Scan 134
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
19 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.
1which he was elected F.R.S. He was buried in the chapel of the Charter House, where a tablet was placed to his memory in 1757. Besides the compositions before named he produced odes to the memory of the Duke of Devonshire, 1707 (sung by Margarita de l'Épine and Mrs. Tofts), and for the Princess of Wales's birthday, Mar. 1, 1715–16; airs, sonatas, and concertos for various combinations of string and wind instruments, and some Latin motets. He also edited Corelli's sonatas in score. (See Q.-L.) In 1751 he dictated A Short Account of the Twelve Modes of Composition and their Progression in every Octave, never published. He bequeathed his library to John Travers and Ephraim Kelner, on whose deaths it was dispersed. A portrait of him is in the New Schools, Oxford. Another portrait, by Hudson, has been engraved. Although Pepusch was somewhat pedantic, he was profoundly skilled in musical science, and the musicians he formed (of whom it is only necessary to mention Travers, Boyce and Cooke) sufficiently attest his skill as a teacher.
3PERABO, ERNST (b. Wiesbaden, Nov. 14, 1845; d. Oct. 29, 1920), one of ten children, all followers of music. His talent showed itself very early, and at 12 years old he played Bach's 'Wohltemperirtes Clavier' by heart. In 1852 his parents took him to New York, and after a time arrangements were made through the interest of William Schaufenberg, himself a pupil of Hummel, to send him back to Germany for education. He left the United States Sept. 1, 1858, and after nearly four years with Joh. Andersen, at Eimsbuttel, near Hamburg, he entered the Leipzig Conservatorium, Oct. 22, 1862. After going successfully through the course there under Moscheles, Richter, Reinecke, etc., he returned to New York in Nov. 1865, and after some hesitation settled at Boston, where he made his first appearance at the symphony concert of the Harvard Musical Association, Apr. 19, 1866, and where he was well known and much esteemed as a teacher, a pianoforte-player, and a composer and arranger of music for that instrument. Amongst other things he played the whole of Schubert's PF. sonatas in public. His compositions embrace a scherzo, op. 2; three studies, op. 9; 'Pensées,' op. 11, containing a musical setting of Hamlet's Soliloquy (Augener & Co., London); 'Circumstance' (Tennyson's Song, op. 13); Prelude, Romance and Toccatina, op. 19; and his arrangements, ten transcriptions from Arthur Sullivan's 'Iolanthe,' op. 14, Concert-Fantasies from Beethoven's 'Fidelio,' opp. 16 and 17. He also published six sets of selections from various composers, fingered and adapted for the piano.
5G.; additional information from E. P. Warren.
7PERCUSSION. The treatment of a large proportion of discords is divided into three stages—preparation, percussion and resolution. The Preparation is the sounding of a discordant note in a previous chord, percussion is the actual sounding of the discord, and resolution the particular mode of its release, or passage into concordance. In the following example, where E in the treble of the second chord is the discordant note, (a) is the preparation, (b) the percussion, and (c) the resolution. (See PREPARATION and RESOLUTION.)
9PERCUSSION INSTRUMENTS. Orchestral instruments are usually grouped under the headings—string, wind and percussion. The percussion group includes in one section strained membranes such as drums and tambourines, and in another section plates and bars, whether of wood or other hard material, appearing as cymbals, triangles, steel chimes, the glockenspiel, castanets, xylophone and tubular bells.
11PERCY, JOHN (b. 1749; d. Jan. 24, 1797), was a composer of ballads which were in favour in the latter part of the 18th century, but which have now passed out of remembrance, with the single exception of 'Wapping Old Stairs.' He composed Select Songs (26) in 1795–97, which included 'Gaffer Grey' (No. 10) and 'I know a bank' (No. 17). He published eight songs, op. 1, in 1781; the Garden Scene from Romeo and Juliet as a duet, Apr. 2, 1785; and six ariettas, op. 5, in 1786. He was an organist and a tenor vocalist.
13PERDENDOSI, PERDENDO LE FORZE, 'losing strength,' a direction like 'morendo,' nearly always used at the end of a movement or section of a movement. It denotes a gradual diminuendo, and in the later modern writers, a slight rallentando as well.
15PEREZ, DAVIDE (DAVID PERES) (b. Naples, 1711; d. ? Lisbon, after 1780), son of a Spaniard, was admitted in 1718 to the Conservatorio of Sta. Maria di Loreto, where he studied the violin under Antonio Gallo, and counterpoint under Francesco Mancini. His first opera, 'Siroë,'1 was composed for San Carlo in 1740. At the invitation of Prince Naselli he went to Palermo, and became master of the Real Cappella Palatina. Here he remained till 1748, and produced 'Li travestimenti amorosi' (1740), 'L'eroismo di Scipione' (1741), 'Astartea,' 'Medea' and 'L'isola disabitata.' After 'La clemenza di Tito' (1749), given at San Carlo in Naples, and 'Semiramide' (1750) at the Teatro delle Dame in Rome, he composed operas for all the principal towns in Italy. In 1752 he accepted an invitation to Lisbon, where he composed 'Demofoonte' for Gizziello and the tenor Raaff (Mozart's Municia one of two readings
16PEREZ, DAVIDE (DAVID PERES) (b. Naples, 1711; d. ? Lisbon, after 1780), son of a Spaniard, was admitted in 1718 to the Conservatorio of Sta. Maria di Loreto, where he studied the violin under Antonio Gallo, and counterpoint under Francesco Mancini. His first opera, 'Siroë,'1 was composed for San Carlo in 1740. At the invitation of Prince Naselli he went to Palermo, and became master of the Real Cappella Palatina. Here he remained till 1748, and produced 'Li travestimenti amorosi' (1740), 'L'eroismo di Scipione' (1741), 'Astartea,' 'Medea' and 'L'isola disabitata.' After 'La clemenza di Tito' (1749), given at San Carlo in Naples, and 'Semiramide' (1750) at the Teatro delle Dame in Rome, he composed operas for all the principal towns in Italy. In 1752 he accepted an invitation to Lisbon, where he composed 'Demofoonte' for Gizziello and the tenor Raaff (Mozart's Munich one of two readings
181 The score, dated 1740, is in the Real Collegio of Naples.
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