Until the peace of Campo Formio in 1797 he lived at Vienna; after that date he became censor and director of the stage in Venice, but a malady of the eyes drove him back to Vienna, where the Emperor pensioned him till his death. He published a number of translations of French and German operas, and also wrote an oratorio on 'La passione di Gesù Christo,' which was set to music by Weigl, and performed in 1808, in the palace of Prince Lobkowitz, and in 1821 by the Gesellschaft der Musik-Freunde. He also translated the 'Creation' into Italian, and wrote a sonnet on the celebrated performance of that work, at which Haydn was present the year before bis death. Carpani had the greatest esteem and affection for Haydn, which led to his publishing his well-known 'Haydine,' etc. (Milan, 1812, and a second enlarged edition at Padua, 1823). 'La Haydine' is a kind of æsthetical work, and a eulogy on Haydn's compositions, written with enthusiasm. It quickly found a translator in Beyle, the French writer, who published it as his own composition under the name of Bombet—'Lettres écrites de Vienne, etc., by Louis Alexandre César Bombet' (Paris, 1814). Carpani attacked this piracy in two spirited letters—'Lettere due, dell' Autore delle Haydine' (Vienna, 1815). Beyle was, nevertheless, audacious enough again to publish his work, this time under the alias of Stendahl, 'Vies de Haydn, Mozart, et Métastase,' etc. (Paris, 1817). In spite of Carpani's protestations, the first of the two appeared in English as 'Lives of Haydn and Mozart' (Murray, 1817; and Boston, U.S., 1839). Extracts of Carpani's original work, translated by D. Mondo, appeared at Niort in 1836, and in a complete form at Paris 1837, under the title 'Haydn, sa vie, ses ouvrages, et ses aventures, etc., par Joseph Carpani; traduction de Mondo.' Some clever but partial sketches of Rossini were published by Carpani in one volume as 'Le Rossiniane,' (Padua, 1824). This also was pirated anonymously by Beyle (Paris), and published by Mondo. In 1809 Carpani accompanied the Archduke John on his expedition to Italy. After the return of peace, he devoted himself to starting the 'Biblioteca Italiana.' He died in the smaller Liechtenstein Palace at Vienna, a bachelor of 73, on Jan. 22, 1825, from simple decay of nature.
[ C. F. P. ]
CARPENTRAS, or IL CARPENTRASSO, the sobriquet of Eliazar Genet, born at Carpentras, Vaucluse, before 1500. Being in priest's orders he became a member of the Pope's Chapel, and wrote some Magnificats and Lamentations, the latter of which induced Leo X to make him Bishop in partibus in 1518. About the same time he became the Pope's Chapel-master. He was much employed in negotiations by both Leo and Clement VII, and died after the year 1532—the date of two out of four volumes of music which he published. Vol. 1 contains 5 masses, written on the most secular tunes—'A l'ombre d'un buissonet,' 'Encore irai-je jouer,' etc.; vol. 2, the Lamentations of Jeremiah; vol. 3 is Liber Hymnorum; vol. 4, Liber Magnificat. Carpentras' music enjoyed a great fame at the time, and was much published (see the list in Fétis). His Lamentations were so favourite as to keep those of Palestrina out of the Pope's Chapel for many years. M. Fétis had examined them, however, and finds them inferior not only to Palestrina but to Joequin des Près.
CARRODUS, John Tiplady, born at Keighley, Yorkshire, Jan. 20, 1836. His father was a zealous amateur, a violin player, and leader of the local Choral Society. The boy was destined to music from the first, and at 12 years of age was put into the able hands of Molique, whom he accompanied to Stuttgart, and with whom he remained till nearly 18. On his return to London he entered the orchestra of Covent Garden, and made his first appearance as a solo-player at a concert of the Musical Society of London, on April 22, 1863, since which time he has been frequently heard at the Philharmonic, the Crystal Palace, and other leading concerts, both metropolitan and provincial. He has published two Violin Solos and a Morceau de Salon.
[ G. ]
CARTER, Thomas, born in Dublin about 1735, at an early age displayed a capacity for music, and was sent, under the auspices of the Earl of Inchiquin, to Italy for study. [App. p.581 adds that "he was organist of St. Werbergh's in Dublin from 1751 to 1769."] He afterwards went to India and undertook the direction of the music at the Calcutta Theatre, but the climate proving injurious to his health, he returned to England and appeared as a dramatic composer [App. p.581 omits this sentence "since it probably refers to another Thomas Carter, who died Nov. 8, 1800, aged 32, of liver complaint (Gent. Mag.) A third of the same name was a musician in Dublin and was living at the beginning of the present century. (Dict, of Nat. Biog.) The composer of the operas, etc., died Oct. 16 (not 12), 1804, aged (according to the Sun newspaper) 60. W. Hawes, who remembered him well, told the late T. Oliphant that this Carter had never been to India."]. He furnished Drury Lane Theatre with music for 'The Rival Candidates' (1775), 'The Milesians' (1777), and the 'Fair American' (1782). In 1787 he became musical director of the Royalty Theatre, Goodman's Fields, then opened under the management of John Palmer, and produced there 'The Birth-day' and 'The Constant Maid,' besides songs and catches. In 1792 he composed the comic opera 'Just in Time,' for Covent Garden Theatre. He published many concertos and lessons for the pianoforte, but he is now best known as the composer of Bishop Percy's ballad, 'Nanny, wilt thou gang wi me?' and the naval song 'Stand to your guns.' Carter's life was passed in a constant succession of embarrassments, consequent upon his incorrigible carelessness and improvidence. He died Oct. 12, 1804.
[ W. H. H. ]
CARTIER, Jean Baptiste, a French violinist, born at Avignon in 1765; the son of a dancing-master. His first teacher on the violin was an Abbé Walrauf. In 1783 he went to Paris and continued his studies under Viotti. His progress must have been rapid, as he very soon, on Viotti's recommendation, obtained the post of accompanyist to Marie Antoinette, which he held up to the outbreak of the Revolution. In 1791 he entered the band of the opera as assistant-leader and solo-player. From 1804 he was member of the Emperor Napoleon's private band under Paisiello and, after the Restoration, of the Royal band till 1830. He died at Paris in 1841. Cartier was a good violinist, and it was his great merit