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Scan 106
Grove's Dictionary of music and musicians, 1927
23 lines. Read by computer on 5 September 2026. Printed page 70. See the scan on archive.org.
1Carlo, and afterwards founded pianoforte classes in Paris. At the conclusion of the educational course he gave paying concerts of chamber music. In Oct. 1886, after Godard had failed (in 1884) in his attempt to reconstruct the Concerts Populaires, Pasdeloup began a new series with the old title, giving one concert a month from Oct. 1886 to Mar. 1887, with a sacred concert on Good Friday. A. J.
3PASINO, DETTO GHIZZOLO STEFANO, of Brescia; in 1642 town organist of Lonato; in 1651 maestro di cappella of Salo. He wrote masses a 4 v., op. 4 (1642); motets a 2, 3 and 4 concerted parts, op. 6 (1651); XII. sonatas for 2, 3 and 4 instruments, in one of which are imitated the cries of sundry wild animals, op. 8. It is curious to see this childish trick, which had been shown by Carlo Farina c. 1628, and later on by Paganini, treated in all seriousness. A collection of Ricercari for instruments appeared as op. 7 (Q.-L.; Fétis). E. v. d. s.
5PASQUALI (PASCHALI, PASCALE), FRANCESCO (b. Cosenza, late 16th cent.), studied and lived mostly in Rome; composed three books of madrigals and several books of sacred and secular songs in 1-5 parts, between 1615-1633 (Q.-L.).
7PASQUALI, NICOLÒ (d. Edinburgh, Oct. 13, 1757), a violinist and composer who settled in Edinburgh about 1740 until his death, with the exception of the years 1748-51, during which he lived in Dublin, producing his oratorio 'Noah' at Fishamble Street Music Hall. He was in London in 1752, and then returned to Edinburgh. He published numerous compositions, an opera called 'L' ingratitudine punita,' songs in 'The Tempest,' 'Apollo and Daphne' and 'The Triumph of Hibernia,' as well as the 'Solemn Dirge in Romeo and Juliet.' Most of these are printed in the 'XII English Songs in Score,' dated 1750, and published in London. Two sets of sonatas, one for violin and bass, and one for two violins, tenor and thorough-bass, were also published in London. 'XII Overtures for French horns' were printed in Edinburgh, 'for Rob. Bremner, the assigney of Signor Pasquali'; and the book by which his name is best known, Thoroughbass made Easy, was published in Edinburgh in the year of his death. About three years after his death his Art of Fingering the Harpsichord was published in Edinburgh.
9PASQUINI, BERNARDO (b. Massa di Valnevola, Tuscany, Dec. 8, 1637; d. Nov. 22, 1710¹), an important musician of the latter half of the 17th century. His masters were Loreto Vittori and Antonio Cesti, but the study of Palestrina's works did more for him than any instruction. While still young he came to Rome, and was appointed organist of Sta. Maria Maggiore.
11¹ According to his monument in the church of S. Lorenzo in Lucina, at Rome, which also states that he was in the service of Battista, Prince Borghese. The monument is figured in Shedlock's Pianoforte Sonata, as the frontispiece.
13Among his numerous pupils were Durante and Gasparini; the Emperor Leopold also sent young musicians to benefit by his instruction. Special mention is made of an opera, 'Dov' è amore e pietà,' produced at the Teatro Capranica in 1679, and of another in 1686, in honour of Queen Christina of Sweden. Mattheson, on visiting the opera-house in Rome, was much struck at finding Corelli playing the violin, Pasquini the harpsichord and Gattani the lute, all in the orchestra. Pasquini's music is terse, vigorous and at the same time graceful; in fact he had much in common with Handel, and exercised a certain amount of influence upon German musicians. A 'favola pastorale,' or small opera in three parts, called 'La forza d'amore' (libretto by Apolloni, a gentleman in Prince Chigi's household), is fine, and elevated in style. Copies are in the Fitzwilliam Museum at Cambridge, the Brussels Conservatoire and the Istituto Musicale at Florence. Five oratorios are mentioned in Q.-L., as well as six more operas. His contributions to various collections of harpsichord music are more important; one such collection was printed at Amsterdam in 1704, and another by Walsh, probably later. Selected sonatas were published by Novello in an album of music by Pasquini and Grieco, edited by J. S. Shedlock, whose Pianoforte Sonata contains an interesting chapter on Pasquini.
15BIBL.—CH. VAN DEN BORREN, Note sur Bernardo Pasquini et ses œuvres. Bulletin de la Société de Musicologie, 1921.
16REPRINTS.—FARRENC, Trésor des pianistes III; J. S. SHEDLOCK, Pieces by Pasquini; F. BOGHEN, (1) Dieciarie per cembalo or organo (Casa editua musicale Italiana, Florence), (2) Deux Sonates pour 2 clavecins (Paris); TORCHI, Arte musicale in Italia III. contains three pieces.
18PASSACAGLIA, PASSACAGLIO, PASSECAILLE, an early Italian or Spanish dance, similar in character to a CHACONNE (q.v.).
20The name (according to Littré) is derived from the Spanish pasar, 'to walk,' and calle, 'a street,' in which case a passacaglia may mean a tune played in the streets by itinerant musicians. This derivation is confirmed by Walther's Lexicon, where the name is translated by 'Gassenhauer.' Other authorities have attempted to connect the word passacaglia with gallo, 'a cock'; thus Mendel translates it 'Hahnentrapp.' The original dance was performed by one or two dancers; it survived in France until the 18th century, and directions for dancing it may be found in Feuillet's Chorégraphie. But the feature which, in common with the chaconne, has elevated the passacaglia above the majority of dance forms, is the construction of the music on a GROUND BASS (q.v.), generally consisting of a short theme of two, four or eight bars.
22This form attracted the attention of the organ and harpsichord composers of the 17th and 18th centuries, with whom the construction of elaborate passacaglias and chaconnes became a favourite exercise for contrapuntal skill. It is
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