Page:A Dictionary of Music and Musicians vol 2.djvu/759

PIBROCH. them down correctly for any other instrument, owing to the peculiarly imperfect tuning of the bagpipe, and particularly owing to the presence of an extra note between F and F♯, a peculiarity which is also found in the Alpenhorn. [See and .] Pibrochs are generally of a warlike character, including marches and dirges; they often bear the names of various historical and legendary events. Thus 'The Raid of Kilchrist' is ascribed to Macdonald of Glengarry's piper, who composed and performed this pibroch in the year 1603, during the burning of a church with its whole congregation; and the specimen of which a portion is given below—'Failte Phroinsa,' the Prince's Salute—was composed by John MacIntyre, piper to Menzies of Menzies, on the landing of the Pretender in 1715. It must not however be supposed that the music is always contemporary with the events which the pibrochs commemorate; for although many of them are undoubtedly of considerable antiquity, yet the names of old pibrochs which have been lost are often transferred to new compositions. There are not many collections of Highland music, but the best are those by Patrick Macdonald (of Kilmore), Donald Macdonald, and Mackay. The following is the first part of the urlar of a pibroch, and is interesting, as showing the 'warblers' or gracenotes in which good pipers excel. It must be remembered that the note represented by F is rather sharper in the bagpipe.

[ W. B. S. ]

PICCINNI,, was born at Bari, in the kingdom of Naples, in 1728. Except for the circumstances which brought him into rivalry with Gluck, and the violent warfare waged between the partisans of the two masters, he is little remembered now; yet he was for a considerable time the most popular of Italian operatic composers.

The son of a musician, he was at first intended by his father for the church, but, as usual, the attempt to repress a strong natural inclination only resulted in confirming and strengthening it. He picked up by ear all the themes he heard, and learned to play them in secret, while the mere sight of a clavichord was enough to make him tremble with emotion. At length, at the instance of the Bishop of Bari, he was sent to the Conservatorio of San Onofrio, then presided over by Leo. He went there at the age of 14, and was at first instructed by a maestrino, a kind of pupil-teacher, who by his dry dogmatic lessons and severity only succeeded in disgusting the gifted boy, who showed on his part a disposition to throw aside all control. Leo averted this by taking him for his own pupil, and Durante (who, at Leo's death, resumed his previous mastership of San Onofrio) had also an especial affection for the young student. 'The others are my pupils,' he was wont to say; 'this one is my son.'

Piccinni quitted the Conservatorio in 1754, after twelve years of study, and made his début as a composer with the opera 'Le Donne dispettose,' at the Florentine theatre at Naples. The success of this piece was remarkable, as Logroscino's comic operas had so monopolised the stage that it was difficult for any others to obtain a hearing. Equally fortunate were 'Le Gelosie' and 'Il Curioso del proprio danno,' both in the light comic style, while 'Zenobia' (San Carlo, 1756), and 'Alessandro nelle Indie' (Rome, 1758), not only pleased the public, but showed advance in power, the last-named opera containing an overture which was greatly admired. Piccinni married, in 1756, Vincenza Sibilla, his pupil, who, to great personal charms, united that of a beautiful and touching voice. Her husband would not allow her to appear on the stage. She was however an exquisite singer in private circles, and Piccinni, with a wide experience of prime donne, said he never heard his own airs so perfectly rendered as by her.

It was at Rome, in 1760, that he produced 'Cecchina, ossia la Buona Figliuola,' perhaps the most popular buffo opera that ever existed, and which for years had a most extraordinary vogue. It was performed on every stage in Italy, and on most stages in Europe, and everywhere was received with the same enthusiasm. At Rome it was played not only at all the principal theatres, but at the most insignificant, even that of the Burattini, or marionnettes, and all classes of people were equally delighted with it. Fashions were all alla Cecchina: inns, shops, villas, wines—in fact all things that could be named—were called after her. Nor was more weighty appreciation wanting. 'Sarà qualche ragazzo o qualche ragazzata' ('probably some boy or boy's work'), said Jommelli, importuned on his return to Italy from Stuttgard with perpetual praises of 'La Cecchina' and its author. He went however to hear the work performed, and his dictum to the amateurs who crowded round him at the end to know his opinion, was 'Ascoltate la sentenza d' Jommelli: questo e inventore' ('Hear the opinion of Jommelli: this is an inventor'). It is difficult now to account for the immense preference given to 'La Cecchina' over other works of the time, although the airs it contains are lively, as well as graceful and pleasing. In the next year another triumph was won by 'L'Olimpiade,' previously set by Leo, Pergolesi, Galuppi, and Jommelli, but never so successfully as by Piccinni. Among his other improvements on existing operatic forms must be mentioned his extension of the Duet, hitherto