Books › Cyclopedia of music and musicians, 1888 › scan 92
Scan 92
Cyclopedia of music and musicians, 1888
14 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 62. See the scan on archive.org.
1PACIUS
3Istituto musicale in Lucca (Lecca, 1865); Ragionamento sull’ opera del Tiron: studies in Greek music; Discorso nel secondo pubblico esperimento degli alunni dell’ Istituto musicale in Lucca (Pescia, 1867). —Le mie memorie artistiche, autobiography (Florence, 1865, revised and completed by Filippo Cicconetti, Rome, 1872); Fétis; Clément, Mus. célèbres, 434.
5PACIUS, FRIEDRICH, born in Hamburg, March 19, 1809, died at Helsingfors, Finland, March 19, 1889. Virtuoso on the violin, pupil of Spohr; from 1834 music director at the University of Helsingfors. He was author of the Finnish national air, “Our Country,” and other songs popular in Finland and Sweden. Works: König Karl’s Jagd, opera; Loreley, Finnish opera, Helsingfors, April, 1887; Songs.
7PADLOCK QUINTET. See Zauberflöte.
9PAËR, FERDINANDO, born in Parma, Italy, June 1, 1771, died in Paris, May 3, 1839. Dramatic composer; studied composition in his native town under an organist and the violinist Ghiretti. He pursued his studies with great facility, and at the age of sixteen stopped his lessons altogether, and began composing operas. His first, an opera buffa, La locanda de’ vagabondi (Parma, 1789), showed decided comic talent; the second, I pretendenti burlati, although written before he was seventeen, contains some of the best music he ever wrote. It was intended for, and given at, an amateur theatre, but its success was soon noised abroad. During the next ten years Paër wrote twenty operas, given, with almost invariable success, at Venice, Rome, Naples, Florence, Milan, Bologna, and Padua. In 1791 he became maestro di cappella at Venice, where he composed with the greatest industry, leading the while a dissolute life and ending by marrying the noted singer, Francesca Riccardi, from whom he afterwards separated. During this period he founded his style on Cimarosa, Paisiello, and Guglielmi. In 1797 he was called to Vienna, where Mozart’s music made a strong impression upon him, and a consequent modification in his own style soon became apparent. His harmony grew more vigorous, his instrumentation richer, and his modulation more varied. I fuorusciti di Firenze (Vienna, 1800) marked the beginning of his second manner. In 1801 the Elector of Saxony invited him to Dresden to replace Naumann, deceased, as Kapellmeister. Here Paër composed several operas with unwonted care, and his finest works belong to this period of his life. In 1806 he followed Napoleon to Warsaw and Posen, and in 1807 was appointed his maître de chapelle, and settled permanently in Paris. In 1812 he succeeded Spontini at the Théâtre Italien, where he remained until 1827, Rossini being his associate from 1824 to 1826. In these years he wrote eight operas, none of which made any decided success. In 1831 he was admitted to the Académie, and in 1832 was made director of the King’s chamber music. As a man, Paër was of the loosest morals, and he had an immeasurable love for intrigue. As a composer, he is one of the most important representatives of Italian opera at the close of the eighteenth century. His melodic power was great, and his mastery of the simpler forms of composition complete. His comic gift was remarkable, but he was almost totally lacking in pathos and earnestness. His best work, upon the whole, is probably Camilla, ossia il sotterraneo. one of two readings
10PAËR, FERDINANDO, born in Parma, Italy, June 1, 1771, died in Paris, May 3, 1839. Dramatic composer; studied composition in his native town under an organist and the violinist Ghiretti. He pursued his studies with great facility, and at the age of sixteen stopped his lessons altogether, and began composing operas. His first, an opera buffa, La locanda de’ vagabondi (Parma, 1789), showed decided comic talent; the second, I pretendentiburlati, although written before he was seventeen, contains some of the best music he ever wrote. It was intended for, and given at, an amateur theatre, but its success was soon noised abroad. During the next ten years Paër wrote twenty operas, given, with almost invariable success, at Venice, Rome, Naples, Florence, Milan, Bologna, and Padua. In 1791 he became maestro di cappella at Venice, where he composed with the greatest industry, leading the while a dissolute life and ending by marrying the noted singer, Francesca Riccardi, from whom he afterwards separated. During this period he founded his style on Cimarosa, Paisiello, and Guglielmi. In 1797 he was called to Vienna, where Mozart’s music made a strong impression upon him, and a consequent modification in his own style soon became apparent. His harmony grew more vigorous, his instrumentation richer, and his modulation more varied. I fuorusciti di Firenze (Vienna, 1800) marked the beginning of his second manner. In 1801 the Elector of Saxony invited him to Dresden to replace Naumann, deceased, as Kapellmeister. Here Paër composed several operas with unwonted care, and his finest works belong to this period of his life. In 1806 he followed Napoleon to Warsaw and Posen, and in 1807 was appointed his maître de chapelle, and settled permanently in Paris. In 1812 he succeeded Spontini at the Théâtre Italien, where he remained until 1827, Rossini being his associate from 1824 to 1826. In these years he wrote eight operas, none of which made any decided success. In 1831 he was admitted to the Académie, and in 1832 was made director of the King’s chamber music. As a man, Paër was of the loosest morals, and he had an immeasurable love for intrigue. As a composer, he is one of the most important representatives of Italian opera at the close of the eighteenth century. His melodic power was great, and his mastery of the simpler forms of composition complete. His comic gift was remarkable, but he was almost totally lacking in pathos and earnestness. His best work, upon the whole, is probably Camilla, ossia il sotterraneo. one of two readings
12Works: I. Operas: La locanda de’ vagabondi, Parma, 1789; I pretendenti burlati, ib., 1790; Circe, Venice, 1791; Saïd, ossia il seraglio, ib., 1792; L’oro fa tutto, Milan, 1793, and Dresden, 1795; I molinari, Venice, 1793; Laodicea, Padua, 1793; Il tempo fa giustizia a tutti, ossia l’astuzie amorose, Pavia, 1794; Idomeneo, Florence, 1794; Una in bene ed una in male, Rome, 1794, one of two readings
13Works: I. Operas: La locanda de’ vagabondi, Parma, 1789; I pretendentiburlati, ib., 1790; Circe, Venice, 1791; Saïd, ossia il seraglio, ib., 1792; L’oro fa tutto, Milan, 1793, and Dresden, 1795; I molinari, Venice, 1793; Laodicea, Padua, 1793; Il tempo fa giustizia a tutti, ossia l’astuzie amorose, Pavia, 1794; Idomeneo, Florence, 1794; Una in bene ed una in male, Rome, 1794, one of two readings
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