BALDASSARE See also:

• BALDASSARE GALUPPI (1706-1785)

GALUPPI (1706-1785)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 18th of See also:

• OCTOBER

October 1706 on the See also:

• ISLAND (O.E. ieg =isle, +land')

island of See also:

• BURANO

Burano near See also:

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

Venice, from which he was often known by the See also:

• NICKNAME

nickname of Buranello . His See also:

• FATHER

father, a See also:

• BARBER (from Lat. barba, beard)

barber, and violinist at the See also:

• LOCAL

local See also:

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

theatre, was his first teacher . His first See also:

• OPERA (Italian for " work ")

opera, composed at the See also:

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

age of sixteen, being hissed off the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, he determined to study seriously, and entered the Conservatorio degli Incurabili at Venice,'as a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio See also:

• LOTTI, ANTONIO (1667?-174o)

Lotti . After successfully producing two operas in collaboration with a See also:

• FELLOW

fellow-pupil, G . B . Pescetti, in 1728 and 1729, he entered upon a busy career as a composer of operas for Venetian theatres, See also:

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

writing sometimes as many as five in a See also:

• YEAR

year . He visited See also:

• LONDON

London in 1741, and arranged a See also:

• PASTICCIO

pasticcio, See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander in See also:

• PERSIA

Persia, for the Haymarket . See also:

• BURNEY, CHARLES (1726-1814)

Burney considered his See also:

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

influence on See also:

• ENGLISH

English See also:

• MUSIC

music to have been very powerful . In 1740 he became See also:

• VICE

vice-See also:

• MAESTRO

maestro di cappella at St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark's and maestro in 1762 . In 1749 he began writing comic operas to libretti by See also:

• GOLDONI, CARLO (1707-1793)

Goldoni, which enjoyed an enormous popularity . He was invited to See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia by See also:

• CATHERINE
• CATHERINE, SAINT

Catherine II. in 1766, where his operas made a favourable impression, and his influence was also See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt in See also:

• RUSSIAN

Russian See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church music . He returned to Venice in 1768, where he had held the See also:

• POST

post of director of the Conservatorio degli Incurabili since 1762 .

He died on the 3rd of See also:

• JANUARY

January 1785 . See also:

• GALUPPI, BALDASSARE (1706-1785)

Galuppi's best See also:

• WORKS

works are his comic operas, of which Il Filosofo di Campagna (1754), known in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England as The See also:

• GUARDIAN

Guardian See also:

• TRICK

Trick'd (See also:

• DUBLIN

Dublin, 1762) was the most popular . His See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody is attractive rather than See also:

• ORIGINAL

original, but his workmanship in See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony and orchestration is generally See also:

• SUPERIOR

superior to that of his contemporaries . He seems to have been the first to extend the concerted finales of See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

Leo and See also:

• LOGROSCINO (or Lo GRoscINo), NICOLA (1700?–1763 ?)

Logroscino into a See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain of several See also:

• SEPARATE

separate movements, working up to a See also:

• CLIMAX, JOHN (c. 525–600 A.D.)

climax, but in this respect he is much inferior to See also:

• SARTI, GIUSEPPE (1729–1802)

Sarti and See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart . See also:

• BROWNING, ELIZABETH BARRETT (z8o6-r861)
• BROWNING, OSCAR (1837- )
• BROWNING, ROBERT (1812-1889)

Browning's poem, " A Toccata of Galuppi," does not refer to any known See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, but more probably to an imaginary extemporization on the See also:

• HARPSICHORD, HARPSICON, DOUBLE VIRGINALS (Fr. clavecin; Ger. Clavicymbel, Kiel-Flugel; Ital. arpicordo, cembalo, davicembalo, gravecembalo; Dutch, davisinbal)

harpsichord, such as was of frequent occurrence in the musical gatherings of Galuppi's See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . See also See also:

• ALFRED

Alfred Wotquerme, Baldassare Galuppi, etude bibliographique sur ses ,xuvres dramatiques (See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, 1902) . Many of his autograph scores are in the library of the Brussels See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

conservatoire . (E . J .