DICTIONARY OF MUSIC - El Atril

188 GNECCO GOD SAVE THE KING
Aleasandro (ballet), Laxemburg, 17B5.
Lea Aiuoura champfebrea (doubtfutl, Si;hiS[ibruTin, ITSS.
L' IiinoceiizagratificatjL, Vieiitm, Dec. 8, 1755.
Aiitigono. Rome, Feb. 9, 1756.
11 Re Paitore, Vienna, Dec. 8. 175R.
Le Deguiseiuent pastoral {duiifctful|, Schiinbi-imn, 1766.
Le Uhinois poll en France idouhtfull.Liixeinburg, 1756.
LTle de Merlin. SchOnbrinm, Oct. :i, ITr.S.
L;t Fauflae Eaclave, Schijnbrunn, 1708,
L'Arbre enchanW, Scbiji\briinn, Oct. '.i, 1759.
Le Diiible a quatre (duubtfull, Liixt'mburg, 1759.
Cythi^re Assii^gi^e, Schwetxini;en, 175'J.
Tetide, Vienna, Oct. 8. 1700-
L'lvrogne corrii?^, Schunl>niiiTi, 17t>0.
Le Cadi dup6, Schonbruiin, 17G1.
Don Juan (balletl. Vienna, 1761.
Orfeo ed Euridice, Vienna, Oct. 5. 1762.
II Trionfo di Clelia, Bologna, May 14, 1763.
La Rencontre iniprevue, Vienna, Jan. 1764.
II Parnaaao confuse, Scbonbrunn, Jan. '24, 1765.
Telemacco, Vienna, Jan. ;iO, 1765.
La Corona, Vienna, 1765 |not performed),
Prologo, Florence, Feb. 22, 1767.
Aleeste, Vienna, Dec. 16, 1767.
Le Feate d' Apollo, Parma, Aug. 24, 1769.
Paride ed Elena, Vienna, Nov. 30, 1770.
Ipbigdnie en Auiide, Paris. A])ril 19. 1774.
Orphi^e et Eurydice. Paris, Augiiat 2, 1774.
L'Arbre enchantti, Versailles. Feb. 27, 1776.
CythCre Asaii^g^e (revised). Paris, August 1, 1775.
Alceate, Paria, April 2S, 1776.
Armide, Paris, Sept. 23. 1777.
Ipbigciiie en TauriJe, Paria, May 18, 1779.
Echo et Narciase, Paria, Sept. 21, 1779.
A biillet, ' Semiramifl,' which appeared in 1785, is probably apocryphal.
Cantatit, " The Last Judgment.' finished by Salieri, i.^ in MS. in the
Gesellschaft der Musikfreunile at Vienna, In the same library
are eleven symphonies or overtures, and a string quartet.
Seven Odea of Klopstock for voice and clavier were published in
1787 at Vienna.
A symphony for six instnimenta, dated Venice. 1746. is in the Court
Library at Vienna, where there are also two other symphonies.
The Brussels Conservatoire possesses three symphonies, and there
is a concerto for flute and strings at Carlsrulie.
Seven trios for t«'o violins and bass were published in London by
Simpson, and six soiuitas for the same inatruments, by the
same publisher, in 1746.
A quartet is in the Gesellschaft der Muaikfreundc at Vienna.
An orchestral march and an unpublished sonata are mentioned in
Wotquenne's catalogue.
GNECCO, Fkancesco, according to Fetis,
was born in 1769 at Genoa, became a pupil of
Mariani, musical director of the Sistine Chapel
and of the Cathedral of Savona, and died in 1810
at Milan. According to Regli and Paloschi,
Gnecco was born in 1780, was a pupil of Cimarosa,
and died in 1811 at Turin. Gnecco composed
several operas, both serious and comic,
of which two only, we believe, have ever been
performed out of Italy, viz. 'Carolina e Fi-
landro,' 1798, at the Italian Opera in the Salle
Favart, Paris, Oct. 11, 1817 (Castil Blaze), and
' La Prova d' un opera seria,' opera buffa in two
acts, libretto by the composer, jn-oducedat Milan,
1805, and at the Salle Louvois, Paris, Sept. 4,
1806, with Signora Canavassi and Barilli. This
last opera was a great success, and enjoyed con-
siderable popularity. It was thrice revived in
Paris, viz. in 1810, in 1831 wdth Malibran and
Lablache ; on Oct. 28, of the same year, with
Pasta ; and on Nov. 20 it was played with the
first act of ' Tancredi ' on the occasion of Malibran's
last appearance in Pa'ris. In 1834 it was
reduced to one act. ' La Prova ' was produced
June 23, 1831, at the King's Theatre, with
Pasta, Curioni, Lablache, and, thanks to the
last-named singer, became popular. It was revived
in one act July 3, 1854, with Lablache,
Viardot-Garcia, Stigelli, and Ronconi, and was
last produced on June 18 and 19, 1860, at Her
Majesty's, for Ciampi, since wdiich it has disappeared
from the stage. A duet from it, '
guardate che figura,' was highly popular in
the concert-room when sung by Viardot and
Tamburini, and on one occasion the former
made it a vehicle for imitation of the latter's
mannerisms, which the gentleman by no means
took in good part. {Musical Ilecollcctio7is, Rev.
J. E. Cox.) A. c.
GOD SAVE THE KING. The so-called
'National Anthem' of England, a tune in two
sections, the first of six bars, the second of
eight.
O Lord our God. arise,
Scatter his euejuici.
And make them fall.
Confound their politits,
Frustrate their knavish tricks,
On Thee our hopes we hx,
God save us all.
God save the King.
Thy choicest gifts In store
On hiui be pleased to pour.
Long may he reign.
May he defend our laws,
And ever give us cause
To sing with heart and voice,
God save the King.
Its first public performance is stated to have
been at a dinner in 1740 to celebrate the taking
of Portobello by Admiral Vernon (Nov. 20,
1739), when it is said to have been sung by
Henry Carey as his own comiiosition, both words
and music. The nearest known copy to that
date is that in the Harmonia Angllcana of
1742 or 1743, as follows. ^ It is marked 'for
two voices,' but we give the melody only.
God save King.
O Lord our God. arise.
Scatter his enemies.
And make them fall.
Confound their politicks.
Frustrate their knavish tricke.
On him our hopes are fix'd,
O save us all.
This is the nearest we can arrive at to the
original form of the air and words, and both will
be found somewhat different from those with
which we are familiar. The fact that Henry
Carey was the author of both is testified to
by J. Christopher Smith, Handel's amanuensis,
and by Dr. Harington ; but for the evidence the
• See Cbftppell'8 Popular ifusic (orig. ed.), ii. 704.