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Scan 723
Grove's dictionary of music and musicians, 1904
16 lines. Read by computer on 3 September 2026. Printed page 666. See the scan on archive.org.
1dienste.' He was a skilful draughtsman and had considerable literary facility; he contributed in early days to magazines in England, and made translations of Faust and Wilhelm Tell, the latter being published in 1829. He wrote many of his own words for madrigals. A great number of interesting treatises and compositions of different kinds are still in MS. at Einsiedeln, Vienna, the Royal College of Music, and in the possession of Mr. W. Barclay Squire.—Dict. of Nat. Biog., Musical Herald, August 1906, the Sammelbände of the Int. Mus. Ges. for 1907, etc.
3PEARSON, WILLIAM, a notable printer, who made many improvements in musical typography, and carried Heptinstall's improvements in the 'tied note' to a greater perfection. John Heptinstall was the first printer in England to unite (in movable type) the tails of quavers and semiquavers, and to make the notes with round heads instead of the former lozenge-shaped ones; this was about 1690.
5Eight or nine years later William Pearson appears to have set up in business as a music-printer, and to have introduced further improvements on movable music type. Several works of his are dated 1699, one being 'Twelve New Songs' by Dr. Blow and Dr. Turner, as the title-page informs us, issued 'chiefly to encourage William Pearson's New London Character,' 1699, folio. In 1700 followed the important and excellently printed work, Blow's 'Amphion Anglicus.' Pearson's printing-office was at first in Aldersgate Street, 'next the Hare and Feathers'; but in 1700 his imprint changes to Red Cross Alley, Jewin Street. In 1724 it is 'over against Wright's Coffee House, in Aldersgate Street.' As these addresses are in close proximity, one may indicate Pearson's house, and the other his printing-office. Shortly after the death of Henry Playford, circa 1706, he, with John Young, succeeded to the copyright (probably after Cullen) of such of the Playford publications as were continued. These include 'The Dancing-Master,' and Playford's Introduction to the Skill of Music, Simpson's Compendium of Practicall Musick, 'Orpheus Britannicus,' 'Harmonia Sacra,' and Playford's 'Whole Book of Psalms,' 'The Divine Companion,' and others. He also published, in folio, Bassani's 'Harmonia Festiva,' op. 8 and op. 13, the first English publication of the book, which Hawkins dates about 1726. Pearson was the principal printer and publisher of the many octavo psalm-books which were issued at this time. So far as the present writer is aware no engraved work bears his imprint. In 1736 he was succeeded by A. Pearson, who may be presumed to be either his widow or his son.
7A. Pearson continued the business only for a short time, printing and publishing such works as: Tans'ur's 'Complete Melody or the Harmony of Sion,' 1736; 'Heaven upon the Earth,' 1738, by the same author; Green's 'Book of Psalmody,' 1738, etc. The first Wesleyan Tune book, 'A Collection of Tunes as they are commonly sung at the Foundry,' 1742, also was printed by A. Pearson, and this is the latest date the present writer can find for his work.
9F. K.
11PECCATE, DOMINIQUE, born at Mirecourt, July 15, 1810, died there Jan. 13, 1874, an excellent bow-maker who maintained the qualities and excellence traditional in the work of François Tourte. Son of a barber, he early forsook the paternal profession, and adopted the vocation of fiddle-maker. In 1826 François Vuillaume sent him to Paris, to his brother Jean Baptiste, under whose guidance he developed his superior gift as a maker of bows. After the death of François Lupot in 1837, Peccate left Vuillaume, and set up an independent business at Lupot's vacated workshop, 18 Rue d'Angivilliers. In 1847 he returned to Mirecourt, where he continued working until his death. He occasionally stamped his bows, but more frequently left them unmarked; a habit which has caused his bows to be confused with those of a modern French maker of the same name but spelt 'Peccatte.' Peccate's brother, called Peccate jeune, also worked with J. B. Vuillaume, but his productions were much inferior to those of his brother Dominique. He died in Paris in 1856.—Vidal, Les Instruments à archet, vol. i.; Saint George, The Bow, Strad Library, No. iii.
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15PECHATSCHKEK, FRANÇOIS, violinist and composer, born at Vienna, July 4, 1793, died at Carlsruhe, Sept. 15, 1840, son of François Pechatschek, a Viennese conductor who wrote several operas, and some thirty ballets, and who, as a composer of dance music, was the Strauss of his epoch. The precocious musical aptitude of François the younger, was cultivated by his father at the tender age of four, when the child began to learn the violin. At the age of eight, he played before the Imperial Court, and a year later—1803—won great success at two concerts at Prague, by his performance of a concerto by Fodor, an Adagio by Rode, and some variations of his own composition. On his return to Vienna he resumed his studies with increased ardour, and became a pupil of Förster in composition. In 1818 he was appointed Leader of the Orchestra at the Court of Hanover, and in 1824 and 1825 was heard, gaining success at many concerts in different German towns. In 1827 he became director of the music at the court of the Grand Duke of Baden, and appeared at a concert in Paris in 1832, but was eclipsed by the extraordinary talent of Paganini, who had taken the Parisians by storm. He still occupied his post at the Baden court in 1837. His published compositions include a concerto for violin and orchestra,
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