See also:

• PERGOLESI (or PERGOLESE), GIOVANNI BATTISTA (1710-1736)
• PERGOLESI, MICHAEL ANGELO

PERGOLESI (or PERGOLESE), GIOVANNI BATTISTA (1710-1736)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• JESI (anc. Aesis)

Jesi near See also:

• ANCONA
• ANCONA, ALESSANDRO (1835– )

Ancona on the 3rd of See also:

• JANUARY

January 1710, and after studying See also:

• MUSIC

music undei 'See also:

• LOCAL

local masters until he was sixteen was sent by a See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• PATRON

patron to See also:

• COMPLETE

complete his See also:

• EDUCATION

education at See also:

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

Naples, where he became 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:

• GRECO, EL

Greco, See also:

• DURANTE, FRANCESCO (1684-1755)

Durante and Feo for See also:

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

composition and of Domenico de Matteis for the See also:

• VIOLIN

violin . His earliest known composition was a sacred See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, La Conversione di S . Guglielmo d'Aquitania, between the acts of which was given the comic intermezzo Il See also:

• MAESTRO

Maestro di musica . These See also:

• WORKS

works were performed in 1731, probably by See also:

• FELLOW

fellow pupils, at the monastery of St Agnello See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore . Through the See also:

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

influence of the See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince of Stigliano and other patrons, including the See also:

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

duke of See also:

• MADDALONI

Maddaloni, See also:

• PERGOLESI (or PERGOLESE), GIOVANNI BATTISTA (1710-1736)
• PERGOLESI, MICHAEL ANGELO

Pergolesi was commissioned to write an See also:

• OPERA (Italian for " work ")

opera for 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, and in the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter of 1731 successfully produced La Sallustia, followed in 1732 by Ricimero, which was a failure . Both operas had comic intermezzi, but in neither See also:

• CASE
• CASE, JOHN (d. 1600)

case were they successful . After this disappointment he abandoned the theatre for a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time and wrote See also:

• THIRTY

thirty sonatas for two violins and See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass for the prince of Stigliano . He was also invited to compose a See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass on the occasion of the See also:

• EARTHQUAKE

earthquake of 1731, and a second mass, also for two choirs and See also:

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

orchestra, is said to have been praised by 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 . In See also:

• SEPTEMBER (Lat. septem, seven)

September 1732 he returned to the See also:

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

stage with a comic opera in Neapolitan See also:

• DIALECT (from Gr. Sia stcror, conversation, manner of speaking, &aXeyec6at, to converse)

dialect, Lo Frate inammorato, which was well received; and in 1733 he produced a serious opera, Il Prigionier, to which the celebrated Serva padrona furnished the intermezzi . There seems, however, no ground for supposing that this See also:

• WORK

work made any noticeable difference to the composer's already established reputation as a writer of comic opera . About this time (1733–1734) Pergolesi entered the service of the duke of Maddaloni, and accompanied him to See also:

• ROME
• ROME (Roma)

Rome, where he conducted a mass for five voices and orchestra in the 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 of St Lorenzo in See also:

• LUCINA

Lucina (May 1734) . There is no See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation for the statement that he was appointed maestro di cappella at the See also:

• HOLY

Holy See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House of See also:

• LORETO

Loreto; he was, in fact, organist of the royal See also:

• CHAPEL

chapel at Naples in 1735 .

The complete failure of L'Olimpiade at Rome in January 1735 is said to have broken his See also:

• HEALTH

health, and determined him to abandon the theatre for the Church; this statement is, however, incompatible with the fact that his comic opera Il Flaminio was produced in Naples in September of the same See also:

• YEAR

year with undoubted success . His See also:

• ILL

ill health was more probably due to his notorious profligacy . In 1736 he was sent by the duke of Maddaloni to the Capuchin monastery at See also:

• POZZUOLI (anc. Puteoli, q.v.)

Pozzuoli, the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place being considered beneficial to cases of See also:

• CONSUMPTION (Lat. consumere)

consumption . Here he is commonly supposed to have written the celebrated Stabat Mater; See also:

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

Paisiello, however, stated that this work was written soon after he See also:

• LEFT

left the Conservatorio dei poveri di Gesit Cristo in 1729 . We may at any See also:

• RATE

rate safely attribute to this See also:

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

period the See also:

• SCHERZO (Italian for " a joke ")

Scherzo facto ai Cappuccini di Pozzuoli, a musical jest of a somewhat indecent nature . He died on the 17th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1736, and was buried in the See also:

• CATHEDRAL

cathedral of Pozzuoli . Pergolesi's See also:

• POSTHUMOUS

posthumous reputation has been exaggerated beyond all See also:

• REASON (Lat. ratio, through French raison)

reason . This was due partly to his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• DEATH

death, and largely to the success of La Serva padrona when performed by the Bouffons I/aliens at 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 in 1752 . Charming as this little piece undoubtedly is, it is inferior both for music and for See also:

• HUMOUR (Latin humor)

humour to Pergolesi's three-See also:

• ACT (Lat. actus, actum)

act comic operas in dialect, which are remembered now only by the air " Ogni pena pia spietata " from Lo Prate inantmorato . As a composer of sacred music Pergolesi is effective, but essentially See also:

• COMMONPLACE

commonplace and superficial, and the frivolous See also:

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

style of the Stabat Mater was rightly censured by Paisiello and Padre See also:

• MARTINI, GIOVANNI BATTISTA (1706–1784)
• MARTINI, SIMONE (1283-1344)

Martini . His best quality is a certain sentimental See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm, which is very conspicuous in the See also:

• CANTATA (Italian for a song or story set to music)

cantata L'Orfeo and in the genuinely beautiful duets " Se cerca, se See also:

• DICE (plural of die, O. Fr. de, derived from Lat. dare, to give)

dice" and " Ne' giorni tuoi felici " of the serious opera L'Olimpiade; the latter number was transferred unaltered from his early sacred drama S . Guglielmo, and we can thus see that his natural See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent underwent hardly any development during the five years of his musical activity .

On the whole, however, Pergolesi is in no way See also:

• SUPERIOR

superior to his contemporaries of the same school, and it is purely accidental that a later See also:

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

age should have regarded him as its greatest representative . BirmloGKAPHY.—The most complete See also:

• LIFE

life of Pergolesi is that by E . Faustini Fasini (Gazzetta musicale di Milano, 31st of See also:

• AUGUST (originally Sextilis)

August 1899, &c., published by Ricordi in See also:

• BOOK

book See also:

• FORM (Lat. forma)

form, 1900) ; G . Annibaldi's Il Pergolesi in Pozzuoli, vita intima (Jesi, 189o) gives some interesting additional details derived from documents at Jesi, but is See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast in the form of a romantic novel . H . M . Schletterer's lecture in the Sammlung musikalischer Vortrage, edited by See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count P. von See also:

• WALDERSEE, ALFRED, COUNT (1832-1904)

Waldersee, is generally inaccurate and uncritical, but gives a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of later performances of Pergolesi's works in See also:

• ITALY
• ITALY (Italia)

Italy and elsewhere . Various portraits are reproduced in the Gazz. See also:

• MUS

mus. di Milano for the 14th of See also:

• DECEMBER (Lat. decent, ten)

December 1899, and in Musica e musicisti, December 1905 . Complete lists of his compositions are given in Eitner's Quellen-See also:

• LEXICON

Lexicon and in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary (new ed.) . (E . J .