[6] Baldassare Galuppi, born on the island of Burano, near Venice, In 1706; died in Venice, 1785, was a pupil of Lotti. He ranks among the most eminent composers of comic operas, producing no less than 112 operas and 3 dramatic cantatas in every musical centre of Europe. He also composed much church music and some notable piano sonatas. [7] Oskar Bie; _Die Oper_ (1914). [8] Bohuslav Czernohorsky (1684-1740) was a Franciscan monk, native of Bohemia, but successively choirmaster in Padua and Assisi, where Tartini was his pupil. He was highly esteemed as an ecclesiastical composer. At the time when Gluck was his pupil he was director of the music at St. Jacob’s, Prague. [9] Born 1712; died 1778. Though not a trained musician he evinced a lively interest in the art from his youth. Besides his _Devin du village_, which remained in the French operatic repertoire for sixty years, he wrote a ballet opera, _Les Muses galantes_, and fragments of an opera, _Daphnis et Chloé_. His lyrical scene, _Pygmalion_, set to music first by Coignet, then by Asplmayr, was the point of departure of the so-called ‘melodrama’ (spoken dialogue with musical accompaniment). He also wrote a _Dictionnaire de musique_ (1767). [10] _Le petit prophète de Boehmisch-Broda_ has been identified by historians with the founder of the Mannheim school, Johann Stamitz, for the latter was born in Deutsch-Brod (Bohemia), and but two years before had set Paris by the ears with his orchestral ‘sonatas.’ The hero of the Grimm pamphlet is a poor musician, who by dream magic is transferred from his bare attic chamber to the glittering hall of the Paris opera. He turns away, aghast at the heartlessness of the spectacle and music. [11] Pierre Alexandre Monsigny, born near St. Omer, 1729, died, Paris, 1817. _Les aveux indiscrets_ (1759); _Le cadi dupé_ (1760); _On ne s’avise jamais de tout_ (1761); _Rose et Colas_ (1764), etc., are his chief successes in opera comique. [12] François-André-Danican Philidor, born, Dreux, 1726; died, London, 1795. Talented as a chess player he entered international contests successfully, and wrote an analysis of the game. His love for composition awoke suddenly and he made his comic-opera debut in 1759. His best works are: _Le maréchal férant_ (1761); _Tom Jones_ (1765), which brought an innovation--the _a capelli_ vocal quartet; and _Ernelinde, princesse de Norvège_ (1767), a grand opera. [13] Sonnenfels, a contemporary Viennese critic, was active in his endeavors to uplift the German stage. (_Briefe über die Wienerische Schaubühne_, Vienna, 1768.) [14] Gluck’s marriage was childless, but he had adopted a niece, Marianne Gluck, who had a pretty voice and pursued her musical training under his care. Both Gluck’s wife and niece usually accompanied him in his travels.