begins the Neapolitan opera, which was destined in the 18th century to supersede the Venetian and to give the law for all Italian opera throughout Europe (see sec. 125). A few opera-writers also appeared at Rome.
The rise of the Neapolitan school was due not only to the genius of
particular composers, but to the steady and diffused influence of four
conservatories, all founded in the 16th century, which were important
centres of instruction till the 18th. These were Sta. Maria di Loreto,
founded in 1566 (though begun as a small enterprise in 1535),
S. Onofrio a Capuana, 1576, De' Poveri di Gesù Cristo, 1589, and Della
Pietà de' Turchini, 1583 (but not definitely devoted to music till late in
the 17th century). These were all originally designed as charity-schools
for poor children, but in time they became notable institutions of popular
art. They attracted large bequests and distinguished teachers, and
often counted their pupils by hundreds. Nearly all the great musicians
later associated with Naples were students at one or more of these
schools. In 1744 the third was transformed into a theological school,
in 1797 the first and second were united, and in 1808 the fourth was discontinued.
Immediately after was established the Real Conservatorio di
Musica, which took the place of all and still continues worthily the noble
traditions of three centuries of musical fruitfulness.
Alessandro Stradella (d. 1681?) should probably be named here, though biographically he is an enigma. It is conjectured that he was born at Naples about 1645, and that he was murdered at Genoa. An extensive romance has grown up about him that may or may not be true, at least giving a fictitious interest to his career, while some music has been attributed to him that was really later. He is said to have been a fine singer and harpist. He left a notable number of works, about 150 in all, including 10 operas (c. 1665-81), 8 oratorios (from 1676), numerous cantatas, duets and madrigals, which show him to have been correct and skillful, but not specially profound. His oratorio S. Giovanni Battista (published 1676) is his best-known work.
Bernardo Pasquini (d. 1710), the famous Roman organist (see sec. 104), wrote 7 operas (1672-92), one for the opening of a new opera-house and one for the private circle of the famous ex-Queen Christina of Sweden, then resident in Rome.
Francesco Provenzale is the first prominent composer at Naples, where he produced 2 operas (1670-1) and some oratorios elsewhere, besides being a successful teacher and church writer.
Alessandro Scarlatti (d. 1725) is also to be mentioned because his active career began some time before the century closed, first at Rome, later at Naples. About 10 of his operas and at least 3 oratorios appeared before 1700 (from 1679), mostly at Rome (see sec. 125).
