Potter, (Philip) Cipriani (Hambley)
Potter, (Philip) Cipriani (Hambley)
Potter, (Philip) Cipriani (Hambley) , distinguished English pianist, teacher, and composer; b. London, Oct. 2, 1792; d. there, Sept. 26, 1871. He began his musical training with his father, Richard Huddleston Potter (b. London, Dec. 10, 1755; d. there [buried], June 3, 1821), a founder of the Phil. Soc. of London (1813) and a violist in its orch., then studied with Thomas Attwood, Joseph Woelffi (1805–10), and Crotch (1808–9). He was made a member of the Phil. Soc. (1815), with which he made his debut as a pianist in his own Sextet for Piano, Flute, and Strings (April 29, 1816). In 1817 he went to Vienna, where he met Beethoven; at the latter’s suggestion he studied counterpoint with Aloys Forster; he returned to England in 1819. He made many appearances as a pianist in London, introducing a number of Mozart’s concerti and Beethoven’s 1st, 3rd, and 4th concerti. He also conducted the Phil. Soc. orch., and later was music director of the Madrigal Soc. (from 1854). In 1822 he became the first piano teacher of the men’s division of the newly opened Academy of Music; was later its principal (1832–59). Potter produced several fine syms. and concertos; Wagner conducted one of his syms. at a Phil. Soc. concert in London (1855). He also wrote a set of satirical Enigma Variations for Piano (c. 1825), comprising “variations in the style of five eminent artists.”
Works
ORCH.: 9 syms.: No. 1, in G minor (1819; rev. 1826), B-flat major (1821; rev. 1839), No. 6, in C minor (1826), No. 7, in F major (1826), No. 8, in E-flat major (1828; rev. 1846), No. 10, in G minor (1832), “No. 2,” in D major (1833), C minor (1834), and “No. 4,” in D major (1834); at least 1 other not extant; at least 3 piano concertos: “No. 2,” in D minor (1832). E-flat major (1833), and E major (1835); 4 overtures: E minor (1815; rev. 1848), Antony and Cleopatra (1835), Cymbeline (1836), and The Tempest (1837); Introduction and Rondo for Piano and Orch., “alla militaire” (1827); Duo concertant for Piano, Violin, and Orch. (1827?); Bravura Variations for Piano and Orch., on a theme by Rossini (1829); Concertante on “Les Folies d’Espagne” for Violin, Cello, Double Bass, Piano, and Orch. (1829); Ricercata “on a favorite French theme” for Piano and Orch. (1830); March (1854). CHAMBER : 3 Grand Trios for Piano Trio (c. 1824); Sonata di bravura for Horn, or Bassoon, or Cello and Piano (c. 1824); Sextet for Flute and String Quartet (c. 1827); Sextet for Flute, Clarinet, Viola, Cello, Double Bass, and Piano (1836); String Quartet (n.d.); many piano works, including 3 sonatas (all 1818). VOCAL : Medora e Corrado, cantata for Solo Voices, Chorus, and Orch. (1830).
Bibliography
P. Peter, The Life and Work ofC. P. (1792–1871) (diss., Northwestern Univ., 1972).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire