Scan 130

A popular history of music, musical instruments, ballet, and opera, from St. Ambrose to Mozart, 1888

6 lines. Read by computer on 27 September 2026. Printed page 114. See the scan on archive.org.

1to say that he is not in voice, that he has a toothache, or a headache, or a stomach-ache, and that the music is not written for his voice. The prima donna will make a point of absenting herself from most of the rehearsals, sending her mother instead to make her excuses, etc., etc., and in this style through all the persons employed about a theatre.

3A word of mention also must be given to Porpora, a composer of many operas, but still better known as the most eminent master of singing who ever existed. Among others, he trained the great singers Farinelli and Caffarelli.

5A few remarks on the progress of instrumental music in Italy will close this chapter. The skill of the Italian instrument-makers had definitely settled the forms of the instruments of the violin family, when a musician appeared who was qualified to turn them to the best account in the person of Arcangelo Corelli (fig. 86), who was born in 1653. He was a pupil of Bassani, but his great powers were the fruits of genius, and there can be no doubt that he was the greatest performer of the time in which he lived. Nothing could exceed the amiability and modesty of his character. He found a protector in Cardinal Ottoboni, in whose palace he passed the greater part of his life, leaving it only to make a journey to Naples, which did not conduce to his happiness. In fact, he was of so retiring a nature that he does not appear to have done himself justice before strangers nor in unusual surroundings. Of him is told the characteristic anecdote that, playing on one occasion to a large company, he found they were all talking, on which

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