genus. Father Martini has remarked, that Pergolese was so superior in this last department, and had such a natural inclination for it, that there are comic subjects even in the Stabat Mater. In general, his style is melancholy and expressive.

“Hasse, called the Saxon, was a pupil of Scarlatti, and was the most natural composer of his time.

"Jomelli was born at Aversa, and died in 1775. He has displayed a comprehensive genius. The Miserere, and the Benedictus, are his finest works in the noble and simple style; the Armida, and Iphigenia, the best of his compositions for the theatre. He was too fond of the instruments.

"David Perez, who was born at Naples, and died about 1790, composed a Credo, which, in certain solemnities, is still sung in the church of the Fathers of the Oratorio, where people still go to hear it as original. He was one of the latest composers who maintained the rigour of counterpoint. He has laboured with success for the church and the theatre.

Traetta, the master and companion of

Sacchini, in the Conservatorio of Saint Mary of Loretto, pursued the same career as his pupil. He had more art than Sacchini, who is considered as having more genius. The character of Sacchini is ease, full of gaiety. Among his serious compositions are distinguished the recitative Berenice che fai? with the air which follows it.

"Bach, born in Germany, was educated at Naples. He is a favourite, on account of the tenderness which breathes in his compositions. The music which he wrote for the duet

Se mai più sarò geloso,

appears to advantage even amongst the airs which the most excellent masters have composed to these words. Bach may be said to have been particularly successful in expressing irony.

"All these professors died about 1780. "Piccini has rivalled Jomelli in the noble style. Nothing can be superior to his duet

Fra queste ombre meste, o cara!

Perhaps he ought to be accounted the founder of the present buffa theatre.

Paesiello, Guglielmi, and Anfossi, are the most celebrated of his disciples. But notwithstanding their works, the decline of music at Naples is evident and rapid. Adieu."

* Traetta, a profound, and melancholic artist, excels in the dark and picturesque effects of harmony. In his Sophonisba, that queen throws herself between her husband and her lover, who are seeking to combat each other: "Cruel men," says she to them, "what would you do? if you wish for blood, strike! behold my bosom!" and as they still persist in going out for the purpose, she cries out, " Whither are you going? Ah! no!" At this ah! the air is interrupted: the composer, seeing that it was necessary here to depart from the general rules, and not knowing how to express the degree of voice which the actress should give, has written above the note G. between parentheses, (un urlo Francese) a French scream.

LETTER XV.

Salzburg, May 25, 1809.

MY DEAR FRIEND,

IN the course of my last journey into Italy, I again visited the cottage at Arqua, and the old chair in which Petrarch sat to write his Trionfi. I never go to Venice, without visiting the library which has been established in the church where Cimarosa was interred, in 1801.

You will, therefore, perhaps, take some interest in the details, of little moment in themselves, which I have collected respecting the life of our composer.

In giving an account of the employment of one of Haydn's days, after his entrance into the service of Prince Esterhazy, we have described the course of his life for

thirty years. He composed with perseverance, but with difficulty, which certainly