the Peruvians there is evidence in Garcilasso de la Vega and other historians.
A modern Roumanian specimen, containing twenty-five tubes arranged in a curve, is in the South Kensington Museum; the longest pipes over 12 inches in length.
There is an excellent and well preserved example in a bas-relief from the Abbey of St. George de Boscherville, Normandy, of nth century date, which is figured in Mr. Engel's excellent work above quoted.
The Pandean Pipe is theoretically a series of stopped tubes blown from the edge of the upper, and, in this case, the only orifice, as already described under Flute. One note and occasional harmonics are usually produced from each tube, the scale being diatonic, and of variable extent according to the skill and convenience of the performer. At the present day it is rarely heard except as an accompaniment to the drama of Punch and Judy, and is commonly termed the 'mouth-organ.' It is enclosed in a leather or paper case which is pushed into the open waistcoat of the player, the different parts of the scale being reached by rotation of the head. The quality of the tone is reedy and peculiar, somewhat veiled from the absence of harmonics of even numbers, it being a stopped pipe, of which, however, the first harmonic on the twelfth, and not the fundamental tone, is habitually sounded. In this respect and in its quality it closely resembles the 'Harmonic flute' stop of the organ.
It had a temporary popularity in this country at the commencement of the present century, when itinerant parties of musicians, terming themselves Pandeans, went about the country, and gave performances. 'The lowest set of reeds (the 'septem discrimina vocum' of Virgil), says a writer in 1821, is called the contra basso or double base; the next fagotto, or bassoon; the third septenary is the tenor or second treble; and the fourth or highest range of pipes, the first treble; so that in the aggregate there is a complete scale of four octaves, and they can play in three or four parts. The reeds or pipes are fastened under the chin of the performer, and the lip runs from one to the other with seeming facility, without moving the instrument by manual [1]assistance.
'A company of them was introduced at Vauxhall Gardens a few years ago, and since that they are common enough in the streets of London. It is to be observed that some of the performers, particularly the first treble, have more than seven pipes, which enables them to extend the melody beyond the septenary.' (Encyclop. Londinensis, 1821.)
A tutor for this instrument was published in 1807, entitled 'The Complete Preceptor for Davies's new invented Syrrynx (sic) or patent Pandean Harmonica, containing tunes and military pieces in one, two, three, and four parts.' The writer states that 'by making his instrument of glass he gains many advantages over the common reed, the tone being inconceivably more brilliant and sonorous.' The scale given commences on A below the treble stave, rising by fifteen intervals to the A above the same stave. The C is indicated as the key-note, which is marked as such. The instrument appears to have been susceptible of Double-tongueing like the Flute.
[ W. H. S. ]
PANDORA or PANDORE. A Citherof larger dimensions than the Orpheoreon.
[ A. J. H. ]
PANNY, Joseph, son of the schoolmaster of Kolmitzberg, Austria; born Oct. 23, 1794; was well grounded in music and the violin by his father, and at length obtained the means of placing himself under Eybler at Vienna. Here his talent and his progress were remarkable; Paganini selected him to compose a scena for violin and orchestra, and played it at his farewell concert in 1828. Panny wandered through North Germany, playing, teaching, conducting, as he found opportunity, and at length settled in Mayence, married, and founded a school for vocal and instrumental music, among the pupils at which was our own countryman Pearsall. Panny died Sept. 7, 1838.
[ G. ]
PANOFKA, Heinrich, born Oct. 1, 1807, at Breslau. His early life was a struggle between duty in the shape of the law, and inclination in that of music. Music at length prevailed, his father consented to his wishes, and 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. He remained with them studying hard for three years. 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 44 he came to London, and in 47 (Jenny Lind's year) was engaged by Mr. 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, where he is still residing [App. p.738 "He died at Florence, Nov. 18, 1887"]. His principal works are 'L'Art de chanter' (op. 81); 'L'Ecole de Chant,' of which a new edition has very lately appeared; 24 Vocalises progressives (op. 85); Abecédaire vocal (2nd ed.); 12 Vocalises d'artiste (op. 86);—all published by Brandus. He has translated Baillot's 'Nouvelle Méthode' for the violin into German. Panofka has also published many works, violin and piano, and violin and orchestra, but it is not necessary to give these.
[ G. ]
PANSERON, Auguste, 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
- ↑ 'Et supra calamos unco percurrere labro.' Lucretius. This line clearly indicates the identity of the instrument.
