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nore No. 2, in C, 1805 ; 2. Leonore No. 3,
in C, 1806 ; 3. Leonore No. 1, in C (op.
138), 1807 ; 4. Fidelio, in E, 1816. The

action of the opera takes place in a prison
near Seville, Spain, of which Don Pizarro
is governor, and Rocco chief jailer. Flo-
restan is a state prisoner, whose wife, Leo-
nore, bas introduced herself into the prison
in male attire, under the name of Fidelio,
in hope of effecting his deliverance. Ja-
quino, the turnkey, is in love withMarzelline,
daughter of Rocco, and she is in love with
Fidelio. Don Pizarro, hearing that Don
Fernando is coming to inspect the prison,
determines to kill Florestan, but is pre-
vented by Leonore. In the last scene Don
Fernando frees Florestan, who is reunited


to Leonore, Don Pizarro is led away to pun-
ishment, and Marzelline consents to make
Jaquiuo happy. Among the most notewor-
thy of the numbers are : In the first act,
Marzelline's aria, "O war' ich schon mit dir
vereint," called the Hope aria ; the quartet,
" Mir ist so wunderbar ; " Rocco's song,
" Hat man uicht auch Gold, beineben,"
called the Gold song ; Don Pizarro's aria,
" Ha ! welch ein Augenblick ! " Fidelio's
aria, " Abscheulicher !," full of dramatic in-
tensity expressive of her horror of Don Fer-
nando's proposed crime, and leading into
an adagio, "Kornin, Hoffnung," in which she
describes the power of love. In the second
act Florestan in his dungeon sings an aria,


" In des Lebens Friihliugstageu," which
closes rapturously with, " Und spiir' Ich
incht liude," as he sees Leonore iu a vision.
After a furious scene between Don Pizarro
and Leonore, interrupted by the arrival of
Don Fernando, Florestan and Leoiiore join
in the rapturous duet, " O Narnenlose
Freude." The original cast in 1805 was as
follows :

Don Fernando Herr Weinkopf.

Don Pizarro Herr Meier.

Florestau Herr Demmer.

Leouore (Fidelio) Friiulem Milder.

Eocco Herr Rothe.

Marzelline Friiuleiu Miiller.

Jaquino Herr Cache.

In 1822 Wilhelmina Schroder, afterwards
Schrdder-Devrient (1805-1860), sang at Vi-
enna the part of Leouore, and achieved such
extraordinary success as to become al-
most identified with the character. Fidelio
was produced in Paris, at the Salle Favart,
1829 and 1830 ; at the Italiens, 1852 ; and
in three acts, French translation by Jules
Barbier and Michel Carre, at the Theatre
Lyrique, May 5, 18GO. It was performed in
London at the King's Theatre, May 18,
1832, and in English at Covent Garden,
June 12, 1835. Its first production in
America was at the National Theatre, New
York, Sept. 9, 1839, when it was given in
English. The German version was sung at
the Metropolitan Opera House, New York,
in the season of 1885-86. Mars, L. van
B., 200 ; Nohl, B.'s Leben, ii. 205 ; Thayer,
Life of B. ; do., Verzeichniss, 61 ; Hanslick,
Moderue Oper, 61 ; Liszt, Gesamml. Schr.,
iii. 10 ; Berlioz, A travers Chants, 68 ; Schu-
mann, Music and Musicians, i. 25.

Zittau, Dec. 31, 1859, still living, 1889.
Pianist and instrumental and vocal com-
poser, pupil of his father on the pianoforte
and of G. Albrecht in theory and on the
organ, then at the Conservatorium in Leip-
sic (1877-80). Since 1882 professor at
the Conservatorium iu Hamburg. He ap-

peared with success as a concert player, and
has composed a symphony, performed in
Hamburg, 1886, a quintet and a quartet for
strings, songs, and pianoforte pieces. Rie-

