Page:A Dictionary of Music and Musicians vol 4.djvu/754

738 married his pupil, Miss Maggie, who had attained very considerable success as a pianist. She reappeared at a Crystal Palace Concert on Nov. 26, 1887, in Schumann's Concerto. [ M. ]

PACINI, Line 2 of article, for Feb. 19 read Feb. 17. P. 627a, l. 5, the date given applies only to 'L'ultimo giorno di Pompei'; 'Niobe' was produced in 1826.

PADILLA-Y-RAMOS. See in Appendix, vol. iv. p. 524, note 3.

PAER, Line 14 of article, for 1799 read 1801.

PAISIELLO, P. 634a, l. 20 from bottom, for in the same year read in the following year.

PALADILHE, Add the following to the article in vol. ii. p. 634:—The first important work of Paladilhe's, 'Suzanne,' having had but a moderate success in spite of the merit of its first act, a delicately treated idyll, the young composer turned his attention to the concert-room, and produced a work entitled 'Fragments Symphoniques' at the Concerts Populaires, March 5, 1882. It is a composition of no extraordinary merit, but some of the songs which he wrote at the time are exceedingly graceful. On Feb. 23, 1885, his 'Diana' was brought out at the Opéra-Comique, but only played four times. The libretto was dull and childish, and the music heavy and crude, without a ray of talent or passion. Undismayed by this failure, Paladilhe set to work on a grand opera on Sardou's drama 'Patrie.' Legouvé, who has always shown an almost paternal affection for Paladilhe, and who was anxious to make amends for the failure into which he had led the composer by his libretto of 'L'Amour Africain,' obtained from Sardou the exclusive right of composing the music for Paladilhe. The work was given at the Opéra, Dec. 20, 1886, and at first was successful beyond its merits. His operatic method is that of thirty years ago, and he is deficient in real invention. He has disregarded the course of musical development, and thus, though he is young in years, his style is already old-fashioned. In Jan. 1881 he was decorated with the Légion d'Honneur. [ A. J. ]

PALESTRINA. P. 636b, l. 12 from bottom, for 1563 read 1564. P. 640a, l. 7, for 1562 read 1582.

PANOFKA, Add that he died at Florence, Nov. 18, 1887.

PAPPENHEIM, See vol. iii. p. 54 a.

PARISH-ALVARS, Line 2 of article for in 1816 read Feb. 28, 1808.

PARISIENNE. After reference at end of first paragraph, add in Appendix.

PARRATT, was born Feb. 10, 1841, at Huddersfield, Yorkshire, where his father, Thomas Parratt, was a fine organist and at the head of his profession. The boy displayed much precocity and was thoroughly grounded by his father at an early age. At 7 years old he took the service in church, and at the age of 10 he played on one occasion the whole of the 48 preludes and fugues of Bach by heart, without notice. He thus laid the foundation of that affectionate and intimate knowledge of Bach's music which now distinguishes him. His predilection for the organ was no doubt grounded on his father's example and on his familiarity with Conacher's organ factory, which he haunted when very young. At any rate he was an organist from the beginning. At 11 years of age he held his first appointment at Armitage Bridge Church. After a few months he was sent to school in London, and became a pupil of George Cooper's; but the school was unsatisfactory, and in a short time he was recalled to Huddersfield, and became organist of St. Paul's, where he remained till 1861. In that year he received the appointment of organist to Lord Dudley, at Witley Court in Worcestershire. Here he had time and opportunity for study, of which he availed himself. His next steps were to the parish church, Wigan, in 1868; to Magdalen College, Oxford, in 1872, and to St. George's Chapel, Windsor, his present post, vice Sir G. Elvey, in 1882. In 1873 he took the degree of Mus. Bac. at Oxford, and in 1883 was chosen Professor of the Organ in the Royal College of Music. He is conductor of the Madrigal Society of Windsor, and 'Passed Grand Organist' of the Freemasons.

His publications comprise an anthem, 'Life and Death,' to words by Dean Stanley, a valse-caprice, three songs, and a piece or two for the organ in the 'Organist's Quarterly.' He wrote the music for the performance of 'Agamemnon' at Oxford in June 1880, and to 'The Story of Orestes,' Prince's Hall, June, 1886. Mr. Parratt's gifts are very great. His playing needs no encomium, and in addition his memory is prodigious, and many stories of curious feats are told among his friends. His knowledge of literature is also great and his taste of the finest. He has been a considerable contributor to this Dictionary, and supplied the chapter on music to Mr. Humphry Ward's 'Reign of Queen Victoria' (Longmans, 1887). He is a very hard worker, and the delight of his colleagues, friends, and pupils. Nor must we omit to mention that he is an extraordinary chess-player. [ G. ]

PARRY, C. H. H. Line 13 from end of article, for A minor read A&#x266d;. Add that he received the degree of Mus. D. from the University of Cambridge in 1883, and in the next year succeeded Dr. Corfe as Choragus of the University of Oxford, receiving the degree of Mus. D. in the following year. He is Professor of Composition and Musical History in the Royal College of Music. To the list of his works the following are to be added:—Symphony in G, no. 1, Birmingham Festival, 1882; Do. no. 2, in F, Cambridge University Musical Society, 1883, and (in a remodelled form) Richter, 1887; music to 'The Birds' of Aristophanes, Cambridge, 1883; 'Suite Moderne,' Gloucester Festival, 1886, and at a London Symphony Concert in the following winter; Sonata for piano and violoncello in A; Theme and 