Grove's dictionary of music and musicians

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222 SANTLEY SANTLEY
collection of the writer. ' A MS. copy of a
Oatalogo delta musica antica, sacra, e matirigalesaa,
che.si trova in Roma ma delV anima
no. 50 presso Fortnmato Santini, is in the Fdtis
coUeotion at Brussels, No. 5166. His learning,
and practical knowledge of ehuroh-musio, made
his assistance invaluable to all engaged in
musical research. He did much to make
German music known in Italy, translating
Rammler's Tod ' Jesu ' into Italian, and helping
the introduction of Graun's music. Mendelssohn
writes (Letters, Rome, Nov. 2, 1830) : '
The
Abb^ has long been on the look-out for me,
hoping I should bring the score of Bach's
"Passion."' And again (Nov. 8) : Santini is
'
a delightful acquaintance ; his library of old
Italian music is most complete, and he gives
or lends me anything and everything.' Then
he tells how Santini is trying to get Bach's
compositions performed at Naples, and goes on
(Nov. 16) : Old Santini continues to be courtesy
'
personified ; if some evening in company I
praise anything, or say I do not know such and
such a piece, the very next morning he comes
knocking gently at my door with the identical
piece folded up in his blue handkerchief. Then
I go to him in the evenings, and we are really
fond of each other.' Santini composed pieces iii
five, six, and eight real parts. [A Eequiem a 8
is at Bologna, where are numerous other church
compositions. See the Qiiellen-Lexikon.'^ The
Singakademie of Berlin elected him an honorary
member. On the death of his sister he sold
his valuable collection, stipulating, however, for
the use of it for life. He died in 1862. His
library is in the episcopal palace at Miinster in
Westphalia. A pamphlet, L'AbM Sa-niini et
sa collection musicale a Borne (Florence, 1854),
giving a useful r^sum^ of its contents, was published
by the Russian Vlawiimir Stassov. f. g.
SANTLEY, Sin Charles, son of "William
Santley, a teacher of music,. was born at Liverpool,
Feb. 28, 1834. He was a chorister in
early life, and, after various appearances as an
amateur, he went to Italy to have his beautiful
baritone voice trained. Here, at Milan, he was
under Gaetano Nava from Oct. 1855. He made
a d^but before very long, as the Doctor in La
'
Traviata,' at Pavia, and after singing some
other small parts, returned to England in Oct.
1857, and pursued his studies under Manuel
Garcia. His first appearance before an English
audience was at St. Martin's Hall on Nov. 16,
1857, when he sang the part of Adam in 'The
Creation ' ; he next sang three times at the
Crystal Palace, and again in ' The Creation
(taking the parts of Raphael and Adam), at
the Sacred Harmonic Society, Jan. 8, 1858.
In March of the same year he undertook, at
the same society's concert, the part of Elijah,
with which he was afterwards so closely iden-
1 His address is there given Roma, Via Vittoria, No. 49, ^phile in
the Fdtis collection it Is Via deir anima, No. 60.
tified. In the following autumn he sang at
the first Leeds Festival, taking the bass part
of Rossini's Stabat Mater,' ' and other works.
His first appearance on the English stage was
at Covent Garden, with the Pyne and Harrison
Company, as Hoel in ' Dinorah,' in Sept. 1859
he sang with the same company in ' Trovatore,'
Lurline,' and other operas. He took part in a
'
concert performance of ' Iphig^nie en Tauride,
under Halle, about this time. In the winter
of 1860-61 he sang in English opera at Her
Majesty's Theatre, in 'Robin Hood,' 'La Reine
Topaze,' 'Fra Diavolo,' etc. In 1861 he sang
for the first time at the Birmingham Festival,
and in the winter again at Covent Garden, in
'
The Lily of Killamey,' and other things. He
first appeared in the Italian opera in England
at Covent Garden in 1862 in 'II Trovatore,'
and later in the same season he joined the company
of Her Majesty's Theatre under Mapleson,
appearing as the Coujit in ' Figaro,' and Nevers
in'Les Huguenots.' In 1863 he sang the
part of Valentine on the production of ' Faust
in England with such success that Gounod
wrote the song 'Even bravest heart' ('Dio
possente ') especially for him, and for the English
performance of the work in 1 864. He sang
at Barcelona in the winter of 1864-65, adding
Rigoletto to the number of his characters. At
Manchester in Sept. 1865 he sang the part of
Don Giovanni for the first time, and later on
appeared in London as Caspar in 'Der Freischiitz.'
In 1870, after singing the part of the
Dutchman for the first time in England (as
' L' Olandese dannato '), he gave up Italian
opera, and sang at the Gaiety Theatre under
HoUingshead, as Zampa, Peter the Shipwright,
and Fra Diavolo. In 1871 he made a very
successful tour in America in opera and concerts.
In 1876 he joined the Carl Rosa Company at
the Lyceum Theatre, repeating- his memorable
performance of the Flying Dutchman in English.
After his first festival performance at Birmingham
in 1861, he was, of course, in request at
all the autumnal festivals, singing, for the first
time at the Three Choir Meetings, at Worcester
in 1863. He had previously sung at the Handel
Festival in 1862, and until 1906 he appeared
regularly at these triennial meetings. From
about this time his position in oratorio and
concert work was ever more and more important.
On April 9, 1859, he had married
Gertrude Kemble, daughter of John Mitchell
Kemble, the eminent Anglo-Saxon scholar, and
grand -daughter of Charles Kemble. She appeared
as a soprano singer at St. Martin's Hall
in the 'Messiah,' but retired from public life
on her marriage. Their daughter, Edith, had
a short but brilliant career as a concert-singer
(soprano), before her marriage in 1884 with the
Hon. R. H. Lyttelton.
Though the versatility of his genius allows
him to express any emotion to the full, yet