FIELD, JOHN (called in England "Rus-
sian Field "), born
in Dublin, Ireland,
July 26, 1782, died
in Moscow, Russia,
Jan. 11, 1837. His
father was a violin-
ist in a theatre or-
chestra in Dublin ;
his grandfather an
organist, who taught
him the rudiments
of music and the pi-
anoforte. His father apprenticed him in
London to Clementi, with whom he studied
the pianoforte until 1804, acting also as
salesman and exhibitor of pianofortes in
the warerooms of dementi & Co. In 1802
Clementi took him to Paris, where he won
great distinction by his playing of Bach and
Handel, and thence to St. Petersburg, where
he continued to serve in his master's ware-
rooms until 1804, when Clementi left Rus-
sia. He then settled in St. Petersburg as a
teacher, receiving extraordinary prices for
his lessons. In 1823 he removed to Mos-
cow, where he won even greater success as
a pianist. After a professional trip through
Russia he returned to London in 1832, and
in 1833 to Paris, passing through Belgium
and Switzerland to Italy, where he lost
money at his concerts iu Milan, Venice, and
Naples. Intemperate habits had worn out
his originally feeble constitution, and he was
nine months in a wretched state in a Neapo-
litan hospital. A Russian family by the
name of Raemanow saved him from this
plight, on condition that he should return
to Russia. Passing through Vienna he elic-
ited the most enthusiastic praise by his
playing, but died almost immediately after
reaching Moscow. As a composer, Field
is to be credited with originating that form



of pianoforte piece known as the nocturne ;
his nocturnes were the models for Chopin
and all later composers, and, among all his
works, they alone have survived. His con-
certos, sonatas, pianoforte quintet, and
other works, much admired in his day,
have all died. His style was marked by
infinite grace, charm, and an intimate
knowledge of the most characteristic re-
sources of the pianoforte. Both as a pian-
ist and composer he was the connecting link
between dementi and Chopin. Works : 7
concertos for pianoforte and orchestra, in
E-flat (Nos. 1, 3, and 4), A-flat, C (L* incen-
die par 1'orage), C, and C minor ; 2 diver-
tissements for do., with accompaniment for
2 violins, flute, viola, and bass ; Quintet for
pianoforte and strings ; Koudo for do. ;
Variations on a Russian air for four hands ;
Grand valse for do.; 3 sonatas, in A, E-flat,
and C minor ; 3 do. in A, B, and C ; Sonata
in B ; 20 nocturnes (only 12 of these were
designated as such by the composer) ; 2 airs
en rondeau ; Ron-
deau ccossiiis;
Fantasias on dif-
ferent airs ; Polo-
naises, romances,
rondos, and miscellaneous pieces for piano-
forte ; Two songs, with pianoforte. Grove ;
FiHis, iii. 244 ; do., Supplement, i. 331 ;
Mendel ; Spohr, Selbtsbiographie, i. 43 ;
Weitzmauu, Geschichte des Clavierspiels,
92. ; Liszt, Gesamml. Schr., iv. 261.

at Anderlecht, near Brussels, Dec. 15, 1809,
died there, Feb. 15, 1863. Pianist, pupil of
Landwyck, an organist at Brussels, then went
to Paris, where for two years he profited
much by the advice of Henri Herz. After
his return to Belgium he gave concerts
with Bender, Hauman, and Di'sargus, and
in 1834 studied composition under Fetis ;
then perfected himself on the pianoforte in
Paris under Kalkbreuner. Settled in Brus-
sels, where he devoted himself to teaching,
he made a concert tour through Holland
and on the Rhine in 1837, and visited Lon-

don to hear and be advised by Thalberg,
then at the zenith of his fame. Works :
Two concertos for pianoforte and orchestra ;
Fautaisie romantique ; Morceau de concert ;
Theme varie ; Fautaisies, melanges, caprices,
etc., on operatic themes. Fetis.


FIERRABRAS, romantic opera in three
acts, text by Josef Kupelwieser, music by
Franz Schubert, written in 1823, but never
performed, though Riernann says it was
produced in Vienna in 1861. The work,
in MS. (1,000 pages of written score), in
twenty-three numbers, including the over-
ture, is preserved in the library of the
Gesellschaft der Musikfreunde, Vienna.
Fragments of it have been played in Vienna
(1858, 1862), and the overture, which is
owned by Herr Spina, Vienna (it has been
published, arranged for pianoforte, by Di-
abelli), is frequently played at concerts. It
is decidedly the greatest of Schubert's over-
tures. The subject is from the romances of
chivalry and deals with the wars between
Charlemagne and the Moors. The scene is
laid in Spain. Fierrabras, sou of the Moor-
ish prince, is in love with Emma, daughter
of King Charles (Charlemagne), who is also
beloved by Egiuhardt, a Christian knight ;
and Florinda, sister of Fierrabras, is loved
by Roland, another Christian knight. Af-
ter many vicissitudes, Eginhardt wins
Emma, and Roland Floriuda ; and Fierra-
bras, renouncing his religion, becomes a
follower of King Charles amid a chorus of
joy and exultation. Hellborn (Coleridge),
Life of Schubert, i. 293 ; Grove, iii. 338.

