more appreciated as genuine vehicles of feeling, suitable for the expression of both religious and other sentiments. This transition opened the way for much that was most valuable in the styles of later periods.
Alessandro Scarlatti (d. 1725), the first of the great Neapolitans, a pupil of
Carissimi about 1680, though most influential through his operas, was even
more prolific in sacred works. He cultivated both fields at once from the outset
of his career at Rome. Thoroughly at home in all the intricacies of counterpoint,
he held his own with the best Roman masters of the later 17th
century, and was esteemed at the Papal Chapel and at Sta. Maria Maggiore
(where he was assistant or chief choirmaster in 1703-6). He is said to have
written 200 masses, set for as many as ten voices, a great variety of psalms,
motets and vespers, with literally hundreds of cantatas, mostly solo, and 10
oratorios (from 1693). His extraordinary readiness was supported by ample
learning and genuine heartiness of feeling, so that his works seldom lack
worth.
Nicola Fago (d.c. 1736) was a pupil of Scarlatti and of Provenzale at Naples, succeeding the latter as teacher at one of the conservatories. Numerous church works (from about 1700) remain, including masses and motets, cantatas, a Stabat Mater and an oratorio, written in a good, but not specially notable, style.
Niccolò Porpora (d. 1766), the most famous singing-teacher of his day, though working ultimately outside of Italy, was trained at Naples, probably under Scarlatti. He wrote in all the usual sacred forms, including many cantatas and 6 oratorios (Sta. Eugenia, 1721, being the most famous). His gifts as a vocal expert show in the suave writing of his cantatas (see sec. 125).
Francesco Durante (d. 1755) was also a Neapolitan, studying under Greco and Scarlatti, succeeding the latter as teacher and educating a multitude of great pupils. Being without dramatic ambitions, he devoted himself to sacred composition, leaving a great number of works in all forms, elegantly and attractively written, but, except for their harmonic richness, not particularly strong. His repute throughout Europe, however, is attested by the unusually wide distribution of his works. His best-known work is a Magnificat in B.
Leonardo Leo (d. 1744), ten years younger than Durante, was a pupil of Scarlatti, Fago and the Roman master Pitoni, and served as choirmaster at Naples from 1716 and also as the teacher of several noted pupils. His ablest work was in opera (see sec. 125), but he also wrote abundantly for the church in a rich and imposing style, his chef d'œuvre being an a cappella Miserere for double choir. He wrote 4 oratorios (1713-32) and some fugues for organ.
Francesco Feo (d. after 1740) studied under the singing-master Gizzi and with Pitoni of Rome. Though the composer of 6 operas, he is better known for considerable sacred music, chiefly in the Roman manner, with one oratorio.
Pasquale Cafaro (d. 1787) was the pupil and successor of Leo as teacher, and, like him, was a church composer as well as opera-writer, his best work being a Stabat Mater (1785).
