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Grove's dictionary of music and musicians;, 1904

145 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.

1PURDIE

3before 1838 to after 1855, doing a one of two readings

4ade in sheet songs in St. Paul's one of two readings

5rd. one of two readings

6before 1838 to after 1855, doing a ade in sheet songs in St. Paul's rd. one of two readings

8ss HENRY PURDAY, well known as a one of two readings

9and a writer, was born at Folkestone, one of two readings

101799 (Brit. Mus. Biog.). He was a one of two readings

11on musical matters, and at one time a one of two readings

12of some repute. He directed much one of two readings

13o the amendment of the law in relation one of two readings

14cal copyright, and he acted for some one of two readings

15conductor of psalmody to the Scotch one of two readings

16in Crown Street, Covent Garden, com- one of two readings

17and editing a number of works of sacred one of two readings

18Some of his secular songs, and his fine one of two readings

19> 'Lead, kindly light,' attained consider- one of two readings

20popularity. He was a contributor to the one of two readings

21t Dictionary. Died in London, April 28, one of two readings

22F. K. one of two readings

23ss HENRY PURDAY, well known as a and a writer, was born at Folkestone, 1799 (Brit. Mus. Biog.). He was a on musical matters, and at one time a of some repute. He directed much o the amendment of the law in relation cal copyright, and he acted for some conductor of psalmody to the Scotch in Crown Street, Covent Garden, com- and editing a number of works of sacred Some of his secular songs, and his fine ' Lead, kindly light,' attained consider- opularity. He was a contributor to the t Dictionary. Died in London, April 28, F. K. one of two readings

25PURDIE, ROBERT, the founder of an ex- one of two readings

26ve music-publishing business in Edinburgh. one of two readings

27first heard of in 1804 as a music-teacher one of two readings

28ellie's Close, Edinburgh, off the Canongate, one of two readings

29n 1805 he had removed to a better district, one of two readings

30ames' Square. In 1808 he opened a music one of two readings

31> at 35 Princes Street, and here he com- one of two readings

32ced the issue of sheet music. In 1813 the one of two readings

33aber of the premises changed to 71, and in one of two readings

348 it was again renumbered as 83. one of two readings

35He quickly became the leading music-pub- one of two readings

36her in the Scottish capital; and besides a one of two readings

37eat deal of sheet music his imprint is on a one of two readings

38ll-known collection of Scottish songs, 'The one of two readings

39otish Minstrel,' in six vols., edited by R. A. one of two readings

40nith, 'The Irish Minstrel,' and on similar one of two readings

41orks. On the failure of Nathaniel Gow, one of two readings

42'urdie, in conjunction with Alexander Robert- one of two readings

43on, another Edinburgh publisher, reissued one of two readings

44he Gow publications. Robert Purdie was one of two readings

45succeeded near the year 1837 by his son one of two readings

46John, and the business was carried on until one of two readings

47about 1887. one of two readings

48F. K. one of two readings

49PURDIE, ROBERT, the founder of an ex- ve music-publishing business in Edinburgh. first heard of in 1804 as a music-teacher Ellie's Close, Edinburgh, off the Canongate, in 1805 he had removed to a better district, James' Square. In 1808 he opened a music at 35 Princes Street, and here he com- ced the issue of sheet music. In 1813 the aber of the premises changed to 71, and in 8 it was again renumbered as 83. He quickly became the leading music-pub- her in the Scottish capital; and besides a eat deal of sheet music his imprint is on a ll-known collection of Scottish songs, 'The otish Minstrel,' in six vols., edited by R. A. nith, 'The Irish Minstrel,' and on similar orks. On the failure of Nathaniel Gow, 'urdie, in conjunction with Alexander Robert- on, another Edinburgh publisher, reissued he Gow publications. Robert Purdie was succeeded near the year 1837 by his son John, and the business was carried on until about 1887. F. K. one of two readings

