Scan 809
Groves Dictionary of Music and Musicians Vol. 3, 1925
27 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. Printed page 745. See the scan on archive.org.
1previously done in the case of Dittersdorf. He visited all the principal cities of Italy, and was elected a member of the Filarmonici, both of Bologna and Mantua. The occupation of Milan by the French in 1796 drove the Archduke back to Vienna, and Pichel not only accompanied him, but remained in his service till his death on Jan. 23, 1805, in spite of an offer twice renewed of the post of Imperial Capellmeister at St. Petersburg. Pichel's industry was extraordinary, and that his compositions were popular is proved by the fact that a large part of them were published in Paris, London, Amsterdam, Berlin, Offenbach, and Vienna. He sent a complete list in 1803 to Dlabacz, the Bohemian lexicographer, who inserted it in his Allgem. hist. Künstler-Lexicon für Böhmen (Prague, 1815). An abstract of the extraordinary catalogue is given by Fétis and Gerber. The works—nearly 700 in number—include 88 symphonies; 13 serenatas; violin-concertos and solos; duets, trios, quartets, and quintets for strings; concertos for various wind instruments; sonatas, etc., for PF.; 14 masses, and many church works of various kinds; 25 operas to German, Latin, French, and Italian librettos; and 'Sei Ariette,' words by Metastasio, op. 42 (Vienna, Eder). For Prince Esterhazy he composed 148 pieces for the baryton in several parts; and in addition to all wrote a Bohemian translation of Mozart's 'Zauberflöte.'
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6PIECE (Ital. pezzo; Fr. pièce, morceau; Germ. Stück). This word, which in the 17th and 18th centuries was used generally for a literary composition (for examples see the criticisms in the Spectator, vols. 4 and 5, on 'Paradise Lost,' which is constantly spoken of as 'that sublime piece'), and in later times for a dramatic work, has since the end of the 18th century been applied to instrumental musical compositions as a general and untechnical term. The earliest application of the word in this sense is to the component parts of a suite, which are called pieces (compare the French 'Suite de pièces'). It is not as a rule applied to movements of sonatas or symphonies, unless such movements are isolated from their surroundings, and played alone: nor is it applied to the symphonies or sonatas taken as a whole. An exception to this rule is found in the direction at the beginning of Beethoven's Sonata, op. 27, No. 2—'Si deve suonare tutto questo pezzo (the first movement) delicatissimamente e senza sordini.' It is not used of vocal music, except in the cases of portions of operas, such as finales, etc. for many voices, to which the name 'Concerted piece,' 'Pezzo concertante,' is not infrequently given.
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11PIENO, 'full.' Examples of the use of this direction may be found in Handel's organ concerto, where 'Organo pieno' denotes that the organ part is to be played with full harmonies, as well as what is now called 'full,' i.e. with the full force of the stops.
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16PIERNÉ, HENRY CONSTANT GABRIEL, born at Metz, August 16, 1863, studied at the Paris Conservatoire, winning the first medal for solfège in 1874, the first prize for piano in 1879, for organ in 1882, and for counterpoint and fugue in 1881; he gained the Prix de Rome in 1882 with his 'Edith.' He succeeded César Franck as organist of Sainte Clotilde in 1890. His dramatic works are as follows: 'Les Elfes'; 'Le Collier de Saphirs' (a wordless play); 'Le Docteur Blanc' (Menus-Plaisirs, 1893); incidental music to 'Izeyl' (Renaissance, 1894); 'Salomé' (Comédie-Parisienne), and 'La Princesse Lointaine' (Renaissance, 1895); 'La Coupe enchantée' (in one act; Opéra-Comique, Dec. 26, 1895); 'Vendée,' grand opera (Lyons, March 17, 1897); music for 'La Samaritaine' (Renaissance, 1897); 'La Fille de Tabarin,' in three acts (Opéra-Comique, Feb. 20, 1901). He has also written a choral work, 'Pandora'; a symphonic poem, with chorus, 'L'An Mil' (1898); his 'Nuit de Noël,' an 'épisode lyrique,' was given at the Concerts de l'Opéra, Dec. 8, 1895; and his 'Croisade des Enfants' received honourable mention in the competition of the Ville de Paris in 1905. He has also written numerous songs and instrumental pieces, two of which, his 'Marche des petits soldats de plomb,' and 'Sérénade,' have had much success in France and England. His op. 39, a 'concertstück' for harp and orchestra, was given at the Queen's Hall in 1905.
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21PIERRE, CONSTANT VICTOR DÉSIRÉ, born in Paris, August 24, 1855, played the bassoon in various orchestras, and in 1900 was appointed assistant secretary in the Paris Conservatoire. He is editor of the Monde musical, and author of the following books: Les Noëls populaires (1886); La Marseillaise et ses variantes (1887); Histoire de l'orchestre de l'Opéra de Paris (1889); La Facture des Instruments à l'Exposition de 1889 (1890); Les Facteurs d'Instruments de Musique, les luthiers et la facture instrumentale (1893); Le Magasin de décors de l'Opéra 1781-1894 (1894); L'École de Chant de l'Opéra 1672-1807 (1895); B. Sarette et les origines du Conservatoire, etc. (1895); Les anciennes écoles de déclamation dramatique (1896); Notes inédites sur la musique de la Chapelle royale, 1352-1790 (1899); and Le Conservatoire national de musique et de déclamation (1900). In the year last mentioned his book on Le Concert spirituel, 1725-1790 (1900) was crowned by the Institut. Many articles by him are in the Parisian reviews.
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26PIERSON (originally PEARSON), HENRY HUGO, was born at Oxford on April 12, 1815. He was the son of the Rev. Dr. Pearson, of St. John's College, afterwards Chaplain to George IV., and Dean of Salisbury. He was sent to Harrow School, where he gave proof of the possession of no common abilities, gaining the Governors' prize for Latin hexameters.
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