GIUSEPPE See also:

• GIUSEPPE SARTI (1729–1802)

SARTI (1729–1802)  , See also:

• ITALIAN

Italian composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• FAENZA (anc. Faventia)

Faenza on the 28th of See also:

• DECEMBER (Lat. decent, ten)

December 1729 . He was educated by Padre See also:

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

Martini, and appointed organist of the See also:

• CATHEDRAL

cathedral of Faenza before the completion of his nineteenth See also:

• YEAR

year . Resigning his See also:

• APPOINTMENT, POWER OF

appointment in 1750, See also:

• SARTI, GIUSEPPE (1729–1802)

Sarti devoted himself to the study of dramatic See also:

• MUSIC

music, becoming director of the Faenza See also:

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

theatre in 1752 . In 1751 he produced his first See also:

• OPERA (Italian for " work ")

opera, Pompeo, with See also:

• GREAT

great success . His next See also:

• WORKS

works, Il Re Pastore, Medonte, Demofoonte and L'Olimpiade, assured him so brilliant a reputation that in 1753 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 See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick V. of See also:

• DENMARK
• DENMARK (Danmark)

Denmark invited him to See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen, with the appointments of Hofkapellmeister and director of the opera . Here he produced his Ciro riconsosciuto . In 1765 he travelled to See also:

• ITALY
• ITALY (Italia)

Italy to engage some new singers; meanwhile the See also:

• DEATH

death of King Frederick put an end for the 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 to his engagement . In 1769 he went to See also:

• LONDON

London, where he could only contrive to exist by giving music lessons . In 1770 he obtained a See also:

• POST

post in See also:

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

Venice as music 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 at the Conservatorio dell' Ospedaletto . In 1779 he was elected See also:

• MAESTRO

maestro di cappella at the cathedral of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, where he remained until 1784 . Here he exercised his true vocation—composing, in addition to at least twenty of his most successful operas, a vast quantity of sacred music for the cathedral, and educating a number of See also:

• CLEVER

clever pupils, the most distinguished of whom was See also:

• CHERUBINI, MARIA LUIGI CARLO ZENOBIO SALVATORE (1760-1842)

Cherubini . In 1784 Sarti was invited by the empress See also:

• CATHERINE
• CATHERINE, SAINT

Catherine II. to St See also:

• PETERSBURG

Petersburg .

On his way thither he stopped at See also:

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

Vienna, where 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. received him with marked favour, and where he made the acquaintance of See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart . He reached St Petersburg in 1785, and at once took the direction of the opera, for which he composed many new pieces, besides some very striking sacred music, including a Te Deum for the victory of See also:

• OCHAKOV

Ochakov, in which he introduced the firing of real See also:

• CANNON (a word common to Romance languages, from the Lat. canna, a reed, tube, with the addition of the augmentative termination -on, -one)

cannon . He remained in See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia until 18o1, when his See also:

• HEALTH

health was so broken that he solicited permission to return . The emperor 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 dismissed him in 1802 with a liberal See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension; letters of See also:

• NOBILITY

nobility had been granted to him by the empress Catherine . His most successful operas in Russia were Armida and Olega, for the latter of which the empress herself wrote the libretto . Sarti died at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin on the 28th of See also:

• JULY

July 1802 . Sarti's opera I Due Litiganti has been immortalized by Mozart, who introduced an See also:

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

air from it into the supper See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene in See also:

• DON
• DON (anc. Tanais)

Don Giovanni . It should be noted that Mozart's- Nozze di See also:

• FIGARO

Figaro owed a great See also:

• DEAL

deal to the See also:

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

influence of this opera, which was performed in Vienna in 1784 . The admirable libretto by Da See also:

• PONTE (Ital. for " bridge ")

Ponte, author of the libretti of Figaro and Don Giovanni, shows similar situations, and the complicated See also:

• FINALE (Ital. for " end ")

finale of the first See also:

• ACT (Lat. actus, actum)

act served as a See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model to Mozart for the finale of the last act of Figaro .