POINTS. A term applied, in modern Music, to the opening notes of the Subject of a Fugue, or other important Motivo, to which it is necessary that the attention of the Performer should be particularly directed by the Conductor.
For instance, one of the most striking Subjects in the 'Hallelujah Chorus,' is that adapted to the words 'For the Lord God Omnipotent reigneth.' After this has been twice enuntiated by the whole body of Voices, in unison, the 'Point' is taken up at the 22nd Bar by the Sopranos, at the 25th by the Tenors and Basses in unison, and at the 29th, by the Altos and Tenors. These, then, are three of the most important 'Points' in the Hallelujah Chorus.
The term 'Point' is also applicable to features of quite another kind. Thus, the entrance of e Horns in the First Movement of the Overture to 'Der Freischütz,' and that of the First Clarinet at the 60th Bar of the Molto Vivace, are 'Points' of such vital importance that a careless reading on the part of their interpreters would entirely fail to convey the Composer's meaning, and render the performance spiritless and uninteresting to the last degree.
These remarks concern, not only the performance of Orchestral and Church Music. They apply, with equal force, to Solo Performances of every kind: to Pianoforte Sonatas, and Organ Fugues, Violin Concertos, and Solos for the Flute or Oboe, these, the Performer, having no Conductor prompt him, must think for himself, and the success of his performance will depend entirely upon the amount of his capacity for doing so.
POISE, Ferdinand, born at Nîmes, June 3, 1828, as a child showed a turn for music, but was only allowed to adopt it after taking his degree a bachelier-ès-lettres of Paris. He entered the Conservatoire in 1850, and in 1852 gained the second prize for composition, under Adolphe Adam, from whom he derived his taste for easy, flowing melody. 'Bonsoir Voisin,' a pleasing little opera produced at the Theatre Lyrique, Sept. 18, 1853, was followed at the same theatre by 'Les Charmeurs' (March 15, 1855), also a success. He next produced 'Polichinelle' (1856) at the Bouffes Parisiens; and at the Opéra Comique, 'Le Roi Don Pèdre' 2 acts (1857)' 'Le Jardinier Galant,' 2 acts (March 4, 1861); 'Les Absents,' a charming piece in one act (Oct. 26, 1864); 'Corricolo' 3 acts (Nov. 28, 1868); 'Les trois Souhaits' (1873); 'La Surprise de l'Amour,' 2 acts (Oct. 31, 1878); and 'L'Amour Médecin' (Dec. 20, 1880). The two last, arranged by Poise and Monselet from Marivaux and Molière, give a high idea of his powers. He has also composed another pretty little opera, 'Les deux Billets' (1858), revived at the Athenée in Feb. 1870. In their ease and absence of pretension his works resemble those of Adolphe Adam, but there the comparison ends; the latter had a real vein of comedy, while Poise's merriment has the air of being assumed to conceal his inward melancholy. Nevertheless his music is flowing and happy; and being well-scored, and never vulgar, it is listened to with pleasure, and is remembered. It would be more generally popular if M. Poise exerted himself more; but his health is delicate, he lives in retirement, writes only when so disposed, and instead of aspiring to fame and fortune, seeks only to secure his independence, and to enjoy the refined pleasures of music.
POLACCA (Italian for Polonaise). Polaccas may be defined as Polonaises treated in an Italian manner, but still retaining much of the rhythm characteristic of their Polish origin. Polaccas are both vocal and instrumental, and are generally of a brilliant and ornate description, gaining in brilliancy what they lose in national character. Thus Chopin, in a letter from Warsaw, dated Nov. 14, 1829 (Karasowski, vol. i.), speaks of an 'Alla Polacca' with cello accompaniment that he had written, as 'nothing more than a brilliant drawing-room piece—suitable for the ladies,' and although this composition is probably the same as the 'Introduction et Polonaise Brillante pour Piano et Violoncello' (op. 3) in C major, yet from the above passage it seems as if Chopin did not put it in the same class as his poetical compositions for the pianoforte which bear the same name.
POLE, William, Mus. Doc., F.R.S, an instance of the successful union of science, literature, and music. He was born at Birmingham in 1814, and was bred to the profession of Civil Engineering, in which he has become eminent. He has written many works and papers on scientific subjects, and is a contributor to the leading Reviews, and an F.R.S. of London and Edinburgh.
His taste for music developed itself early; he studied hard at both theoretical and practical music, and was organist in a London West End church for many years. He graduated at Oxford as Mus. Bac. in 1860, and as Mus. Doc. in 1867. He was appointed Reporter to the Jury on Musical Instruments at the International Exhibition of 1862, and is one of the Examiners for Musical Degrees in the University of London, author of a Treatise on the Musical Instruments in the Exhibition of 1851, 'The Story of Mozart's Requiem,' 1879, 'The Philosophy of Music,' 1879, and various minor critical essays, three of which, written in 1858, on certain works of Mozart and Beethoven have been mentioned in the article Analysis. His only musical compositions printed are a well-known motet for 8 voices on the 'Hundredth Psalm,' and some four-handed PF. accompaniments to classical songs.
POLIUTO. An opera in 3 acts; the libretto conceived by Adolphe Nourrit (who designed the principal rôle for himself), and carried out by Cammarano; the music by Donizetti. It was completed in 1838, but the performance was forbidden by the Censure of Naples. It was then translated into French by Scribe, and under the title of 'Les Martyrs,' was produced at the Grand Opéra (4 acts), April 10, 1840; at the Théâtre Italien, as 'I Martiri,' April 14, 1859; in London, as 'I Martiri,' at the Royal Italian Opera, April 20, 1852.
