, was Piccini (1728-1800). His first
operas were produced in 1754, and from that time on for about forty
years he was a very popular composer, his works being produced in
every theater, and in 1778 he was set up as an idol by his admirers,
in opposition to Gluck. He was highly honored by Napoleon, who took
pleasure in distinguishing him for the sake of humbling several much
more deserving musicians. The complete list of his works in Fetis
contains eighty operas. His biographer credits him with one hundred
and thirty-three. Yet another composer of the Neapolitan school was
Giovanni Paisiello (1741-1815). From the time of his first operas to
his death, he was highly esteemed as a composer. In 1776 he was
invited by the Empress Catharine to St. Petersburg, where he lived for
eight years, and among other operas which he composed while there was
"_Il Barbiere di Siviglia_." In 1799 he was called to Paris, where
Napoleon very greatly distinguished him. Upon leaving Paris, in 1803,
Napoleon desired him to name his successor, when he performed the
creditable act of nominating Lesueur, who was at that time unknown.
The list of his works embraces ninety-four operas and 103 masses. His
music was melodious and pleasing, but rather feeble; he is regarded,
however, as the inventor of the concerted finale, which has since been
so largely developed in opera. Perhaps the best of all the Neapolitan
composers of this half century was Zingarelli (1752-1827). Zingarelli
was not only a good musician and a good composer, but a man of ability
and principle. He was an associate pupil with Cimarosa. After leaving
the conservatory he took lessons upon the violin, and in 1779 produced
a cantata at the San Carlo theater. Two years later his first opera
was produced at the same theater with great applause, "_Montezuma_."
He then went to Milan, where most of his later works were produced. He
was an extremely rapid worker, his librettist stating it as a fact
that all the music of his successful opera of "_Alsinda_" was composed
in seven days, although the composer was in ill health at the time.
Another of his best works, his "_Giulietta e Romeo_," was composed in
about eight days. It is said that this astonishing facility was
acquired through the discipline of his teacher Speranza, who obliged
his pupils to write the same composition many times over, with change
of time and signature, but without any change in the fundamental
ideas. While busily engage