Museum. The masses are of great interest, for they belong to the same period as the three famous masses of Palestrina, and owe their existence and style to the same circumstances. Leaving Loreto, Porta went back to Ravenna; for Pomponius Spretus, describing the entry of Cardinal Sforza into that city on Nov. 6, 1580, mentions the performance of 'a delightful piece of music composed by M. Costanzo Porta of Cremona, the first musician of the time, and chapel-master of our cathedral.' To this year belong 52 motets (a 5, 6, 7, 8), from which Burney has chosen the elaborate 'Diffusa est gratia' to print in his History. In 1585 a set of motets (a 6) were dedicated to Pope Sixtus V, from the title-page of which we know that Porta had returned to Padua as chapel-master in the cathedral. In 1595 he was appointed to the church of S. Antonio 'for the second time,' and held this post till his death in June 1601. An assistant, B. Ratti, had been appointed the previous year to help him on account of his great age. Many extracts from his works are given in modern notation by Paolucci, Choron, Martini, Proske, etc. A curious example is the piece which Hawkins has copied from Artusi, a 4-part setting of 'Vobis datum est nosce mysterium' which can be sung upside down. Four books of madrigals represent Porta's contribution to secular music.
PORTOGALLO. Line 2 of article, add Christian name, Marcantonio. Line 4, for in 1763 read March 24, 1762. Line 11 from end of article, add exact date of death, Feb. 7, 1830.
POTT, August. Add that he died in Nov. 1883.
POTTER, Cipriani. P. 23a, l. 27, for Sterndale Bennett read Charles Lucas (corrected in late editions). Add that on March 8, 1824, he introduced Beethoven's C minor Concerto at the Philharmonic Concert.
POUGIN, Arthur. Add the most important of his later works, a 'Life of Verdi,' published first in Italian, 1881, and translated by J. E. Matthew, 1887.
PRACTICAL HARMONY. Lines 14, 15, of article, for vols. i. and ii. alone read all the volumes.
PRAETORIUS. P. 25b, l. 19 and note 3, for 1518 and 1519 read 1618 and 1619. Add that Fétis's date is correct. The order of publication of the 'Syntagma' is as follows:—
Vol. I. Part 1. Wolfenbüttel, 1614; Part 2. Wittenberg, 1615.
Vol. II. Part 1. Wolfenbüttel, 1619; Part 2. ditto, 1620.
PRENTICE, Thomas Ridley, born July 6, 1842, at Paslow Hall, Ongar, entered the Royal Academy in 1861, studying the piano under Mr. Walter Macfarren, and harmony and composition under the late Sir. G. A. Macfarren. In 1863 he obtained the Silver Medal and the Potter Exhibition. On leaving the institution he was elected an associate, and since that time has been chiefly engaged in pianoforte teaching. In 1869 he started 'monthly popular concerts' at Brixton, which were carried on for five years, the assistance of first-rate artists being secured, and many new works, both English and foreign, being performed. For some years he gave an annual concert at the Hanover Square Rooms. At the Crystal Palace he played Beethoven's Rondo in B♭ with orchestra, for the first time in England. [See vol. iv. p. 538, no. 151.] For some time he held the post of organist at Christ Church, Lee Park. In 1880 he was appointed professor of the piano at the Guildhall School of Music, and in the same year he organized an extremely successful series of 'twopenny concerts' in Kensington Town Hall, especially intended for the working class. During the two seasons in which the scheme was carried on, many artists of eminence appeared; and chamber music of a high class was given. In 1881 he became professor at the Blackheath Conservatoire of Music. His compositions include a cantata, 'Linda,' for female voices, several anthems, 'Break forth into joy,' 'I love the Lord,' etc., part-songs, trios, etc., besides numerous songs and pianoforte pieces, among the latter of which may be mentioned a 'Gavotte fantastique,' an elegy, a minuet and trio, etc. He edited six cantatas by Carissimi, with accompaniments, and has lately completed an excellent series of instruction-books for the pianoforte under the collective title of 'The Musician' (Swan Sonnenschein & Co.), in which special stress is laid upon the analysis of musical compositions from the beginning of pianoforte study.
PREYER, Gottfried. Line 2 of article, for March 15, 1808, read May 15, 1809.
PRINCESS IDA; or CASTLE ADAMANT. Comic opera in a prologue and two acts, written by W. S. Gilbert, music by Arthur Sullivan. Produced at the Savoy Theatre, Jan. 5, 1884. The piece was called 'a respectful operatic perversion of Tennyson's "Princess."'
PROFESSOR. Line 6 of article, for 1848 read 1847. Page 33a, l. 8, add the date of Dr. C. V. Stanford's election to the Cambridge Professorship, Dec. 1887. Line 21 from bottom of the same column, for 1845 read 1847. Line 17 from bottom, for 1862 read 1861.
PROGRAMME-MUSIC. Page 34b, l. 32, omit the mention of Weber's Concertstück, as that is a specimen of intentional 'Programme-music.' The authority for Weber's intention is handed down by Sir Julius Benedict, in his life of Weber. The sentence on p. 35b, l. 4–7 after musical example, is to be omitted, since both Jannequin and Gombert wrote pieces with the title of 'Le Chant des Oyseaux.' The composition by the former is for four voices, and was published in 1551, that of Gombert being for three voices, and published in 1545. Line 30 from bottom of same column, omit the words 'Soprano, Alto, Tenor and Bass,' since the composition referred to is in three parts, not four. It is 'in four parts' in the sense only of being in four sections, or movements. Correct the
