PIETRO See also:

• PIETRO GUGLIELMI (1727-1804)

GUGLIELMI (1727-1804)  , See also:

• ITALIAN

Italian composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MASSA

Massa See also:

• CARRARA
• CARRARA, or CARRARESI

Carrara in May 1727, and died in See also:

• ROME
• ROME (Roma)

Rome on the 19th of See also:

• NOVEMBER (Lat. novem, nine)

November 1804 . He received his first musical See also:

• EDUCATION

education from his See also:

• FATHER

father, and afterwards studied under See also:

• DURANTE, FRANCESCO (1684-1755)

Durante at the Conservatorio di See also:

• SANTA

Santa Maria di See also:

• LORETO

Loreto at See also:

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

Naples . His first operatic See also:

• WORK

work, produced at See also:

• TURIN

Turin in 1755, established his reputation, and soon his fame spread beyond the limits of his own 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, so that in 1762 he was called to See also:

• DRESDEN

Dresden to See also:

• CON

con-duct the See also:

• OPERA (Italian for " work ")

opera there . He remained for some years in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, where his See also:

• WORKS

works met with much success, but the greatest triumphs were reserved for him in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . He went to See also:

• LONDON

London, ac-cording to See also:

• BURNEY, CHARLES (1726-1814)

Burney, in 1768, but according to Florimo in 1772, returning to Naples in 1777 . He still continued to produce operas at an astounding See also:

• RATE

rate, but was unable to compete successfully with the younger masters of the 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 . In 1793 he became See also:

• MAESTRO

maestro di cappella at St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter's, Rome . He was a very prolific composer of Italian comic opera, and there is in most of his scores a vein of See also:

• HUMOUR (Latin humor)

humour and natural gaiety not surpassed by See also:

• CIMAROSA, DOMENICO (1749-1801)

Cimarosa himself . In serious opera he was less successful . But here also he shows at least the qualities of a competent musician . Considering the enormous number of his works, his unequal workmanship and the frequent instances of See also:

• MECHANICAL

mechanical and slip-shod See also:

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

writing in his See also:

• MUSIC

music need not surprise us . The following are among the most celebrated of his operas: I Due Gemelli, La Serva inamorata, La Pastorella nobile, La .

Bella Peccatrice, Rinaldo, Artaserse, Didone and Enea e Lavinia . He also wrote oratorios and See also:

• MISCELLANEOUS

miscellaneous pieces of orchestral and chamber music . Of his eight sons two at least acquired fame as musicians—Pietro Carlo (1763-1827), a successful imitator of his father's operatic See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, and Giacomo, an excellent See also:

• SINGER, SIMEON (1846-1906)

singer .