GENIUS is no less remarkable for the manner of its appearance in the world than for the subsequent manifestations of the power. At times it seems to be the natural result of a cumulation of influences, and yet again it can be traced to no source or cause. Bellini descended from at least two generations of musicians; but his contemporary, Gaetano Donizetti, the subject of this sketch, had no family prototype and left no heritage in art to any child.

His father, Andrea Donizetti, is not known to have been born in Bergamo, but in that small city of North Italy he was occupied at first as a weaver. Desirous of bettering himself sufficiently to marry Domenica Nava, he obtained a modest position in the local Monte di PietÀ, settled down to his routine employment and became the father of four sons. One of these, Gaetano,—born November 29, 1797,—was so bright, so alert and so evidently talented that the father began to hope and plan that he might be able to educate him for a lawyer, so that his professional position might give the family a higher social standing and perhaps add something to its narrow income. But so soon as the child was far enough advanced beyond elementary studies to have intelligent preferences, he began to show a predilection for the arts, which was so far indulged as to allow him to study drawing, architecture and literature. This did not satisfy the boy's cravings, however, and he plucked up courage to ask his father to have him taught music. He was so earnest and so confident that, in spite of the disappointment which this strong disposition caused, his father consented and cast about him to see how he could best provide the instruction.

The conditions could not have been more propitious. There had come to Bergamo in 1788 a young Bavarian named Johann Simon Mayer, for the purpose of studying music under the eminent guidance of Lenzi and Bertoni. When his own studies were completed he opened a school for twelve pupils, eight of whom were to be trained as sopranos and contraltos, to replace in the churches the men who had sung those parts hitherto, while the other four were to be taught the violin and the violoncello. All were obliged to study harmony and the art of accompanying, other capable teachers—among them Capuzzi, who had learned the violin under the famous Tartini—adding their instruction to Mayer's.

Into this little conservatory Donizetti entered in 1806. He was so fortunate as to enlist at once the interest of Mayer, who was already beginning to get a European fame because of his wisdom, solidity and learning. The lad's talent seemed so remarkable, his elasticity of disposition and his earnest determination so unusual for his years, that the master took special pains in developing him. Even at this early age, Donizetti showed marked imitative and dramatic ability, and such clearness of insight and exposition as made him at once an example and an aid to his slower or duller companions. By the time he was ten years old he had advanced so much in the right direction as to have made his mark in solo contralto music and to be appointed repetitore—or preparatory teacher—in the classes both of singing and of the violin, as well as to be taken by Mayer as his special pupil in harmony.

Naturally enough, the boy tried his hand at composition, but his master wisely made no account of these efforts until they had brought forth something really commendable for its ideas and their treatment. All the while new branches of study were suggested, in all of which Donizetti made commendable progress, learning to appreciate the classic masters of Italy and Germany, to play passing well upon the pianoforte, the organ, the flute and the double-bass, beside making constant progress as a singer, although it is said that his exactitude and grace were more noticeable than any fulness or strength of tone. Besides those professional studies, he was taught history, mythology, Latin and rhetoric, so that when in time he devoted himself to theatrical composition, he was well equipped. His special bent was shown, not only in his arranging a little stage for juvenile performances in which his part was always well done, but also in his attempting a tenor part in a real theatre; but failing in this, he gave up any hopes of becoming a professional vocalist and decided to devote himself to composition.

By 1815 Mayer concluded that Donizetti ought to have other training than Bergamo could give and therefore sent him to Bologna, a city still prominent for its understanding and love of the arts, in order that he might study fugue and counterpoint under Mattei, who had recently brought out Rossini and other worthy pupils and could strengthen this youth where he was weak. Thither Donizetti went, furnished with letters and introductions, one of the most profitable of which was to Giovanni Ricordi of Milan, founder of the famous music-publishing house of that name.

