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Scan 137
Grove's Dictionary of music and musicians, 1927
27 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 101. See the scan on archive.org.
1PEOPLE'S SYMPHONY CONCERTS
3The concerts are given in various centres, sometimes in co-operation with local settlements, etc. (see South Place Sunday Concerts), and in late years in H.M. Prisons. At the end of the 45th season, 1923–24, over 1600 concerts, orchestral and chamber, had been given. The 47th season, 1925–26, included an extension of the work through co-operation with the British Broadcasting Company. The funds of the Society are derived from the receipts from the concert and from annual subscriptions and donations. Sir Henry Hadow is chairman of the Society. one of two readings
4The concerts are given in various centres, sometimes in co-operation with local settlements, etc. (see SOUTH PLACE SUNDAY CONCERTS), and in late years in H.M. Prisons. At the end of the 45th season, 1923–24, over 1600 concerts, orchestral and chamber, had been given. The 47th season, 1925–26, included an extension of the work through co-operation with the British Broadcasting Company. The funds of the Society are derived from the receipts from the concert and from annual subscriptions and donations. Sir Henry Hadow is chairman of the Society. one of two readings
6N. C. G.
8PEOPLE'S SYMPHONY CONCERTS, see New York. one of two readings
9PEOPLE'S SYMPHONY CONCERTS, see NEW YORK. one of two readings
11PEOPLE'S SYMPHONY ORCHESTRA, see Boston. one of two readings
12PEOPLE'S SYMPHONY ORCHESTRA, see BOSTON. one of two readings
14PEPUSCH, JOHN CHRISTOPHER, Mus.D. (b. Berlin, 1667; d. London, July 20, 1752), son of the minister of a Protestant congregation in Berlin, studied the theory of music under Gottlieb Klingenberg, organist at Stettin, and the practice of it under Grosse, a Saxon organist. At 14 years of age he obtained an appointment at the Prussian court. Devoting himself to the study of the ancient Greek writers, he became a deeply skilled theorist. He retained his appointment until he was thirty years old, when, being an eye-witness (according to Hawkins) of an act of savage ferocity on the part of the King (the decapitation, without trial, of an officer who had uttered some words at which the barbarous despot took offence), he determined on quitting his native land for some country where human life was not in danger of destruction by the unbridled will of an individual. He first went to Holland, where he remained for upwards of a year.
16He came to England about 1700 and was engaged in the orchestra at Drury Lane. In 1707 he adapted the music of the opera 'Thomyris, Queen of Scythia,' besides composing the recitatives and some additional songs, and probably did the same for others of the Anglo-Italian operas produced about that period. And at the same time, with the assistance of Abraham de Moivre, the celebrated mathematician, he zealously pursued his study of the music of the ancients. In 1710 he took an active part in the establishment of the Academy of Ancient Music, in which he took a deep interest throughout his life. In 1712 he was engaged by the Duke of Chandos as organist and composer to his chapel at Cannons, for which he produced several services and anthems. About 1716 he published 'Six Cantatas' (in English and Italian) and 'Six English Cantatas,' the words by John Hughes, which were received with great favour, and one of which, 'Alexis,' with violoncello obbligato, continued to be sung in public until the first half of the 19th century had nearly passed away. On July 9, 1713, he took the degree of Mus.D. at Oxford, his exercise (performed July 13) being a dramatic ode on the Peace of Utrecht: the words were printed on both sides of a folio leaf. About the same time he revived the practice of solmisation by hexachords, which had been abandoned for upwards of a century. Soon afterwards he became music director at Lincoln's Inn Fields Theatre, and continued so for many years. During his engagement there he composed the music for 'Venus and Adonis,' masque, 1715; Colley Cibber's 'Myrtillo,' 1715; 'Apollo and Daphne' and 'The Death of Dido,' masques, 1716; and 'The Union of the Three Sister Arts,' masque for St. Cecilia's Day, 1723; 'The Squire of Alsatia,' 1726; besides arranging the tunes and composing overtures for 'The Beggar's Opera,' 1728, and 'The Wedding,' another ballad opera, 1729.1 He also arranged the tunes for Gay's interdicted opera 'Polly,' 1729. (See Ballad Opera.) one of two readings
