Page:A Dictionary of Music and Musicians vol 3.djvu/26

14 its outward and technical value, are as well understood now as in the days in which he practised them. There is, therefore, no reason why the practice of the purest Polyphony should not, some day, be revived among us. We see but little promise of such a consummation at the present moment; but it is something to know that it is not impossible. [ W. S. R. ]

POMPOSO, 'pompously,' is used by Schumann in the Humoreske, op. 20, for pianoforte. He marks the last movement but one 'Mit einigem Pomp,' or 'Un poco pomposo.' Handel had employed the term a century before in the first movement of the overture to Samson. It is also used by Sterndale Bennett as the title of the trio in the Symphony G minor, op. 43. [ J. A. F. M. ]

PONCHIELLI,, was born at Paderno Fasolaro, Cremona, Sept. 1, 1834. In Nov. 1843 he entered the Conservatorio of Milan, and remained there till Sept. 1854. Two years afterwards, on Aug. 30, 1856, he was able to produce at the Concordia at Cremona his first opera, 'I promessi Sposi.' His next were 'La Savojarda,' Cremona, Jan. 19, 1861; 'Roderico,' Piacenza, 1864; and 'La Stella del Monte,' in 1867. Hitherto Signor Ponchielli's reputation had been confined to the provinces; but in 1872 he was fortunate enough to find an opportunity of coming before the general public at the opening of the New Theatre 'Dal Verme' at Milan, where his 'Promessi Sposi' was performed Dec. 5. He rewrote a considerable portion of the opera for the occasion, and its success was immediate and complete. The managers of the theatre of 'La Scala' at Milan at once commissioned him to write a ballet, 'Le due Gemelle,' which was produced there Feb. 1873, received with frantic enthusiasm, and immediately published (Ricordi). This was followed by a ballet, 'Clarina' (Dal Verme, Sept. 1873); a ('Scherzo' or comedy, 'Il parlatore eterno' 'Lecco, Oct. 18, 1873); and a piece in 3 acts, 'I Lituani,' given with immense success at the Scala, March 7, 1874. In the following year he wrote a cantata for the reception of the remains of Donizetti and Simone Mayr at Bergamo, a work of some extent and importance, which was performed there Sept. 13, 1875. On April 8, 1876, he produced a new opera at the Scala called 'Gioconda,' with the same success as before; and on Nov. 17, 1877, he gave at the 'Dal Verme,' the scene of his first triumph, a 3-act piece called 'Lina,' which was a réchauffé of his early opera 'La Savojarda,' and does not appear to have pleased. His last opera. 'Il Figliuol prodigo,' was produced at the Scala, Dec. 26, 1880, with astonishing success.

Signor Ponchielli is married to Teresina Brambilla, a singer, and a member of the musical family of that name. He enjoys a position in Italy second only to Verdi, whose successor he is universally regarded as being. Out of Italy his works have as yet hardly begun to penetrate. In England, the 'Danze delle Ore,' some brilliant and elegant ballet music from his 'Gioconda,' played at the Crystal Palace, Oct. 25, 1879, and a selection from 'Le due Gemelle,' also played at the Crystal Palace, Nov. 5, 1880, are probably the only productions of his that have been heard in public.

The above notice is indebted to Paloschi's 'Annuario' and Pougin's Supplement to Fétis.

[App. p.750 "Add that 'La Gioconda' was produced with success at Covent Garden, May 31, 1883, and that the composer died Jan. 16, 1886. Among his last compositions is a hymn in memory of Garibaldi, performed in Sept. 1882. His last work of all was an opera in 3 acts, 'Marion Delorme,' produced at the Scala, March 17, 1885. In April, 1881, Mr. Carl Rosa produced his 'Promessi Sposi' at Birmingham."] [ G. ]

PONIATOWSKI, —nephew of the Prince Poniatowski who was a marshal of the French army and died in the battle of Leipzig, Oct. 19, 1812, and whose portrait was found by Mendelssohn at Wyler inscribed 'Brinz Baniadofagi'—Prince of Monte Rotondo, born at Rome, Feb. 20, 1816. He devoted himself so entirely to music that he can hardly be called an amateur. He regularly attended the musical classes at the Lycée at Florence, and also studied under Ceccherini. He made his début at the Pergola, Florence, as a tenor singer; produced his first opera, 'Giovanni da Procida'—in which he sang the title role—at Lucca in 1838, and from that time for more than 30 years supplied the theatres of Italy and Paris with a large number of operas. After the Revolution of 48 he settled in Paris as plenipotentiary of the Grand Duke of Tuscany, and was made Senator under the Empire. After Sedan he followed his friend Napoleon III. to England, produced his opera 'Gelmina' at Covent Garden, June 4, 1872, his operetta 'Au travers du mur' at St. George's Hall, June 6, 1873, and selections from his Mass in F at Her Majesty's Theatre, June 27, 1873, and died July 3 of the same year. He was buried at Chislehurst.

His operas are 'Giovanni da Procida' (Florence and Lucca 1838); 'Don Desiderio' (Pisa 1839, Paris 1858); 'Ruy Blas' (Lucca 1842); 'Bonifazio' (Rome 1844); 'I Lambertazzi' (Florence 1845); 'Malek Adel' (Genoa 1846); 'Esmeralda' (Leghorn 1847); 'La Sposa d'Abido' (Venice 1847); 'Pierre de' Medicis' (Paris 1860); 'Au travers du mur' (Ibid. 1861); 'L'Aventurier' (Ibid. 1865); 'La Contessina' (Ibid. 1868).

His music evinces much melody and knowledge of the voice, considerable familiarity with stage effect, fluency and power of sustained writing—everything in short but genius and individuality. His manners were remarkably simple and affable, and he was beloved by all who knew him. [ G. C. ]

PONS,, a Spanish musician, born at Gerona, Catalonia, in 1768. He studied under Balins, chapel-master at Cordova. Pons was chapel-master of the cathedral of his native town, a post which he left for that at Valentia, where he died in 1818. He is distinguished for his Vilhancicos or Christmas pieces, a kind of oratorios for voices with orchestra or organ, which are said to be still extensively performed in his own country. He wrote also Misereres for the Holy Week. Eslava (Liro Sacro-hispana iv.) gives a 'Letrida' of his, 'O madre,' for 8 voices, and characterises him as the typical composer of the Catalan school, as opposed to that of Valencia. [ G. ]