It appears that Donizetti remained as a member of the Philharmonic Lyceum of Bologna until sometime in 1818, and that he made such good use of his opportunities as to obtain extra lessons from Mattei and to write things which the library of the school still preserves with respect. They are mostly for full orchestra and solo voices and several of them had public presentment.

His formal studies ended, Donizetti returned to Bergamo, where he kept at work training his memory and his quickness of mind and hand, and writing string quartets after the style of such masters as Haydn, Mozart and Beethoven. A variety of compositions for the voice, mostly ecclesiastical, and for the piano were published by him, but no request was yet made to him for any theatrical music, at which he was much disappointed. It was indeed a difficult period for a new writer; the stage was not yet weary of the operas of Cimarosa, Paisiello, Zingarelli, PaËr and Mayer, while the few opportunities of which a new comer might hope to avail himself were scarcely more than sufficed for the genius of Rossini and of Bellini. Any attempt to rival in his own field either of these would necessarily have been fatal, and Donizetti was prudent enough to create an independent style for himself while maintaining, like them, that the melody of human voices was of the first value in the lyric drama.

At last his moment came and he began his course with "Enrico di Borgogna," described as a "semi-serious" opera and successfully produced at Venice in the autumn of 1818. Being asked to supply something for the next season, he provided for the winter of 1819-20 a comic opera called "Il Faleogname di Livonia," which was also well received. After getting this well under way he went to Mantua with "Le Nozze in Villa," which he had finished about the same time but which made a failure.

Long and serious schooling had wrought their proper effect on Donizetti, and he set himself to analyze the causes of his success and unsuccess, and allowed two years to pass before he was ready to try again. He indeed went to Rome in the autumn of 1821, but it was not until winter that he produced "Zoraide di Granata," which was immediately and greatly successful, demonstrating that his life and talent ought to be consecrated to operatic composition.

One danger threatened him, however. Bergamo was under the Austrian domination and he was liable to do military duty. Unless the fear of this could be conjured away, he could not write with a free spirit, nor could he marry the woman he loved, Virginia Vasselli, because her father would not consent so long as his future was in doubt. Strong protestations were addressed to the Austrian ambassador in Rome, Mayer used his best efforts, an additional pretext was found in some slight physical defect, and Donizetti was relieved from the anxious peril. He could now pursue his art untrammeled, could form his domestic life as he desired and could unite himself with sympathetic friends. This independence, added to his natural activity, soon showed its effects in the further production of three operas in that same year, of which two were given in Naples—"La Zingara," a comic opera at the Nuovo, and "La Lettera Anonima," really a musical farce, at the Fondo—and "Chiara e Serafina" or "I Pirati," at the Scala, in Milan.

No sooner was it understood that Donizetti was free and ready to write, than commissions were sent him from all the chief theatres of Italy. Rossini, Bellini, Pacini and Mercadante were all in a certain sense his rivals, and their names were often bulletined with his in the prospectuses of one or another season. But his genius preserved its individuality, and the charm of his music was so great that from this time forward the years were few in which only one or two operas were written by him, while during many twelvemonths he completed four and even five operas. Some of these were short, it is true, limited even to a single act, while others again are chronicled as mere farces in the records of the time; so, too, several seasons passed before he rose beyond the humorous disposition which had showed itself in mimicry and simple buffoonery during his school years and attempted a strictly serious or even a romantic subject.

Therefore, although he was constantly writing for such important houses as the San Carlo, the Nuovo and the Fondo, in Naples; the Valle, in Rome; the Carlo Felice, in Genoa; and later for the Scala and the Carcano, in Milan; the catalogue of these works presents an array of names unfamiliar to any but systematic students of musical literature. There are indications, here and there, that his reading of books was wider than that of some of his contemporaries and that there was springing up in him a preference for historical subjects, as well as that interest in the novels of Walter Scott which ultimately became almost a passion with him. "La Regina de Golconda," "Jeanne di Calais," "Il Castello di Kenilworth," "Francesca di Foix," "Imelda dei Lambertazzi" and "Anna Bolena" are titles which appear between 1828 and 1831, while it is recorded that he composed in 1830 an oratorio about the deluge.

