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.
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JONES, John. P. 39b, the last note but one of the chant should be D not C. (Corrected in later editions.)JORDAN, Abraham, sen. and jun., belonged to an ancient family located in Maidstone in the 15th century. The elder, who was a distiller, but had a mechanical turn, devoted himself to organ-building, and removed to London, where he made many fine instruments. He instructed his son Abraham in the same business. The Jordans deserve especial notice as being the inventors of the swell, which was in the form of a sliding shutter, and was first applied to the organ which they built for St. Magnus' Church, London Bridge, in 1712. In 1720 they built the organ of the Duke of Chandos at Cannons, on which Handel used to play. This was sold by auction in 1747, after which they repaired it and conveyed it to Trinity Church, Gosport. See Byfield, Jordan, and Bridge, vol. iv. p. 571; also vol. ii. pp. 595, 596.
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JOSQUIN. P. 42b, l. 20, for who creates a genial impression, read who impresses us as being a genius.JULLIEN, Jean Lucien Adolphe, born June 1, 1845, was the son and grandson of distinguished literary men, his grandfather, Bernard Jullien (1752–1826) having held various professorships, and his father, Marcel Bernard Jullien (1798–1881), having been for some yearsprincipal of the College at Dieppe, and subsequently editor of the 'Revue de l'instruction publique,' and having taken a prominent part in the compilation of Littré's Dictionary. Adolphe Jullien was educated at the Lycée Charlemagne in Paris, and having taken the degree of licentiate in law, he completed his musical studies under Bienaimé, retired professor at the Conservatoire. His first essay in musical criticism was an article in 'Le Ménestrel,' on Schumann's 'Paradise and the Peri,' which had just been produced unsuccessfully in Paris (1869). In that article his pronounced opinions in favour of the advanced school of music are expressed as fearlessly as they are in his most recent writings. He has ever since fought valiantly for musical progress of every kind, and in the Wagnerian controversy he has taken a position