He studied in Parma, says Neefe, with the first violinist Angelo Moriggi, a pupil of Tartini, and in Parma, Mantua and Bologna conducted grand operas like “Orfeo,” “Alceste,” etc., by the Chevalier Gluck with success. He owed much to the example set by Gluck in the matter of conducting. It must be admitted that he is a man full of fire, of lively temperament and fine feeling. He penetrates quickly into the intentions of a composer and knows how to convey them promptly and clearly to the entire orchestra. He was the first to introduce accentuation, instrumental declamation, careful attention to forte and piano, or all the degrees of light and shade in the orchestra of this place. In none of the qualifications of a leader is he second to the famed Cannabich of Mannheim. He surpasses him in musical enthusiasm, and, like him, insists upon discipline and order. Through his efforts the musical repertory of this court has been provided with a very considerable collection of good and admirable compositions, symphonies, masses and other works, to which he makes daily additions; in the same manner he is continually striving for the betterment of the orchestra. Just now he is engaged in a project for building a new organ for the court chapel. The former organ, a magnificent instrument, became a prey of the flames at the great conflagration in the palace in 1777. His salary is 1,000 fl. The chapelmaster (appointed May 26, 1774) was Mr. Andrea Lucchesi, born May 28, 1741, at Motta in Venetian territory. His teachers in composition were, in the theatre style, Mr. Cocchi of Naples; in the church style, Father Paolucci, a pupil of Padre Martini at Bologna, and afterwards Mr. Seratelli, Chapelmaster of the Duke of Venice. He is a good organist and occupied himself profitably with the instrument in Italy. He came here with Mr. Mattioli as conductor of an Italian opera company in 1771. Taken altogether he is a light, pleasing and gay composer whose part-writing is cleaner than that of most of his countrymen. In his church-works he does not confine himself to the strict style affected by many to please amateurs. Neefe enumerates Lucchesi’s compositions as follows: 9 works for the theatre, among them the opera “L’Isola della Fortuna” (1765), “Il Marito geloso” (1766), “Le Donne sempre Donne,” “Il Matrimonio per astuzia” (1771) for Venice, and the two composed at Bonn, “Il Natal di Giove” and “L’inganno scoperto,” various intermezzi and cantatas; various masses, vespers and other compositions for the church; six sonatas for the pianoforte and violin; a pianoforte trio, four pianoforte quartets and several pianoforte concertos. His salary was 1,000 fl. CHRISTIAN GOTTLOB NEEFE’S CAREER