Returning for a moment, it is to be noted that in 1822 he was in Naples, making studies in the Conservatory whose librarian, Sigismondi, objected intensely to the new style which had come in with Rossini, and it was only by some ingenious device that Donizetti obtained the scores he was so anxious to peruse. Wherever he went he was handsomely received and greatly applauded. In 1826 he had special honor from the Queen of Naples, and the celebrated manager Barbaja ordered a number of operas for his various theatres and made him director of the Nuovo for two years. During this period he wrote various isolated airs, eminent among which is a setting of Dante's "Count Ugolino's Lament," written for the basso Lablache. Like other composers of the time, Donizetti may be said to have had no fixed residence. If he had a commission from any city, he established himself there temporarily, to be in close and intelligent relationship with the manager, the artists and the public whom he was to please. It was near the close of 1830 that the first work of his which holds a present place, "Anna Bolena," was sung at the Carcano, having been put in rehearsal within four weeks after its beginning. This was adjudged so great a work that Mayer wrote concerning it that "at last the French had to confess that Italy had another composer beside Rossini." Close upon this serious opera came "L'Elisire d'Amore," which still stands beside Rossini's "Cenerentola," a splendidly gay illustration of the best Italian buffo writing.

In 1833 "Parisina" introduced him to the Pergola, in Florence, and in the autumn of that year Rome received with great satisfaction "Torquato Tasso," which the author dedicated to Bergamo, Sorrento and Rome.

In spite of its fecundity, the genius of Donizetti strengthened with its exercise, and after comparatively brief intervals, occupied with less important works, there appeared those great compositions which will always remain magnificent examplars of Italian opera in the nineteenth century. In 1834, the Scala, despairing because Mercadante, smitten with opthalmia, could not fulfil his engagement, turned to Donizetti, who taking the libretto which Romani had prepared for his friend, completed upon it in twenty-five days, "Lucrezia Borgia," a lyric tragedy which the musicians of all the world know. In 1834 came "Maria Stuarda;" in 1835, "Gemma di Vergy," "Marino Faliero," and the perennially interesting "Lucia di Lammermoor;" in 1836, "Belisario," "Betly" and "L'Assedio di Calais."

In the meantime Donizetti had been going up and down the peninsula, visiting particularly Naples because he had hopes of becoming Zingarelli's successor as professor of counterpoint, for which post his education, severer, and his taste, simpler than Rossini's, seemed to fit him. He had visited Paris in 1833, where "Marino Faliero" had a splendid reception. It was in May, 1837, that the anticipated death of the venerable Zingarelli took place, and Donizetti was named director pro tem. of the Conservatory. In July of this same year his wife died suddenly after fourteen years of happy wedlock. This was a heavy blow for him, and his sorrowing heart found some relief in that pathetic and sombre melody, "Ella È Morta," which he dedicated to her memory. But his engagements left him no time for pure grief and he continued to write, though less frequently, for a couple of years.

But Paris was constantly reclaiming him, and in 1840 "La Fille du RÉgiment"—"created" to a French text—made its brilliant entrance at the OpÉra Comique, and public, press and court bestowed upon its author all their honors. Already resident in Paris for some two years, Donizetti saw that it was best for him to remain there, not only because there was more money to be made, but also because there was more to learn and to be inspired by. He began to modify his native fun according to the lighter humor of France, and during the next three years he composed "La Favorite," "Linda di Chamounix" and "Don Pasquale," besides such graver things as "Les Martyrs," (known in Italian as "Il Poliuto"), "Maria di Rohan," "Dom Sebastien," "Maria Padilla" and "Adelia," even the few which were written to Italian texts for Milan, Rome and Vienna, being sent out from Paris.