51PURFLING. The inlaid line of plane wood, one of two readings

52formed of three slips, of which the centre one is one of two readings

53stained black, the two outer being left white, one of two readings

54following the outlines of musical instruments one of two readings

55of the violin and guitar type, which, owing to one of two readings

56its utility in preserving the edges from chipping, one of two readings

57is all that is left of the redundant ornamenta- one of two readings

58tion so skilfully employed by the ancient lute one of two readings

59and viol makers. Some of the earlier makers, one of two readings

60notably Jacobs of Amsterdam, purfled with one of two readings

61whalebone, but the true artists used, and still one of two readings

62use, the three strips sunk together into a one of two readings

63carefully cut groove, and finished off when the one of two readings

64glue is dry with a small gouge. 'Purfling' one of two readings

65may be bought ready made, i.e. the three strips one of two readings

66ready glued together for inlaying, but this one of two readings

67strains and buckles at the sharper bends with one of two readings

68deplorable results upon the ultimate effect. (See one of two readings

69VIOLIN-MAKING.) Some of the lavish decoration, one of two readings

70purfled and otherwise, of former times is to be one of two readings

71seen on modern Italian guitars and mandolines, one of two readings

72but when, in the second half of the 16th century, one of two readings

73viols began to give place to the violin, and one of two readings

74makers turned their attention seriously to one of two readings

75improving the tone qualities of the instrument, one of two readings

76they gradually dispensed with the customary one of two readings

77embellishments, deeming them a hindrance to one of two readings

78their purpose. Bit by bit the dexterous inlay- one of two readings

79ings in wood, ivory, mother-of-pearl, and gems, one of two readings

80so dear to the heart of the ancient viol-maker, one of two readings

81were rejected, but not without regret for one of two readings

82their somewhat meretricious charm. The great one of two readings

83makers, though cognisant of their dangers, could one of two readings

84not wholly resist these graceful adornings. one of two readings

85Gasparo da Salò made a violin, we are told, of one of two readings

86which the head, finger-board, tailpiece, and one of two readings

87bridge were carved by Benvenuto Cellini. one of two readings

88Maggini strove to replace the ebony and ivory one of two readings

89embellishments by purfled designs of elegant one of two readings

90patterns, within the regulation line of purfling one of two readings

91as we know it to-day. Amati made a couple one of two readings

92of violins which were decorated at each corner one of two readings

93and on the sides, at the blocks, with designs one of two readings

94in black, of a fleur-de-lys, inlaid with precious one of two readings

95stones, while other instruments, notably some of one of two readings

96Andreas Amati, bear painted armorial bearings one of two readings

97and inscriptions. Even Stradivarius himself one of two readings

98ornamented some of his best violins with one of two readings

99beautiful designs painted in black, or inlaid one of two readings

100with ebony, and also, as in the case of the one of two readings

101'Rode' (1722), with a double line of purfling, one of two readings

102enclosing a diamond pattern in mother-of-pearl. one of two readings

103In Germany another relic of the old viol style one of two readings

104of ornamentation was preserved by Jacobus one of two readings

105Steiner, namely, the carved head. This form one of two readings

106of decoration was also more popular in England one of two readings

107than inlaying, though Barak Norman closely one of two readings

108imitated the gracefully purfled designs of one of two readings

109Maggini. Modern violin-makers confine them- one of two readings

110selves mostly to slight decorations of the tail- one of two readings

111piece and pegs, though the Manchester maker one of two readings

112Walter Mayson ornaments the backs of his one of two readings

113finer violins with delicate carvings.—Hill, An- one of two readings

114tonio Stradivari; Hart, The Violin; Heron- one of two readings

115Allen, Violin-making; Meredith Morris, one of two readings

116British Violin-makers; Maugin & Maigne, one of two readings

117Manuel du Luthier. one of two readings

118E. H-A. one of two readings

