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Scan 350
Grove's Dictionary of music and musicians, 1927
18 lines. Read by computer on 5 September 2026. Printed page 302. See the scan on archive.org.
1strains 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. The great makers could not wholly resist these graceful adornings. Gasparo da Salò made a violin, we are told, of which the head, fingerboard, 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.
3BIBL.—HILL, Antonio Stradivari; HART, The Violin; HERON-ALLEN, Violin-making; MEREDITH MORRIS, British Violin-makers; MAUGIN and MAIGNE, Manuel du Luthier. E. H.-A.
5PURITANI DI SCOZIA, I, opera in 2 acts; words by Count Pepoli, music by Bellini; produced Théâtre des Italiens, Paris, Jan. 25, 1835; King's Theatre, as 'I Puritani ed i Cavalieri,' May 21, 1835; New York, Palmo's Opera House, Feb. 1844.
7PURITAN'S DAUGHTER, THE, opera in 3 acts; words by J. V. Bridgeman, music by Balfe. Produced Covent Garden, London, Nov. 30, 1861 (Pyne and Harrison).
9PUSCHMANN, ADAM ZACHARIAS (b. Görlitz, 1532; d. Breslau, Apr. 4, 1600), one of the most remarkable of the latest 'Meistersinger' and a pupil of Hans Sachs. He wrote 'Gründlicher Bericht des deutschen Meistersgesanges' (1574), containing some of his own songs. The MS. collection of his songs, containing also some by M. Behaim and Hans Sachs, was published in 1906 by Georg Münzer (Riemann).
11PYE, KELLOW JOHN (b. Exeter, Feb. 9, 1812; d. Exmouth, Sept. 22, 1901 1), entered the R.A.M., in Feb. 1823, immediately after its foundation, and took the first pianoforte lesson ever given within its walls. This was from Cipriani Potter. He also studied harmony, counterpoint and composition there, under Dr. Crotch, the Principal, and remained a pupil till 1829. He returned in 1830 to Exeter, and for some years enjoyed considerable local fame in the south-west of England. In 1832 he gained the Gresham medal for his full anthem, 'Turn Thee again, O Lord' (Novello), which with other anthems of his is in use in the Cathedrals. In 1842 he took the degree of Mus.B. at Oxford.
131 Mus. T. 1901, p. 756.
15He was a member of the Philharmonic Society from 1846, and in 1853 gave up the professional career, and went into business (in the firm of Plasket & Co., wine merchants) in London, where he retained his connexion with the art by joining the direction of the R.A.M., succeeding Sir G. Clerk as chairman of the committee of management (1864–67). He was also a member of the Executive and Finance Committees of the National Training School of Music; he joined the committee of the Bach Choir on its foundation in 1876, and was on the council of the R.C.M. from the beginning of that institution in 1883. He was an active member of the Madrigal Society, its treasurer in 1856, and vice-president in 1891. Madrigals of his own gained the Society's prize in 1888 and 1891. He was on the committee of the Mendelssohn Scholarship Foundation. His published works, besides those mentioned, comprise 'Stray Leaves,' 12 Nos. (Lamborn Cock & Co.), 4 Full Anthems (Novello), 3 Short Full Anthems (Do.), Songs, etc.
17PYGOTT, RICHARD (late 15th and early 16th cent.), English choir trainer and composer. As early as 1517 he was master of the children of Cardinal Wolsey's Chapel. He thus held this post while William Cornyshe (q.v.) was similarly employed at the Chapel Royal, and, like him, was much favoured by Royal preferments and payments. Dean Pace, who succeeded Colet as Dean of St. Paul's in 1519, in various letters to Wolsey, compliments the Cardinal on the excellence of his chapel, intimating that it was better than that of the King. He even quotes Cornyshe himself as extolling Pygott for his good training, and refers to 'his sure and cleanly singing … [and] … good and crafty discant.' In 1524 Pygott became a gentleman of the Chapel Royal, but kept his post in Wolsey's Chapel until the Cardinal's fall in 1529. During this period (as appears from a payment made to him in 1527) he was deputy master at the Royal Chapel. In 1532 he was given a corrodry in the monastery of Coggeshall, Essex, and the next year was presented to the canonry and prebend of Tamworth. After the dissolution of the monasteries, Pygott was granted a pension to be paid out of the confiscated property at Coggeshall (1538), and also received some further monies from the Abbey of Tower Hill. His name appears regularly in the royal pensions list during 1540–47. On Oct. 31, 1541, he was given a substantial sum for his house at Greenwich, and in 1545 was restored to his prebend at Tamworth, which he had apparently left because he was not in Orders (a royal letter instructs the Dean and Chapter of Wells 'to suffer Richard Pygot of the Chapel to reside upon his prebend there, notwithstanding his laity'). His name appears as a gentleman of the Chapel Royal in the last year of Henry VIII.'s reign
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