ravie,' and ' La Musique Ancienne.' Perne left most of his notes and MSS. to the. library of the Institut ; and his books and annotated catalogues, bought in 1834 by Fetis, are now in the Royal Library at Brussels. His unpublished sacred works also passed into the hands of Fetis, but the library of the Conservatoire possesses the j autographs of his choruses for 'Esther,' per- formed in 1821 by the pupils of the Ecole Royale de Musique (Conservatoire), his ' Messe de Ste. Ce"cile* (1800), his mass 'Vivat Rex,' for 4 voices (1816), a ' Veni Creator* for 3 voices, and the 'Offices,' arranged in 3 parts with the Plain- j Song. [G. C.] |
PERRIN, PIERRE, called TAbbe" Perrin,' though he was neither ordained nor held a bene- j fice, was born at Lyons about 1616, and died in j Paris 1676. He succeeded Voiture as 'intro- | ducteur des Ambassadeurs' to Gaston Duke of Orleans, a post which brought him into relations with several great personages, including Mazarin, who became his patron, and the musician Cam- bert, for whom he wrote the words of ' La Pastorale,' 5 acts, produced first at Issy (1659), and then at Vincennes before the king. After the deaths' of Gaston d'Orle'ans and Mazarin, Perrin was reduced to living upon his wits ; and fancied himself on the sure road to fortune when he obtained from Louis XIV the privilege of founding an Academic de Musique (Nov. I o, 1 668), and letters patent securing him the management of the theatre (June 28, 1669). Unfortunately the management of an opera requires capital, and the Abb Perrin was a poor poet in all senses of the word. His partners quarrelled among themselves, and in spite of the success of Cambert's ' Pomone' (March 19, 1671) he was compelled to resign his privilege just as his
- Ariane ' was about to be produced. The patent,
revoked on the 3oth of March, 1672, was trans- ferred to Lully, who came out of the transaction with anything but clean hands. Perrin's ' (Euvres <ie Poe'sie (Paris, 1661, 3 vols.) contain, besides his operas, translations of the JEneid amongst others and ' Jeux de po^sie sur divers insectes,' the least bad perhaps of all his verses, which even in that licentious day drew forth the re- bukes of Boileau and Saint Evremond, and are now quite unreadable. [G. C.]
PERRY, GEORGE, born at Norwich in 1793, was a chorister of Norwich Cathedral under Dr. Beckwith. On leaving the choir he learned to play on the violin, and in a few years became leader of the band at the theatre. Whilst resi- dent in Norwich he produced his oratorio, ' The Death of Abel.' In 1817 he composed an over- ture for ' The Persian Hunters,' produced at the English Opera House, and in 1 8 1 8 a short oratorio, 'Elijah and the Priests of Baal.' In 1822 he settled in London and was appointed director of the music at the Haymarket Theatre, for which he composed the opera of ' Morning, Noon, and Night' (1822), and numerous songs for intro- duction into various pieces. He also held the post of organist of Quebec Chapel. In 1830 he produced his oratorio, ' The Fall of Jerusalem.'
��On the establishment of the Sacred Harmonic Society in 1832 Perry became leader of the band, an office which he retained until the end of 1847. On the removal of Surman from the conductor- ship of the Society early in 1 848, Perry assumed the baton until the end of the season, but not being elected conductor, he shortly afterwards resigned his leadership and quitted the Society. On Feb. 10, 1836 he produced a sacred cantata, ' Belshazzar's Feast,' and in 1847 a short oratorio, 'Hezekiah.' In 1846 he resigned his appoint- ment at Quebec Chapel and became organist of - Trinity Church, Gray's Inn Road, He composed some anthems, including two with orchestra on the accession of Queen Victoria (1837) and the birth of the Princess Royal (1840), and additional accompaniments to several of Handel's oratorios and other pieces. He died March 4, 1862. His 'Death of Abel' and 'Fall of Jerusalem' were performed by the Sacred Harmonic Society. Perry was a man of considerable ability. He was in the constant habit of doing that which in the case of Mozart is usually spoken of as a re- markable effort of memory namely, writing out the separate parts of a large work without first making a score. One, at least, of his oratorios was committed to paper in this way. [W.H.H.]
PERSIANI, FANNY, one of the most ac- complished and artistic singers of this century, was born at Rome on Oct. 4, 1812. She was the second daughter of Tacchinardi, who made her begin to study at a very early age. He had fitted up a little theatre for the use of his pupils at his country house, near Florence, and here, at eleven years of age, Fanny played a prima donnas part. I While still quite young, she sang on several occa- > sions in public, with success, but had then no intention of adopting the stage as a profession.
In 1830 she married the composer, Giuseppe Persiani (1804-1869), and in 1832 made her debut at Leghorn, in ' Francesca da Rimini,' an opera by M. Fournier, where she replaced Madame Caradori. Her success was sufficient to lead to her subsequent engagement at Milan and Florence, then at Vienna, where she made a great impression, afterwards at Padua and at Venice. Here she played in ' Romeo e Giulietta,' ' II Pirata,' ' La Gazza Ladra,' ' L' Elisire d'Amore,' and 'Tancredi,' in the last two of which she performed with Pasta. Her success was complete. In 1834, at Naples, Donizetti wrote for her his 'Lucia di Lammermoor,' which always remained a favourite part with her. When she first appeared at the Opera in Paris (in Lucia, Dec. 12, 1837), she was much ad- mired by connoisseurs, but her talents hardly met with the recognition they deserved until after her excellent performance of the part of Carolina in the ' Matrimonio Segreto.' From that time not even Grisi herself enjoyed such un- bounded favour with Parisian audiences as did Madame Persian!.
Her first appearance in London (1838) was as Amina in the ' Sonnambula,' and, although she had been preceded in the part by Mali- bran and Grisi, she achieved a success which