went to Vienna, where, learning from Mozart's style and consorting somewhat with Beethoven, his methods took on more depth and value. In 1803 he had so far won a place in Germany that he was made choirmaster at Dresden, but in 1807 Napoleon allured him away to Paris, where in 1812 he succeeded Spontini, remaining at the Opéra under Louis XVIII. and as chamber-musician under Louis Philippe. His success was not continued at Paris, owing to the popularity of Rossini and his own tendency to intrigue. Of his over 40 operas, the best-known were Griselda (1796, Parma), the famous Camilla (1799, Vienna), Achille (1801, Vienna), Sargino (1803, Dresden), I fuorusciti (1804, Vienna), Eleonora (1805, Dresden, same subject as Beethoven's Fidelio) and Agnese (1811, Parma). He also wrote secular cantatas, 2 Passions, considerable church music, and pieces for orchestra and for piano. His style was flowing, without learning or decided force.
Simon Mayr (d. 1845), though a Bavarian, was launched as composer at Bergamo and Venice. He was so successful with oratorios (from 1791) and church music that Piccinni advised his undertaking dramatic music. His first opera, Saffo (1794, Venice), caught the popular taste, and before 1814 over 70 more were called for. From 1802 he was cathedral-choirmaster at Bergamo and from 1805 also professor in the new conservatory, refusing numerous invitations elsewhere. From 1816 he wrote only for the church, and in his later years became blind. His noted works for the stage were Lodoiska (two versions, 1795, Venice, 1800, Milan), Ginevra (1801, Trieste), Adelasia ed Aleramo (1807, Milan), Medea (1812, Venice) and Rosa bianca e rosa rossa (1814, Rome). Among his sacred works were elaborate Requiems and other masses, many psalms, etc. He exerted an important influence, since he blended German and Italian methods and was a thoughtful student. His chief pupil was Donizetti. He published the first biography of Haydn (1809) and left theoretical works in MS.
Gasparo Spontini (d. 1851), born near Ancona and educated at Naples under Sala and Tritto, began his remarkable career with I puntigli delle donne (1796, Rome), followed by 15 more—all in the fluent Neapolitan style. In 1803 he betook himself to Paris, where he soon entered upon a new period which belongs in another connection (see sec. 178).
Francesco Morlacchi (d. 1841), a pupil of Caruso, Zingarelli and Mattei, at first devoted himself to sacred composition (fine Miserere for 16 voices). His first operatic venture was in 1807, quickly followed by others, of which the best was Le Danaïde (1810, Rome). From 1810, like Paër, he was choirmaster at Dresden, where he became immensely popular, as he now added much from German sources to his ready Italian manner. The shifting political situation forced him within two years to write occasional pieces for both sides of the struggle between Napoleon and the Allies, his sympathies being with the former. In 1817 his position was complicated by the advent of Weber, also as choirmaster. Their inevitable rivalry was mitigated by Morlacchi's frequently betaking himself to Italy. He wrote over 20 operas, the most popular, besides Le Danaïde, being Raoul de Créqui (1811), Il barbier di Siviglia (1814), Gianni di Parigi (1818) and Colombo (1828, Genoa). At his death he was working on Francesca di Rimini. He was a prolific church composer, with 10 solemn masses (1810-39), 3 ora-
