# A Dictionary of Music and Musicians/Traetta, Tommaso

​TRAETTA, Tommaso Michele Francesco Saverio, an Italian composer of the 18th century. Until recently it was believed that his name was Trajetta, and the date of his birth May 19, 1727; but the certificate of birth published by the 'Gazetta Musicale di Milano' of 1879, No. 30, settles beyond question that he was the legitimate son of Filippo Traetta and Anna Teresa Piasanti, and was born in the year 1727, on March 30, 'ad hore 16' in the morning, at Bitonto (Terra di Bari). At eleven years of age he became pupil of Durante at the 'Conservatorio di Santa Maria di Loreto' at Naples, to which institution he belonged until the autumn of 1748, when we find him teaching singing, and occasionally writing some sacred music for several churches of Naples. Two years afterwards he tried his hand at the stage, and his first opera, 'Farnace,' produced at the San Carlo at Naples in 1750, met with such success that he was forthwith commissioned to compose six more operas for the same house. Of these nothing is known, except the title of one, 'I pastori felici,' 1753; yet they were probably not less successful than 'Farnace,' since his name spread rapidly, and he received engagements at Florence, Venice, Rome, Turin, Verona, Parma, etc. Goldoni and Metastasio did not disdain to write librettos for him; Goldoni a comic opera 'Buovo d'Antona' (Florence, 1756); and Metastasio 'L'Olimpiade' (Verona, 1758). Towards the end of 1759 Traetta accepted the appointment of Maestro di Cappella and teacher of singing to the Princesses, offered to him by Don Filippo, Infanta of Spain, and Duke of Parma. The first opera he composed for the Ducal Theatre of Parma was 'Solimano' (Carnival, 1759), followed in the spring by ' Ippolito ed Aricia.' This appears to have been a masterpiece, as both the Duke and the audience were exceedingly pleased with it; and on its reproduction six years later for the wedding of the Princess Maria Luisa with Charles III. King of Spain, a life pension was granted to the composer. In 1759 and 1760 Traetta went twice to Vienna to witness the performance of two operas purposely written for the Austrian capital, 'Ifigenia in Aulide' (1759). and 'Armida' (1760).
In 1765, after the death of the Duke, Traetta left Parma and settled in Venice, as principal of the 'Conservatorio dell' Ospedaletto.' He held ​the appointment for nearly three years, and resigned it on the invitation of Catherine II. of Russia, to succeed Galuppi as 'Maestro di Corte.' The severe climate of Russia however did not agree with the Italian maestro; in 1775 he gave up his position, and in 1776 accepted an engagement in London, where however he was not very successful, owing chiefly to the firm hold which Sacchini had taken of the English public. He accordingly returned to Naples, but the climate of Russia and the anxieties of London Lad impaired both his health and his genius, and the few operas he wrote before his death show that the spring pf his imagination was dried up. He died in Venice on April 6, 1779, and was buried in the church of Santa Maria Assunta, where the following epitaph is engraved on his tomb:
THOMAE TRAJETTA
BITUNTI NATO SUBLIMIORIS MUSICES PERITISSIMO HUJUS CHORI AD AMPLITUDINEM ARTIS SUAE INSTAURATORI MODERATORI OPTIME MERITO ANNO SALUTIS MDCCLXXIX AETATIS SUAE LII VITA FUNCTO MONUMENTUM POSITUM.
Though Traetta was gifted with great intelligence, and his music is full of vigour and not wanting in a certain dramatic power, yet his works are now entirely forgotten. Burney, Galvani, Grossi, Florimo, and Clément all praise him, and Florimo even finds in him a tendency towards the same dramatic expression and dignity in the musical treatment of the libretto that a few years afterwards made the name of Gluck immortal. However this may be, nobody can deny that Traetta had, as a man, a very peculiar character, an extraordinary estimation of his own talent, and an unusual readiness in making it clear to everybody: 'Traetta,' says Florimo, 'at the first performance of his operas, when presiding at the clavicembalo, as was customary at that time, convinced of the worth of his works, and persuaded of the special importance of some pieces,—was in the habit of turning towards the audience and saying: Ladies and gentlemen, look sharp, and pay attention to this piece.'
Subjoined is a catalogue of his works.
Operas.
Farnace. Napoli, 1751. I pastori felici. Do. 1753. Ezio. Rome, 1754. Le nozze contrastate. Do. 1751. L'Incredulo. Napoli, 1755. La fante furba. Do. 1756. Buovo d'Antona. Firenze, 1756. Nitteti. Reggio, 1757. Didone abbandonata. Venezia, 1757. Olimpiade. Verona, 1758. Solimano. Parma, 1759. Ippolito ad Aricia. Do. 1759. Ifigenia in Aulide. Vienna, 1759. Armida. Do. 1760. Sofonisba. Parma, 1760. Enea nel Lazio. Torina, 1760. I Tindaridi. Parma, 1760. Enea e Lavinia. Do. 1761. Antigono. Padova, 1764. La francese a Malghera. Venezia, 1764. La buona figliuola maritata. Parma, 1765. Semiramide. Venezia, 1765. Le Serve rivali. Do. 1766. Amor in trappola. Do. 1768. Ifigenia in Tauride. Milano, 1768. L'Isola disabitata. Bologna, 1768. Germondo. London, 1776. Merope. Milano, 1776. La disfatta di Dario. Venezia, 1778. Il cavaliere errante. Do. 1778. Artenice. Do. 1778. Gli Eroi dei Campi Elisi. Do. 1779. Written on the composer's deathbed, and finished by Gennaro Astaritta. Le feste d'Imeneo, a prologue and trilogy, viz. Ii trionfo d'Amore, Triole, Saffo, and Egle, for the wedding of the Archduke Joseph of Austria with the Infanta Doña Isabella di Borbone, at Parma, Sept. 1761. Il Tribute Campestre, 'companimento pastorale,' on the occasion of Maria Carolina of Austria, wife to Ferdinand IV. King of Sicily, passing through Mantua in 1768. In the same year he wrote an Oratorio Salomone. for the 'Conservatorio dell' Ospedaletto' in Venice; and about 1770 he wrote a 'divertimento for four orchestras' with the title 'Le quattro stagioni el dodici mesi dell' anno' (the four seasons, and the twelve months of the year). A Stabat Mater of his for four voices and accompaniment of several Instruments is known, and the Archives of the 'Real Collegio di Napoli,' contain the following compositions:— Lezione terza for soprano. 39 Arie (some with accompaniment of violin and basso, and some with accompaniment of several instruments). 7 Duetti. Aria 'Terrore m'Inspirava,' with pianoforte accompaniment. Aria 'Ah! consola il tuo dolore.' arranged for two violins, viola, and basso. A Canon 'Sogno, ma te non miro' for two sopranos and basso. A Solfeggio, with pianoforte accompaniment.
[ G. M. ]
* ↑ His name does not occur once in the programmes of the Philharmonic Society, and only once in all the three Indexes of the Allg. Musikaljsche Zeitung.
* ↑ This composition is only mentioned in a letter bearing the date 2–13 Dec. 1770, written by Catherine II. of Russia to Voltaire.