GAS 
Achille i in Sciro: at Vienna, Olimpiade, Amore di Pliche, 
fo d’ more. For the comic opera, at Venice, 
Filofofo inamorato, un Pazzo n 
en fondo nella Luna. t Vie i Viaggia- 
tori .ridi ell PAmore Artigiano, la Notte aie opera 
Seria, la Conteffina, il Filofofo inamorato a fecon d time, la 
Pefcatrice, and i Rovinati; befides a great number of curious 
quartets, for various cadiarente, which we believe were never 
printe ed; but, having been favoured with MS. copies of 
them by the author him{clf, it is but juftice to fay, that, upon 
trial, we found them excellent: there are pleafing melodies, 
tree from ie aaa and affectation ; = harmony, : oe 
contrivances, mitations, without the leaft confufion. 
The ftyle 1s fober on fedate, Lee dulnefs, er eateay 
without pedantry. 
Thefe quartets, having been compofed more than 30 years 
aie are not fo highly feafoned as thofe of Haydn and Mo- 
; but for thofe who have n ot kept pace with the times, 
pee are fond of plain food, they would perhaps be the more 
palatable. , 
my 
GASMARK, in Geography, a town of — in the 
province of Warmeland; 30 miles E. of Philipftal. 
A ee a i of Bohemia, in the circle of Saatz ; 
fix miles E. of E 
GASPAR, in ” Riagra by, is the name of one of the moft 
ancient contrapuntifts. of whofe works any remains can be 
1 was con- 
uin 3 mee among the maffes and motets 
a 
melody, a 
printed in 1 ce and probably compofed in ne preceding cen- 
ugh the names of Orpheus, Amphion, and Linus, 
Tarvived their works, we fhall only record the 
names o ae of whofe abilities fome {pecimens are 
~ to - fou 
AR Hand, or Clef in Geography, a {mall ifland 
in i Eatte, erm fea, which gives name to a channel be- 
tween the iflands of Banca and Billiton, called «¢ Gafpar 
Straits.’ S.lat. 1°55’. E. long. 1 10 
GASPARINI, Francesco, in Biograph by, a native of 
Lucca, a. of the Confervatorio of ua Pieta at Venice, 
ay tea at emene and one of the el matters of 
B'S 
r reafon, more generally pleafing and o the 
imitation par all of i sited with Retle ir inven- 
and has fupplied it in the anes ~~ cleareft manner p 
fible, i in fo fmall a compa He confines himfe If to oa accom- 
iment on keyed-inftr rumen a fajed which had not been 
exclufively treated before in Italy, nor do we know 
elementary t 
utility. It is divided into the following twelve chapters : 
way of po 
ar fubtile and artifici 
_ Scarlatti, Eumana.’’ 
GASB 
I. Names and pofition of the keys. 
I]. Method of forming easy by concoréls. 
III. Accidental character 
IV. Method of accompany ing the hexachord, in a grae 
dual oe on by leaps. 
Vv. M oe the hexachord in a gradual 
defcent, and j in ares vals. 
VI. The harmon of all kinds of cadences 
VII. Of difcords, their preparation and felolition; and of 
binding notes and fyncopation. 
VIII. Method of Spee the art of accompaniment in 
all oh and modulati key into another. 
IX. Of licences in Ae harmony of recitatives. See Ac- 
CIACATURA 
. OF breaki ing aia into groups, and of ornamenting 
and embellithing the har 
Of dividing and cee tine the chor 
XII. sel i = tranf{pofition, into every i by means 
of i site ned i 
s little oe in 1764, had gone through five editions. 
But on the 4t edit. in 1754, M. Laborde (Effais fur la 
Muf,. tom. iit. p obferves, that ‘it proves harmony 
r Cc. a par ini 
le de ve.’ But did the 
Trench themfelves, or any other cok, follow that rule, or 
the fundamental bafe, when Gafparini’s hook was publifhed ? 
And does the counterpoint of Durante, Jomelli, Galuppi, 
ands or — manifeft a want of rules or knowledge 
of har 
In ae Y this a compofer fet the opera of ‘ Tiberio 
fer Venice ; and between that period, and 1723, he ae 
25 operas for that as only, befides a great number for 
Rome and other places. 
He feems to have been the firft opera compofer 
d at grace in his melodies, and who fteered Lisemtee: the 
» he found Gafpa- 
rini itill living, took leffons of him in sounterpoint, and his 
ood nature and probity feem to have made as deep an im- 
prefion upon Quantz, as his mufical abilities, 
e was at this time 72 haa of age ; ae feems to have 
continued writing till he was near fourfcor ae opera 
in Quadrio’s lift ae a mufical ‘rama s be ate ng date 1730. 
He was ae mafter of Dom pee tti, a of Bene- 
detto Marcello. A Neuer of | his writing is printed in Mar- 
cello’s Pfalns, 1 in anfwer to one from his noble and ‘lluftrious 
pupil; and in the works of Metaftafio, there is a fonnet 
by that exquifite lyric poet on Gafparini. When his 
A Merope’’ was performed at Rome in 1721, there was in 
t 
a fcene of recitative ‘which hae oa faid to draw tears 
from the whole audienc 
During the retidence Of Aleffandro Scarlatti at Naples, he 
had fo high an opinion of Francefco Gafparini, then a com- 
_pofer and a harptichord mafter of great eminence at Rome, 
that he placed his fon, Domenico, while a youth, to ftudy 
under hi us teftimony fidence in 
his probity and bill es gave birth to a fingular correfpond- 
ence betwe ea fi ini com- 
-pofed a cantata in a curious and artful ftyle, worthy the 
notice of fuch a mafter, and fent it as a prefent to Scarlatti : 
* Cantata i wes dal Signor Francefco Gafparini al Signor 
Alef. Scarlat 
To this shel epiftle Scarlatti not only added an air, by 
{cript, bie replied by another cantata of a ftill 
al kind, ae ufe of the famewords: 
“ Cantata in refpotta al Signor Gafparini, del Sig. Alef. 
This reply produced a rejoinder from 
Gafparini, 
