FERDINANDO See also:

• FERDINANDO PAER (1771-1839)

PAER (1771-1839)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• PARMA

Parma on the 1st of See also:

• JUNE

June 1771 . He studied the theory of See also:

• MUSIC

music under the violinist Ghiretti, 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 the 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 della Pieta de' Turchini at See also:

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

Naples . His first See also:

• OPERA (Italian for " work ")

opera, La Locanda de' vagebondi, was published when he was only sixteen; others rapidly followed, and his name was soon famous throughout See also:

• ITALY
• ITALY (Italia)

Italy . In 1797 he went to See also:

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

Vienna, where his wife, the See also:

• SINGER, SIMEON (1846-1906)

singer Riccardi, had obtained an engagement at the opera; here he produced a See also:

• SERIES (a Latin word from serere, to join)

series of operas, including his La Camilla ossia it Sotteraneo (1799) and his Achille (18ot) . In 1803 he was appointed composer to the 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 See also:

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

theatre at See also:

• DRESDEN

Dresden, where his wife was also engaged as a singer, and in 1804 the See also:

• LIFE

life See also:

• APPOINTMENT, POWER OF

appointment of Hofkapellmeister was bestowed upon him by the elector . At Dresden he produced, inter alia, Il Sargino (1803), an opera which obtained a wide popularity, and Leonora (1804), based on the same See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story as See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven's Fidelio . In 1807 See also:

• NAPOLEON

Napoleon while in Dresden took a• See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy to him, and took him with him to See also:

• WARSAW
• WARSAW (Polish Warszawa, Ger. Warschau, Fr. Varsovie)

Warsaw and See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris at a See also:

• SALARY

salary of 28,000 francs . In 1812 he succeeded See also:

• SPONTINI, GASPARO LUIGI PACIFICO (1774-1851)

Spontini as conductor of the Italian opera in Paris . This See also:

• POST

post he retained at the Restoration, receiving also the posts of chamber composer to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king and conductor of the private See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra of the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans . In 1823 he retired from the Italian opera in favour of See also:

• ROSSINI, GIOACHINO ANTONIO (1792-1868)

Rossini . In 1831 he was elected a member of the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, and in 1832 was appointed conductor of his orchestra by King See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Philippe . He died on the 3rd of May 1839 .

See also:

• PAER, FERDINANDO (1771-1839)

Paer wrote in all 43 operas, in the Italian See also:

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

style of Paesiello and See also:

• CIMAROSA, DOMENICO (1749-1801)

Cimarosa . His other See also:

• WORKS

works, which include nine religious compositions, 'thirteen cantatas, and a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of orchestral and chamber pieces, are of little importance; in any See also:

• CASE
• CASE, JOHN (d. 1600)

case the superficial quality of his compositions was such as to secure him popularity while he lived and after his See also:

• DEATH

death oblivion . See R . Eitner, Quellen-Lexikon (See also:

• LEIPZIG

Leipzig, 1902), vii . 277, sqq., where a list of his works is given .