PUPPO, Giuseppe, eminent violinist, was born at Lucca in 1749 [App. p.765 "June 12". He was a pupil of the Conservatorio at Naples, and when still very young gained considerable reputation in Italy as a virtuoso. He came to Paris in 1775; thence he went to Spain and Portugal, where he is reported to have amassed a fortune. After having stayed for some years in England he returned to Paris in 1784, and remained there till 1811, occupying the post of leader, first at the Théâtre de Monsieur, which was then under Viotti's direction, then at the Théâtre Feydeau, and finally conducting the band at the Théâtre Français. As he was an excellent accompanyist, he was much in request in the musical circles of the rich and noble, and might have secured for himself a competency if it had not been for his eccentricity and unsteadiness, which brought him into constant troubles. In 1811 he suddenly left Paris, abandoning his wife and children for ever. Arrived at Naples he was lucky enough to secure the leadership of the band at a theatre. He however did not stay long, but went to Lucca, thence to Florence, and finally found employment as teacher at a music school at Pontremoli. After two years he threw up this appointment and returned to Florence, was there found, utterly destitute, by Mr. Edward Taylor, Gresham Professor of Music, and by his generosity was placed in a hospice, where he died in 1827 [App. p.765 "April 19"]. Fétis gives interesting details of his adventurous life, and several of his bon mots. It was he who so happily described Boccherini as 'the wife of Haydn.' His published compositions are few and of no importance.
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PURCELL. The name of a family of musicians in the 17th and 18th centuries, which included amongst its members the greatest and most original of English composers.
1. The name of 'Pursell,' presumably Henry Purcell the elder, is first found in Pepys's diary, under date Feb. 21, 1660, where he is styled 'Master of Musique.' Upon the re-establishment of the Chapel Royal (in 1660) Henry Purcell was appointed one of the Gentlemen. He was also Master of the Choristers of Westminster Abbey. On Dec. 21, 1663, he succeeded Signor Angelo as one of the King's Band of Music. He died Aug. 11, 1664, and was buried in the east cloister of Westminster Abbey, Aug. 13. There is a threepart song, 'Sweet tyranness, I now resign my heart,' in Playford's 'Musical Companion,' 1667, which is probably of his composition, although it is sometimes attributed to his more celebrated son. It was reprinted in Burney's History, iii. 486.
2. His eldest son, Edward, born 1653, was Gentleman Usher to Charles II, and afterwards entered the army and served with Sir George Rooke at the taking of Gibraltar, and the Prince of Hesse at the defence of it. Upon the death of Queen Anne he retired and resided in the house of the Earl of Abingdon, where he died June 20, 1717. He was buried in the chancel of the church of Wytham, near Oxford.
3. Henry Purcell, the second son of Henry Purcell the elder, is traditionally said to have been born in Old Pye Street, Westminster, in or about 1658. He lost his father before he was six years old,[1] and soon afterwards was admitted a chorister of the Chapel Royal under Capt. Henry Cooke, after whose death, in 1672, he continued under Pelham Humfrey. He is said to have composed anthems whilst yet a chorister, but there are now no means of verifying the fact, although it is highly probable. He may possibly have remained in the choir for a brief period after the appointment of Blow as successor to Humfrey as Master of the Children, but the probability is that, after quitting the choir on the breaking of his voice, he studied composition under Blow as a private pupil, and so justified the statement on Blow's monument that he was 'master to the famous Mr. H. Purcell.' In 1675, when only 17 years of age, Purcell was engaged by Josias Priest, a dancing-master connected with the theatres, who also kept a 'boarding school for young gentlewomen' in Leicester Fields, to compose an opera written by Nahum Tate, called 'Dido and Æneas,' for performance at his school. [App. p.766 "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.'"] Purcell executed his task in a manner which would have added to the reputation of many an older musician. The opera is without spoken dialogue, the place of which is supplied by recitative; it contains some beautiful airs, and some spirited choruses, especially that beginning 'To the hills and the vales.' The work, although not performed on the public stage, acquired considerable popularity, as is evident from the number of manuscript copies in existence; but, with the exception of one song, printed in the 'Orpheus Britannicus,' and the rondo 'Fear no danger,' printed by Warren and others, it remained unpublished until 1840, when it was printed by the 'Musical Antiquarian Society.'[2] The production of 'Dido and Æneas' led to Purcell's introduction to the public theatre. In 1676 he was engaged to write music for Dryden's tragedy 'Aurenge-Zebe,' and for Shadwell's comedy 'Epsom Wells,' and part of the music for his tragedy 'The Libertine.' The latter contains the pleasing air 'Nymphs and Shepherds,' and the well-known chorus 'In these delightful pleasant groves.' In the same year a song by him appeared in the new edition of Book I. of Playford's publication, 'Choice Ayres, Songs and Dialogues.' In 1677 he furnished an overture, eight act and other tunes, and songs for Mrs. Behn's tragedy 'Abdelazor,' and composed an elegy on the death of Matthew Lock, printed in Book II. of the 'Choice Ayres,' etc., 1679. In 1678 he composed the overture and instrumental music and the masque in Shadwell's alteration of Shakspere's 'Timon of Athens,' representing the contest between Cupid and Bacchus for supremacy over mankind, and their
- ↑ His mother, Elisabeth, survived to witness the whole of her son's career, and died in August 1699.
- ↑ Priest removed his school in 1680 to Chelsea, where 'Dido and Æneas' was again performed, as appears from an undated printed copy of the words published in London. This copy contains a prologue for music which Purcell does not appear to have set. The piece was revived at the R.A.M. Concert-room, London, July 10. 1878, by Mr. Malcolm Lawson.
