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Scan 744
Baker's biographical dictionary of musicians, 1919
16 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1as dir. of his own Cons.—Works: Symphonic poems Euphorion (1888), Leben und Ideal (1892), and Tragödie eines Künstlers (1894; 5 movem.); Ouvertüre über ein nordisches Thema; a pf.-concerto in C m.; a str.-quartet in F; and numerous songs.
3Puch'tler, Wilhelm Maria, b. Holzkirchen, Franconia, Dec. 24, 1848; d. Nice, Feb. 11, 1881. Pupil of Faiszt, Lebert, and Stark, at Stuttgart Cons. (1868–73); teacher and cond. at Göttingen till 1879.—Works: Der Geiger von Gmünd, a choral comp. (1881); pf.-pieces in virtuoso-style.
5Pu'dor, Dr. Heinrich, son of Joh. Friedr. P.; b. Dresden, Aug. 29, 1865; succeeded his father in the Cons., which he disposed of, in 1890, to E. Krantz. He then travelled extensively, and after the loss of his fortune was solo 'cellist of the Scottish Orch. in Glasgow (1898) and of the Pavlovsk Orch. in Petrograd (1899); returned to Germany in 1900, living first in Berlin, then in Leipzig, where, since 1906, he is editor of 'Die Kultur der Familie,' and 'Unlauterer Wettbewerb.' In the '90's some of his writings on music attracted attention by their eccentricities and extravagances.—Works: Wiedergeburt in der Musik (1892, 9 collected essays); Die alten und die neuen Wege in der Musik (1892); Der Konzertsaal der Gegenwart und Zukunft (n. d.); etc.
7Pu'dor, Johann Friedrich, b. Delitzsch, Saxony, 1835; d. Dresden, Oct. 10, 1887, where he had been manager and proprietor of the Cons. since 1859.
9Puget [pü-zhā'], Paul-Charles-Marie, b. Nantes, June 25, 1848. Pupil, at Paris Cons., of Marmontel (pf.), Bazin (harm.), and Massé (comp.); 1st Grand prix de Rome in 1875.—Prod. the comic opera Le Signal (Op.-Com., 1886), and the 4-act opera Beaucoup de bruit pour rien (ibid., Mar. 24, 1899; mod. succ.); incid. music to de Musset's Lorenzaccio; a setting of P. Collin's Ulysse et les Sirènes; and songs.
11Pugnani [pō-ñah'nē], Gaetano, famous violinist; b. Turin, Nov. 27, 1731; d. there July 15, 1798. Studied under Somis; later in Tartini's school at Padua. In 1752, leader in the court orch., Turin; from 1754 he made concert-tours, spent some years in London as leader at the Ital. Opera, and played at Paris in the Concerts spirituels. From 1770 m. di capp. at the court theatre, Turin; also opened a school for violinists, among whose alumni were Viotti, Conforti, Buini, and Polledro.—Publ. a violin-concerto (he wrote 9), and 14 violin-sonatas; 6 quintets for 2 violins, 2 flutes and 'cello; 6 string-quartets; 12 octets (sinfonie) for strings, 2 oboes and 2 horns; 3 sets of trios for 2 violins and 'cello; and 2 sets of violin-duets. One sonata is in Jensen's 'Klassische Violinmusik.' He prod. several operas, a ballet, and 2 cantatas.—Cf. F. Fayolle, Notices sur Corelli, Tartini, Gaviniés, P., et Viotti (Paris, 1810); Dom. Carutti, Della famiglia di G. P., in 'Miscellanea di storia ital.' (3d series, vol. ii, Turin, 1895).—See Q.-Lex.
13Pugni [pō-ñē], Cesare, b. Milan, 1805; d. Petrograd, Jan. 26, 1870. Pupil of Asioli at the Milan Cons. Began his career as dramatic comp. in 1831 with Il Disertore svizzero (Milan), followed by several other operas of little importance; settled in Petrograd in 1840, and attracted attention with several succ. ballets, and in 1851 was app. comp. of ballets at the Imp. Th., where he prod. an enormous number of these works; wrote also many masses and some chamber-music.
15Pugno [pō-ñoh], (Stéphane-) Raoul, b. (of an Ital. father) Montrouge, Seine, June 23, 1852; d. (on a concert-tour) Moscow, Jan. 3, 1914. From early childhood he showed unusual talent for the pf., appearing frequently in public. Prince Poniatowski was struck by his performance, and procured for him a scholarship at the École Niedermeyer; from 1866–9, at the Paris Cons., he st. pf. with G. Mathias, org. with F. Benoist, and comp. with A. Thomas; won 1st prize in pf. (1866), 1st prize in harm. (1867), 1st prize in org. (1869); his Ital. citizenship barred him from competition for the Prix de Rome. He began his career as organist at St.-Eugène in 1871; m. de chap. there in 1878; 1892–6 prof. of harm., and 1896–1901 prof. of pf., at the Paris Cons. Having become known as a successful composer of ballets and operettas, he surprised the world in 1893 by appearing as a solo pianist at one of the Cons. concerts, revealing himself as a virtuoso of the first rank; from then until his death he made triumphant tours of Europe and America (first tour, 1897–8). He was equally great as an ensemble-player, his sonata-recitals with Ysaÿe having become world-famous. P. is one of the imposing figures in the history of pf.-playing. First of all, he was a universalist; whether he interpreted early, classic, romantic, or modern works, it was impossible to distinguish whether he had any preferences; he played everything with authority, with scrupulous attention to the minutest details. At all times he subordinated his own personality—strong as it was—to that of the composer. His sense of tone and mastery of tonal shading were extraordinary, and a wonderful artistic moderation restrained him from ever forcing the tone of the instrument. He was a player of fiery temperament and intense musical feeling, a builder of superb climaxes, a performer in the grand style. The
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