See also:

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

ANTONIO MARIA GASPARE See also:

• ANTONIO MARIA GASPARE SACCHINI (1734-1786)

SACCHINI (1734-1786)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• POZZUOLI (anc. Puteoli, q.v.)

Pozzuoli, on the 23rd of See also:

• JULY

July 1734 . He was the son of a poor fisherman and was heard singing on the sands by See also:

• DURANTE, FRANCESCO (1684-1755)

Durante, who undertook his See also:

• EDUCATION

education at the Conservatorio di Sant' Onofrio at See also:

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

Naples . Durante and See also:

• PICCINNI, NICCOLA (1728-1800)

Piccinni taught him See also:

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

composition, and Nicola Fiorenza the See also:

• VIOLIN

violin . The intermezzo Fsa Donato was written for the See also:

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

theatre of the Conservatorio in 1756, but his first serious See also:

• OPERA (Italian for " work ")

opera was produced at See also:

• ROME
• ROME (Roma)

Rome in 1762, and was followed by many others, nearly all of which were successful . In 1769 he went to See also:

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

Venice, and in conseauence of the See also:

• GREAT

great success achieved there by the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of his opera Alessandro nell' Indie he was appointed director of the Conservatorio dell' Ospedaletto, where he trained some admirable See also:

• FEMALE

female singers and wrote 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 See also:

• MUSIC

music . In 1772 he visited See also:

• LONDON

London, where, notwithstanding a cruel See also:

• CABAL (through the Fr. cabale from the Cabbala or Kabbalah, the theosophical interpretation of the Hebrew scriptures)

cabal formed against him, he achieved a brilliant success, especially in his four new operas, Tamerlano, Lucio Vero, Nitetti e Perseo and II Gran See also:

• CID, THE

Cid . Later he met with an equally enthusiastic reception in 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, where in 1783 his Rinaldo was produced under the immediate patronage of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen See also:

• MARIE

Marie Antoinette, to whom he had been recommended by the See also:

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

emperor See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph II . But neither in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England nor in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France did his reputation continue to the end of his visit . He seems everywhere to have been the victim of See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy . Even Marie Antoinette was not able to support his cause in the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general outcry against the favour shown to foreigners; and by her command, given with the utmost reluctance, his last opera and undoubted See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master-piece, (Edipe a Colone, was set aside in 1786 to make See also:

• ROOM

room for Lemoine's Phedre—a circumstance which so preyed upon his mind that he died of chagrin on the 7th (or 8th) of See also:

• OCTOBER

October 1786 . See also:

• SACCHINI, ANTONIO MARIA GASPARE (1734-1786)

Sacchini's See also:

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

style was rather graceful than elevated, and he was deficient both in creative See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power and originality . But the dramatic truth of his operas, more especially the later ones, is above all praise, and he never fails to write with the care and finish of a thorough and accomplished musician .

Edipe was extremely successful after his See also:

• DEATH

death, and was performed at the See also:

• ACADEMIC

Academic nearly six See also:

• HUNDRED

hundred times .