Grove's dictionary of music and musicians

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106 RINALDO DI CAPUA EINCK
preaerved, produced at the Teatro Valle in
Eome ia the autumn of 1737. Of the subsequent
history of Einaldo's life nothing ia known.
Burney informs ua that 'in the course of a
long life he has experienced various vioissitudea
of fortune ; aometimea in vogue, sometimea
neglected,' Moat of his operas were given at
Rome, a, few being produced at Florence and
Venice ; although described in some libretti
as a Neapolitan, no opera of his ia known to
have been performed in Naples. The Bouffons
Italiens performed an intermezzo of his, La
'
Zingara' (La Boh^mienne), at Paris in 1753, in
a version which included songs by other composers
; among these was the well-known Tre
'
giorni son che Nina,' generally ascribed to
Pergolesi, and on this account attributed to
Riualdo by Spitta. The song has, however,
been recently proved to be by another compo^r
[Tee giorni son che Nina]. When Burney
knew him he was in somewhat impoverished
circumstances, owing to the indifference of the
public which had once applauded him. He
had collected hia works with a view to making
proviaio'n for hia old age, but at the moment
when they were required, diaoovered that his
son had sold them for waste paper. The date
of his death is not known. Burney mentions
an intermezzo , composed for the Capranica
theatre in 1770 (' I finti pazzi '), when he was
already an old man. Another opera, 'La
donna vendicativa' (ascribed by Clement and
Larousse to 1740, though on no apparent
authority), was performed in Eome in 1771,
and this was probably hia last work. After
this date we know only of La ' Giocondina
(Eome, 1778), which was probably a revival of
an earlier work. Burney, with characteristic
kindliness, recommended him as a teacher to
"William Parsons, who had studied at a
Neapolitan conservatorio, where according to
his own account he learnt nothing. Parsons
became Master of the King's Miisiok in 1786,
to the great disappointment of Burney, to
whom the post had been promised. Another
pupil of Einaldo's was Antonio Aurisicehio.
Einaldo was supposed to have been the
inventor of accompanied recitative ; Burney
pointed out that this invention belonged to
Alessandro Scarlatti. Einaldo himself only
claimed 'to have been among the first who
introduced long ritoniellos or symphonies into
the recitatives of strong paasion and distress,
which express or imitate what it would be
ridiculous for the voice to attempt.' An
example fi-om Vologeso ' in the Fitzwilliam
' is
Museum. His musical education having been
that of an amateur, his technique of composition
was sometimes defective ; but apart from
this slight weakness of harmony, he was one
of the beat compoaers of his period for dramatic
power and melodic beauty. He was especially
succeaaful in brilliant coloratura, but was also
capable of producing most attractive light
operas. To judge from the few fragments of
his work that remain, ' Giro Eiconosciuto '
and
'Vologeao' seem to have been his most important
dramatic works.
CATALOGUE OP EXTANT WOEKS OF BINAUJO DI CAPDA
Ofebab
A oomio opera, mme unknown (Borne, T. VaUe, 17S7).
Fragments
Palermo B.C.H.
, . „ ,»oni
Giro KioonoBoluto (Eome, T. Toldlnona, 1737; leylyed Borne, 1788).
Fragments: formerly In possession of Spitta; Brit. Mm.;
Ia Commedk In Oommedla (Eome, T. Valle, 1738). IJbretto;
Brussels Conservatoire. Fragments; Palermo E.C.M. Eevived
at Venice (T. San Cassiano. 1749). Libretto ;
Venice, Bibl. Marc.
The opera was also performed in London ;
Walsh printed five aus
as The *
favourite Songs in the Opera call'd La Comedia in Comedla.
Einaldo's name is not mentioned, and the work was probably a
•
pasticcio ; one song, however, Non so la prole mia,' is in the Palermo
collection, which bears Einaldo's name. ^ .._ ^^
Famace (Venice, T. S. Giovanni Grisostomo, 1739). Libretto:
Venice, Bibl, Marc.
Vologeso Be de' Parti (Eome, T. Argentina, 1739). Libretto :
Bologna,
Lie. Mus. Fragments : Brit. Mus. ; Brussels Cons. ;
Cambridge,
Fitz. Mus. ; Dresden ; Mttnster ; New York, in possession of
H. £. Krehbiel, Esq.
La Liberti Nociva (Eome, T. Valle, 1740). Libretto; Bologna,
Brussehi Cons. Fragments : Brit. Mus. ; Cambridge, Fitz. Mus.
