Scan 121
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
34 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Conrat von Nürenberg gehaissen, der zu seyner zeytt vor ander instrumentisten gelopt und gerumptt sey worden. Der hatt auf den kragen der fünff kore, und uff siben bunde das gantz alphabet halssen schreiben, und als das ayn mall auss ist gewesen, hatt er wider von vornen an dem alphabet angefangen, und die selben buchstaben alle des andern alphabets dupliert,' etc.
3Martin Agricola, a few years later in his Musica instrumentalis, 1532, xxix., alludes scoffingly to this alphabetical notation:
5'Weiter hab ich mich manchmal bekümmt
6Vnd heymlich bey mir selber verwundert,
7Der Alphabetischen Tabulathur
8Wie sie doch erstmals sey kommen herfur.
10'Das ihre Tabelthur erfunden sey
11Ists war, so las icha auch bleiben dabey,
12Von eim Lautenschlager blind geborn
13So han sie den rechten meister erkorn.'
15And makes merry at the expense of the blind man trying to lead the blind 1:
17'Dieweil ein blinder den andern führet
18So werden sie beide narrn gespuret.'
20A few of Paumann's compositions are still in existence. A three-part song, to the text 'Wiplich figur,' is in the Munich State Library, Mus. MS. 3232, date about 1461; it was published by Eitner in Das deutsche Lied, 1880, ii. p. 161. In the same library the 15th-century manuscript known as the Buxheimer Orgelbuch, Mus. MS. 3725, contains three organ pieces by Paumann, printed by Eitner in Monatshefte, 1886, p. 82, and again in 1888, Beilage, pp. 67-8 and 78. The most important work, the 'Fundamentum organisandi magistri Conradi Paumanns ceci de Nurenberga anno 1452,' acquired by the Wernigerode gräfl. Bibliothek in 1858, is written in the German organ-tablature by a Nuremberg scribe, and bound in one volume with the manuscript called the Locheimer Liederbuch. The occurrence of the organ alphabetical Tablature (q.v.) in this manuscript is of even earlier date than its first appearance in print, in Arnold Schlick's 'Tabulaturen etlicher lobgesang,' published at Mainz in 1512. The twenty-four pieces of simple organ music in two-part writing by Paumann are obviously only preliminary exercises for those learning to play the organ; they are followed by a short Latin treatise on mensural music signed 'W. de Sa' (Walter de Salice); compositions by G. v. Putenheim; a three-part song by Wilh. Legrant, one by Paumgartner, and three Preludes added to the manuscript in 1455. The music, transcribed by F. W. Arnold shortly before his death, was published with his scholarly account of the whole manuscript in Chrysander's Jahrbücher, 1867, ii., revised and edited by H. Bellermann.
22PAUR, EMIL (b. Czernowitz, Bukovina, Aug. 29, 1855), was at first a pupil of his father, the director of a musical society; when 8 years old he played the violin and piano in public, and in 1866 entered the Vienna Conservatorium under Dessoff for composition, and Hellmesberger for violin. He became a member of the court orchestra as violinist in 1870. His career as a conductor began at Cassel in 1876; he was next at Königsberg, and in 1880 was appointed first court Kapellmeister and conductor of the subscription concerts at Mannheim; in 1891 he was made conductor at the Leipzig Stadt-theater, and in 1893 went to America, succeeding Nikisch as conductor of the Boston Symphony Orchestra.
24In 1898 he was elected conductor of the New York Philharmonic Concerts in succession to Anton Seidl, and in 1899 became director of the National Conservatory in New York. In 1903 he returned to Europe, and has conducted concerts in Madrid as well as in Berlin. In 1900 he visited England, conducting German opera at Covent Garden, and he conducted one of the Queen's Hall Symphony Concerts in Nov. 1902. From 1904-10 he was conductor of the Pittsburgh Symphony Orchestra, where his symphony 'In der Natur' was played (1909). His compositions also include a violin concerto and some chamber music. Returning to Europe he directed the Berlin Opera (1912-13). (Riemann and Baker.)
26PAUSE (Fr. point d'orgue; Ital. fermata; which has an equivocal meaning, as it also signifies what we call 'pedal point'), a temporary cessation of the time of the movement, expressed by the sign ~ placed over a note or a rest. If the pause is over a note, it signifies that the note is to be prolonged at the pleasure of the performer, or conductor; if over a rest, the sound, as well as the time, must stop. The initials G.P. (General Pause) are often found in German scores as a warning that the whole orchestra is silent. One special use of the pause, no doubt, had its origin in the practical difficulty of getting a congregation to finish each line of a chorale-tune together; the organist must make a pause at the end of every line, and in order to fill up the space, interludes were inserted between the lines, which interludes became gradually more and more important, until, as in many of Bach's cantatas, the embroidery upon the chorale-tune reaches the very height of sublimity. Pauses at the end of a movement, over a rest, or even over a silent bar are intended to give a short breathing-space before going on to the next movement. They are then exactly the reverse of the direction 'attacca' (q.v.).
28PAVAN (PAVANE, PAVIN), a slow and solemn dance, very popular in the 16th and 17th centuries. The name, derived from 'Padovana,' 2 points to an Italian origin, although it is generally said to have come from Spain, owing to its popularity in that country. The Spanish pavan, however, was a variation of the original dance. According to some authorities, the name is derived from the Latin pavo, owing
301 See also Wasielewski, Gesch. der Instrumentalmusik im XVI. Jahrh., 1878, p. 37.
32(no line here) one of two readings
332 In the Cambridge University Library is a MS. volume of airs and dances (in Lute Tablature) by Dowland and Holborne, in which there occurs a 'Padovana de la Milanesa.'
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