In 1840 he visited Switzerland for his health and crossed the frontier to Milan and Bergamo, where his townsfolk drew his carriage home after a festival performance at the theatre. But if he had hoped to be called on to Naples for the position which had been virtually promised him, he was disappointed, for Mercadante about this time received the appointment, and Donizetti soon returned to Paris and his work. Other brief visits to Italy and to Germany were made during this epoch, and among many honorary tributes came some from the Sultan of Turkey and Pope Gregory XVI. In Vienna, whither he went early in 1842 to direct his "Linda," he had also great honor, and was named royal Kapellmeister and director of the opera, with an honorarium of four thousand florins and without the obligation of permanent residence.

The next few years were divided between Paris and Vienna, and his operas passed out of Europe across the Atlantic and even reached Constantinople and Calcutta. Men distinguished in art, science and letters became his friends, and his income was constantly augmenting. But early in 1845 he was found one morning senseless upon his bedroom floor in Paris, and from that hour dated the dreadful decay of mind and body which ended at last in death on April 8, 1848, after several years passed in private lunatic asylums. His sensitive and susceptible nature, excited and worn by his eager and exhausting industry, and perhaps by some irregularities of life, had given warnings in intense headaches, and bewildering depressions, against which he had nerved himself with a destructive strain. The dreary imbecility of these later years made death welcome, when at last it came to him in Bergamo, whither he had been removed in the care of a nephew and his physician in the autumn of 1847. Bergamo gave him a noble funeral and assigned him a tomb in the cathedral beside that of his master, Mayer, who had died three years before, and in 1855 his brothers Giuseppe and Francesco erected a stately monument made by Vincenzo Vela.

Donizetti's life fell all within the most brilliant and inspiring period of Italian opera, touching the earlier great at its beginning, running parallel with other distinguished men and overlapping the rise of Verdi, Ricci and the elder writers of the present time. All things considered, it does not seem as if his talent could have been turned to better account, although his astonishing facility made him often take the quickest rather than the best way to reach his ends. But he had been so well grounded in the departments which Bellini avoided, and had pursued so much serious study, that although he was sometimes superficial he was never trivial, and the outlines of his scoring were correct even when they were badly filled. His own skill with instruments and his knowledge of vocalism were of immense advantage; because, being above all things a melodist, he could adapt his airs perfectly to their singers or to the instruments which were to carry them in accompaniment. His reading and his taste led him to select strong, sympathetic subjects, preferably historical or romantic, and his dramatic disposition enabled him to make his scenes expressive and captivating. He was fortunate and unusual in his ability to treat appropriately both humorous and serious subjects, and his melodies are eminent for their true sentiment no less than for their variety and the purely musical quality which makes them interesting and beautiful whether they be sung or played. His accompaniments are often thin and conventional arrays of simple chords, but when he is at his best they are full, rich in harmony and tone-color and enlightened by significant figures. Yet he understood so well the purpose of the lyric drama that his scores are never heavy with ostentatious counterpoint or intricate polyphony. That he was capable of dignity and forcefulness, his graver and less familiar works illustrate, and the praise bestowed upon his string quartets when they were played in Paris, in 1856, proved that he was equal to composition upon classic lines had it been demanded of him.

Besides his sixty-six operas, most of which have been named above, he wrote many overtures, some large church pieces, many albums of songs in various languages, of which none are unworthy of preservation, beside a multitude of ephemeral things of which none remain but few and scattered traces.

All the greatest vocalists of the first half of the century sang for him, and the rosters of the opera-houses for which he wrote, repeat the names of Catalani, Cecconi, MÉric-Lalande, Tosi, Pasta, Grisi, Ungher, Borghesi, Dorus-Gras and Stolz among the women, and of Fioravanti, Donzelli, Busti, Rubini, Tamburini, Lablache, Verger, Winter, Donzelli, Negrini, Salvi, Duprez, Derivis, Levasseur, Wartel, Coletti, Baroilhet, Ronconi and Rovere among the men. His life, therefore, was active, honorable, prosperous and happy; and in reviewing it one finds little to regret except that it was not ended by a sudden, instead of a gradual, death.