Scan 70
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1and conducted concerts at Bergen, and on his return to Germany in 1834 founded a school of music at Weisserling (Alsace), for the education of the children of the wealthy manufacturers of the town, who financed it. He visited Paris and London in 1835, married, and settled in Mainz in 1836, where he founded another College of Music. R. L. de Pearsall was his pupil. His death, from spinal meningitis, occurred two years later, at the age of 48. He left a widow and one child. His published compositions include: string quartets; trios; solos for violin, violoncello and clarinet; three masses; Requiem; male choruses; songs, etc.; a MS. opera 'Das Mädchen von Rügen,' and a hymn to the New Year, which was performed at Bergen, Dec. 18, 1831. Panny also left some literary MS., dealing with the history of music in Italy, Germany, France and England.
3BIBL.—Baker; Clarke, Dict. of Fiddlers; Fétis; article in Supplement to the Gazette de Mayence, 1838
5E. H.-A.
7PANOFKA, HEINRICH (b. Breslau, Oct. 2, 1807; d. Florence, Nov. 18, 1887), violinist. At the age of 17 he quitted the College of Breslau and put himself under Mayseder for the violin, and Hoffmann for composition, both at Vienna. In 1827 he gave his first concert. In 1829 he left Vienna for Munich, and thence went to Berlin. In 1831 his father died, and Panofka came into his patrimony. After some lengthened travelling he settled at Paris in 1834 as a violin-player. After a time he turned his attention to singing, and in conjunction with Bordogni founded in 1842 an Académie de Chant. In 1844 he came to London, and in 1847 (Jenny Lind's year) was engaged by Lumley as one of his assistants at Her Majesty's Theatre. The Revolution of 1848 fixed him here; he published a 'Practical Singing Tutor,' and was widely known as a teacher. In 1852 he returned to Paris, and in 1866 settled in Florence. His principal works are 'L'Art de chanter' (op. 81); 'L'École de chant,' twenty-four Vocalises progressives (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.
9BIBL.—Baker, Brown, Biog. Dict. Mus.; Clarke, Dict. of Fiddlers; Fétis.
11E. H.-A.
13PANORMO (1) VINCENZO TRUSAINO (b. Monreale, near Palermo, Nov. 30, 1734; d. London, 1813¹). 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 and death. 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 1783-89 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. Panormo's eldest son (2) JOSEPH (b. London, 1773; d. circa 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 (3) GEORGE LEWIS (b. London, 1774; d. circa 1842), was principally a guitar-maker, but made also violins, 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 (4) EDWARD FERDINAND, was also a violin-maker, but of little importance.
15BIBL.—Von Lutgendorff, Die Geigen und Lautenmacher; Heron-Allen, Violin-making as it was and is; Vidal, Les Instruments a archet, vol. 1.; Fétis, Hart, The Violin.
17E. H.-A.
19PANSERON, AUGUSTE MATHIEU (b. Paris, Apr. 26, 1796; d. there, July 29, 1859), 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 Mattci, 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. 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
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