Page:A Dictionary of Music and Musicians vol 2.djvu/661

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PAREPA-ROSA.

tion and extensive compass (of two octaves and a half, extending to D in alt) ; but in spite of these great merits and a fine figure, she obtained but moderate success in opera. On the other hand, she won almost from the first a great reputation in oratorios and in the concert- room, and was frequently engaged at the various Societies and Festivals, including the Handel Festivals of 1862 and 65. She also sang abroad in Germany and elsewhere. At the close of 1865 she went to America for a concert tour with Mr. Carl Rosa (whom she afterwards married there in Feb. 1867 1 ) and Levy the cornet-player, returning to England the following year. After their mar- riage Madame Parepa-Rosa and her husband remained in America for four years, and esta- blished their famous Opera Company, in which she was principal singer, achieving great success in English and Italian opera, oratorio and concerts. On her return to England, 1871, she was prevented by illness from fulfilling an engagement at the Royal Italian Opera, Covent Garden, but played for the winter season in Italian opera at Cairo, and the next year was heard with pleasure at Covent Garden as Donna Anna and Norma, and sang at the Philharmonic ' Ah Perfido ' of Beethoven. In the autumn of 1871 Madame Parepa and her husband made a third visit to America with their company, the lady singing the next year in Italian opera with VVachtel and Santley. They returned in 73 to Englafiid with the intention of introducing an English version of ' Lohengrin ' at Drury Lane in March 1874, but previously thereto Madame Parepa was seized with a severe illness, from which she died, Jan. ai, 1874, to tne universal re- gret of a large circle of friends and admirers both in England, and America. Madame Parepa was highly educated, speaking and writing several languages with fluency and correctness. She brought a letter of introduction from the King of Portugal to the Prince Consort, and was in con- sequence invited to Osborne on her arrival in this country. [See ROSA, CABL.] [A.C.]

PARISH-ALVARS, ELIAS, was of Hebrew descent and born at Teignmouth in 1816. He studied the harp under Dizi, Labarre, and Bochsa, and became one of the most distinguished per- formers on that instrument. He was also an excellent pianist. In 1831 he visited Germany, and performed at Bremen, Hamburg, and other places, with great success. In 1834 ^ e went to Upper Italy and gave concerts at Milan. In 1836 he went to Vienna, where he remained for two years, occasionally visiting London. From 1838 to 1842 were occupied by a journey to the East, where he collected many Eastern melodies. He returned to Europe and gave concerts at Leipsic in 1842, and at Berlin, Frankfort, Dres- den and Prague in 1843. In 1844 he went to Naples, where he was received with enthusiasm, hi 1846 he stayed some time at Leipsic, where his association with Mendelssohn produced a tensible improvement in his style of composition.

I She had been previously married to a Captain lleury De Wolfe tn veil, who died at Lima, 1'eru. April 26, 186k

��PARISIENNE.

��619

��In 1847 he settled at Vienna, where he was ap- pointed chamber musician to the Emperor ; and there he died, Jan. 25, 1849. -His compositions consist of concertos for harp and orchestra, and numerous fantasias for harp and pianoforte, and harp alone. He was remarkable for his assiduity in seeking for new effects from his instruments, in some of which he anticipated Thalberg's most characteristic treatment. [W.H.H.]

PARISIAN, or FRENCH, SYMPHONY, THE. A symphony of Mozart's in D Allegro assai.

�� ��entered in his own autograph list as 'No. 127,' and in Kochel's Catalogue No. 297. Composed in Paris June 1 788, and first performed at the Concert Spirituel on Corpus Christi Day, June 18, of the same year. The slow movement, An- dantino in G, 6-8, did not please him, and he wrote a second in the same key and much shorter, Andante, 3-4. But he returned to the old one, and altered it, and it is now universally played. The other was performed at the Crystal Palace, March 15, 1873. [G.]

PARISIENNE, LA. Out of the many melodies associated with the Revolution of 1830 two have survived, and in some sense become national airs, ' La Parisienne ' and ' Les Trois Couleurs.' The first commemorates the influence of Paris, and the triumph of the Orleanist party ; the second is Republican, and in the name of France proclaims the triumph of democracy. [See TBOIS COULEORS, LES.]

CasimirDelavigne, librarian of the Palais Royal, and the favourite poet of Louis Philippe, was the first to celebrate the Revolution in verse, his stanzas dating from the day after the Parisians had defeated the troops of Charles X. (Aug. I, 1830). Among his intimate friends were Auber and Brack, the latter a good musician and singer, devoted to Volkslieder.* In his collection was one, apparently composed in 1757 at the time of the siege of Harburg, and to this Delavigne adapted his words. Auber transposed it into A, and added a symphony, very simple, but bold and martial in character. We give the first of the seven stanzas. Allegro.

�� � � � � �" M Feupla

�frau-jali. peupls da bra - ves. La 11 - ber-

�a

�1 If f

rouvre M

�i broil

�1 JV J

On uuus c

�i-sait:

�toy-es et

�cla - res 1 Nous a

�roni dlt :

�ovens sol-di

�Ul

�Soudain Fa-

I f el

�lit

�dans sa mi! - mol - re A re - trou - v6 son cri d* < These details are derived from Auber himself.

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