Scan 71
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
27 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1requirements can best be met. His works are thus of value from an educational point of view, and we give a complete list, classified under the various heads.
31. Progressive solfèges for single voice—"A, B, C musical"; with continuation.
42. Progressive solfèges for several voices—Primary manual for 2 and 3 voices.
53. Do. for instrumental performers—Do. for Pianists; Do for Violin players.
64. On the art of singing—
7Method for soprano and tenor, in 2 parts; with appendix.
85. On the art of composition—A Practical Treatise on harmony and modulation; with 60 exercises on figured and 70 on unfigured basses, and a course of lectures on writing a bass to a given melody. The art of modulating on the Violin.
10Panseron also composed two masses for three treble voices, and a 'Mois de Marie,' containing motets and cantiques for one, two and three voices.
12G. C.
14PANTALEON (PANTALON), a very large Dulcimer (q.v.) invented and played upon in the early part of the 18th century by Pantaleon Hebenstreit, whose name was transferred to the instrument by Louis XIV. Hebenstreit (q.v.) quadrupled the size of the dulcimer and had it constructed as a double hackbrett with two sound-boards, each with its scale of strings—on the one side overspun catgut, on the other, wire. There were 185 strings in all, costing 100 thalers a year to keep in order. Kuhnau 1 praises this powerful chromatic instrument and its prerogative over harpsichords and clavichords in the properties it possesses of piano and forte.
16The name was also given in Germany to horizontal pianofortes with the hammers striking downwards.
18A. J. H.
20PANTHEON, a building in Oxford Street, erected in 1770–71 from the designs of James Wyatt, at a cost of £60,000, for masquerades, concerts, balls, etc., and as 'a Winter Ranelagh.' It occupied a large space of ground, and besides the principal entrance in Oxford Street there were entrances in Poland Street and Great Marlborough Street. The interior contained a large rotunda and fourteen other rooms splendidly decorated; the niches in the rotunda being filled with white porphyry statues. The building was opened on Jan. 26, 1772. For some years it proved a formidable rival to the Italian Opera, as the proprietors always provided the best performers. In 1775 the famous Aguari was engaged, who was succeeded, a few years later, by the equally famed Giorgi, afterwards Banti. The second concert of the Commemoration of Handel was given here, May 27, 1784, the place being specially fitted up for the occasion. Later in the same year the balloon in which Lunardi had made his first successful ascent from the Artillery Ground was exhibited. The King's Theatre having been burnt down in 1788, the Pantheon was fitted up as a theatre and opened for the performance of Italian operas, Feb. 17, 1791. On Jan. 14, 1792, the theatre was destroyed by fire. In 1795 the interior of the building was reconstructed for its original purpose, and opened in April with a masquerade, but it met with little success, and in 1812 was again converted into a theatre, and opened Feb. 17, with a strong company, principally composed of seceders from the King's Theatre, for the performance of Italian operas. The speculation, however, failed, and the theatre closed on Mar. 19. In the following year (July 23, 1813) an attempt was made to open it as an English opera-house, but information being laid against the manager and performers, at the instance of the Lord Chamberlain, for performing in an unlicensed building, and heavy penalties inflicted (although not exacted), the speculation was abandoned. Subsequent efforts to obtain a license failed, and in Oct. 1814 the whole of the scenery, dresses, properties and internal fittings were sold under a distress for rent, and the building remained dismantled and deserted for nearly twenty years. In 1834 the interior was reconstructed by Sydney Smirke, at a cost of between £30,000 and £40,000, and opened as a bazaar; part being devoted to the sale of paintings, and the back part, entered from Great Marlborough Street, fitted up as a conservatory for the sale of flowers and foreign birds. The bazaar in its turn gave way, and early in 1867 the premises were transferred to Messrs. Gilbey, the well-known wine merchants, by whom they are still occupied. During all the vicissitudes of the building Wyatt's original front in Oxford Street has remained unaltered.
22W. H. H.
24PANTOMIME (Gr.), 'an imitation of everything,' (1) a kind of dramatic entertainment in which the performers express themselves by gestures to the accompaniment of music, and which may be called a prose ballet. It has been in use among Oriental nations from very ancient times. The Greeks introduced pantomime into their choruses, some of the performers gesticulating, accompanied by music, whilst others sang. The Romans had entire dramatic representations consisting of dancing and gesticulation only, and some of their performers attained high excellence in the art. The wordless play with music has made only sporadic appearances in recent times; a typical example is 'L'Enfant prodigue.' (See WORMSER.) A mixture of pantomime and dancing constitutes the modern ballet d'action. (See BALLET-DANCING.)
26(2) The first occurrence of an English equivalent to the Italian 'Commedia dell' Arte'—the ultimate origin of which is exceedingly obscure—seems to have been at Drury Lane in 1702, when 'Tavern Bilkers,' by John Weaver (the friend of Addison and Steele), was produced. It was not successful, but in 1716–17, at Lincoln's Inn Theatre, John Rich, under the name of Lun, performed the character of Harlequin in a style which extorted the admiration of those who most disapproved of the class of piece. His pantomimes were originally musical masques, usually upon some classical
The computer misreads some letters and numbers. Where a name matters to you, read the scan.