DOMENICO See also:

• DOMENICO CIMAROSA (1749-1801)

CIMAROSA (1749-1801)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• AVERSA

Aversa, in the See also:

• KINGDOM

kingdom of See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, on the 17th of See also:

• DECEMBER (Lat. decent, ten)

December 1749 . His parents were poor, but anxious to give their son a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• EDUCATION

education; and after removing to Naples they sent him to a See also:

• FREE

free school connected with one of the monasteries of that See also:

• CITY (through Fr. cite, from Lat. civitas)

city . The organist of the monastery, Padre Polcano, was struck with the boy's See also:

• INTELLECT (Lat. intellectus, from intelligere, to understand)

intellect, and voluntarily instructed him in the elements of See also:

• MUSIC

music, as also in the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient and See also:

• MODERN

modern literature of his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . To his See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence See also:

• CIMAROSA, DOMENICO (1749-1801)

Cimarosa owed a free scholarship at the musical See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

institute of See also:

• SANTA

Santa Maria di See also:

• LORETO

Loreto, where he remained for eleven years, studying chiefly the See also:

• GREAT

great masters of the old Italian school . Piccini, See also:

• SACCHINI, ANTONIO MARIA GASPARE (1734-1786)

Sacchini and other musicians of repute are mentioned amongst his teachers . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of twenty-three Cimarosa began his career as a composer with a comic See also:

• OPERA (Italian for " work ")

opera called Le Stravaganze del See also:

• CONTE

Conte, first per-formed at the Teatro del Fiorentini at Naples in 1772 . The See also:

• WORK

work met with approval, and was followed in the same See also:

• YEAR

year by Le Pazzie di Stellidanza e di Zoroastro, a See also:

• FARCE

farce full of See also:

• HUMOUR (Latin humor)

humour and eccentricity . This work also was successful, and the fame of the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young composer began to spread all over See also:

• ITALY
• ITALY (Italia)

Italy . In 1774 he was invited to See also:

• ROME
• ROME (Roma)

Rome to write an opera for the stagione of that year; and he there produced another comic opera called L'Italiana in Londra . The next thirteen years of Cimarosa's See also:

• LIFE

life are not marked by any event See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth mentioning . He wrote a number of operas for the various theatres of Italy, living temporarily in Rome, in Naples, or wherever else his vocation as a conductor of his See also:

• WORKS

works happened to See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call him . From 1784-1787 he lived at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing exclusively for the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre of that city .

The productions of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his life arc very numerous, consisting of operas, both comic and serious, cantatas, and various sacred compositions . The following works may be mentioned amongst many others:—Caio See also:

• MARIO, GIUSEPPE, COUNT OF CANDIA (1810-1883)

Mario; the three biblical operas, Assalone, La Giuditta and Il Sacrificio d' Abramo; also Il Convito di Pietra; and La Ballerina amante, a See also:

• PRETTY

pretty comic opera first performed at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice with enormous success . About the year 1788 Cimarosa went to St See also:

• PETERSBURG

Petersburg by invitation of the empress See also:

• CATHERINE
• CATHERINE, SAINT

Catherine II . At her See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court he remained four years and wrote an enormous number of compositions, mostly of the nature of pieces d'occasion . Of most of these not even the names are on See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record . In 1792 Cimarosa See also:

• LEFT

left St See also:

• PETERS (or PETER), HUGH (1598–166o)
• PETERS, KARL (1856– )

Peters-See also:

• BURG

burg, and went to See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna at the invitation of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold II . Here he produced his masterpiece, Il Matrimonio segreto, which ranks amongst the highest achievements of See also:

• LIGHT

light operatic music . In 1793 Cimarosa returned to Naples, where Il Matrimonio segreto and other works were received with great See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause . Amongst the works belonging to his last stay in Naples may be mentioned the charming opera Le Astuzie feminili . This period of his life is said to have been embittered by the intrigues of envious and hostile persons, amongst whom figured his old See also:

• RIVAL

rival See also:

• PAISIELLO (or PAESIELLO), GIOVANNI (1741-1816)

Paisiello . During the occupation of Naples by the troops of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

Republic, Cimarosa joined the liberal party, and on the return of the Bourbons, was, like many of his See also:

• POLITICAL

political See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, condemned to See also:

• DEATH

death . By the intercession of influential admirers his See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence was commuted into banishment, and he left Naples with the intention of returning to St Petersburg .

But his See also:

• HEALTH

health was broken, and after much suffering he died at Venice on the rrth of See also:

• JANUARY

January 18or, of inflammation of the intestines . The nature of his disease led to the rumour of his having been poisoned by his enemies, which, however, a formal See also:

• INQUEST (O. Fr. enqueste, modern enqueete, from Lat.inquisitum, inquirere, to inquire)

inquest proved to be unfounded . He worked till the last moment of his life, and one of his operas, Artemizia, remained unfinished at his death .