Vincenzo Federici (d. 1826), born at Pesaro, after working at London as cembalist and composer, from 1803 was active at Milan and Turin, from 1809 a teacher in the Milan conservatory and ultimately its head. He wrote 15 operas, including Castore e Polluce (1803), La Zaira (1806) and La locandiera scaltra (1812, Paris), in a style of the Cimarosa type.
Giuseppe Mosca (d. 1839), a Neapolitan, trained under Feneroli, began opera-production at Rome (1791). After some years (1803-9) at Paris, he later was director at Palermo and at Messina. His 44 operas were fluent, but unoriginal. In them appears the device of a grand crescendo which Rossini later employed. His brother, Luigi Mosca (d. 1824), working at Naples, wrote 14 operas (from 1797), an oratorio and several masses.
Pietro Generali [Mercandetti] (d. 1832), born at Rome, was a pupil of Durante, at first in church music. From 1800 he also produced about 50 operas, mostly comic, of which I baccanali di Roma (1815, Venice) was the chief. He is regarded as the forerunner of Rossini. He was finally choirmaster at Novara, writing only sacred music, including the oratorio Jefte (1827).
Vincenzo Lavigna (d. 1837) was brought up at Naples and began about 10 rather notable operas at Milan with La muta per amore (1802). In 1809 he settled at Milan, where he taught the young Verdi.
Stefano Pavesi (d. 1850), also a Neapolitan scholar, after curious military adventures, brought out an opera at Venice (1803) which led to many commissions till 1830. From 1818 he was choirmaster at Crema, his birthplace. Of his more than 60 operas, I baccanali (1807), Ser Marc' Antonio (1810) and La donna bianca (1830) may be named.
Giovanni Tadolini (d. 1872), born at Bologna and educated there by Mattei, was from 1811 Spontini's assistant at Paris. Beginning with La fata Alcina (1815, Venice), he secured decided popular favor by 7 other operas, among them Il credulo deluso (1817, Rome). From 1830 he was again at Paris, returning in 1839 to Bologna. He wrote excellent songs and romances.
Although Italian opera-writers were usually unaware of the
changes that were setting in elsewhere in the world of composition,
or unresponsive to them, yet there were some notable
exceptions, chiefly those who lived and worked under German
influences. These made various efforts to combine their native
melodiousness with stronger harmony and richer instrumentation,
sometimes with considerable success. They often carried the
public with them, but as a rule failed to make any permanent
mark. Yet what they did is worthy of mention as a sign of
the times.
As illustrations of this class, most of whom were somewhat direct rivals
of the Germans on the one hand and of Rossini and the French school on the
other, the following should be named:—
Ferdinando Paër (d. 1839), born at Parma, after slight training, in 1787 began opera-writing there in the ordinary style. He soon acquired reputation and was called to Venice as director. In 1797, with his wife, a good singer, he