1519, died in 1586.

born in Ferrara in
Lutist, musician of

the chapel of Ercole H., and Alfonso H., of
Este. His madrigals were published in
Venice (1554-1569). Fetis ; Mendel.

c/iard Cceur de Lion.

FIGARO. See Nozze di Figaro.

vina, Naples, in 1771, died at Naples in



1836. Church composer, pupil of Insau-
guine and Feuaroli at the Conservatorio
Santa Maria cli Loreto, Naples ; then lived
for a time iu Milan, aud after his return
was maestro di cappella of several convents,
for which he wrote numerous compositions.
Works : La finta istoria, cantata ; Lo
sdegno e la pace, do. ; 2 masses for double
chorus with orchestra ; Several masses alia
Palestriua ; Miserere for 4 voices with or-
chestra ; Credo for 8 voices in madrigal
style ; La sorpresa, opera buft'a, given in
Milan. Fetis, Supplement, i. 331 ; Mendel,
Ergiinz., 104.

gal Son), melodrama in four acts, test by
A. Zanardini, music by Amilcare Ponchielli,
represented at La Scala, Milan, Dec. 26,
1880. This work, sung by Tamaguo,
de Reszke, Salvati, and Mines Angeri and
Prasini, had a great success.

Hammersmith, England, 1836, still living,
1889. Organist, and composer of church,
dramatic, and instrumental music, studied
in France, and was organist successively in
London, at Wahvorth, Bayswater, West-
bourne Park, Margate, and Stepney.
Works : Your money or your life, operetta,
op. 99 ; Alabama Claims, do., op. 100 ; Mass
in E-flat, op. 24 ; do., in E, op. 28 ; The
twenty-third psalm, op. 36 ; The thirteenth
psalm, op. 71 ; Ouverture fautastique for or-
chestra, op. 101 ; Motets ; Anthems ; So-
nata for pianoforte, op. G6 ; Fantasias and
other pieces for do. ; Organ music, songs,
duets, etc.

FELIPPINI, STEFANO (surnamed 1' Ar-
gentino), Augnstiue monk, maestro di cap-
pella of St. John the Evangelist at Ravenna,
in the second part of the 17th century.
His motets, psalms, masses, etc., were pub-
lished in Ancona and Bologna (1522-1685).
Fetis ; Mendel, iii. 517 ; Mendel, Erganz.,
xii. 105.

logna about 1635, died (?). Organist of the
church of the Madonna di Galiera, and in

1665 maestro di cappella of the church of
the regular canons of S. Giovanni in Monte.
On the foundation of the Accademia Filar-
monica, Bologna, 1666, he was made a mem-
ber, and he was principe in 1669 and 1675.
He composed masses, psalms, etc., Bologna
(1666-1671). Fetis ; Mendel.

(Madame Angot's Daughter), opera-bouffe,
text by Clairville, Siraudiu, and Kouing,
music by Charles Lecocq, represented at
the Fautaisies Parisiennes, Brussels, No-
vember, 1872. Madame Angot's daughter,
Clairette, a pretty flower-girl, whom her
friends wish to marry the hair-dresser Pom-
ponnet, prefers to give her love to Auge
Pitou, a singer. The latter, inconstant, sac-
rifices his love to the beautiful eyes of Mile
Lange, the famous comedienne. Clairette,
after all sorts of trouble, at last consoles
herself for his infidelity and gives her hand
to Pomponnet. The work had a great suc-
cess in Paris, where it was presented, Feb.
23, 1873, at the Folies Dramatiques.

MAGE. See Africaine.

figlia del reggirnento, The Daughter of the
Regiment), opera-comique in two acts, text
by Bayard and Saint-Georges, music by
Donizetti, represented at the Opera Co-
mique, Paris, Feb. 11, 1840. Scene, in the
Tyrol, during its occupation by the French
in Napoleon's time. Marie, picked up
when an infant on the battle-field by Ser-
geant Sulpice, has grown up to be a vivan-
diere and the adopted daughter of the 21st
Regiment. Tony, a Tyrolese peasant, who
once saved her from falling over a precipice,
loves her, and joins the regiment to obtain
her hand. But the mystery of her birth is
cleared up by the appearance of her mother,
a marquise, who claims Marie as her niece,
and rejects Tony. In the second act the
daughter of the regiment appears in her
mother's chateau, surrounded by everything
belonging to her rank, but regretting Tony
and longing for the freedom of her old



