Page:A Dictionary of Music and Musicians vol 4.djvu/760

744 but it may be seen sometimes—as in the 'Et vitam venturi' of the Mass in B Minor. In Beethoven's Sonatas, we meet it at every turn. To mention two instances only; the Rondo of the 'Sonate pathétique,' and the final Variations in the Sonata in E Major, op. 109, exhibit the contrast in its most strongly-marked form. In the works of Wagner, the two methods are so closely combined that it is sometimes scarcely possible to separate them. The Leading-Themes are interwoven in Free Part-writing as ductile and as fearless as that of Bach himself; while an occasional burst of sustained harmony unites the strongest characteristics of the 'vertical' and 'horizontal' methods, in a single passage.

It will be seen from what we have already said, that Free Part-writing was no new invention peculiar to the 17th and 18th centuries, but a gradual development from the Strict Counterpoint of the 16th century. It is not, therefore, to be wondered at, that it can only be successfully studied by those who have previously mastered the laws of Strict Counterpoint, in all their proverbial severity. So true is this, that before writing Exercises in the Free Style, Beethoven studied Strict Counterpoint in the Ecclesiastical Modes, first under Haydn, and then under Albrechtsberger, as his exercise-books conclusively prove. Schubert felt it so strongly that, at the moment of his death, he was actually in treaty with a well-known teacher of the time, for lessons in Counterpoint. Modern progress would have us believe that it is unnecessary for the student to master the rule, so long as he makes himself familiar with the exceptions. Time will prove whether this system is, or is not, more profitable than that which Beethoven followed, and which Schubert, after all he had already attained, was preparing to follow, when an early death put an end to his astonishing career. [ W. S. R. ]

PASDELOUP, Add to article in vol. ii. p. 659, the following:—After a popularity of many years' duration, during which the Concerts Populaires acquired an almost universal celebrity, and did much to develop musical taste in France, and to cultivate the symphonic school of music, the enterprise rapidly declined. The Sunday Matinées at the theatres were formidable rivals to Pasdeloup's concerts, besides which the public taste which he had done so much to train was turning altogether in the direction of the concerts given by MM. Colonne and Lamoureux, whose standard of performance was more careful, and who succeeded better in gauging the requirements of the audience. Under these circumstances Pasdeloup, after vain efforts to reinstate himself in public favour, decided to resign, and closed the Concerts Populaires in April 1884, the 23rd year of their existence. On May 31, 1884, a grand festival benefit was organized in Pasdeloup's honour at the Trocadéro, by which a sum of nearly 100,000 francs was raised; all French artists, whether composers, singers or instrumentalists, joined to contribute towards assuring a competence for the excellent man who had done so much to make the fortunes of many artists without furthering his own interests. After this exhibition of gratitude and charity M. Pasdeloup would have done well to remain in well-earned retirement; in the winter of 1885, however, he organized concerts at Monte Carlo, and afterwards founded pianoforte classes in Paris. At the conclusion of the educational course he gave paying concerts of chamber music. In Oct. 1886, after Godard had failed (in 1884) in his attempt to reconstruct the Concerts Populaires, Pasdeloup began a new series with the old title, giving one concert a month from Oct. 1886 to March 1887, with a sacred concert on Good Friday. This inopportune revival, with a conductor weakened by age and illness, and an inefficient orchestra, could not possibly succeed. Pasdeloup did not long survive the cessation of the concerts, and died at Fontainebleau on Aug. 13, 1887, from the effects of paralysis. [ A. J. ]

PASQUALATI. Add that Beethoven's 'Elegischer Gesang' (op. 118), was written in memory of Eleonora Pasqualati, who died in 1811, and dedicated to her husband, Baron Pasqualati. [See vol. iv. p. 537.]

PASQUALI,, a composer who settled in Edinburgh about 1740 until his death in 1757. He published numerous compositions, an opera called 'L'Ingratitudine Punita,' songs in 'The Tempest,' 'Apollo and Daphne,' and 'The Triumph of Hibernia,' as well as the 'Solemn Dirge in Romeo and Juliet.' Most of these are printed in the 'XII English songs in score,' dated 1750, and published in London. Two sets of sonatas, one for violin and bass, and one for two violins, tenor and thoroughbass, were also published in London. 'XII Overtures for French horns' (!) were printed in Edinburgh, 'for Rob. Bremner, the assigney of Signor Pasquali'; and the book by which his name is best known, 'Thoroughbass made Easy,' was published in Edinburgh in the year of his death. [ M. ]

PASSACAGLIA. Add that the form has recently been introduced into the symphonic structure, by Brahms, in whose Symphony in E minor, no. 4 (op. 98), the finale is an exceedingly elaborate passacaglia.

PASSION MUSIC. Besides the work mentioned at the end of the article, Bach wrote four other settings of the story of the Passion. The Passion according to St. John, which is now as well known in England as its grander but not more inspired companion work, was first performed in the Thomaskirche on Good Friday, April 7, 1724. These two masterpieces happily came into the hands of Emanuel Bach, and were thus preserved in their integrity; the other three works were left to Friedernann Bach, by whom they were sold for a small sum; two of them have so far entirely disappeared. Of these last, one was a setting according to St. Mark, performed on Good Friday, 1731, in the Thomaskirche, and the other seems to have been set to