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Scan 626
Grove's dictionary of music and musicians;, 1904
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1progressives (op. 85); Abécédaire vocal (2nd ed.); twelve Vocalises d'artiste (op. 86)—all published by Brandus. He translated Baillot's Nouvelle Méthode for the violin into German. He also published many works for violin and piano, and for violin and orchestra, but they are of slight importance.—Baker, Biog. Dict. of Mus.; Brown, Biog. Dict. Mus.; Clarke, Inct. of Fiddlers; Fétis, Biog. Mus. E. H.-A.
3PANORMO, VINCENZO TRUSAINO. The career of this excellent violin-maker has been much obscured by the placing of false labels in his instruments, and only conjecture locates and dates his birth at Monreale, near Palermo, Nov. 30, 1734, and his death in London in 1813. It is presumed that he acquired a knowledge of his craft, both at Cremona and Turin, and that he went to Paris in 1750, but, failing to find a field for his efforts, returned south as far as Marseilles. In 1772 Panormo visited England, and from 1783 to 1789 alternated betwixt London and Paris, establishing in the latter town a business at No. 70 Rue de Chartres, with a workshop in the Rue de l'Arbre Sec. His favourite model was the large pattern Stradivarius, which he copied to perfection. The workmanship throughout his instruments is neat and well executed, the scrolls and f holes being particularly well cut. Some of his best fiddles were made out of an old maple billiard-table, which Panormo purchased whilst in Dublin. He employed several forms of printed label; the earliest bear the arms of Palermo at the right-hand side of the ticket. He was a fairly prolific maker, and his instruments command good prices. Panormo's eldest son JOSEPH—born in London, 1773, died about 1825—carried on a fiddle-making business, first at New Compton Street, and later in King Street, Soho, and excelled as a violoncello maker. His brother GEORGE LEWIS—born in London in 1774, died about 1842—was principally a guitar-, but also a violin-maker, following the Strad model, first in Oxford Street, and later in High Street, St. Giles. He is mostly esteemed as a bow-maker, in the mastery of which art he resembles Duke, whom he closely followed. Joseph Panormo's son, EDWARD FERDINAND, was also a violin-maker, but of little importance.—Von Lütgendorff, Die Geigen und Lautenmacher; Heron-Allen, Violin-making as it was and is; Vidal, Les Instruments à archet, vol. i.; Fétis, Biog. des Mus.; Hart, The Violin. E. H.-A.
5PANSERON, AUGUSTE MATHIEU, born in Paris, April 26, 1796, received his first instruction in music from his father, a musician, who scored many of Grétry's operas for him. He entered the Conservatoire as a child, passed successfully through the course, and after studying harmony and composition with Berton and Gossec, ended by carrying off the 'Grand prix de Rome' (1813). He made good use of his time in Italy, took lessons in counterpoint and fugue from the Abbé Mattei, at Bologna, and studied especially the art of singing, and the style of the old Italian masters. After travelling in Austria and Germany, and even reaching St. Petersburg, he returned to Paris, and became a teacher. Shortly afterwards he was appointed 'accompagnateur' to the Opéra-Comique, a position which enabled him to produce two small one-act pieces long since forgotten. He does not appear to have possessed the necessary qualities for success on the stage, but he had a real gift of tune, and this secured great popularity for a number of French romances composed between 1825 and 1840, melodious, well written for the voice, easily remembered, and often pleasing or even more; but marred by too much pretension. The merits of such sentimental trifles as these would scarcely have earned Panseron a European fame, if it had not been for his didactic works. His wide experience during his professorships at the Conservatoire—solfège, 1826; vocalisation, Sept. 1831; and singing, Jan. 1836—taught him the requirements of pupils, and how those requirements can best be met. His works are thus of value from an educational point of view, and we give a complete list, classified under the various heads.
71. Progressive solfèges for single voice—'A, B, C musical'; with continuation.
82. Progressive solfèges for several voices—Primary manual, for 2 and 3 voices.
93. Do. for instrumental performers—Do. for Pianists; Do. for Violin players.
104. On the art of singing—Method for soprano and tenor, in 2 parts; with appendix.
115. On the art of composition—A Practical Treatise on harmony and modulation; with 60 exercises on figured, and 70 on unfigured basses, and a course of lectures on writing a bass to a given melody. The art of modulating on the Violin.
13Panseron also composed two masses for three treble voices, and a 'Mois de Marie,' containing motets and cantiques for one, two, and three voices. This painstaking musician, who was kind and amiable in private life, and possessed as much ability as learning, died in Paris, July 29, 1859. G. C.
15PANTALEON or PANTALON. A very large DULCIMER invented and played upon in the early part of the 18th century by Pantaleon Hebenstreit, whose name was transferred to the instrument by Louis XIV. The name was also given in Germany to horizontal pianofortes with the hammers striking downwards. A. J. H.
17PANTHEON. A building in Oxford Street, erected in 1770-71 from the designs of James Wyatt, at a cost of £60,000, for masquerades, concerts, balls, etc., and as 'a Winter Ranelagh.' It occupied a large space of ground, and besides the principal entrance in Oxford Street there were entrances in Poland Street and Great Marlborough Street. The interior contained a large rotunda and fourteen other rooms splendidly decorated; the niches in the rotunda being filled with white porphyry statues. The building was opened on Jan. 26,
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