Eevlved in Florence (T. Cocomero, 1742), Bologna (T. Fotmagliari,
174S). Libretti: Bologna. Also at Venice (T. San
Cassiano, 1744). Libretto : Bologna, Venice.
Tumo Herdouio Arioiuo (Eome, T. Capranica, 1743). Libretto
Bologna, Brussels Cons.
Le Nozze di Don Trifone (Eome, T. Argentina, 1743). Libretto
Bologna.
L' Ambizione delusa (Venice, T. S. Cassiano, 1744). Libretto:
Bologna, Venice. Eevived at MUan (T. Ducale, 1745). Libretto
Bologna.
La Forza del Sangue (intermezzo), (Florence, T. Pallacorda. 1746).
Libretto : Brussels Cons.
n bravo & 11 beUo (intermezzo). (Eome, T. Granarl, 1748). Libretto
Bruesels Cons.
Mario In Numidia (Eome. T. Dame,' 1749). Libretto : Bologna.
Fragments ; Brit. Mus., Dresden, Munich,
n Bravo Burlato (intermezzo), (Florence, T. Pallacorda, 1749).
Libretto : Brussels Cons.
A comic opera (EomeV 1750). Fragments: Dresden,
Bipiego in Amore (Eome, T. Valle, 17B1). Libretto : Bologna,
n Cavalier Mignatta') (intermezzi), (Eome, T. Capranica, 1751).
II Galloppino / Libretto : Brussels Cons.
La Donna superba (intermezzo), (Paris, Op^ra, 1752). Libretto
Brussels Cons. Fi-agments (with French woi^) : BrusselB Cons.
La Forza della Pace (Borne, T. Pace, 1752). Libretto : Bologna.
La Zingara (intermezzo). (Paris, Op^ra, 1753). Libretto : Brussels
Cons. Score, printed in Paris, BnisselsCone. Eevived at Pesaro.
1755. as ' II Vecchio Amante e la Zingara.' Libretto : Bologna.
La Serva Sposa (Eome, T. Valle. 1753). Libretto : Bologna.
La Chiavariua (Eome, T. Valle, 1754). Libretto : Bologna.
Attalo (Eome. T. Capranica, 1764). Libretto: Brussela Cons.
Binaldo di Capua appears here under the pseudonym of Cleofante
Doriano.
Adriano in Siria (Eome, Argentina, 1758). Libretto: Brussels
Cons. Fragments : Brit. Mus.
La Smorflosa (Florence, T. Cocomero, 1758). Libretto : Bologna.
Le Donne Bidicole (intermezzo), (Eome, T. Capranica. 1759).
Libretto : Brussels Cons.
n CafB di Campagna (faraetta), (Eome, T. Pace, 1764). Libretto;
Bologna, Brussels Cons.
I Finti Pazzi per Amore (farsetta), (Eome, T. Pace, 1770). Libretto
Bologna, Brussels Cons.
La Donna Vendicativa (farsetta), (Rome, T. Pace, 1771). Libretto
Bologna. Score; Brit. Mus.
La Giocondina (farsetta), (Bome, T. Pace, 1778). Libretto ; Brussels
Cons.
[La Statua per Funtiglio, ascribed to E. di Capua by Eitner, is by
Marcello di Capua.]
Sacred Musio
Cantata per la Nativity della Beata Vergine (Eome, CoUegio
Nazareno, 1747). Score : MUnster. Paris, Bibl. Nat. f (Eitner).
A few other works ai-e mentioned by Eitner; symphonies probably
opera oyertures, and cantatas (Venice) ascribed to Cavallere Einaldi,
who may have been a different composer.
Airs from operas as yet unidentified are at Cambridge. Fitz. Mus
MUiister, and Montecassino.
The writer is indebted to Mr. H. E. Krehbiel for notice of the
aire in his possession ; the MS. from which they are taken formerly
belonged to Thomas Gray, the poet, and is described in Mr.
Krehbiel s ATuiia and Afannera in tha Clawical Period. Other
authorities consulted : Bnmey's PreteM State tif ifuHc in Frame
'Sr'LS* '"'^' ',!? f^^"
fcy Spitta in the VierteWaln-aicTtrift fiir
jtfujiJaeiM., vol. ill. IW), and A. Wotquenne'a Catalame if the
library of the Bruesels Conservatoire, vol. i. (1898). The two latter
worke give fuUer bibliographical detoUs than we have space for
E. J. D.
EINCK, or RINK, Johann Christian Hein-
RICH, celebrated organist and composer for his instrument,
was born at Elgersburg in Saxe-Gotha,
Feb. 18, 1770, and died at Darmstadt,Augnat7,
1846. His talent developed itself at an early