scena 'Angel of life' was written for Bartleman. His son-in-law, the late William Horsley, Mus. Bac., edited in 1824 a collection of his best glees, catches, and canons, in two folio volumes, with a memoir of the composer, and an analysis of his compositions. The work also contains a portrait of Callcott from a painting by his brother Augustus, afterwards Sir Augustus Callcott, R. A. Besides the above-named works Callcott was associated with Dr. Arnold in the selection, adaptation, and composition of the tunes for 'The Psalms of David for the use of Parish Churches' (1791). Dr. Callcott left a numerous family. His daughter, Sophia, became eminent as a teacher of the pianoforte, and his younger son, William Hutchins Callcott [App. p.575 adds "1807–Aug. 4, 1882"], has attained distinction as a composer and arranger. One of his songs, 'The last man,' met with remarkable success, and his anthem 'Give peace in our time, Lord,' has been very generally admired.
CALLINET. See Daublaine.
CALORI, Angiola, was born at Milan 1732, and came to London in 1758. Here she appeared in 'Issipile,' by Cocchi. In 1759 she sang in 'Ciro riconosciuto,' by the same composer; and in his 'Erginda,' 1760. In the next season she performed the part of Eugenia in Galuppi's 'Filosofo di Campagna,' but her name does not occur here again after that. She had a soprano voice of great extent, a profound knowledge of music, and extraordinary rapidity of execution. In 1770 she was singing at Dresden with great success. She returned to her native country in 1774, and continued to sing at the various operas of Italy till 1783. She died about 1790.
CALVARY, the English version of Spohr's oratorio of 'Des Heilands letzte Stunden.' The translation was made by Mr Edward Taylor, and the first performance took place at the Norwich Festival of 1839 under Spohr's own direction. It was again performed, in his presence, under Costa's baton, by the Sacred Harmonic Society, at Exeter Hall, July 5, 1852. [App. p.575 adds "The performance at the Norwich Festival was not the first, as the work had been given in the Hanover Square Rooms by the Vocal Society, under Mr. Edward Taylor, March 27, 1837."]
CALVESI, Signor, an Italian singer engaged, with his wife, in London during the seasons of 1787 and 1788. He sang the principal part in Paisiello's 'Re Teodoro,' and assisted in the same composer's 'Schiavi per amore,' and other operas by Cimarosa, Sarti, and Storace, in some of which his wife appeared with him.
CALVISIUS, Seth, musician, astronomer, and chronologer, born at Gorschleben in Thuringia, Feb. 21, 1556, of very poor parents. The name is a refinement of Kallwitz. His poverty interfered greatly with his education, but he contrived to attend the Magdeburg Gymnasium, and the Universities of Helmstedt and Leipsic, and to avail himself of every opportunity of musical instruction. In 1580 he was made music director at the Pauliner Church, Leipsic, in 82 Cantor at Schulpforte, and in 94 Cantor and Schulcollege at the St. Thomas-school, and music director at the St. Thomas church of Leipsic. For music he gave up much—for instance, the chair of mathematics at Wittenberg, offered him in 1611. He died in Leipsic on Nov. 24, 1615. His treatises are 'Melopeia …" (Erfurt, 1582), 'Compendium musicæ practicæ …' (Leipsic, 1594), 'Musicæ artis præcepta …' (Leipsic, 1612; ed. 3 of the 'Compendium'), 'Exercitationes musicæ duæ …' (Leipsic, 1600 and 1611). His music, original and edited, comprises 'Harmonia cantionum, a M. Luthero … compositarum' (Leipsic, 1596), 'Biciniorum libri duo …'(Do. 1590 and 1612), 'Teutsche Tricinia …' (Do. 1603), 'Der 150 Psalm für 12 Stimmen …' (Do. 1615), 'Der Psalter Davids …' (Do. 1617). Many motets and hymns are in MS. in the Library of the Thomas-school.
CAMACHO. See Wedding of Camacho.
CAMARGO, Miguel Gomez, born at Guadalajara about the middle of the 16th century, musical director at the Cathedral of Valladolid. Several of his compositions in MS. are in the library of the Escurial, and Eslava's 'Lira Sacra-Hispana' contains a beautiful hymn to St. Iago in the purest counterpoint.
CAMBERT, Robert—sometimes called Lambert [App. p.575 omits]—the originator of French opera, born at Paris 1628; was a pupil of Chambonnière's, organist of the church of S. Honoré, and (1666) Intendant of Music to Anne of Austria. The 'Euridice' of Peri and Caccini, performed at Florence in 1600, had set the musical world in a blaze, and the Abbé Perrin, after hearing that work, proposed to Cambert to compose a similar piece entitled 'La Pastorale.' This was performed for the first time, amid extraordinary applause, at the Chateau d'Issy [App. p.575 adds the date April, 1659], and was the first French opera. 'La Pastorale' was followed by 'Ariane,' 'Adonis,' and other pieces, and in 1669 Perrin obtained a patent securing the right to perform opera. For 32 years Cambert was associated with Perrin in the enterprise, and the result was the production of the operas of 'Pomone' (1671 [App. p.575 adds March 19]) and 'Les peines et les plaisirs de l'amour.' By Lully's intrigues Perrin lost the Académie, and Cambert took refuge in England, where he became first bandmaster to a regiment, and then master of the music to Charles II. He died here in 1677. Portions of 'Pomone' were printed, and the MS. of 'Les peines' is in the Bibliotheque Nationale. Lully's jealousy implies that Cambert was a formidable rival.
CAMBINI, Giovanni Guiseppe, born at Leghorn, 1746 [App. p.575 adds Feb. 13], violinist and composer, studied under Padre Martini, at Bologna, between 1763 and 1766. In the latter year he produced an opera at Naples without success. Having formed an attachment for a girl from his native city, he was returning thither with her to be married when their vessel was captured by corsairs, and they were both sold as slaves in Barbary. Here a rich Venetian merchant bought Cambini and gave him his liberty. In 1770 he went to Paris,
