GEMINIANI, a celebrated musician and composer, was born at Lucca in the year 1680. He received his first instructions in music from Alessandro Scarlatti; and after that became a pupil of Carlo Ambrosio Lunati, surnamed Il Gobbo, a most celebrated performer on the violin; after which he became a disciple of Corelli, and under him finished his studies on that instrument. In the year 1714 he came to England, where in a short time he so recommended himself by his exquisite performance, that all who professed to love and understand music were captivated with hearing him. Many of the nobility laid claim to the honour of being his patrons; but he seemed chiefly to attach himself to Baron Kilmansegge, chamberlain to King George I. as elector of Hanover, and a favourite of that prince. In 1716 he published and dedicated to his patron twelve sonatas a violino, violone, e cembalo ; the first six with fugues, or double stops as they are vulgarly called; the last with airs of various measures, such as allemandes, courantes, and jiggs. This publication was so well relished by the baron, that he mentioned Geminiani to the king as an excellent performer; in consequence of which our musician had the honour to perform before his majesty, in concert with the celebrated Handel, who played on the harpsichord. But though Geminiani was exceedingly admired, yet he had not a talent for associating music with poetry, nor do we find that he ever became a public performer; he was therefore obliged to depend for his subsistence on the friendship of his patrons and the profits which accrued to him from teaching. He had also the misfortune to be an enthusiast in painting; and the versatility of his temper was such, that, in order to gratify this passion, he not only suspended his studies, and neglected to exercise his talents, but involved himself in debts. In 1727 he was offered the place of master and composer of the state music in Ireland; but this could not be conferred on a Catholic, and Geminiani refused to change his religion; upon which it was given to Matthew Dubourg, a young man who had been one of his pupils, and was a celebrated performer on the violin. Geminiani then set himself to compose parts to the opera quinta of Corelli; or, in other words, to make concertos of the first six of his solos. This work he completed, and, with the help of a subscription, at the head ol which were the names of the royal family, published in 1726. In 1732 he published his opera seconda, which contains a celebrated minuet that goes by his name. He published many other pieces, the profits of which did not much mend his circumstances; but this perhaps was owing to his rambling disposition and enthusiastic fondness for painting. He was also an utter stranger to the business of an orchestra, and had no idea of the labour and pains necessary in the instruction of singers for the performance ol music to which they were strangers. The consequence of this was, that a concerto spirituale, which he had advertised for his own benefit in 1748, failed in the performance. The audience, however, compassionated his distress, and sat very silent till the books were changed; when the performance was continued with compositions of the author’s own, which he executed in such a manner as has never been forgotten. The profits arising from this performance enabled him to take a journey to Paris, where he staid long enough to get plates engraven for a score of solos, and the parts of two operas of concertos. About the year 1755 he returned to England, and advertised them for sale. In 1761 Geminiani went over to Ireland, and was kindly entertained there by Mr Matthew Dubourg, who had been his pupil, and was then master of the king’s band in Ireland. This person, through the course of his life, had ever been disposed to render him friendly offices; and it was but a short time after Geminiani’s arrival at Dublin that he was called upon to do him the last. It appears that Geminiani had spent many years in compiling an elaborate treatise on music, which he intended for publication; but soon after his arrival at Dublin, by the treachery of a female servant, who, it was said, had been recommended to him for no other end than that she might steal it, it was conveyed away, and could not be recovered. The greatness of this loss, and his inability to repair it, made a deep impression on his mind, and, as it is conjectured, hastened his end; at least he survived it but a short time, ending his days on the 17th of September 1762. The following list comprehends the whole of his publications, except two or three articles [7:10:380] of small account, viz. twelve solos for a violin, opera prima; six concertos in seven parts, opera seconda; six concertos in seven parts, opera terza ; twelve solos for a violin, ope- ‘ra quarta ; six solos for a violoncello, opera quinta; the same made into solos for a violin; six concertos from his opera quarta ; six concertos in eight parts, opera settima ; rules for playing in taste; a treatise on good taste; the art of playing the violin; twelve sonatas from his first solos, opera undecima ; Ripieno parts to ditto; lessons for the harpsichord; Guido Armonica ; supplement to this; the art of accompaniment, two books; his first two operas of concertos in score; and the Enchanted Forest. Of his solos the opera prima is esteemed the best. Of his concertos some are excellent, others of them scarcely pass the bounds of mediocrity. The sixth of the third opera not only surpasses all the rest, but, in the opinion of the best judges of harmony, is the finest instrumental composition extant.