A Dictionary of Music and Musicians/Joncières, Victorin de
JONCIÈRES, Victorin De, the adopted name of Félix Ludger Rossignol, born in Paris, April 12, 1839. The name by which he is known was adopted by his father, a journalist and advocate of the Cour d'Appel, who, under the Empire, was one of the principal contributors to the 'Patrie' and the 'Constitutional.' Victorin began by studying painting; but by way of amusement he composed a little opéra comique adapted by a friend from Molière's 'Sicilien,' which was performed by students of the Conservatoire at the Salle Lyrique in 1859. A critic who was present advised the composer to give up painting for music, and accordingly Joncières began to study harmony with Elwart. He entered Leborne's counterpoint class at the Conservatoire, but left it suddenly on account of a disagreement with his master concerning Wagner, who had just given his first concert in Paris. From this time he studied independently of the Conservatoire. At the Concerts Musard he produced an overture, a march, and various orchestral compositions; he also wrote music to 'Hamlet,' produced by Dumas and Paul Meurice. A performance of this work was given as a concert at his own expense in May, 1863, and a representation was given at Nantes on Sept. 21, 1867, under his direction, with Mme. Judith, of the Comédie Franaise, in the principal part. The play was produced in Paris at the Galté later in the following year, but for the recent performance of 'Hamlet' at the Français, Joncières' music was rejected by M. Perrin. On Feb. 8, 1867, Joncières made his real début as a dramatic composer at the Théâtre Lyrique, with a grand opera, 'Sardanapale,' which was only partially successful. In spite of this comparative failure, Carvalho was persuaded to produce a second grand opera, 'Le dernier jour de Pompéi' (Sept. 21, 1869), which was harshly received by the public. Shortly afterwards a violin concerto was played by his friend Danbé at the Concerts of the Conservatoire (Dec. 12, 1869). The Lyrique having come to an end after the war, Joncières' dramatic career ceased for a long time, as he would not write for the Opéra Comique, and could not gain admittance to the Grand Opera. He wrote a Symphonie Romantique (Concert National, March 9, 1873), and various other pieces were produced at the concerts conducted by Danbé at the Grand Hotel. At length, on May 5, 1876, he succeeded in producing his grand opera 'Dimitri,' for the opening of the new Théâtre Lyrique at the Galté, under the direction of Vizentini; and the work, although it did not attract the public, showed that the composer possessed a strong dramatic instinct, inspiration of some power, if little originality, and an effective style of orchestration. The opera was such a remarkable advance upon his earlier productions that hopes were formed which have not been realized either by his 'Reine Berthe' (Dec. 27, 1878), given four times at the Opéra, nor by his 'Chevalier Jean' (Opéra Comique, March 11, 1885), which succeeded in Germany, though it had failed in Paris. Besides these dramatic works Joncières has written numerous compositions for the concert-room: 'Sérénade Hongroise,' 'La Mer,' a symphonic ode for mezzo soprano, chorus, and orchestra, 'Les Nubiennes,' orchestral suite, a Slavonic march, a Chinese chorus, etc. His works, of which 'Dimitri' is by far the best, have the merit of being carefully orchestrated, and his vocal writing is marked by a just sense of the laws of prosody. As a critic—for since 1871 he has been musical critic to 'La Liberté,' and contributes to it theatrical notices, etc. under the pseudonym of 'Jennius'—his opinions, like his music, are wanting in balance and unity, and have considerably injured his musical standing. In Feb. 1877 M. Joncières received the cross of the Legion d'honneur.
[ A. J. ]