life. She is suddenly cheered up by the
return of the regiment, and Tony, become
an officer, demands her hand. The mar-
quise reveals to Marie that she is her mother
and bids her give up her lover, but at
last, overcome by her daughter's grief, con-
sents to the union. The opera was given
in Italian in London, at Her Majesty's The-
atre, May 27, 1847, with Jenny Lind in the
title-role ; and in English, at the Surrey
Theatre, Dec. 21, 18-47. The French ver-
sion was produced in New York, at Niblo's
Garden, July 19, 1843, by a company from
New Orleans, with Mile Calve as Marie and
Bles as Sulpice. Among the best of the
numbers are : the tyrolienne, " Suppliant,
a genoux ; " the duet between Marie and
Sulpice, commonly called "Le Rataplan;"
the spirited, " Salut a la France ; " and the
song of the regiment, " Chacun le sait,
chacun le (lit." Edwards, Lyrical Drama,
ii. 37 ; Larousse, viii. 376.

Son), LE, opcra-comique in three acts, text
l>y Kugt'iie Labiche and Delacour, music by
Victor Massi', represented at the Opera
('. unique, Paris, Feb. 25, 1867. Sung by
Crosti, Montaubry, Sainte-Foy, Prilleux,
and Miles Girard, R<'>ze, and Rc'villy.

FILTZ, ANTON, died at an early age at
Mannheim in 1768. Violoncellist in the
service of the Elector-Palatine at Mann-
heim about 17G3, and enjoyed great reputa-
tion as a composer. Works : 6 symphonies
for 8 instruments ; 6 trios for pianoforte,
violin and bass ; 6 trios for violins ; 6 quar-
tets for 2 violins, viola, and bass. Concertos
for violoncello, flute, oboe, and clarinet,
and duos and solos for violoncello, in MS.
Fetis ; Mendel.

FINAZZI, FILIPPO, born in Bergamo
in 1710, died at Jersbeck, near Hamburg,
April 21, 1776. Singer and composer, sang
in Italian opera at Breslau in 1728 ; was
subsequently in the service of the Duke of
Modena, returned to Germany in 1737, and
settled at Jersbeck in 1748. He published
six four-part symphonies (1754), and left

the opera Temistocle, the intermezzo La
pace campestre, a cantata, and other music
in MS. Fetis ; Mendel.


FIXCK, HEINRICH, German composer
of the beginning of the 16th century, date
of birth and death unknown. He finished
his studies in Cracow, Poland, where he
was in the service of Kings John Albert in
1492, of Alexander in 1501, and of Sigis-
mund I. in 1506. He retired later to Wit-
tenberg. He is sometimes confounded with
his grand-nephew, Hermann Finck. Works :
Schone auserlesene Lieder (Nuremberg,
1536) ; music to 22 Latin hymns in Rhau's
Sacrorum liymnorum, lib. i. (Wittenberg,
1542) ; and compositions in other 16th cen-
tury collections. Allgem. d. Biogr., vii. 12 ;
Ft'tis ; do., Supplement, i. 333 ; Mendel ;
Sowinski, 191 ; Schilling ; Winterfeld, Der
evang. Kirchengesang, i. 186.

FINCK, HERMANN, born in Pirna, Sax-
ony, March 21, 1527, died in W T ittenberg,
Dec. 28, 1558. A grand-nephew of Hein-
rich Fiuck, and a warm supporter of the
Reformed religion. He studied in Witten-
berg, where he became an organist, and
< mposed chorals, one of which, " O let thy
grace remain," is still sung in German
Protestant churches. He was the author
of a theoretical work, " Practica musica "
(1556). Riemaun ; Naumann (Ouseley), i.

FIN DU MONDE, LA. See Hercu-


FTNETTI, GIACOMO, Italian composer
of the beginning of the 17th century, born
at Ancoua. A Franciscan monk, he was
maestro di cappella of his native town in
1611, and subsequently of San Marco, Ven-
ice. He composed psalms, etc., with Petrus
Lappius, and Jul. Bellus (Frankfort, 1621 ;
Venice, 1611-1622). Fetis; Mendel.

FINGALS HOHLE. See Die Hebriden.

