the appointment for nearly three years, and resigned it on the invitation of Catherine II. of Russia, to succeed Galuppi as 'Maestro di Corte.' The severe climate of Russia however did not agree with the Italian maestro; in 1775 he gave up his position, and in 1776 accepted an engagement in London, where however he was not very successful, owing chiefly to the firm hold which Sacchini had taken of the English public. He accordingly returned to Naples, but the climate of Russia and the anxieties of London Lad impaired both his health and his genius, and the few operas he wrote before his death show that the spring pf his imagination was dried up. He died in Venice on April 6, 1779, and was buried in the church of Santa Maria Assunta, where the following epitaph is engraved on his tomb:
THOMAE TRAJETTA
BITUNTI NATO
SUBLIMIORIS MUSICES PERITISSIMO
HUJUS CHORI
AD AMPLITUDINEM ARTIS SUAE
INSTAURATORI MODERATORI
OPTIME MERITO
ANNO SALUTIS MDCCLXXIX
AETATIS SUAE LII
VITA FUNCTO
MONUMENTUM POSITUM.
Though Traetta was gifted with great intelligence, and his music is full of vigour and not wanting in a certain dramatic power, yet his works are now entirely forgotten.[1] Burney, Galvani, Grossi, Florimo, and Clément all praise him, and Florimo even finds in him a tendency towards the same dramatic expression and dignity in the musical treatment of the libretto that a few years afterwards made the name of Gluck immortal. However this may be, nobody can deny that Traetta had, as a man, a very peculiar character, an extraordinary estimation of his own talent, and an unusual readiness in making it clear to everybody: 'Traetta,' says Florimo, 'at the first performance of his operas, when presiding at the clavicembalo, as was customary at that time, convinced of the worth of his works, and persuaded of the special importance of some pieces,—was in the habit of turning towards the audience and saying: Ladies and gentlemen, look sharp, and pay attention to this piece.'
Subjoined is a catalogue of his works.
Operas.
Farnace. Napoli, 1751.
I pastori felici. Do. 1753.
Ezio. Rome, 1754.
Le nozze contrastate. Do. 1751.
L'Incredulo. Napoli, 1755.
La fante furba. Do. 1756.
Buovo d'Antona. Firenze, 1756.
Nitteti. Reggio, 1757.
Didone abbandonata. Venezia, 1757.
Olimpiade. Verona, 1758.
Solimano. Parma, 1759.
Ippolito ad Aricia. Do. 1759.
Ifigenia in Aulide. Vienna, 1759.
Armida. Do. 1760.
Sofonisba. Parma, 1760.
Enea nel Lazio. Torina, 1760.
I Tindaridi. Parma, 1760.
Enea e Lavinia. Do. 1761.
Antigono. Padova, 1764.
La francese a Malghera. Venezia, 1764.
La buona figliuola maritata. Parma, 1765.
Semiramide. Venezia, 1765.
Le Serve rivali. Do. 1766.
Amor in trappola. Do. 1768.
Ifigenia in Tauride. Milano, 1768.
L'Isola disabitata. Bologna, 1768.
Germondo. London, 1776.
Merope. Milano, 1776.
La disfatta di Dario. Venezia, 1778.
Il cavaliere errante. Do. 1778.
Artenice. Do. 1778.
Gli Eroi dei Campi Elisi. Do. 1779. Written on the composer's deathbed, and finished by Gennaro Astaritta.
Le feste d'Imeneo, a prologue and trilogy, viz. Ii trionfo d'Amore, Triole, Saffo, and Egle, for the wedding of the Archduke Joseph of Austria with the Infanta Doña Isabella di Borbone, at Parma, Sept. 1761.
Il Tribute Campestre, 'companimento pastorale,' on the occasion of Maria Carolina of Austria, wife to Ferdinand IV. King of Sicily, passing through Mantua in 1768.
In the same year he wrote an Oratorio Salomone. for the 'Conservatorio dell' Ospedaletto' in Venice; and about 1770 he wrote a 'divertimento for four orchestras' with the title 'Le quattro
stagioni el dodici mesi dell' anno' (the four seasons, and the twelve months of the year).[2]
A Stabat Mater of his for four voices and accompaniment of several Instruments is known, and the Archives of the 'Real Collegio di Napoli,' contain the following compositions:—
Lezione terza for soprano.
39 Arie (some with accompaniment of violin and basso, and some with accompaniment of several instruments).
7 Duetti.
Aria 'Terrore m'Inspirava,' with pianoforte accompaniment.
Aria 'Ah! consola il tuo dolore.' arranged for two violins, viola, and basso.
A Canon 'Sogno, ma te non miro' for two sopranos and basso.
A Solfeggio, with pianoforte accompaniment.
TRAINING SCHOOL FOR MUSIC, THE NATIONAL, was founded by the Society of Arts. The subject had been in the air since the year 1866, a Musical Committee had been appointed, and in 1873 a meeting was held at Clarence House, the Duke of Edinburgh in the chair, at which it was resolved that it is desirable to erect a building at a cost not exceeding £20,000 for the purposes of a Training School for Music at Kensington, in connexion with the Society of Arts. A site on the immediate west side of the Albert Hall was granted by the Commissioners of 1851, the construction of the building, on the design of Captain F. Cole, R.E., was undertaken by Mr. (now Sir) Charles J. Freake, at his own cost; the first stone was laid on Dec. 18, 1873, and the School was opened at Easter 1876, with 82 free scholarships, of which 4 were founded by the Society of Arts, 2 by members of the Society, 5 by Mr. Freake, 10 by the Corporation of London, 14 by City Guilds, 33 by provincial towns, and the remainder by private donors. The scholarships were of the value of £40 a year each, and were founded for five years, by subscription renewable at the end of that term; they carried free instruction for the same period, and were obtainable 'by competitive examination alone.' The Duke of Edinburgh was chairman of the Council, Mr. (now Sir Arthur) Sullivan was appointed Principal, with a staff of Teachers; in 1881 he was succeeded by Dr. Stainer as Principal, and the School continued to flourish till Easter 1882, when it came to an end owing to the determination arrived at to establish the Royal College of Music on a wider and more permanent basis. The College, on its formation, took over the building, furniture and fittings, organ and music, and a balance at the banker's of £1100. The instruction in the Training School was systematic and thorough, and in proof of its efficiency during the short period of its existence it is sufficient to name Eugene D'Albert, Frederic Cliffe, Annie Marriott, and Frederic King, as having received their education there.
