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Scan 108

Cyclopedia of music and musicians, 1888

14 lines. Read by computer on 11 September 2026. Printed page 78. See the scan on archive.org.

1PAPILLONS
3He is particularly noteworthy through the publication of his Arte pratica di contrapunto dimostrata con esempj di vari autori (ib., 1765-72).—Fétis.
5PA-PA-PAPAGENO. See Zauberflöte.
7PAPILLONS (Butterflies), a set of twelve short pianoforte pieces in dance form, by Schumann; op. 2. Nos. 1, 3, 4, 6, and 8 were composed in 1829, the others in 1831. They were written in Heidelberg and Leipsic, and are dedicated to the composer's sisters-in-law, Therese, Rosalie, and Emilie Schumann. The name indicates musical ideas and phases, expressed from experiences of a thoughtful life, through which they break as the butterfly from its chrysalis. Schumann gives them a poetical meaning by referring to the chapter of Jean Paul's "Flegeljahre," describing a masked ball, or carnival, which the Papillons are supposed to depict. The last bars of the finale are inscribed with these words: "The noise of the Carnival night dies away. The church clock strikes six." The Papillons may be regarded as a sketch for the more elaborate Carneval, op. 9, and in this work a passage is inserted from the Papillons, No. 1. The finales of both works contain the Grossvatertanz, which is the finale of op. 2, and is treated contrapuntally with the subject of Papillon No. 1. Introduzione, Moderato, in D; I. In D; II. Prestissimo, in E-flat and A-flat; III. In F-sharp minor; IV. Presto, in A; V. In B-flat; VI. In D minor; VII. Semplice, in F minor and A-flat; VIII. In C-sharp minor and D-flat; IX. Prestissimo, in B-flat minor; X. Vivo, in C, Più lento in G and C; XI. In D, Più lento in G, In tempo vivo in D; XII. Finale in D (Grossvatertanz), Più lento. Published by Kistner (Leipsic, 1832). Breitkopf & Härtel, Schumann Werke, Serie vii., No. 2.—Wasielewsky, Schumann, 3d ed., 328; Reissmann, Schumann, 41; Maitland, Schumann, 49; Wiener mus. Zeitg. (1832), No. 26; Allgem. mus. Zeitg., xxxv. 616; Grove, ii. 645; iii. 408.
9PAPINI, GUIDO, born at Camaggiore, near Florence, Aug. 1, 1847, still living, 1890. Virtuoso on the violin, pupil of Giorgetti. He made his début at the age of thirteen in Florence, playing Spohr's third concerto; and was for several years leader of the Società del Quartetto in that city. In 1874 he appeared in England at the Musical Union, and has since played at the old and new Philharmonics, and in 1876 at the Pasdeloup Concerts in Paris. Works: Concerto for violin; do. for violoncello; Exercices du mécanisme pour le violon seul; Amour, romance-nocturne; À mon étoile, romance sans paroles; Feuilles d'album, etc.; Arrangements and transcriptions.—Fétis, Supplément, ii. 312; Grove; Mendel, Ergänz., 325.
11PARADIES, PIETRO DOMENICO, born in Naples in 1710, died in Venice in 1792. Harpsichord player and dramatic composer, pupil of Porpora; he went to London in 1747, and lived there many years, teaching the pianoforte. Works: His best known operas are Alessandro in Persia, Lucca, 1738; Il decreto del fato, Venice, 1740; Phaëton, London, 1747; Le muse in gara, cantata, Venice, Conservatorio de' Mendicanti, 1740; 12 sonate di gravicembalo (London; 2d ed., Amsterdam, 1770).—Fétis; Grove; Mendel.
13PARADIES UND DIE PERI, DAS (Paradise and the Peri), cantata in three parts, for soli, chorus, and orchestra, text from Moore's "Lalla Rookh," music by Schumann, op. 50, first performed at the Gewandhaus, Leipsic, Dec. 2, 1843, under the composer's direction. This is Schumann's first work for voices and orchestra, and is one of his most important compositions. It bears the same relation to the concert hall that Weber's Oberon does to the stage. The text was chosen largely from Emil Fechsig's translation of "Lalla Rookh," but Schumann added several numbers to the third part. Characters represented: A Peri (S.); an Angel (A.); the King of Gazna (B.); a Youth (T.); a Horseman (Bar.); a Maiden (S.); and cho-

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