Page:A Dictionary of Music and Musicians vol 2.djvu/717

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Nicolas, born at Versailles, Nov. 3, 1699, died 1769, played several instruments, succeeded his brother Pierre, and in 1747 played the serpent in the Chapelle Royale. He is not known to have composed.

The singer Fanchon Danican Philidor mentioned by Fétis, is an imaginary person.

For further information the reader is referred to Lardin's 'Philidor peint par lui-même' (Paris, 1847), republished from the periodical 'Le Palamède' (Jan. 1847), and to 'Les Philidor, généalogie biographique des musiciens de ce nom,' a conscientious study which appeared in 'La France musicale' (Dec. 22, 67, to Feb. 16, 68.)

[ G. C. ]

PHILIPPS, Peter, known also by his Latinised name of Petrus Philippus and his Italianised one of Pietro Filippo, an Englishman by birth, was an ecclesiastic, and in the latter part of the 16th century was canon of Bethune in French Flanders. He visited Italy and spent some time in Rome. Returning to Flanders he became one of the organists of the vice-regal chapel of the Archduke and Duchess, Albert and Isabella, governors of the Low Countries. On March 9, 1610 he was appointed a canon of the collegiate church of St. Vincent at Soignies. He composed many excellent motets and madrigals. His published works are 'Melodia Olympica di diversi Excellentissimi Musici a IV, V, VI, et VIII voci,' 1591, reprinted 1594 and 1611; 'Il Primo Libro di Madrigali a sei voci,' 1596; 'Madrigali a otto voci,' 1598 and 1599; 'Il Secondo Libro di Madrigali a sei voci,' 1603 and 1604; 'Cantiones Sacræ quinque vocum,' 1612; 'Cantiones Sacrse octo vocum,' 1613; 'Gemmulæ Sacræ, binis et ternis vocibus cum basso continuo ad organum,' 1613 and 1621; 'Litaniæ B.V.M. in Ecclesia Loretana cani solitse, 4, 5, 9 vocum,' 1623; and 'Paradisus Sacris Cantionibus consitu a 1, 2, 3 vocum cum Basso Continue,' 1628. Burney (History, iii. 86) says that the first regular fugue upon one subject that he had met with was composed by Peter Philipps. It is contained, with about 18 or 20 other compositions by Philipps, in the MS. known as Queen Elizabeth's Virginal Book, in the Fitzwilliam Museum at Cambridge. Hawkins has printed a 4-part madrigal by Philipps (from the Melodia Olympica) in his History.

[ W. H. H. ]

PHILLIPPS, Arthur, Mus. Bac., born 1605, became in 1622 a clerk of New College, Oxford, and was appointed organist of Bristol Cathedral Dec. 1, 1638. On the death of Richard Nicolson in 1639 he succeeded him as organist of Magdalen College, Oxford, and Professor of Music in the University, and graduated Mus. Bac. July 9, 1640. Some time afterwards he quitted the English Church for that of Rome, and attended Queen Henrietta Maria to France as her organist. Returning to England he entered the service of a Roman Catholic gentleman in Sussex named Caryll. He composed music in several parts for 'The Requiem, or, Liberty of an imprisoned Royalist,' 1641, and a poem by Dr. Pierce, entitled 'The Resurrection.' 1649. He describes himself in the subscription book as son of William Phillipps of Winchester, gentleman.

[ W. H. H. ]

PHILLIPS, Henry, born in Bristol, Aug. 13, 1801, was the son of a country actor and manager, and made his first appearance in public as a singing boy at the Harrogate Theatre about 1807. He afterwards came to London and sang in the chorus at Drury Lane and elsewhere. On the settlement of his voice as a baritone he placed himself under the tuition of Broadhurst, and was engaged in the chorus at the English Opera House, and to sing in glees at civic dinners. He next had an engagement at Bath, where he sang in 'Messiah' with success. Returning to London he studied under Sir George Smart and appeared in the Lenten oratorios at the theatres. In 1824 he was engaged at Covent Garden and appeared as Artabanes in Arne's 'Artaxerxes,' but made little mark. In the summer of the same year he sang the music of Caspar on the production of 'Der Freischütz' with great effect. He then made progress, was engaged at the provincial festivals, and in 1825 appointed principal bass at the Concert of Ancient Music, and from that time filled the first place at the theatre and in the concert-room. He was also a member of the choir at the chapel of the Bavarian Embassy. About 1843 he gave up his theatrical engagements and started a series of 'table entertainments,' which, notwithstanding their ill-success, he persisted in giving, at intervals, until he quitted public life. In August 1844 he went to America, and remained there, giving his entertainments in various places, for nearly a year. On his return to England he found that his place had been filled up by others, and it was some months before he regained his position. On Feb. 25, 1863 (his powers having been for some time on the wane) he gave a farewell concert and retired. He then became a teacher of singing, at first at Birmingham, and afterwards in the vicinity of London. He died at Dalston, Nov. 8, 1876. He composed several songs, etc., and was author of 'The True Enjoyment of Angling,' 1843, and 'Musical and Personal Recollections during half a century,' 1864. Phillips was heard to the best advantage in the songs of Handel and Purcell, and the oratorio songs of Haydn, Mendelssohn, and Spohr. On the stage he was most successful in ballads. In the comic operas of Mozart and Rossini he failed to create any impression.

[ W. H. H. ]

PHILLIPS, William Lovell, born at Bristol Dec. 26, 1816; at an early age entered the cathedral choir of that city, and subsequently proceeded to London, where he sang as Master Phillips, the beauty of his voice attracting the approbation of Miss Stephens, afterwards Countess of Essex. He studied at the Royal Academy of Music, where he was a pupil of Cipriani Potter, and class-fellow of Sterndale Bennett, and eventually became Professor of Composition at that institution. From Robert Lindley he took lessons on the violoncello, and soon became a member of the orchestras of the Philharmonic, Antient Concerts, Her Majesty's, the Sacred