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# A Dictionary of Music and Musicians/Ponchielli, Amilcare

From volume 3 of the work.
​PONCHIELLI, Amilcare, was born at Paderno Fasolaro, Cremona, Sept. 1, 1834. In Nov. 1843 he entered the Conservatorio of Milan, and remained there till Sept. 1854. Two years afterwards, on Aug. 30, 1856, he was able to produce at the Concordia at Cremona his first opera, 'I promessi Sposi.' His next were 'La Savojarda,' Cremona, Jan. 19, 1861; 'Roderico,' Piacenza, 1864; and 'La Stella del Monte,' in 1867. Hitherto Signor Ponchielli's reputation had been confined to the provinces; but in 1872 he was fortunate enough to find an opportunity of coming before the general public at the opening of the New Theatre 'Dal Verme' at Milan, where his 'Promessi Sposi' was performed Dec. 5. He rewrote a considerable portion of the opera for the occasion, and its success was immediate and complete. The managers of the theatre of 'La Scala' at Milan at once commissioned him to write a ballet, 'Le due Gemelle,' which was produced there Feb. 1873, received with frantic enthusiasm, and immediately published (Ricordi). This was followed by a ballet, 'Clarina' (Dal Verme, Sept. 1873); a ('Scherzo' or comedy, 'Il parlatore eterno' 'Lecco, Oct. 18, 1873); and a piece in 3 acts, 'I Lituani,' given with immense success at the Scala, March 7, 1874. In the following year he wrote a cantata for the reception of the remains of Donizetti and Simone Mayr at Bergamo, a work of some extent and importance, which was performed there Sept. 13, 1875. On April 8, 1876, he produced a new opera at the Scala called 'Gioconda,' with the same success as before; and on Nov. 17, 1877, he gave at the 'Dal Verme,' the scene of his first triumph, a 3-act piece called 'Lina,' which was a réchauffé of his early opera 'La Savojarda,' and does not appear to have pleased. His last opera. 'Il Figliuol prodigo,' was produced at the Scala, Dec. 26, 1880, with astonishing success.
Signor Ponchielli is married to Teresina Brambilla, a singer, and a member of the musical family of that name. He enjoys a position in Italy second only to Verdi, whose successor he is universally regarded as being. Out of Italy his works have as yet hardly begun to penetrate. In England, the 'Danze delle Ore,' some brilliant and elegant ballet music from his 'Gioconda,' played at the Crystal Palace, Oct. 25, 1879, and a selection from 'Le due Gemelle,' also played at the Crystal Palace, Nov. 5, 1880, are probably the only productions of his that have been heard in public.
The above notice is indebted to Paloschi's 'Annuario' and Pougin's Supplement to Fétis.
[ G. ]
# A Dictionary of Music and Musicians/Polska

From volume 3 of the work.
​POLSKA, a national Swedish dance, popular in West Gothland, something like a Scotch reel in character. Polskas are usually written in minor keys, although they are occasionally found in the major. The example which is given below ('Neckens Polska') is well known, as ​Ambroise Thomas has introduced it in Ophelia's mad scene in 'Hamlet.' Other examples will be found in Ahlstrom's 'Walda Svenska Folksånga' (Stockholm, 1850).
[ W. B. S. ]
# A Dictionary of Music and Musicians/Ponte, Lorenzo da

From volume 3 of the work.
[ V. de P. ]
* ↑ In his autobiography ('Memorie di L. da Ponte,' New York 1829–30) he spells his name thus, and so do all other writers, except M. de la Chavanne, his translator ('Memoires de L. d'Aponte,' Paris 1860).
* ↑ P. Scudo, in his charming account of Da Ponte and society in Venice in the 18th century ('Critique et Litterature Musicales,' Paris 1856), says Sarti, but Da Ponte in his autobiography says Salieri.
* ↑ 'Reminiscences,' London 1826.
* ↑ Date in Meyer's 'Grosses Conversations Lexicon,' Hilburghausen 1850.
* ↑ Mendel, 'Musikalisches Conversations Lexicon,' says 1805.
# A Dictionary of Music and Musicians/Polonini, Entimio

From volume 3 of the work.
[ A. C. ]
* ↑ 'Musical World,' April 17, 1847.
* ↑ Ib. Aug. 21, 1847.
# A Dictionary of Music and Musicians/Polyeucte

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Poniatowski, Joseph

From volume 3 of the work.
​PONIATOWSKI, Joseph Michael Xavier Francis John—nephew of the Prince Poniatowski who was a marshal of the French army and died in the battle of Leipzig, Oct. 19, 1812, and whose portrait was found by Mendelssohn at Wyler inscribed 'Brinz Baniadofagi'—Prince of Monte Rotondo, born at Rome, Feb. 20, 1816. He devoted himself so entirely to music that he can hardly be called an amateur. He regularly attended the musical classes at the Lycée at Florence, and also studied under Ceccherini. He made his début at the Pergola, Florence, as a tenor singer; produced his first opera, 'Giovanni da Procida'—in which he sang the title role—at Lucca in 1838, and from that time for more than 30 years supplied the theatres of Italy and Paris with a large number of operas. After the Revolution of 48 he settled in Paris as plenipotentiary of the Grand Duke of Tuscany, and was made Senator under the Empire. After Sedan he followed his friend Napoleon III. to England, produced his opera 'Gelmina' at Covent Garden, June 4, 1872, his operetta 'Au travers du mur' at St. George's Hall, June 6, 1873, and selections from his Mass in F at Her Majesty's Theatre, June 27, 1873, and died July 3 of the same year. He was buried at Chislehurst.
His operas are 'Giovanni da Procida' (Florence and Lucca 1838); 'Don Desiderio' (Pisa 1839, Paris 1858); 'Ruy Blas' (Lucca 1842); 'Bonifazio' (Rome 1844); 'I Lambertazzi' (Florence 1845); 'Malek Adel' (Genoa 1846); 'Esmeralda' (Leghorn 1847); 'La Sposa d'Abido' (Venice 1847); 'Pierre de' Medicis' (Paris 1860); 'Au travers du mur' (Ibid. 1861); 'L'Aventurier' (Ibid. 1865); 'La Contessina' (Ibid. 1868).
[ G. C. ]
# A Dictionary of Music and Musicians/Pons, Jose

