For instances of its employment in combination with other feet, see Metre.
SPONTINI, Gasparo Luigi Pacifico, born Nov. 14, 1774, at Majolati, near Jesi (the birth-place of Pergolesi), of simple peasants. Three of his brothers took orders, and Gasparo was also destined for the priesthood. An uncle on the father's side took charge of the delicate child of eight, and gave him elementary instruction. It happened that a new organ was to be built for this uncle's church, and the builder, who had been sent for from Recanati, took up his abode for the time at the parsonage. Here he brought his harpsichord, and found an earnest listener in Spontini, who would try to pick out for himself what he had heard, whenever the organ-builder was absent. The latter noticed the boy's talent, and advised his uncle to have him educated as a musician; but to this the priest would by no means consent, resorting indeed to harsh measures to drive the music out of him. The result was that Spontini ran away to Monte san Vito, where he had another uncle of a milder disposition, who procured him music-lessons from a certain Quintiliani. In the course of a year the uncle at Jesi relented, took back his nephew, and had him well grounded by the local musicians.
In 1791 his parents took him to Naples, where he was admitted into the Conservatorio de' Turchini.[1] [See Naples.] His masters for counterpoint and composition were Sala and Tritto, for singing, Tarantino.[2] In the Neapolitan Conservatories a certain number of the more advanced pupils were set to teach the more backward ones. These 'monitors,' as we should say, were called maestrini or maestricelli.[3] In 1795 Spontini became a candidate for the post of fourth maestrino, but the examiners gave the preference to another pupil. This seems to have roused the lad to special industry, and in a short time he was appointed first maestrino. His exercise for the competition of 1795 has been preserved, and is now in the archives of the Real Collegio di Musica at Naples. It must be the earliest of his compositions now in existence.[4]
Spontini had already composed some cantatas and church-music performed in Naples and the neighbourhood, and in 1796 had an opportunity of attempting opera. The invitation came from one of the directors of the Teatro Argentina in Rome, who had been pleased with some of Spontini's music which he had heard in Naples. The professors seem to have refused him leave to go, so he left the Conservatoire by stealth, and reaching Rome quickly composed 'I puntigli delle donne' with brilliant success. He was readmitted into the Turchini at the intercession of Piccinni, who had lived at Naples since his return in 1791, and gave Spontini valuable advice with regard to composition, particularly for his next opera, 'L'Eroismo ridicolo.'[5] This also was produced in Rome (1797), as well as a third, 'Il finto Pittore' (1798). Next followed three operas for Florence, all in 1798. Meantime Naples had begun to fix its attention on Spontini. 'L'Eroismo ridicolo' (one-act) was given at the Teatro Nuovo during the Carnival of 1798, and reproduced in 2 acts as 'La finta Filosofa' at the same house in the summer of 1799. In the Carnival of 1800 the same theatre brought out a new work by the industrious composer, 'La fuga in maschera.'[6] It is doubtful if he was present at the performance; for on Dec. 21, 1798, the Court, alarmed at the advance of the French troops, took flight to Palermo, and Cimarosa, who as maestro di capella should have gone too, refusing to stir, Spontini was put into his place, and during 1800 composed for the court in Palermo no less than 3 operas, in the facile and rapid style of a true disciple of the Neapolitan school. This is specially worth noting, as he afterwards completely changed in this respect, and elaborated most slowly and carefully the very works on which his European fame rests. In Palermo he also began to teach singing, but towards the end of 1800 was forced to leave, as the climate was affecting his health. After supplying more operas for Rome and Venice, he paid a visit to Jesi, and then took ship at Naples for Marseilles. His aim was Paris, and there he arrived in 1803.
From Lulli downwards all Italian composers seem to have been impelled to try their fortunes in the French capital. And, with the solitary exception of Gluck, we may say that each fresh development of French opera has originated with an Italian. Invariably, however, these foreign artists have had to encounter the onslaughts of the national jealousy. The Bouffonists, Gluck, Cherubini, all went through the same experience; it was now Spontini's turn. The work by which he introduced himself at the Théâtre Italien (as arranged in 1801), 'La finta Filosofa,' was, it is true, well received; but when he entered on the special domain of the French opéra-comique he was roughly disillusioned. His first work of the kind, 'Julie, ou le pot de fleurs' (March, 1804), failed, and though remodelled by the composer and revived in 1805, could not even then keep the boards.[7] The second, 'La petite Maison' (June 23, 1804), was hissed off. This fate was not wholly undeserved. Spontini had fancied that the light, pleasing, volatile style, which suited his own countrymen, would equally please the Parisians. The composition of 'La petite Maison' (3 acts) occupied him only two months,
- ↑ So called because of the blue uniforms of the pupils. Turchino blue
- ↑ Florimo's 'Cenno storico sulla scuola musicale di Napoli' (Naples, 1869), vol. 1. p. 50. On p. 673 Florimo speaks of Salieri and not Tarantino as Spontini's master.
- ↑ Lichtenthal, 'Dizinnario e Bibliografia della Musica' (Milan 1826), vol. ii. p. 20.
- ↑ Florimo, pp. 595. 609, and elsewhere.
- ↑ I can find no quite satisfactory ground for the statement so often made in print that it was Cimarosa and not Piccinni who gave Spontini instruction in composition.
- ↑ Fétis speaks of yet another opera, 'L'Amore segreto' (Naples, 1799.), but there is no mention of it in Florimo's 4th volume.
- ↑ At least so says Fétis, who was living in Paris from the middle of 1804 to 1811, and who not only took great interest in Spontini's works but was personally acquainted with him. Ledebur, In his 'Berliner Tonkünstler-Lexicon' (Berlin 1861), p. 501, gives a wholly opposite account, but Fétis seems the more credible witness.
