Books › Baker's biographical dictionary of musicians, 1919 › scan 730
Scan 730
Baker's biographical dictionary of musicians, 1919
12 lines. Read by computer on 10 September 2026. No printed page number was found. See the scan on archive.org.
1and 'cello; 6 romances with pf.-accomp. (all publ.).
3Plato, the eminent Greek philosopher (429–347 b. c.), formulated in his 'Timaeus' a system of musical harmony, eruditely interpreted by Th.-Henri Martin in his Études sur le Timée de Platon (Paris, 1841). R. von Westphal, in his Harmonik und Melopöie der Griechen (Leipzig, 1865), von Jan in Die Harmonie der Sphären (in 'Philogus,' vol. lii), and H. Abert's Die Lehre vom Ethos in der griechischen Musik (Leipzig, 1899), may also be consulted. Plato's thoughts on music are collected in an essay by Deyk in Weber's 'Cäcilia' (1828). P. likened the movements of music to those of the soul, whose development may therefore be influenced by musical art.
5Playford, John, London music-publisher; b. 1623; d. Nov., 1686. He was in business from 1648–84. Publ. Hilton's 'Catch that catch can' (1652); 'Select Musicall Ayres and Dialogues' (1653); 'Musick's Recreation on the Lyra Violl' (1652; in a collection); 'Breefe Introduction to the Skill of Musick for Song and Viall' (1654; 2d enlarged ed. 1655, with an essay on The Art of Descant by Dr. Thos. Campion, which was revised by Purcell in the 10th ed. of 1683; this very popular work ran through 19 numbered eds. up to 1730, besides 6 or more unnumbered eds.); 'Psalms and Hymns in Solemn Musick of foure parts . . . ' (1671); 'The Whole Book of Psalms, with the usual Spiritual Songs' a 3 (2d ed. 1695, 20th ed. 1757); 'The Musical Companion' (1673; Book i, catches and rounds a 3; Book ii, dialogues, glees, ayres and songs a 2–4); 'Choice Ayres, Songs and Dialogues to be sung to the theorbo . . . ' (5 books; 1676–84); 'Musick's Delight on the Cithern' (1666); etc.—His son and successor, Henry Playford, b. May 5, 1657; d. c. 1720; publ. 'The Theatre of Musick' (4 books; 1685–7; 'the newest and best songs'); 'Banquet of Music' (6 books; 1688–92; ditto); Purcell's 'Orpheus Britannicus' (1698–1702) and 'Ten Sonatas' with Te Deum and Jubilate for St. Cecilia's Day (1797); Blow's 'Amphion Anglicus' (1700) and Ode on Purcell's death; etc.
7Pleyel [pli'él], Camille, son of Ignaz J.; b. Strassburg, Dec. 18, 1788; d. Paris, May 4, 1855. Pupil of his father, and an excellent pianist; had some success as a composer (op. 1, 3 pf.-trios; op. 3, a pf.-quartet; also pieces for pf. solo, for pf. and violin, etc.); but is chiefly noteworthy as a piano-manufacturer, the business prospering greatly under his skilful supervision. Kalkbrenner was his partner for a time; Auguste Wolff, his successor.—His wife, Marie-Félicité-Denise, a distinguished pupil of Henri Herz, Moscheles and Kalkbrenner; b. Paris, Sept. 4, 1811; d. St.-Josse-ten-Noode, Mar. 30, 1875. In her fifteenth year, as Mlle. Moke, her virtuosity created a sensation in Belgium, Austria, Germany and Russia. 'From 1848–72 she was prof. at the Brussels Cons.
9Pley'el, Ignaz Joseph, born Ruppertsthal, near Vienna, June 1, 1757; d. on his estate near Paris, Nov. 14, 1831. His pianoforte-teacher till his 15th year was Wanhal; Count Erdödy, his patron, then placed him under Haydn's care, with whom he lived 5 years. The count now app. him his private Kapellm., but granted leave of absence for further study in Rome, together with means of maintenance. P. remained in this congenial atmosphere until 1781, then making a brief visit to Vienna, and returning to Rome, departing for the second time, in 1783, to become 2d Kapellm. at the Strassburg Minster. He was advanced to 1st Kapellm. in 1789; lost his position through the mad attacks of the Revolution on Church and State, and went to London in the winter of 1791–2 on an invitation to conduct the Professional Concerts, a rival enterprise (though P. did not know it) to his old teacher Haydn's concerts under Salomon's management. These Professional Concerts were successful in themselves, but did not overwhelm the rival enterprise; P., after conducting them for a few years, returned to his property near Strassburg, but was subjected to such annoyances from the revolutionists that he sold his place in 1795, and went to Paris. Here he began business as a music-seller, and in 1807 founded a piano-factory, the growing prosperity of which gradually absorbed his attention, and caused him to give up composition. (The firm-name is now 'Pleyel, Wolff & Cie.'; the 100,000th instrument was sold in 1889.) P. was an extremely prolific instrumental composer; he publ. 29 symphonies; a septet for strings with 2 horns; a sextet for 2 violins, 2 violas, 'cello and d.-bass; 5 books of string-quintets; 45 string-quartets; 6 quartets for flute and strings (12 more, called by Onslow the best, are still MS.); string-trios; 2 violin-concertos; 7 symphonies concertantes for 2 violins, for strings, for strings and wind, for wind, or pf. and violin; 4 'cello-concertos; 2 pf.-concertos, many sonatas for pf. and violin, 6 grand sonatas for pf. solo, sonatas for pf. 4 hands, other pf.-music; etc.—See Q.-Lex.
11Plüd'demann, Martin, b. Kolberg, Sept. 24, 1854; d. Berlin, Oct. 8, 1897. Pupil of Leipzig Cons.; cond. at St. Gallen; then studied singing under Hey at Munich; in 1887, cond. of the Singakademie at Ratibor; 1889, singing-teacher at the Styrian Music-School, Graz.—Very popular male choruses; as a
The computer misreads some letters and numbers. Where a name matters to you, read the scan.