Page:A Dictionary of Music and Musicians vol 3.djvu/35

POTTER. afterwards studied counterpoint under Attwood, and theory under Callcott and Crotch, and on Woelfl's arrival in England received instruction from him during five years. In 1816 an overture by Mr. Potter was commissioned and performed (March 11) by the Philharmonic Society, and on April 29 of the same year he made his first public appearance as a performer at the Society's concert, and played the pianoforte part in a sestet of his own composition, for pianoforte and stringed instruments. He again performed March 10, 1817. Shortly after this he went to Vienna and studied composition under Forster, receiving also friendly advice from Beethoven. Writing to Ries in London, on March 5, 1818, the great man says, 'Potter has visited me several times: he seems to be a good man, and has talent for composition.' After visiting other German towns he made a tour in Italy, and returned to London in 1821, when he performed Mozart's Concerto in D at the Philharmonic (Mar. 12). In 1822 he was appointed professor of the pianoforte at the Royal Academy of Music, and on the resignation of Dr. Crotch in June 1832 succeeded him as Principal. The latter office he resigned in 1859, in favour of Mr. Charles Lucas. [App. p.751 "on March 8, 1824, he introduced Beethoven's C minor Concerto at the Philharmonic Concert."]

Mr. Potter's published works extend to op. 29, and include 2 sonatas, 9 rondos, 2 toccatas, 6 sets of variations, waltzes, a polonaise, a large number of impromptus, fantasias, romances, amusements, etc., and two books of studies composed for the Royal Academy of Music—all for PF. solo. Also a 'Duet Symphony' in D, and 4 other duets, besides arrangements of 2 of his symphonies and an overture—all for 4 hands; a fantasia and fugue for 2 PFs.; a trio for 3 players on the PF.; a sestet for PF. and instruments; a duo for PF. and V.; a sonata for PF. and horn, 3 trios, etc., etc. His MS. works comprise 9 symphonies for full orchestra, of which 6 are in the Philharmonic Library; 4 overtures (3 ditto); 3 concertos, PF. and orch. (ditto); a concertante, PF. and cello; a cantata, 'Medora e Corrado'; an Ode to Harmony; additional accompaniments to 'Acis and Galatea,' and many other pieces of more or less importance. These compositions, though well received, and many of them in their time much in vogue, are now forgotten, except the studies.

As a performer he ranked high, and he had the honour to introduce Beethoven's Concertos in C, C minor, and G, to the English public at the Philharmonic. As a conductor he is most highly spoken of, and it may be worth mentioning that he beat time with his hand and not with a baton. He died Sept. 26, 1871. His fresh and genial spirit, and the eagerness with which he welcomed and tried new music from whatever quarter, will not be forgotten by those who had the pleasure and profit of his acquaintance. One of the last occasions on which he was seen in public was assisting in the accompaniment of Brahms's Requiem, at its first performance in London, not three months before his death. He contributed a few papers to periodicals—'Recollections of Beethoven,' to the Musical World, April 29, 1836 (reprinted in Mus. Times, Dec. 1, 1861); 'Companion to the Orchestra, or Hints on Instrumentation,' Musical World, Oct. 28, Dec. 23, 1836, Mar. 10, May 12, 1837. Mr. Potter edited the 'Complete Pianoforte Works of Mozart,' for Messrs. Novello; and Schumann's 'Album für die Jugend' (op. 68) for Messrs. Wessel & Co. in 1857.

In 1860 a subscription was raised and an Exhibition founded at the Royal Academy of Music in honour of Mr. Potter. It is called after him, and entitles the holder to one year's instruction in the Academy. [ W. H. H. ]

POUGIN,, born Aug. 6, 1834, at Chateauroux, where he is registered as François Auguste Arthur Paroisse-Pougin. As the son of an itinerant actor he had few educational advantages, and his literary attainments are therefore due to his own exertions alone; his knowledge of music was partly obtained at the Paris Conservatoire, where he passed through the violin-class and harmony with Henri Reber. From the age of 13 he played the violin at a theatre; and at 21 became conductor of the Théâtre Beaumarchais, which however he soon quitted for Musard's orchestra. From 1856 to 59 he was vice-conductor and répititeur (or conductor of rehearsals) at the Folies Nouvelles. Pougin soon turned his attention to musical literature, beginning with biographical articles on French musicians of the 18th century in the 'Revue et Gazette Musicale.' Musical biography remains his favourite study, but he has been an extensive writer on many other subjects. At an early period of his career he gave up teaching, and resigned his post among the violins at the Opéra Comique (1860 to 63) in order the better to carry out his literary projects. Besides his frequent contributions to the 'Ménestrel,' 'La France musicale,' 'L'Art musical,' and other periodicals specially devoted to music, he edited the musical articles in the 'Dictionnaire universel' of Larousse, and has been successively musical feuilletoniste to the 'Soir,' the 'Tribune,' 'L'Evènement,' and, since 1878, to the 'Journal Officiel' where he succeeded Eugène Gautier.

Among his numerous works, the following may be specified:—'Meyerbeer, notes biographiques' (1864, 12mo); 'F. Halévy, écrivain' (1865, 8vo); 'W. Vincent Wallace, étude biographique et critique' (1866, 8vo); 'Bellini, sa vie, ses œuvres' (1868, 12mo); 'Albert Grisar, étude artistique' (1870, 12mo); 'Rossini, notes, impressions, etc.' (1871, 8vo); 'Boieldieu,sa vie, etc' (1875, 12mo); 'Figures d'opéra-comique: Elleviou; Mme. Dugazon; la tribu de Gavaudan' (1875, 8vo); 'Rameau, sa vie et ses œuvres' (1876, 16mo); 'Adolphe Adam, sa vie, etc.' (1876, 12mo),—all