Page:A Dictionary of Music and Musicians vol 2.djvu/655

PALFFY. PALFFY,, an enthusiastic amateur, born at Vienna, Feb. 1, 1774, died there Feb. 4. 1840. He was one of the committee of noblemen, who bought the Theatre an-der-Wien from Baron von Braun in 1807, and leased the two court theatres. When they quarrelled and parted, Palffy took on the theatre, and became his own manager, during the most brilliant period of its career. He also founded the dramatic benefit-fund which bears his name, and is still in existence. He engaged first-rate singers, and gave performances of a high order of merit, but the expenses were ruinous, and heavy losses obliged him to relinquish the undertaking at the close of 1821. He associated a good deal with Beethoven, who was wont however to speak with scant courtesy of Palffy and his opinion on matters of art. [ C. F. P. ]

PALOTTA,, called Il Panormitano, from his birthplace Palermo, studied in the Conservatorio San Onofrio at Naples, apparently at the same time as Pergolesi. On his return to Palermo he passed the necessary examinations, and was ordained secular priest. He then devoted himself with great ardour to studies in part-writing and counterpoint, and produced a valuable work 'Gregoriani cantus enucleata praxis et cognitio' being a treatise on Guido d'Arezzo's Solmisation, and an instruction-book in the church-tones. It has been supposed that the Emperor Charles VI invited Palotta to Vienna as Capellmeister, but Palotta himself applied to the Emperor in 1733, asking for the post of Composer of a cappella music. The then Court-capellmeister warmly recommended him, and he was appointed one of the court-composers with a salary of 400 florins on Feb. 35, 1733, was dismissed in 1741, and reinstated in 1749. He died in Vienna on March 28, 1758, aged 70. The libraries of the Court-chapel and the Gesellschaft der Musikfreunde possess a number of his masses in 4 to 8 parts, motets, etc., all written in a pure and elevated church style, the parts moving easily and naturally in spite of their elaborate counterpoint. In many points they recall Caldara. One special feature in Palotta's music is the free development of the chief subject, and the skilful way in which he combines it with the counter-subjects. [ C. F. P. ]

PAMMELIA. The first collection of Canons, Rounds, and Catches, published in this country. It was issued in 1609, under the editorship of Thomas Ravenscroft, with the title of 'Pammelia. Mvsicks Miscellanie, Or, Mixed Varietie of Pleasant Boundelayes, and delightfull Catches, of 3. 4. 5. 6. 7. 8. 9. 10 Parts in one. Never so ordinarie as musicall, none so musical, as not to all very pleasing and acceptable.' It contains 100 compositions, many of considerable antiquity, several of which are still well known and have been reprinted in modern publications, amongst them 'Heyhoe to the green wood,' 'All in to service,' 'Now kiss the cup, cousin,' 'Joan, come kiss me now,' 'There lies a pudding,' 'Jack boy, ho boy' (alluded to in Shakspere's 'Taming of the Shrew '), 'Banbury Ale,' 'Now Robin lend to me thy bow,' and 'Let's have a peal for John Cook's soul.' A second edition appeared in 1618. A second part was issued, also in 1609, under the title of 'Deuteromelia: or, The Second part of Musicks melodie, or melodius Musicke of Pleasant Roundelaies; K. H. mirth, or Freemens Songs and such delightfull Catches. Qui Canere potest canat. Catch that catch can. Vt Mel Os, sic Cor melos afficit de reficit.' This contains 31 compositions, viz. 7 Freemen's Songs for 3, and 7 for 4 voices, and 8 rounds or catches for 3, and 9 for 4 voices. Of the Freemen's Songs the following are still well known; 'As it fell on a holy day' (John Dory), 'We be soldiers three,' 'We be three poor mariners,' 'Of all the birds,' and 'Who liveth so merry in all this land'; and of the catches, 'Hold thy peace, thou knave' (directed to be sung in Shakspere's 'Twelfth Night') and 'Mault's come down.' No composer's names are given in either part. [ W. H. H. ]

PANDEAN PIPE (Fr. Flûte de Pan; Ger. Syrinx). A simple instrument, of many forms and materials, which is probably the oldest and the most widely disseminated of any. It is thought to be identical with the Ugab, the first wind-instrument mentioned in the Bible (Gen. iv. 21, and Psalm cl.), in the former of these passages translated 'organ,' in the latter, 'pipe.' It was well known to the Greeks under the name of syrinx, being made with from three to nine tubes, but usually with seven, a number which is also mentioned by Virgil. It is depicted in a MS. of the 11th century preserved in the Bibliothèque Royale of Paris, and is probably the frestele, frêtel or frêtiau, of the Menétriers in the 12th and 13th centuries. It is known in China as Koan-tfee, with twelve tubes of bamboo; was used by the Peruvians under the name of huayra-puhura, being made of cane, and also of a greenish steatite or soapstone. Of the former material is a fine specimen now in the British Museum, consisting of fourteen reed pipes of a brownish colour tied together with thread in two rows, so as to form a double set of seven reeds. Both sets are of almost exactly the same dimensions, and are placed side by side, the shortest measuring 3, the longest 6½ inches. One set is open at the bottom, the other closed, in consequence of which arrangement octaves are produced. The scale is pentatonic.

The soapstone instrument is even more remarkable. It measures 5⅝ inches high by 6¼ wide, and contains eight pipes bored from the solid block, and quaintly ornamented. Four of the tubes have small lateral finger-holes, which, when closed, lower the pitch a semitone. Thus twelve notes in all can be produced. The scale is peculiar and perhaps arbitrary; or the holes may have served for certain modes, of the use of which by