from about 1600 to the present time, elucidated and assisted by programmes containing critical and biographical notices. Similar performances, but with different programmes, were given in 1862 and 1863, and again in 1867, in Willis's and the Hanover Square Rooms. In 1862 he was selected by Austria and the Zollverein for the Musical Jury of the London International Exhibition. He was at the same time the official reporter for the Prussian government, and his report was reproduced by some of the chief industrial journals, and was translated into various languages. For these services he received the Imperial Austrian order of Francis Joseph, and the Prussian order of the Crown. During the next few years Mr. Pauer played in Holland, Leipzig, Munich and Vienna, in fulfilment of special engagements, and was appointed pianist to the Imperial Austrian Court in 1866.
In 1870 he began a new phase of his active career, that of lecturing upon the composers for the harpsichord (or clavecin) and pianoforte; the form and spirit of the varieties of modern music, as the Italian, French and German; the history of the oratorio; the practice of teaching; and many cognate subjects. These lectures have been given at the Royal Institution, the South Kensington Museum, and in many other important lecture-rooms in Great Britain and Ireland. When Cipriani Potter retired from the Royal Academy of Music, Pauer took his class, and retained it for five years. In 1876, on the foundation of the National Training School for Music at Kensington Gore, he became the principal pianoforte professor of that institution, and in 1878 was made a member of the Board for Musical Studies at Cambridge University, and the following year an Examiner. Another of his important occupations has been editing the works of the classical and romantic composers. Among these will be found 'Alte Klavier-Musik' (Senff, Leipzig), 12 books; 'Alte Meister' (Breitkopf & Härtel, Leipzig), 40 Nos. [See Klavier-musik, Alte; and Meister, Alte.] Also 'Old English Composers for the Virginals and Harpsichord' (Augener, London); and, under the auspices of the last-named publisher, an edition of the classical composers in a cheap form, embracing and including all the great masters from Bach and Handel to Schumann, and extending, up to July 1880, to nearly 30 volumes, of admirable clearness and convenience. Besides this are arrangements for children, and educational works, including the 'New Gradus ad Parnassum,' 100 studies, some of them by himself; 'Primer of the Pianoforte' (Novello, Ewer & Co. 1876); 'Elements of the Beautiful in Music' (ditto, 1876); and 'Primer of Musical Forms' (ditto, 1878). Also some interesting arrangements of Schumann's Symphonies for four hands, and of Mendelssohn's PF. Concerto for two pianos, thrown off as mere hors d'œuvres by this clever and indefatigable worker. Reference to the publishers' catalogues must supplement these specimens of the work of an active and successful life. As may be expected, he has unperformed and unpublished works in his portfolios; among them an opera 'Die Brautschau Friedrich des Grossen.' Of published pianoforte pieces few can be named that have attained greater popularity than Pauer's 'Cascade.' As a pianist his style is distinguished by breadth and nobility of tone, and by a sentiment in which seriousness of thought is blended with profound respect for the intention of the composer. As a man, his simple genuine nature has gained him the affection and esteem of a very large circle of friends and pupils.
PAUL, Oscar, writer on music, born April 8, 1836, at Freiwaldau in Silesia, where his father was parish priest, and educated at Görlitz, where he first learned music from Klingenberg, and at the university of Leipzig. Here he studied music with Plaidy, Richter, and Hauptmann, of whose system of harmony he became a warm partisan. In 1860 he graduated as Phil. Doc., and after spending some time in various towns of Germany, especially Cologne, settled in Leipzig in 1866. Becoming known by his private lessons in the science of music, he was made professor of musical history at the Conservatorium in 1869, and Professor Extraordinarius at the university in 1872. His best and most important work is his translation (the first in Germany) and elucidation of Boëtius (Leipzig, Leuckart, 1872). He also edited Hauptmann's 'Lehre der Harmonik' (1868), the 'Geschichte des Claviers' (1869), the 'Handlexicon der Tonkunst' (1871–73), and two musical periodicals, the 'Tonhalle,' and its successor, the 'Musikalisches Wochenblatt.' He is now the musical critic of the 'Leipziger Tagblatt.'
PAUL, ST., or, German, PAULUS. Mendelssohn's first oratorio (op. 36). It was commissioned by the Cecilienverein of Frankfort early in 1832, but was not produced till the Lower Rhine Festival at Düsseldorf, May 22, 1836. For the book—'in the words of Scripture'—he sought the aid of Marx, who however soon disagreed with him, and then of Fürst and Schubring; but his own judgment was always active. [See Mendelssohn, vol. ii. 271b.]
The second performance took place at Liverpool under Sir G. Smart on Oct. 3, 1836. Others in England were, Sacred Harmonic Society, March 7 and Sept. 12, 1837, and Birmingham Festival, under Mendelssohn himself, Sept. 20, 1837. In the interval between the first and second performances it had been revised by the composer, and published (May, 1837). Fourteen numbers were rejected, including two Chorales, 'O treuer Heiland,' and 'Ein' feste Burg.'
The English version is by Mr. W. Ball.
PAUSE (Ital. Fermata; Fr. Point d'orgue; which last has an equivocal meaning, as it also signifies what we call 'pedal point'). A temporary cessation of the time of the movement, expressed by the sign 
placed over a note or a rest. If the pause is over a note, it signifies that the note is to be prolonged at the pleasure of the performer, or conductor; if over a rest, the sound, as well as the time, must stop. The judicious use of pauses is one of the most striking
