned on,
many artists of eminence appeared, and chamber
music of a high class was given. In 1881 he
became professor at the Blackheath Conserva-
toire of Music. His compositions include a can-
tata, ' Linda,' for female voices, several anthems,
' Break forth into joy,' * I love the Lord,' etc.,
part-songs, trios, etc., besides numerous songs
and pianoforte pieces, among the latter of which
may be mentioned a * Gavotte fantastique,' an
elegy, a minuet and trio, etc. He edited six
cantatas by Carissimi, with accompaniments, and
has lately completed an excellent series of in-
struction-books for the pianoforte under the col-
lective title of ' The Musician ' (Swan Sonnen-
schein & Co.), in which special stress is laid
upon the analysis of musical compositions from
the beginning of pianoforte study. [M.]

PEEYEE, GoTTFEiED. Line 2 of article,/or
March 15, 1808, read May 15, 1809.

Comic opera in a prologue and two acts, written
by W. S. Gilbert, music by Arthur Sullivan.
Produced at the Savoy Theatre, Jan. 5, 1884.
The piece was called 'a respectful operatic
perversion of Tennyson's " Princess." ' [M.]

PROFESSOE. Line 6 of article, for 1848
read 1847. Page 33 a, 1. 8, add the date of Dr.
C. V. Stanford's election to the Cambridge Pro-
fessorship, Dec. 1887. Line 21 from bottom of
the same column, for 1 845 read 1 847. Line 1 7
from bottom,/or 1862 read 1861.

PEOGEAMME-MUSIC. Page 34 5, 1. 33,
omit the mention of Weber's Concertstiick, as
that is a specimen of intentional 'Programme-
music' The authority for Weber's intention
is handed down by Sir Julius Benedict, in his
life of Weber. The sentence on p. 35 6, 1. 4-7
after musical example, is to be omitted, since
both Jannequin and Gombert wrote pieces with
the title of ' Le Chant des Oyseaux.' The com-
position by the foimer is for four voices, and
was published in 1551, that of Gombert being
for three voices, and published in 1545. Line
30 from bottom of same column, omit the words
' Soprano, Alto, Tenor and Bass,' since the com-
position referred to is in three parts, not four.
It is ' in four parts ' in the sense only of being
in four sections, or movements. Correct the



eentence beginning 7 lines below, with the words
' Mr. Bird's Battle ' by a reference to Lesson,
and Virginal Mlsic, where the exact title is
given. The detailed title of the piece from
which the first examples on p. 36 are taken wLU
be found in the article last mentioned, vol. iv. p.
308 a, note 2, P. 36 h, 1. 19-26, tlie statement
that the titles given by Couperin to his harpsi-
chord pieces have no application in the sense
of ' Programme-music,' is to be corrected ; to
mention but two instances out of many, 'Le
Eeveil-matin ' is as true a specimen of the class
as could be found in all music, while ' La
Triomphante ' exceeds ' The Battle of Prague '
as far in graphic delineation as it does in musical
beauty. P. 39 J, 1. 30 from bottom, for the
preludes ' Tasso,' etc., read the symphonic poems,
* Les Preludes,' ' Tasso,' etc.

from bottom,_/oj' 1851 read 1850.

PROPORTION. P. 416, in the diagram,
above the figure 8 in the top row of figures, the
sign should be a semicircle, not a circle. The
note below the sign is correct.

PROUT, Ebenezer. Add to list of com-
positions Minuet and trio for orchestra, op. 14;
' Queen Aim^e,' a cantata for female voices, op.
21; ' Freedom,' for baritone solo, chorus and
orchestra ; a Symphony in E, No. 4. op. 23
(Birmingham Festival, 18S5); Symphony in D,
No. 4 (MS. Oxford, 1SS6; ; a Magnificat and
Nunc Dimittis in D ; a scena for contralto
and orchestra, 'The Song of Judith,' Norwich,
Festival 1S67, etc.

PftQCKNER, Caeoline, singer and pro-

Online LibraryGeorge GroveA dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) → online text (page 177 of 194)