[GIOVANNI BATTISTA PERGOLESE]
HE measure of a life is not its length, but its productiveness, and the best of a life's work is in its quality, not its quantity. The history of the fine arts is rich in the names of those who ended a great career before they had rounded out two score years, and many of the world's triumphs in the open conflicts of battle on land or sea and of labor in the struggles of peaceful times were won by men who had not long left their boyhood behind them.
Eminent among these young men, whose work and fame are to be permanently preserved and esteemed, is Giovanni Battista Pergolese, the span of whose life hardly exceeded a quarter of a century, and the number of whose compositions appears small in proportion to the influence he exerted and the new impulse he imparted to the musical world a hundred and fifty years ago.
Yet during his lifetime he was unappreciated and unsuccessful, and was a person of so little consequence that many details of his history are difficult to discover, while others which might now be interesting and instructive, are absolutely unknown. The very year and place of his birth are disputed. Some authorities claim that he was born in 1704 at Casoria, in the immediate vicinity of Naples; but the best are agreed upon the date of January 3, 1710, and name Jesi, a small town near Ancona, as the place. On the other hand, Fétis, after much examination, comes to the conclusion that he was born at Pergola, a town near Urbino,—whence his surname of Pergolese, his family name being Jesi—and sets down that the year was 1707. On this point he is evidently wrong, as he would thus make the composer older by three years at the time of his death than he is generally stated to have been.
Of his boyhood nothing is known, but he must have shown in an unusual degree the musical talent so common in Italy, because he is found at about ten years of age as a charity student in Naples, and under the protection of the Duke of Maddaloni and Prince of Stigliano, the latter being first equerry to to the King of Naples. Here again accounts differ. On the one hand it is claimed that the boy was received into the Conservatory Dei Poveri di Gesú Cristo, while on the other it is argued with much probability that he was taught at San Onofrio. If the latter be accepted as the truth, the contradiction can be explained by the fact that his teacher, Gaetano Greco, was originally at the former institution, but spent his later years in connection with the latter.
As the lad showed small aptitude for vocal music, he was first set to learn the violin of Domenico Mattei, who soon discovering the nature of his talent, sent him to Greco. This eminent master, himself a distinguished pupil of the great Alessandro Scarlatti, found Pergolese to be well worth cultivating and devoted himself to him with loving care. But in about two years Greco died, and Pergolese then received instruction from Durante, the famous master of counterpoint, whose methods are still followed in the royal conservatory at Naples, and from Feo. During this period his attention was concentrated upon the science of music and composition, and it is recorded that by the time he was fourteen years old, he had written some things of considerable consequence.
The effect of his training in the reserved, scholastic and almost conventional Neapolitan methods and of the influence about him was naturally such as to render his style severe, classic and almost formal; but no such limitation could be set to the expansion of his spirit, and no sooner was he free from academic constraint and ready to choose his own way in the world, than he began to express himself more vividly and to turn toward the theatre as his true field. His first composition was, so to speak, a compromise between the lessoning of the past and his ambitions for the future, for it was a drama with a flavor of oratorio. It was called "San Guglielmo d' Aquitania," and was produced at the Fiorentini, which stood in the second rank of Neapolitan theatres, and was not then, as subsequently, confined to the representation of comedy. The opera had only a qualified success with the public, being judged to have too much science and too little melody; but it sufficed to make his talent evident to his noble patrons, who then exerted their influence to get him hearings at other theatres. Thus encouraged, he wrote "Sallustia," an opera-buffa; "Amor fa l'Uomo Cieco," an intermezzo, at the suggestion of the Prince of Stigliano; and "Ricimero," a grand opera. These were performed at San Bartolomeo and other secondary theatres, and were all failures.