119PURFLING. The inlaid line of plane wood, formed of three slips, of which the centre one is stained black, the two outer being left white, following the outlines of musical instruments of the violin and guitar type, which, owing to its utility in preserving the edges from chipping, is all that is left of the redundant ornamenta- tion so skilfully employed by the ancient lute and viol makers. Some of the earlier makers, notably Jacobs of Amsterdam, purfled with whalebone, but the true artists used, and still use, the three strips sunk together into a carefully cut groove, and finished off when the glue is dry with a small gouge. 'Purfling' may be bought ready made, i.e. the three strips ready glued together for inlaying, but this strains and buckles at the sharper bends with deplorable results upon the ultimate effect. (See VIOLIN-MAKING.) Some of the lavish decoration, purfled and otherwise, of former times is to be seen on modern Italian guitars and mandolines, but when, in the second half of the 16th century, viols began to give place to the violin, and makers turned their attention seriously to improving the tone qualities of the instrument, they gradually dispensed with the customary embellishments, deeming them a hindrance to their purpose. Bit by bit the dexterous inlay- ings in wood, ivory, mother-of-pearl, and gems, so dear to the heart of the ancient viol-maker, were rejected, but not without regret for their somewhat meretricious charm. The great makers, though cognisant of their dangers, could not wholly resist these graceful adornings. Gasparo da Salò made a violin, we are told, of which the head, finger-board, tailpiece, and bridge were carved by Benvenuto Cellini. Maggini strove to replace the ebony and ivory embellishments by purfled designs of elegant patterns, within the regulation line of purfling as we know it to-day. Amati made a couple of violins which were decorated at each corner and on the sides, at the blocks, with designs in black, of a fleur-de-lys, inlaid with precious stones, while other instruments, notably some of Andreas Amati, bear painted armorial bearings and inscriptions. Even Stradivarius himself ornamented some of his best violins with beautiful designs painted in black, or inlaid with ebony, and also, as in the case of the 'Rode' (1722), with a double line of purfling, enclosing a diamond pattern in mother-of-pearl. In Germany another relic of the old viol style of ornamentation was preserved by Jacobus Steiner, namely, the carved head. This form of decoration was also more popular in England than inlaying, though Barak Norman closely imitated the gracefully purfled designs of Maggini. Modern violin-makers confine themselves mostly to slight decorations of the tail- piece and pegs, though the Manchester maker Walter Mayson ornaments the backs of his finer violins with delicate carvings.—Hill, Antonio Stradivari; Hart, The Violin; Heron-Allen, Violin-making; Meredith Morris, British Violin-makers; Maugin & Maigne, Manuel du Luthier. E. H-A. one of two readings

121PURITANI DI SCOZIA, I. Opera in two one of two readings

122acts; words by Count Pepoli, music by Bellini. one of two readings

123Written for Grisi, Rubini, Tamburini, and one of two readings

124Lablache, and produced at the Théâtre des one of two readings

125Italiens, Paris, Jan. 25, 1835. In London, at one of two readings

126the King's Theatre, as 'I Puritani ed i Cavalieri,' May 21, 1835. one of two readings

127G. one of two readings

128PURITANI DI SCOZIA, I. Opera in two acts; words by Count Pepoli, music by Bellini. Written for Grisi, Rubini, Tamburini, and Lablache, and produced at the Théâtre des Italiens, Paris, Jan. 25, 1835. In London, at the King's Theatre, as 'I Puritani ed i Cavalieri,' May 21, 1835. G. one of two readings

130PURITAN'S DAUGHTER, THE. 'A grand one of two readings

131romantic drama' in three acts; words by J. V. one of two readings

132Bridgeman, music by Balfe. Produced at the one of two readings

133English Opera-House, Covent Garden, London, one of two readings

134Nov. 30, 1861 (Pyne and Harrison). one of two readings

135G. one of two readings

136PURITAN'S DAUGHTER, THE. 'A grand romantic drama' in three acts; words by J. V. Bridgeman, music by Balfe. Produced at the English Opera-House, Covent Garden, London, Nov. 30, 1861 (Pyne and Harrison). G. one of two readings

138PYE, KELLOW JOHN, the son of a merchant, one of two readings

139was born at Exeter, Feb. 9, 1812. His musical one of two readings

140tendencies showed themselves early. He entered one of two readings

141the Royal Academy of Music, in February 1823, one of two readings

142immediately after its foundation, and took the one of two readings

143first pianoforte lesson ever given within its one of two readings

144PYE, KELLOW JOHN, the son of a merchant, was born at Exeter, Feb. 9, 1812. His musical tendencies showed themselves early. He entered the Royal Academy of Music, in February 1823, immediately after its foundation, and took the first pianoforte lesson ever given within its one of two readings

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