17He came to England about 1700 and was engaged in the orchestra at Drury Lane. In 1707 he adapted the music of the opera 'Thomyris, Queen of Scythia,' besides composing the recitatives and some additional songs, and probably did the same for others of the Anglo-Italian operas produced about that period. And at the same time, with the assistance of Abraham de Moivre, the celebrated mathematician, he zealously pursued his study of the music of the ancients. In 1710 he took an active part in the establishment of the ACADEMY OF ANCIENT MUSIC, in which he took a deep interest throughout his life. In 1712 he was engaged by the Duke of Chandos as organist and composer to his chapel at Cannons, for which he produced several services and anthems. About 1716 he published 'Six Cantatas' (in English and Italian) and 'Six English Cantatas,' the words by John Hughes, which were received with great favour, and one of which, 'Alexis,' with violoncello obbligato, continued to be sung in public until the first half of the 19th century had nearly passed away. On July 9, 1713, he took the degree of Mus.D. at Oxford, his exercise (performed July 13) being a dramatic ode on the Peace of Utrecht: the words were printed on both sides of a folio leaf. About the same time he revived the practice of solmisation by hexachords, which had been abandoned for upwards of a century. Soon afterwards he became music director at Lincoln's Inn Fields Theatre, and continued so for many years. During his engagement there he composed the music for 'Venus and Adonis,' masque, 1715; Colley Cibber's 'Myrtillo,' 1715; 'Apollo and Daphne' and 'The Death of Dido,' masques, 1716; and 'The Union of the Three Sister Arts,' masque for St. Cecilia's Day, 1723; 'The Squire of Alsatia,' 1726; besides arranging the tunes and composing overtures for 'The Beggar's Opera,' 1728, and 'The Wedding,' another ballad opera, 1729.1 He also arranged the tunes for Gay's interdicted opera 'Polly,' 1729. (See BALLAD OPERA.) one of two readings
19In 1724 he was induced to join in Dr. Berkeley's scheme of a college in the Bermudas, and actually embarked, but the ship being wrecked, the undertaking was abandoned, and he returned to England. In 1718 he had married Margarita de l'Épine (see Épine), the eminent singer, who brought him a fortune of £10,000. In 1730 there was published anonymously A Treatise on Harmony, containing the chief Rules for composing in two, three and four parts. As the rules contained in the book were those which Pepusch was in the habit of imparting to his pupils, and as they were published without the necessary musical examples, he felt compelled to adopt the work, and accordingly in 1731 published a second edition with the requisite additions, but still without his name. It was conjectured that the first edition was put forth by Viscount Paisley, afterwards Earl of Abercorn, who had been a pupil of Pepusch's; but on this point nothing is known. Corroboration of this theory is given in a copy in the British Museum containing a transcript of many of the examples in the second edition, in a hand closely resembling Lord Paisley's, and with the inscription 'aet. 44' corresponding to Lord Paisley's age in 1730. In 1737 he obtained the appointment of organist of the Charter House, where he passed the remainder of his days, devoting himself to his studies, the care of the Academy of Ancient Music, and the instruction of a few favourite pupils. His wife died early in Aug. 1746. Cooke writes under date 'Sunday, Aug. 10, 1746': one of two readings
20In 1724 he was induced to join in Dr. Berkeley's scheme of a college in the Bermudas, and actually embarked, but the ship being wrecked, the undertaking was abandoned, and he returned to England. In 1718 he had married Margarita de l'Épine (see ÉPINE), the eminent singer, who brought him a fortune of £10,000. In 1730 there was published anonymously A Treatise on Harmony, containing the chief Rules for composing in two, three and four parts. As the rules contained in the book were those which Pepusch was in the habit of imparting to his pupils, and as they were published without the necessary musical examples, he felt compelled to adopt the work, and accordingly in 1731 published a second edition with the requisite additions, but still without his name. It was conjectured that the first edition was put forth by Viscount Paisley, afterwards Earl of Abercorn, who had been a pupil of Pepusch's; but on this point nothing is known. Corroboration of this theory is given in a copy in the British Museum containing a transcript of many of the examples in the second edition, in a hand closely resembling Lord Paisley's, and with the inscription 'aet. 44' corresponding to Lord Paisley's age in 1730. In 1737 he obtained the appointment of organist of the Charter House, where he passed the remainder of his days, devoting himself to his studies, the care of the Academy of Ancient Music, and the instruction of a few favourite pupils. His wife died early in Aug. 1746. Cooke writes under date 'Sunday, Aug. 10, 1746': one of two readings
22'I was at the [Surrey] Chapel in the morning, but in the afternoon went to Vauxhall with the Doctor, Mrs. Pepusch being dead.'
24Pepusch lost his only child, a son, a youth of great promise, some short time before. He wrote a paper on the ancient Genera, which was read before the Royal Society, and published in the Philosophical Transactions for 1746, and for
261 He arranged the music for 'Perseus and Andromeda' (Apr. 2, 1717) and 'Dioclesian' (Dec. 1724).
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