omelli's ' Didone' (1749), to Metastasio's great isfaction. In 1752 he passed through Italy to Lisbon, where he was engaged for three years highly advantageous terms. In 1755 he ac- cepted a summons to Madrid, where he remained under Fan nelli's direction, enjoying every possible mark of favour from the court and public. In 1759 he accompanied Farinelli to Naples, where he afterwards met with Naumann, and where his tine singing cured the Princess Belmonte Pigna- telli of a profound melancholy into which she had fallen on the death of her husband. In 1770 lie returned to Germany and entered the service of the elector, Karl Theodor, at Mannheim. In 1778 he was in Paris with Mozart, and in 1779 he followed the court to Munich, where Mozart composed the part of Idomeneo for him. Soon afterwards he quitted the stage, and took to teaching singing, but his pupils left him on account of his extreme strictness. Towards the close of his life he gave up music entirely, giving away his piano and his music, and abandoning himself to contemplation. He died in Munich, May 27, 1797. ' RaafFs voice was the finest possible tenor, full, pure in tone, and even throughout the register, from deep bass to ex- treme high notes. He was moreover a complete master of the art of singing, as is shown by his extraordinary power of reading at sight, by the skill with which he introduced variations and cadenzas, and by his wonderful expression, which "e his singing seem an accurate reflection of mind and heart. Another admirable quality his pure and distinct pronunciation of the rds, every syllable being audible in the largest Mozart in his letters speaks of him as s 'best and dearest friend,' especially in one Paris, dated June 12, 1778. He composed for him in Mannheim the air, ' Se al labro mio non credi ' (Kochel 295) . [C. F. P.]
RACCOLTA GENERALE DELLE OPERE CLASSICHB MUSICALI. A collection of pieces of which the full title is as follows : * Collection ge'ne'rale des ouvrages classiques de musique, ou Choix de chefs d'ceuvres, en tout genre, des plus grands compositeurs de toutes les Ecoles, recu- eillis, mis en ordre et enrichis de Notices his- toriques, par Alex. E. Choron, pour servir de suite aux Principes de Composition des e*coles d'ltalie.' A notice on the wrapper further says that the price of the work to subscribers is calculated at the rate of 5 sous per page, thus curiously anticipating Mr. Novello's famous re- duction of his publications to 2^d. per page. The numbers were not to be issued periodically, but the annual cost to subscribers was fixed at from 36 to 40 francs. The work was in folio, en- graved by Gills' fils, and published by Leduc & Co., Paris, Rue de Richelieu, 78, with agents at Bor- deaux, Marseilles, Leipzig, Munich, Vienna, Ly on, Turin, Milan, Rome and Naples. It was got up with great care and taste. The parts are in blue-gray wrappers, with an ornamental title. The only numbers which the writer lias been able to discover are as follows : No. I , Miserere a 2 core, Leo ; No. 2, Missa ad fugam, Pales-
trina (k 4) ; No. 3, Stabat, Palestrina (8 voices); No. 4, Stabat, Josquin (h, 5) ; No. 5, Miserere a cinque voci, Jomelli ; No. 6, Missa pro defunctis, Jomelli. It is probable that the issue of the work did not continue beyond these six pieces.
For ALFIERI'S ' Raccolta di musica sacra ' see Appendix. [G.]
RADICAL CADENCE. A term applied, in modern Music, to a Close, either partial or com- plete, formed of two Fundamental Chords. [See CADENCE.] [W.S.R.]
RADZIWIL, ANTON HEINRICH, Prince of, Royal Prussian 'Statthalter' of the Grand Duchy of Posen, born at Wilna, June 13, 1775, married in 1796 the Princess Luise, sister of that dis- tinguished amateur Prince Louis Ferdinand of Prussia. [See vol. ii. p. 1686.] Radziwil was known in Berlin not only as an ardent admirer of good music, but as a fine violoncello player, and 'a singer of such taste and ability as is very rarely met with amongst amateurs.' 1 Bee- thoven was the great object of his admiration. He played his quartets with devotion, made a long journey to Prince Galitzin's on purpose to hear the Mass in D, was invited by Beethoven to subscribe to the publication of that work, and indeed was one of the seven who sent in their names in answer to that appeal. To him Bee- thoven dedicated the Overture in C, op. 115 (known as ' Namensfeier '), which was published as ' Grosses Ouverture in C durgedichtet ' etc., by Stein er of Vienna in 1825.
Further relations between the Prince and the composer there must have been, but at present we know nothing of them. No letters from Bee- thoven to him are included in those hitherto pub- lished, nor has Mr. Thayer yet thrown any light on the matter in his biography of the composer.
Radziwil was not only a player, a singer, and a passionate lover of music, he was also a composer of no mean order. Whistling's ' Hand- buch' (1828) names 3 Romances for voice and PF. (Peters), and songs with guitar and cello (B. & H.), and Mendel mentions duets with PF. accompaniment, a Complaint of Maria Stuart> with PF. and cello, and many part-songs com- posed for Zelter's Liedertafel, of which he was an 2 enthusiastic supporter, and which are still in MS. But these were only preparations for his great work, entitled ' Compositions to Goethe's dramatic poem of Faust.' This, which was published in score and arrangement by Trautwein of Berlin in Nov. 1835, contains 25 numbers, occupying 589 pages. A portion was sung by the Sing- akademie as early as May I, 1810; the choruses were performed in May 1816, three new scenes as late as Nov. 21, 1830, and the whole work was brought out by that institution after the death of the composer, which took place April 8, 1833. Th e work was repeatedly performed during several years in Berlin, Dantzig, Han- over, Leipzig, Prague, and many other places, as maybe seen from the index to t'heA.M.Zeitung.
1 A.M.Z. 1831, July 27. See also 1809, June 28 ; 1814. Sept. 28.
2 Zelter's Correspondence with Goethe teems with notices of the Prince.