Page:A Dictionary of Music and Musicians vol 3.djvu/21

POLKA. 

The music can be divided into the usual 8-bar parts. In all early polkas the figure

is found in the accompaniment of the 4th and 8th bars of these parts, marking a very slight pause in the dance, but in recent examples this pause has disappeared, owing to the dance being performed somewhat faster, and more in the spirit of a waltz or galop. The first polka which was published is said to have been composed by Franz Hilmar, a native of Kopildno in Bohemia. The best national polkas are those by Labitzky, Liebmann, Prochaska, Swoboda, and Titl. [ W. B. S. ]

POLLEDRO,, an eminent violinist, was born at Piová near Turin June 10, 1781 (or according to another source 1776). He received his first instruction from local musicians, at 15 studied for a short time under Pugnani, and soon entered the royal band at Turin. In 1804 he became first violin in the Theatre at Bergamo, and after a short stay there began to travel. In Russia he remained for five years, and in 1814 accepted the appointment of leader of the band at Dresden, where he remained till 1824. In that year [App. p.750 "the previous year"] he accepted a brilliant engagement as Director general of the royal orchestra at Turin. He died at his native village Aug. 15, 1853.

Polledro was an excellent violinist and sound musician. He had the great tone and dignified style of the classical Italian school. All contemporaneous critics praise his faultless and brilliant execution not less than the deep feeling with which he played. In 1812 he met Beethoven at Carlsbad, and played with him one of Beethoven's violin-sonatas (see Thayer's Life of Beethoven, iii. 208). His published compositions consist of three concertos, some airs variés, trios and duos for stringed instruments, and a set of exercises for the violin; a Miserere and a Mass for voices and orchestra, and a Sinfonia pastorale for full orchestra. [ P. D. ]

POLLINI, [App. p750 ""] born at Lubiano, in Illyria, in 1763 (1774 or 1778) and a Pupil of Mozart. He became a skilful pianist at an early age, his style having combined some of the distinguishing characteristics of that of his preceptor, of Clementi and of Hummel, each of whom he surpassed in some forms of the mere mechanism of the art. Pollini indeed may, in this respect, be considered as an inventor, having anticipated Thalberg in the extended grasp of the keyboard by the use of three staves (as in Thalberg's Fantasia on 'God save the Queen,' and 'Rule Britannia')—thus enabling the player to sustain a prominent melody in the middle region of the instrument, while each hand is also employed with elaborate passages above and beneath it. This remarkable mode of producing by two hands almost the effect of four, appears indeed to have been originated by Pollini in his 'Uno de' trentadue Esercizi in forma di toccata,' brought out in 1820. This piece was dedicated to Meyerbeer; the original edition containing a preface addressed to that composer by Pollini, which includes the following passage explanatory of the construction of the Toccata:—'I propose to offer a simple melody more or less plain, and of varied character, combined with accompaniments of different rhythms, from which it can be clearly distinguished by a particular expression and touch in the cantilena in contrast to the accompaniment.' Dehn appears to have been the first to draw attention to Pollini's specialty, in his preface to the original edition of Liszt's pianoforte transcriptions of the six great organ Preludes and Fugues of Bach.

Pollini's productions consist chiefly of pianoforte music, including an elaborate instruction book, many solo pieces, and some for two performers. These works are included in the catalogue of Ricordi, of Milan. Pollini also produced some stage music, and a Stabat Mater. He was highly esteemed—professionally and personally—by his contemporaries. Bellini dedicated his 'Sonnambula' 'al celebre Francesco Pollini.' The subject of this notice died at Milan in April 1847 [App. p.750 "Sept. 17, 1846"]. [ H. J. L. ]

POLLY, a Ballad-opera, written by John Gay as a second part of his 'Beggar's Opera.' When about to be rehearsed a message was received from the Lord Chamberlain that the piece 'was not allowed to be acted but commanded to be suppressed,' the prohibition being supposed to have been instigated by Sir Robert Walpole, who had been satirised in 'The Beggar's Opera.' Failing to obtain a reversal of the decree Gay had recourse to the press, and in 1729 published the piece in 4to., with the tunes of the songs, and a numerous list of subscribers, by which he gained at least as much as he would have done by representation. Like most sequels, 'Polly' is far inferior to the first part, and when in 1777 it was produced at the Haymarket theatre, with alterations by the elder Colman, it was so unsuccessful that it was withdrawn after a few representations. It was revived at the same theatre June 11, 1782, and again at Drury Lane (for Kelly's benefit), June 16, 1813. [ W. H. H. ]

POLO or OLE, a Spanish dance accompanied by singing, which took its origin in Andalusia. It is said to be identical with the Romalis, which is 'danced to an old religious Eastern tune, low and melancholy, diatonic, not chromatic, and full of sudden pauses, which are strange and startling,' and is only danced by the Spanish gipsies. It resembles the oriental dances in being full of wild energy and contortions of the body, while the feet merely glide or shuffle along the ground. The words ('coplas') of these dances are generally of a jocose character, and differ from those of the Seguidilla in wanting the 'estrevillo,' or refrain; several