GIARDFN1, FELICE, one of the greatest violinists of the last century, who contributed largely to an improved manner of perform ing in England, was born at '1'urin, in 1716, and catered as a chorister in the cathedral at Milan, where ho received his elementary education in singing, on the harpsichord, and in composition, and at the same time studied the violin under Lorenzo Goads, a favourite disciple of Critelli. At the age of seventeen he joined the orchestra of the Opera at Naples; then, making the usual tour of the Italian theatres, visited Germany, and at Berlin excited a furore by his performance ou the instrument which he early adopted. Giardini, coining to our shores in 1750, immediately distinguished himself, and speedily was appointed to almost every situation of honour and profit that u great violinist could obtain in the British capital. In 1756, joining with the famous cantatrice Mingotti, ho became manager of the King's Theatre, an office for which he was ao little qualified that he soon abandoned it, having sustained a considerablo loss by his inconsiderate undertaking. But, untaught by experience, he and his former partner, eight years afterwards, once more embarked in the same concern, and iu two years were again compelled to retire from an enterprise so ruinous when not understood. He now pursued his profession as a
leader, and also gave lessons in singing. In 1784 he went to Naples, where he became a guest of Sir W. Hamilton, the English minister, and a very superior performer on the violin. In 1789 he returned to England, but was coldly received, and failed in establishing a burletta opera at the little theatre in the Haymarket. In 1793 he took his buidetta troupe to St. Petersburg, then to Moscow, but was as unsuc cessful in Russia as in London. After experiencing many disappoint ments—the result of bad judgment, singular imprudence, defeated cunning, and habits not over scrupulous—he died at St. Petersburg, in a state of great poverty, in 1796. Giardini possessed much imagi nation and a fine taste. He composed partly three Italian operas, and one entirely. His English oratorio, 'Ruth,' continued to be performed many years; and his songs, 'Let not Age,' "Tie not Wealth' (in 'Love in a Village'), with a few others, are still admired by the lovers of pure melody; besides which, he published many quintets, quartets, trios, &c, for violins, and also six harpsichord sonatas; but his instru mental music is now forgotten, and the probability is that, being deficient in depth and vigour, it will never be revived.