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Scan 630
Dictionary of music, 1896
8 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1The Virtuous Wife (1680). A new phase of his life begins with his appointment as organist of Westminster Abbey (1680), since for the next six years he turned completely away from the stage, and composed, especially, a great number of odes, or so-called "Welcome Songs." Opportunity for so doing was afforded by his position, especially from 1682, when he became organist of the Chapel Royal (thus, on the occasion of the return of the Duke of York from Scotland [1680, the first of the above-named odes], likewise for the coronation of James II., etc.); yet within this time falls also the composition of 12 sonatas for 2 violins and bass (printed in 1683; 3 of these, edited by G. Jensen, appeared recently in Augener's edition). Only in 1686 did P. again devote his attention to the stage, and wrote music for Dryden's tragedy, Tyrannic Love; in 1688, for D'Urfey's comedy, A Fool's Preferment; in 1690, for Shadwell's version of the Tempest; he also composed his first real opera, Diocletian (printed in score in 1690). P. gave to England for a short time a national opera (after his death, the Italians became conquerors). In the year 1691 he produced his most important musical drama, King Arthur, text by Dryden (airs from it appeared in the "Orpheus Britannicus"; but the score was only printed in 1843 by the Musical Antiquarian Society). In 1692 followed the opera The Fairy Queen (the libretto based on Midsummer Night's Dream). To the above must be added the incidental music to Lee's The Massacre of Paris (1690), Dryden's Amphitryon (1690), Elkanah Settle's Distressed Innocence, and The Gordian Knot Untyed, Southerne's Sir Anthony Love, Howard and Dryden's Indian Queen, Dryden's Indian Emperor, Cleomenes, Southerne's The Wives' Excuse, D'Urfey's The Marriage-Hater Match'd, Lee and Dryden's Oedipus, Congreve's Old Bachelor, D'Urfey's Richmond Heiress, Southerne's The Maid's Last Prayer, Bancroft's Henry II., to the first and second parts of D'Urfey's Don Quixote (1694), to Congreve's Double Dealer, Crowne's The Married Beau, Southerne's The Fatal Marriage, Dryden's Love Triumphant, Beaumont and Fletcher's Bonduca, Scott's Mock Marriage, Gould's Rival Sisters, Southerne's Oroonoko, Ravenscroft's The Canterbury Guests, Beaumont and Fletcher's Knight of Malta, and, finally, to Part III. of D'Urfey's Don Quixote. A copious selection of airs from P.'s stage works and odes was published by his widow in 1697, "A Collection of Ayres Composed for the Theatre and upon other Occasions;" also the "Orpheus Britannicus," the first part of which she published in 1698 (2nd ed. 1706); the second part followed in 1702 [1711], 3rd ed., both parts, 1721), and also some songs for 1, 2, and 3 voices from his odes and dramatic works. Less epoch-making, but perhaps of higher musical value, are P.'s sacred compositions, which exercised a decided influence over Handel's activity as a composer from the time of his arrival in London. P. wrote a "Te Deum and Jubilate" for St. Cecilia's Day, 3 services, 20 anthems with orchestra, 32 with organ, 19 songs (some with chorus), 2 duets, 1 terzet, 11 hymns a 3-4, 2 Latin psalms, and 5 canons; to these works, all included in Vincent Novello's "Purcell's Sacred Music" (1829-32) must be added: 3 anthems, 1 hymn, 2 motets, which are not printed. Many sacred songs of P.'s appeared already in the "Harmonia Sacra" and other collections of his time. (See Boyce, Arnold, Page.) The number of odes and welcome songs amounts to 28. Of chamber and instrumental music, besides the already named 12 trio sonatas, he wrote 10 sonatas in 4 movements (printed in 1697, the 9th being the celebrated "Golden Sonata," frequently reprinted), and "Lessons for the Harpsichord or Spinet" (1696). Catches by P. are to be found in "The Catch Club; or, Merry Companions," and other collections. In 1876 the P. Society commenced to publish an edition of his works, but hitherto only The Yorkshire Feast, Timon of Athens, The Duke of Gloucester's Birthday Ode, and the 12 Sonatas have appeared.—The only son who survived him, Edward (b. Sept. 6, 1689, d. beginning of Aug., 1740), was an able musician (organist of St. Clement's, Eastcheap).
3(2) Daniel, brother of Henry P., b. about 1660, d. 1717. He was certainly far less gifted than his brother, but still was one of the most famous musicians of his time. In 1688 he became organist of Magdalen College, Oxford, went to London after his brother's death, and took his place as composer of incidental music to plays. In 1713 he became organist of St. Andrew's, Holborn. He published "The Psalm Tunes set full for the Organ or Harpsichord"; six anthems have been preserved in the choir-books of Magdalen College Chapel, and songs in various collections of the time. He composed a funeral ode on the death of Henry P.
5Puteanus, Ericius (van de Putte, Dupuy), learned philosopher, b. Nov. 4, 1574, Venlo (Holland), d. Sept. 17, 1646, Louvain. He lived for many years in Italy, and was professor of elocution at Padua (1601); but, after the death of Justus Lipsius (1606), he was appointed professor of literature at Louvain. P. was also an intelligent musician, and one of the oldest opponents of solmisation. He wrote: "Modulata Pallas sive septem discrimina vocum" (1599; 2nd ed. as "Musathena sive notarum heptas" [1602]; also in the 2nd vol. of his "Amoenitatum humanarum," 1615); a smaller pamphlet on the same subject is, "Pleias musica" (1600; 2nd ed. as "Iter Nonianum seu dialogus qui Musathenae epitomen comprehendit," etc. 1602). (Cf. Bobisation.)
7Pykna (πυκνά), the semitone and quarter-tone progressions of the enharmonic and
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