FINGER, GOTTFRIED, born at Olmiitz,
Moravia, about 1660, died after 1717. He
went to England in 1685 and became musi-


cian to James II. On obtaining the fourth
prize for his music to Cougreve's masque,
The Judgment of Paris, in 1701, he was so
displeased that he returned to Germany.
He became chamber musician to Queen
Sophie Charlotte in Berlin in 1702, and
Kapellmeister at Gotha in 1717. "Works :
Senate xii. pro diversis instrumentis
(1688) ; Six sonatas or solos, three for a
violin and three for a flute (1690) ; Ayres,
Chacones, Divisions, and Sonatas, for Vio-
lins and Flutes, with John Banister (1691) ;
A set of sonatas in five parts for flutes
and hautboys (with Godfrey Keller) ; So-
natas for violins and flutes ; Music for Theo-
philus Parson's Ode for St. Cecilia's Day ;
Music for Motteux's masque, The Loves of
Mars and Venus (with John Eccles), Lon-
don, 1696 ; Music for Ravenscroft's comedy,
The Anatomist, ib., 1697; Music for Elkanah
Settle's opera, the Virgin Prophetess, ib.,
1701 ; Music for Congreve's masque, The
Judgment of Paris, ib., 1701 ; Sieg der
Schonheit iiber die Helden, opera, Berlin,
1706 ; Eoxane, opera, ib., 1706 (with Strieker
and Volumier). Fetis ; Grove ; Mendel ;
Allgem. d. Biogr., vii. 16.

FINI, MICHELE, born in Naples in
the first years of the 18th century. Dra-
matic composer. Works Operas : Pericca
et Varroue, Venice, 1731 ; Gli sponsali d'
Enea, ib., 1831 ; I dei birbi, ib., 1732.
Fetis ; Mendel.

FINK, CHRISTIAN, born at Dettingen,
Wiirtemberg, Aug. 9, 1831, still living, 1889.
Organist, pupil at the Conservatorium in
Leipsic (1853-55), and of Johann Schneider
in Dresden, then lived in Leipsic until
1860, when he was called to Esslingen as
principal instructor of music at the seminary,
and as music director and organist at the
Metropolitan Church. In 1862 the title of
professor was conferred on him. He has
published a considerable number of sonatas,
fugues, preludes, trios, etc., for the organ ;
Psalms, motets, and other church music ;
also pianoforte pieces, and songs. Rie-

at Suiza, Thuringia, March 7, 1783, died at
Halle, Aug. 27, 1846. Instrumental and
vocal composer and writer on music, pupil
of the cantor Gressler on the pianoforte and
organ. First wrote for the Allgemeine mu-
sikalische Zeitung in 1808, and was editor of
the paper in 1827-41. Became professor of
music at Leipsic University in 1842, and re-
ceived the doctor's degree. Works : Pieces
for pianoforte and violin ; Songs and bal-
lads ; Terzettos for soprano, contralto, and
bass ; Many part-songs for male voices ;
Hiiusliche Andachten, 3 books (Leipsic,
1810) ; He also published Musikalischer
Hausschatz der Deutschen, a collection of
1,000 songs (Leipsic, 1843) ; Deutsche Lie-
dertafel, a collection of four-part songs
for male voices. Allgem. d. Biogr., vii.
17 ; Fetis ; Mendel ; Riemann, 263 ; Schil-

opera buffa in three acts, text by Calzabigi
adapted by Coltellini, music by Mozart,
first represented at Munich, Jan. 13, 1775.
Holmes, Life of M., 89.

FINTA SEMPLICE, LA, Italian opera
buffa in three acts, text by Coltellini, mu-
sic by Mozart, written at Vienna in 1768,
but never represented.

FIOCCHI, VINCENZO, born in Rome in
1767, died in Paris in 1845. Dramatic
composer, pupil at the Conservatorio della
Pieta de' Turchini, Naples, under Fenaroli.
Choron says he was organist of St. Peter's,
Rome, but left there at the time of politi-
cal troubles, and went to Paris in 1802 ;
he had then written about 16 operas, which
are now forgotten. He published, with
Choron, Principes d'accompagnement des
ecoles d'ltalie (1807). In Paris he brought
out the operas : Le valet de deux rnaitres,
Theatre Feydeau, 1802 ; Sophocle, Acade-
niie Imperiale de Musique, 1811. He after-
wards wrote several comic operas, which
were not performed. Other works : L'
Addio d' Ettore, cantata, 1797 ; Piramo e
I Tisbe, do. ; Francesca d' Aiimiuo, do. ; Aci,



iMiitatille. Fetis ; do., Supplement, i. 333 ;
Mendel ; do., Ergiinz., 10(1.

