Scan 292
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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11899), English violin-maker and repairer. Originally a joiner and pattern-maker, as well as the inventor of several improvements in wood-cutting machines, Priestnall did not devote himself entirely to violin-making until 1870. From that year until his death he made some 300 excellent violins, 30 violas, 6 violoncellos and 8 double-basses. The wood of these instruments is mostly regular in figure, the workmanship finished, the scrolls cut with a free firm hand, the sound-holes pleasing but somewhat quaint, and the gold-amber oil varnish transparent and handsome. The tone of the violins is powerful, but has something of the viola quality on the lower strings. Priestnall's instruments do not bear a conventional label, but his name is stamped upon the wood with a cold punch in several places, and the opus number marked on the button. As a repairer this maker's inventive genius stood him in good stead, and brought him considerable fame, and a vast number of old English and French violins owe their regeneration to his clever manipulation. During his lifetime Priestnall sold his fiddles for £4, but their value has risen considerably since his death.
3BIBL.—MEREDITH MORRIS, British Violin-Makers. E. H.-A.
5PRIMAVERA, GIOVANNI LEONARDO (b. Barletta, kingdom of Naples). All that we know of his career is that about 1573 he was maestro di cappella to the Spanish Governor of Milan. He has sometimes been confused with Giovanni Leonardo di l' Arpa, though the very title of the work in which the two names occur together shows them to belong to two different persons ('Il 1 lib. de Canzone Napolitane a 3 voci di Jo. Leonardo Primavera con alcune Napolitane di Jo. Leonardo di L' Arpa, 1565'). Primavera's works consist of several Books of Madrigals a 5 and 6, some of which are lost, and four Books of Canzone Napolitane or Villotte a 3, all published between 1565 and 1584. Palestrina took the themes of a madrigal a 6 by Primavera, 'Nasce la gioia mia,' as a subject for richer contrapuntal treatment by himself in a Mass bearing the same title, and having the same distribution of voices. The Mass is No. 7 in his 'Fifth Book of Masses,' dedicated to Duke William of Bavaria and published in 1590.
7PRIME (Lat. prima; hora prima. Officium (vel Oratio) ad horam primam), the first of the 'Lesser Hours' in the Roman Breviary.
9PRIMO, 'first,' is used in two ways in music: (1) In pianoforte duets Primo or 1mo is generally put over the right-hand page, and then means the part taken by the 'treble' player, while Secondo or 2do is put over that for the 'bass'; while in an orchestral score where, for example, two clarinet parts are written on the same stave, the indications 1mo or 2do show which of the pair undertakes a solo passage. (2) In the repetition of the first section of a movement a few bars are often necessary before the double-bar to lead back to the repetition, which are not required the second time of playing the section. The words Primo, 1mo, 1ma volta or 1st time are then put over all these bars, so that when the repeated portion reaches this direction, the player goes on to the part after the double-bar, leaving out the bars over which 'Primo' is written. The first few bars after the double-bar are frequently, but not always, labelled Secondo, 2do or 2nd time.
11PRINCE FERELON, musical extravaganza in 1 act; text and music by Nicholas Gatty. First performance in public, 'Old Vic,' May 21, 1921.
13PRINCE IGOR, opera in a prologue and 4 acts; text and music by Borodin; unfinished, but completed by Rimsky-Korsakov and Glazounov. Produced Imperial Opera, St. Petersburg, Oct. 23 (O.S.), 1890; Drury Lane (in Russian), June 8, 1914; Covent Garden (in English), July 26, 1919.
15PRINCESSE D'AUBERGE (Herberg prinses), lyric drama in 3 acts; Flemish text by Nestor de Tière, French translation by Gustave Lagye, music by Jan Blockx. Produced in Flemish at Antwerp in 1896.
17PRINCESS IDA; or CASTLE ADAMANT, comic opera in a prologue and 3 acts; written by W. S. Gilbert, music by Sullivan. Produced Savoy Theatre, Jan. 5, 1884.
19PRINCESS OF KENSINGTON, A, comic opera in 2 acts; text by Basil Hood, music by Edward German. Produced Savoy Theatre, Jan. 22, 1903.
21PRINCIPAL. (1) An organ stop. In Germany the term is very properly applied to the most important 8-foot stops of open flue-pipes on the manuals, and to open 16-foot stops on the pedals, thus corresponding with our 'open diapasons.' But in this country the Principal is, with very few exceptions, the chief open metal stop of 4-foot pitch, and should more properly be termed an Octave or Principal octave, since it sounds an octave above the diapasons.
23(2) PRINCIPAL or PRINZIPALE. A term employed in many of Handel's scores for the third trumpet part. This is not usually in unison with the first and second trumpets, which are designated as Tromba 1mo and 2do. It is often written for in the old soprano clet with C on the lowest line, and has a range somewhat lower than the trombe. The older works on instrumentation, such as those of Schilling, Koch, Schladebach and Lichtenthal, recognise the difference and draw a distinction between 'Principal-Stimme' and a 'Clarin-Stimme.' It is obvious that whereas the tromba or clarino represented the old small-bored instrument, now obsolete, for which the
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