From volume 3 of the work.
[ G. ]
# A Course in Miracles/Workbook for Students/Now let a new perception come to me

Now let a new perception come to me.
Father, there is a vision which beholds all things as sinless, so that fear has gone, and where it was is love invited in. And love will come wherever it is asked. This vision is Your gift. The eyes of Christ look on a world forgiven. In His sight are all its sins forgiven, for He sees no sin in anything He looks upon. Now let His true perception come to me, that I may waken from the dream of sin and look within upon my sinlessness, which You have kept completely undefiled upon the altar to Your holy Son, the Self with which I would identify.
Let us today behold each other in the sight of Christ. How beautiful we are! How holy and how loving! Brother, come and join with me today. We save the world when we have joined. For in our vision it becomes as holy as the light in us.
# A Course in Miracles/Workbook for Students/Only an instant does this world endure

Only an instant does this world endure.
This is a thought which can be used to say that death and sorrow are the certain lot of all who come here, for their joys are gone before they are possessed, or even grasped. Yet this is also the idea that lets no false perception keep us in its hold, nor represent more than a passing cloud upon a sky eternally serene. And it is this serenity we seek, unclouded, obvious and sure, today.
We seek Your holy world today. For we, Your loving Sons, have lost our way a while. But we have listened to Your Voice, and learned exactly what to do to be restored to Heaven and our true Identity. And we give thanks today the world endures but for an instant. We would go beyond that tiny instant to eternity.
# A Course in Miracles/Workbook for Students/Now will I seek and find the peace of God

Now will I seek and find the peace of God.
In peace I was created. And in peace do I remain. It is not given me to change my Self. How merciful is God my Father, that when He created me He gave me peace forever. Now I ask but to be what I am. And can this be denied me, when it is forever true?
Father, I seek the peace You gave as mine in my creation. What was given then must be here now, for my creation was apart from time, and still remains beyond all change. The peace in which Your Son was born into Your Mind is shining there unchanged. I am as You created me. I need but call on You to find the peace You gave. It is Your Will that gave it to Your Son.
# A Course in Miracles/Workbook for Students/On my decision all salvation rests

On my decision all salvation rests.
Father, Your trust in me has been so great, I must be worthy. You created me, and know me as I am. And yet You placed Your Son's salvation in my hands, and let it rest on my decision. I must be beloved of You indeed. And I must be steadfast in holiness as well, that You would give Your Son to me in certainty that he is safe Who still is part of You, and yet is mine, because He is my Self.
And so, again today, we pause to think how much our Father loves us. And how dear His Son, created by His Love, remains to Him Whose Love is made complete in him.
# A Course in Miracles/Workbook for Students/Nothing I see means anything

Nothing I see in this room [on this street, from this window, in this place] means anything.
Now look slowly around you, and practice applying this idea very specifically to whatever you see:
    This table does not mean anything.
    This chair does not mean anything.
    This hand does not mean anything.
    This foot does not mean anything.
    This pen does not mean anything.
Then look farther away from your immediate area, and apply the idea to a wider range:
    That door does not mean anything.
    That body does not mean anything.
    That lamp does not mean anything.
    That sign does not mean anything.
    That shadow does not mean anything.
Notice that these statements are not arranged in any order, and make no allowance for differences in the kinds of things to which they are applied. That is the purpose of the exercise. The statement should merely be applied to anything you see. As you practice the idea for the day, use it totally indiscriminately. Do not attempt to apply it to everything you see, for these exercises should not become ritualistic. Only be sure that nothing you see is specifically excluded. One thing is like another as far as the application of the idea is concerned.
Each of the first three lessons should not be done more than twice a day each, preferably morning and evening. Nor should they be attempted for more than a minute or so, unless that entails a sense of hurry. A comfortable sense of leisure is essential.
# A Course in Miracles/Workbook for Students/Now would I be as God created me

Now would I be as God created me.
Today I will accept the truth about myself. I will arise in glory, and allow the light in me to shine upon the world throughout the day. I bring the world the tidings of salvation which I hear as God my Father speaks to me. And I behold the world that Christ would have me see, aware it ends the bitter dream of death; aware it is my Father's Call to me.
Christ is my eyes today, and He the ears that listen to the Voice for God today. Father, I come to You through Him Who is Your Son, and my true Self as well. Amen.
# 1911 Encyclopædia Britannica/Vol 1:10

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# 1911 Encyclopædia Britannica/Vol 1:14

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# 1911 Encyclopædia Britannica/Vol 1:15

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# 1911 Encyclopædia Britannica/Vol 19 MUN to ODDFELLOWS

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| Table of contributors Mun — Musgrave Mush — Naga Hills Nagar — Narthex | Narva — Nearchus Neath — Nerve Nervi — Newcastle Newcastle-under-Lyme — Nicephorus | Nicephorus Patriarcha — Nilgai Nilgiris — Nora Norba — Nostradamus | Nostrum — Nye Nyezhin — Odaenathus Odalisque — Oddfellows |
# 1911 Encyclopædia Britannica/Vol 1:11

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# 1911 Encyclopædia Britannica/Vol 1:12

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