PURCELL. P. 46b, l. 19–25. This sentence is to be corrected by a reference to Macbeth Music, vol. ii. p. 184; the question of the date of composition of 'Dido and Aeneas' is discussed in Mr. Cummings's 'Life of Purcell.' P. 47, l. 3–4, for 'He does not appear to have produced,' etc, read His only production for the stage in 1 679 was Lee's 'Oedipus.' [See Dorset Garden Theatre in Appendix vol. iv. p. 617.]
PURCELL SOCIETY. The edition of 'Timon of Athens' referred to in the last sentence but one of article, was issued in 1882. The music-meetings mentioned at the end were abandoned, and in 1887 the scheme, which had fallen into abeyance for a time, was re-organized by Mr. Cummings and Mr. W. Barclay Squire, who undertook the respective duties of editor and honorary secretary.
PYNE. Line 7, omit the words (afterwards Mrs. Galton). Susan, or more correctly Susannah, Pyne, married Mr. F. H. Standing, a baritone singer, known professionally as Celli; Mrs. Galton was another sister, who had no repute as a singer. P. 54b, l. 6, add the date of the return to England and commencement of theatrical management, 1858.
QUARENGHI, Guglielmo, violoncellist, and professor of the cello at the Conservatorio of Milan, was born at Casalmaggiore Oct. 22, 1826. He studied under Vincenzo Merighi, who, as he says, 'gave a proof of his wisdom and skill in educating that piece of perfection (quella perfezione) called Alfredo Piatti.' Quarenghi has published numerous compositions for his instrument, but he will always be best known by his great 'Metodo di Violoncello' published at Milan in 1877, which is undoubtedly the most complete method extant. It was formally adopted by the Milan Conservatorio in 1875, after a commission of four professors (with Piatti) had reported on its merits. It is divided into five parts, of which the third is a short treatise on Harmony and Counterpoint, a branch of study which, in the words of the report, has been either omitted or imperfectly developed in the existing methods. It is much to be regretted that this admirable work has not been translated, as the writer feels assured that it only has to be known to be thoroughly appreciated by all professors of the violoncello.
[ G. H. ]
QUART-GEIGE. See Violino Piccolo.
QUAVER. P. 60a, l. 4 before last musical example, for notes read quavers. Add as footnote, One quaver of historical importance deserves mention, that which Handel added in pencil to the quintet in 'Jephtha' in 1758, six years after he is supposed to have lost his sight, and which in Schoelcher's words shows that by 'looking very closely at a thing he was still able to see it a little.'
[ G. ]
QUINTUPLE TIME. P. 61b, after Rhythmische Studien, op. 52, add 'Viens, gentille Dame' in Boieldieu's 'La Dame blanche'; Löwe's Ballad 'Prinz Eugen,' a number in Rubinstein's 'Tower of Babel,' and elsewhere.
RACCOLTA GENERALE, etc. Line 15 of article, for 2½d. read 1½d. At end of article add reference to Alfieri in Appendix, vol. iv. p. 520.
RAFF, Joachim. P. 65b, l. 7, add that he died in the night of June 24–25, 1882. In the list of works, add op. 191, 'Blumensprache,' 6 songs; 209, 'Die Tageszeiten,' for chorus, pianoforte, and orchestra; 210, suite for PF. and vln.; 214, symphony 'Im Winter'; 215, 'Von der Schwabischen Alb,' 2 PF. pieces, and 216, 'Aus der Adventzeit,' 8 PF. pieces, edited by Bülow after the composer's death.
RAMANN, Lina. Add that her life of Liszt was translated by Mrs. S. H. Eddy, Chicago, and by Miss E. Cowdery, and published in 2 vols. in 1882.
RAMEAU, J. P. In the list of operas and ballets on p. 70b, the date of production of 'Les Fêtes de Polymnie' is to be altered to Oct. 10, 1745.
RANDEGGER, Alberto. P. 73b, l. 3, for Maurona read Mauroner. Line 6, for Zera read Zara. Line 22, for a director read an honorary member and director. Line 26, for 1879–80 read 1879–85, omitting the words Her Majesty's Theatre from the next line. He superintended the productions and conducted the performances of the following operas, produced for the first time in English:—'Carmen,' 'Taming of the Shrew,' 'Lohengrin,' and 'Tannhäuser,' besides 'Esmeralda' and 'Nadeschda' by A. Goring Thomas. A scena by him, set to words from Byron's 'Prayer of Nature,' for tenor and