advanced choral society. Less abounding in geniality and inviting melody than those of Mendelssohn, they breathe the very spirit of poetry, and are instinct with true German feeling. Of other foreign composers who have contributed towards the enrichment of this form of art, we may mention Ferdinand Hiller, Robert Franz, Müller, Seyfried, Werner, Kücken, Franz Abt, Truhn, Otto, Raff, and Brahms. In England part-songmaking proceeds apace, and no material modification of the Mendelssohnian model is as yet apparent, nor have many of the examples by the composers just enumerated attained any general popularity among us. But several of our native musicians have succeeded in rivalling Mendelssohn himself, at least temporarily, in the affections of the public. Sterndale Bennett left but three partsongs, 'Sweet stream that winds,' 'Of all the arts,' and 'Come live with me,' of which the last is an established favourite. R. L. de Pearsall, whose madrigals combine so artistically the quaintness of the old style with modern grace and elegance, has also written some charming part-songs, of which 'The Hardy Norseman' and 'O who will o'er the downs so free,' are perhaps the most popular, but by no means the best. His song in ten parts, 'Sir Patrick Spens,' is a wonderfully spirited and effective piece; and for genuine humour 'Who shall win my lady fair,' may pair off with Ravenscroft's quaint old ditty, 'In the merry spring.' In a quieter vein and beautifully melodious are 'Why with toil,' 'When last I strayed,' 'Purple glow,' and 'Adieu, my native shore.' Henry Smart wrote several pleasing pieces of this kind—of which 'The waves' reproof' is one of the finest—but he failed as regards distinctiveness of character, and it is unnecessary to quote any others as being representative of the species. Several living composers have achieved excellent results. Mr. Joseph Barnby's 'Sweet and low' is perhaps the best of the many settings of Tennyson's words, and Mr. Henry Leslie's 'The Pilgrims' and 'Resurgam' are exquisite examples of the sacred part-song. Ciro Pinsuti, who may be almost claimed as an English composer, has contributed some valued items to the national collection. His 'Spring Song' is a successful imitation of the Mendelssohn Frühlingslieder, and for delicacy and sentiment 'In this hour of softened splendour' deserves high commendation. Mr. [../Sullivan, Arthur|Arthur Sullivan]]'s 'The long day closes' is in a similar vein; 'Joy to the victors' and 'O hush thee, my babie' are only two out of many bright and tuneful songs. Yet more spirited are Mr. Walter Macfarren's 'You stole my love' and 'Up, up, ye dames,' while the compositions of Mr. Samuel Reay are on the whole more tender and graceful. Mr. J. L. Hatton has devoted himself extensively to this field of musical labour, some of his compositions for men's voices, such as 'The Tar's song,' 'When evening's twilight,' 'Summer eve,' and 'Beware,' having gained extensive popularity. The Shakespeare songs of Professor G. A. Macfarren must not fail to be noted, and among other composers who have written part-songs of more or less merit we may mention Sir Julius Benedict, Dr. Henry Hiles, Mr. J. B. Calkin, and Mr. A. R. Gaul. The growth of Orpheonist Societies in France has of course resulted in the composition of a large quantity of unaccompanied part-music for male voices, to which the majority of the best musicians have contributed. These works are generally more elaborate than English part-songs, and the dramatic element frequently enters prominently into them. [See Orphéon.]
It only remains to say a few words as to the performance of the part-song. Like the madrigal, and unlike the glee, the number of voices to each part may be multiplied within reasonable limits. But as the chief desideratum is a strict feeling of unity among the performers the best effects can be obtained from a carefully selected and well balanced choir of 150 to 300 voices. The part-song being essentially a melody with choral harmony, the upper part is in one sense the most important. But it must not be allowed to preponderate to the weakening of the harmonic structure. On the other hand, the almost inevitable absence of melody, and of phrases of special interest and importance in the middle and lower parts, may tend to engender a feeling of carelessness among those who have to sing these parts, which the conductor must be quick to detect lest the ensemble be marred thereby. The idea of independence or individuality, desirable enough in contrapuntal and polyphonic music, must here yield itself to the necessity for machine-like precision and homogeneity. When all has been said, the highest qualities of musicianship cannot find fitting exercise in the part-song. But art may be displayed alike in the cabinet picture and in the more extended canvas, and the remark will apply equally to thevariousphasesofmusical thought and action. Of the many collections of Part-songs we may mention Orpheus; and Novello's Part-song Book, in two series, containing in all 338 compositions.
[ H. F. F. ]
PASCAL BRUNO. A romantic opera in 3 acts; music by John L. Hatton. Produced at the Kärnthnerthor theatre, Vienna ('Pasqual Bruno'), March 2, 1844. Staudigl sang in it, and it was given thrice.
[ G. ]
PASDELOUP, Jules Etienne, born in Paris Sept. 15, 1819, gained the 1st prize of the Conservatoire for solfeggio in 1832, and the ist for the piano in 1834. He then took lessons in harmony from Dourlen, and in composition from Carafa. Though active and ambitious, he might have had to wait long for an opportunity of making his powers known, had not a post in the Administration des Domaines fallen to his lot during the political changes of 1848, and enabled him to provide for his family. As Governor of the Château of St. Cloud, he was not only thrown into contact with persons of influence, but had leisure at command for composition. The general refusal of the societies in Paris to perform his orchestral works had doubtless much to do with his resolve to found the 'Société des jeunes artistes du Conservatoire,' the first
