Page:A Dictionary of Music and Musicians vol 4.djvu/174

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158

��TRAETTA.

��the appointment for nearly three years, and re- signed it on the invitation of Catherine II. of Russia, to succeed Galuppi as ' Maestro di Corte.' The severe climate of Russia however did not agree with the Italian maestro ; in 1775 he gave up his position, and in 1776 accepted an engage- ment in London, where however he was not very successful, owing chiefly to the firm hold which Sacchini had taken of the English public. He accordingly returned to Naples, but the climate of Russia and the anxieties of London Lad impaired both his health and his genius, and the few operas he wrote before his death show that the spring pf his imagination was dried up. He died in Venice on April 6, 1779, and was buried in the church of Santa Maria Assunta, where the following epitaph is engraved on his tomb :

THOMAE TRAJETTA

BITUNTI NATO SUBLIMIORIS MUSICES PERITISSIMO

HUJUS CHORI

AD AMPLITUDINEM ARTIS SUAE INSTAURATORI MODERATORI

OPTIME MERITO

ANNO SALUTIS MDCCLXXIX

AETATIS SUAE LII

VITA FUNCTO MONUMENTUM POSITUM.

Though Traetta was gifted with great intel- ligence, and his music is full of vigour and not wanting in a certain dramatic power, yet his works are now entirely forgotten. 1 Burney, Gal- vani, Grossi, Florimo, and Cle'ment all praise him, and Florimo even finds in him a tendency towards the same dramatic expression and dignity in the musical treatment of the libretto that a few years afterwards made the name of Gluck immortal. However this may be, nobody can deny that Traetta had, as a man, a very peculiar character, an extraordinary estimation of his own talent, and an unusual readiness in making it clear to everybody : ' Traetta,' says Florimo, ' at the first performance of his operas, when presiding at the clavicembalo, as was customary at that time, convinced of the worth of his works, and per- suaded of the special importance of some pieces, was jn the habit of turning towards the audi- ence and saying: Ladies and gentlemen, look sharp, and pay attention to this piece.'

Subjoined is a catalogue of his works.

Armlda. Do. 1760.

Sofonisba. Parma. 1760.

Enea nel Lazio. Torina. 1760.

I Tlndaridi. Parma, 17CO.

Enea e Lavlnia. Do. 1761.

Antigono. Padova. 1764.

La francese a Malghera. Ven- ezla, 1764.

La buona figlluola maritata. Parma, 1765.

Semiramlde. Venezia, 1765.

Le Serve rivall. Do. 1766.

Amor in trappola. Do. 1768.

IfigeniainTauride. Milano.1768.

L'lsula disabitata. Bologna. 1768.

��OPERAS.

Farnace. Napoli. 1751. I pastor! felici. Do. 1753. Kzio. Rome, 1754. Le nozze conti astate. Do. 1751. L'Incredulo. Napoli, 1755. La fatite furba. Do. 1756. Buovo d' Antona. Firenze, 1756. Nlttetl. Rggio, 1757. DIdone abbaudonata. Venezla 1757.

OHmpiade. Verona, 1758. Solimano. 1'arma, 1759. Ippolito ad Arlcia. Do. 1759. Iflgenla in Aulide. Vienna, 1759.

��His name does not occur once in the programme* of the Phil- harmonic Society, and only once iu all the three Indexes of tb Allg. Uusikaljsche Zeitung.

��TRAINING SCHOOL, NATIONAL.

Germondo. London. 1776. !a ' divertimento for four orches- Mercpe. Mllano. 1776. jtras' with the title ' Le quattro

La disfatta di Dario. Venezia, stagioni el dodici mesl dell' anno* 1778. (the four seasons, and tlie twelve

II c wallers errante. Do. 1778. Artenice. Do. 1778. GH Eroi del Campi Ellsl. Do.

��months of the A Stabat Mater of his for four

��voices and accompaniment of

1779. Written on the composer's several Instruments is known, deathbed, and finished by Gen- land the Archives of the ' Real naro Astaritta. (Collegio dl Napoli.' contain the

Le feste d* Imeneo. a prologue fol lowing c impositions: and trllogy.viz. II trlonfo d'Amore, I Lezione terza for soprano. Triole.Saffo. and Egle, for the wed- 1 39 Arie (some with accompani- ding of the Archduke Joseph of ment of violin and basso, and Austria with the Infanta Dona some with accompaniment of Isabella di Borbone, at Parma, several instruments).

��Sept. 1761. II Tribute Campestre, 'com-

��7 Duetti.

Aria ' Terrore m'lnsplrava,' with pianoforte accompaniment.

��panimento pastorale,' on the occa- sion of Maria Carolina of Austria, | Aria ' Ah ! consola 11 tuo dolore.' wife to Ferdinand IV. King of arranged for two violins, viola. Sicily, passing through Mantua in and basso. ' 1768. A Canon 'Sogno, ma te non

In the same year he wrote an mlro ' for two sopranos and Oratorio Salomone. for the ' Con- basso.

servatorio dell' Ospedaletto' inj A Solfeggio, with pianoforte Venice ; and about 1770 he wrote accompaniment. I G M 1

TRAINING SCHOOL FOR MUSIC, THE NATIONAL, was founded by the Society of Arts. The subject had been in the air since the year 1866, a Musical Committee had been appointed, and in 1873 a meeting was held at Clarence House, the Duke of Edinburgh in the chair, at which it was resolved that it is desirable to erect a building at a cost not ex- ceeding 20,000 for the purposes of a Training School for Music at Kensington, in connexion with the Society of Arts. A site on the imme- diate west side of the Albert Hall was granted by the Commissioners of 1851, the construction of the building, on the design of Captain F. Cole, R.E., was undertaken by Mr. (now Sir) Charles J. Freake, at his own cost ; the first stone was laid on Dec. 18, 1873, and the School was opened at Easter 1876, with 82 free scholarships, of which 4 were founded by the Society of Arts, 2 by members of the Society, 5 by Mr. Freake, 10 by the Corporation of London, 14 by City Guilds, 33 by provincial towns, and the remainder by private donors. The scholarships were of the value of 40 a year each, and were founded for five years, by subscription renewable at the end of that term ; they carried free instruction for the same period, and were obtainable ' by com- petitive examination alone.' The Duke of Edin- burgh was chairman of the Council, Mr. (now Sir Arthur) Sullivan was appointed Principal, with a staff of Teachers; in 1881 he was suc- ceeded by Dr. Stainer as Principal, and the School continued to flourish till Easter 1882, when it came to an end owing to the determin- ation arrived at to establish the Royal College of Music on a wider and more permanent basis. The College, on its formation, took over the building, furniture and fittings, organ and music, and a balance at the banker's of 1100. The instruction in the Training School was system- atic and thorough, and in proof of its efficiency during the short period of its existence it is sufficient to name Eugene D'Albert, Frederic Cliffe, Annie Marriott, and Frederic King, as having received their education there.

2 This composition Is only mentioned In a letter bearing the data 213 Dec. 1770, written by Catherine II. of Russia to Voltaire.

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