FIOCCO, JEAN JOSEPH, born at Brus-
sels, died there about 1772. Composer of
oratorios, son and probably pupil of Pietro
Antonio Fiocco, whom he succeeded as
maitre de chapelle to the royal chapel, and at
Notre Dame du Sablon, Brussels ; held these
offices still in 1749. His oratorios were cele-
brated, and were a new feature in the his-
tory of Netherland music. Works Ora-
torios : La ternpesta de' dolori, performed
1728 ; II Pentiinento d' Accabo ; La morte
viuta sul Calvario, 1730 ; Giesti flagellato,
1734 ; II transito di S. Giuseppe, 1737 ;
Le profezie evangeliche di Isaia, 1~:!S. His
church compositions are numerous. Biog.
nat. de Holgique, vii. 72 ; Van der Straeten,
ii. 132-137 ; v. 149-153 ; Mendel, Ergiinz.,

Brussels about 1G90, died after 1752.
Harpsichord player, son and pupil of Tietro
Autoiiio Fiocco. He was vice-maitre of the
royal chapel in 1729, and became maitre de
chapelle of the cathedral, Antwerp, in 1731,
but resigned in 1737, to assume the MIHH-
function at Sainte-Gudule, Brussels. Both
.lo^eph Fiocco and his celebrated father
mark a special epoch in the musical his-
tory of the Netherlands. Joseph Hector's
book of harpsichord pieces entitled Pieces
de clavecin dedices a son Altesse M< Mi-
seigneur le due d'Areuberg, etc. (Brussels,
between 1730-1737), is the oldest collection
of the kind in existence. Van der Straeten
gives an interesting account of this work
and of the progress of music at the court of
Brussels, then one of the most brilliant
courts of Europe. Among this composer's
church music is a Mass to St. Cecilia
(1752), and many other masses (Amsterdam,
Antwerp, 1730). His music was long in use
in the Cathedral of Antwerp, and was plaj'eJ
at the Concerts Spirituals in Paris ; some of
his MSS. are in the National Library, Paris.
Biog. nat. de Belgique, vii. 73 ; Futis ;
Van der Straeten, ii. 95 ; iv. 293.

Venice about the middle of the 17th century,
died at Brussels, Nov. 3, 1714. Church
composer, settled at Brussels about 1690,
and was maitre de chapelle at Notre Dame du
Sablon ; then from 1696 vice-maitre, and in
1706-14 maitre de la musique, to the court
of Brussels. Composed motets, masses, etc.,
for the royal chapel, and under his direc-
tion several very effective performances were
given at the court, which consisted of relig-
ious dramas. His prologues set to music for
Lulli's operas, performed at the court, are
also specially mentioned in the chronicles
of the time ; none of these pieces have sur-
vived. The most important were the pro-
logues to Amadis (1695), Acis et Galatee
(1695), Bellerophou (1696), Thesee (1697).
He was made director of the Royal Acad-
emy of Music, Brussels, founded by the
Electoral Duke of Bavaria, in 1704. His
church music was played at Sainte-Gudule
nut il the last part of the 18th century. Pub-
lished flute sonatas. Biog. nat. de Belgi-
que, vii. 71 ; Van der Straeten, ii. 127-132,
176 ; iv. 293 ; v. 148 ; Futis ; Becker, Die
Tonwerke des xvi. und xvii. Jahrh.

FIODO, VINCENZO, born at Taranto,
Naples, Sept. 2, 1782, died at Naples in
1S63. Dramatic, and church composer,
pupil of Sala and Paisiello at the Conserva-
torio de' Turchini, Naples. In 1812 he
settled at Pisa to teach vocal music, but
afterwards is said to have given up his pro-
fession for a mercantile career until 1820,
about which time he returned to Naples,
and to music, becoming maestro di cappella
in different convents and churches. In
1846 he was appointed inspector of the ex-
ternal schools of the Conservatorio, and in
1858 professor at that institution. Works
Operas : II disertore, Rome, 1808 ; H
trionfo di Quinto Fabio, Parma, 1809 ; Ci-
ro, Florence, 1810 ; Giuseppe riconosciuto,
oratorio ; Requiem mass for 2 choruses and
2 orchestras ; 2 do. for 3 choruses and 3 or-
chestras ; Many other religious composi-
tions. Futis ; do., Supplement, i. 333.

Online LibraryJohn Denison ChamplinCyclopedia of music and musicians (Volume 2) → online text (page 11 of 93)