Scan 289
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1PRELUDE
3Wood Street, and shortly afterwards engaged to play the harpsichord at Goodman's Fields Theatre, which he continued to do until the suppression of the theatre under the Licensing Act in 1737, composing also the dances and occasional music. In 1730 he published The Modern Musick Master, or the Universal Musician, containing an introduction to singing, instructions for playing the flute, German flute, hautboy, violin and harpsichord, with a brief History of Music and a Musical Dictionary. In 1735 he was elected the first organist of Christ Church, Spitalfields. After the closing of Goodman's Fields Theatre he was engaged at a newly opened place of entertainment in Leman Street close by, called the New Wells, for which he composed some songs, and an interlude entitled 'Baucis and Philemon,' containing a good overture and some pleasing songs and duets, the score of which he published. Fifteen hymn tunes by him were included in a collection of twenty-four published by one Moze, an organist, in 1758, under the title of 'Divine Melody,' in which he is spoken of as dead.
5PRELUDE (Fr. prélude; Ger. Vorspiel; Ital. preludio; Lat. praeludium), strictly a preliminary movement, an introduction to the main body of a work; also used as the title of a movement of an independent character.
7In the sonatas of Corelli and Bach the Prelude developed into a simple movement in the old sonata form (see FORM); in the '48 Preludes and Fugues' for clavier, and those for organ, no special form is adhered to, indeed the term may be said to be free from formal restrictions.
9In the case of opera the term is used as a synonym for overture to emphasise the fact that the music is very closely related to what follows. Again, however, there is no restriction as regards form. Compare the several Wagner Preludes. (See INTRODUCTION; OVERTURE.)
11As a movement apart, the Chopin Preludes set the fashion for a short movement of a suggestive, imaginative nature, often approaching an improvisation. His example was followed by numerous composers of pianoforte music. (See RACHMANINOV and SCRIBBIN.) N. C. G.
13PRÉLUDES, LES, 'Symphonic Poems' by Liszt for full orchestra; first performed Weimar, Feb. 23, 1854.
15PRENTICE, THOMAS RIDLEY (b. Paslow Hall, Ongar, July 6, 1842; d. Hampstead, July 15, 1895), entered the R.A.M. in 1861, studying the piano under Walter Macfarren, and harmony and composition under G. A. Macfarren. In 1863 he obtained the Silver Medal and the Potter Exhibition. In 1869 he started 'monthly popular concerts' at Brixton, which were carried on for five years, the assistance of first-rate artists being secured, and many new works, both English and foreign, being performed. For some years he gave an annual concert at the Hanover Square Rooms. At the Crystal Palace he played Beethoven's Rondo in B♭ with orchestra, for the first time in England. In 1872 he was given the post of organist at Christ Church, Lee Park, but ill-health compelled him to resign it after a few years. In 1880 he was appointed professor of the piano at the G.S.M., and in the same year he organised an extremely successful series of 'twopenny concerts' in Kensington Town Hall, especially intended for the working classes. In 1881 he became professor at the Blackheath Conservatoire of Music. His compositions include a cantata, 'Linda,' for female voices, several anthems, 'Break forth into joy,' 'I love the Lord,' etc., partsongs, trios, etc., besides numerous songs and pianoforte pieces, among the latter of which may be mentioned a 'Gavotte fantastique,' an elegy, a minuet and trio, etc. He edited six cantatas by Carissimi, with accompaniments, and wrote an excellent series of instruction-books for the pianoforte under the collective title of The Musician (Swan Sonnenschein & Co.), in which special stress is laid upon the analysis of musical compositions from the beginning of pianoforte study. His Hand Gymnastics is No. 36 of Novello's Music Primers.
17PREPARATION. The possibility of using a very large proportion of the dissonant combinations in music was only discovered at first through the process of 'suspension,' which amounts to the delaying of the progression of a part or voice out of a concordant combination while the other parts move on to a fresh combination; so that until the delayed part moves also to its destination a dissonance is heard. As long as the parts which have moved first wait for the suspended notes to move into their places before moving farther, the group belongs to the order of ordinary suspensions (Ex. 1); but when they move again while the part which was as it were left behind moves into its place, a different class of discords is created (Ex. 2). In both these cases the sounding of the discordant note in the previous combination (i.e. the upper C in the first chord of both examples) is called the 'preparation' of the discord, and the latter class are sometimes distinguished especially as prepared discords.
19PRÉS, Josquin des, see Josquin des Prés.
21PRESA (literally, 'a taking'), a sign used to indicate the places at which the Guida (or
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