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competing moderately with other favorites. The next 15 years he was in Naples again, where he succeeded in reasserting his strength even against Paisiello and Cimarosa. In 1793 he became choirmaster at St. Peter's in Rome and devoted himself to oratorios and church music. He is said to have written 200 operas, of which most have vanished. Chief among them were I viaggiatori ridicoli (1772, London), Pappamosca (1783, Milan), Enea e Lavinia (1785, Naples), La pastorella nobile (1785, Naples), I due gemelli (1789, Milan), La bella pescatrice (1789, Naples) and La serva innamorata (1790, Naples). Of his oratorios, Debora e Sisara (1794) is noted as one of the best examples from the whole period.

Francesco di Majo (d. 1771), probably a pupil of Martini, died very young (31 years at most). But his brilliant promise secured him high place in the Royal Chapel at Naples, and his fine dramatic power was shown in nearly 20 operas (from 1759). He also wrote considerable church music.

Johann Christian Bach (d. 1782), born in 1735, the youngest surviving son of the great Bach, after his father's death in 1750 continued his studies with his brother Emanuel at Berlin, from 1754 with Martini at Bologna, and from 1757 partly at Naples. He became a Roman Catholic and from 1760 was organist at Milan, but was much occupied over operas, of which Catone was the first (1758). By 1762 his fame had spread so that he was invited to London, producing Orione and Zanaida (both 1763) and becoming music-master in the royal family. In 1764-5 occurred his memorable intercourse with the boy Mozart. He was in request as a clavier-teacher, and from 1764 collaborated with Abel in a noted series of public concerts, which continued till his death. In 1772 and '74 he gave operas at Mannheim and in 1779 at Paris (near the close of the Gluck-Piccinni contest). In all, he wrote 20 operas, with several pasticcios and cantatas, and a notable dramatic oratorio, Gioas (1770). He was a significant contributor to the evolution of the symphony and to chamber music, wrote extensively for the clavier, and while in Italy worked assiduously on church music (a fine Te Deum, 1759, etc.) in the strict style. He was the only Bach who was fully identified with the new styles later in the century.

Johann Gottlieb Naumann (d. 1801), born at Dresden in 1741, being early taken to Italy, secured lessons from Tartini and Martini and at Naples, bringing out his first opera at Venice (1763). In 1764 he became electoral church composer at Dresden, but soon visited Italy again as a favorite opera-writer. Though invited elsewhere, he held his place at Dresden, where from 1776 he was choirmaster. He made long stays at Stockholm (where he raised Italian opera to a high standard), Copenhagen and Berlin, securing by his facility and refinement much renown for the time. He wrote 23 operas, among which were Amphion (1772, Stockholm), Solimano (1773, Venice), Cora and Gustav Vasa (Swedish texts, 1780, '83), La dama soldato (1791, Dresden) and Protesilao (1793, Berlin), many oratorios, much church music, including several good masses and a noted Vater Unser, many symphonies, etc. It is noticeable that his prominence at Dresden dates from Hasse's departure.

Giacomo Tritto (d. 1824), born in 1733, lived a long life, almost wholly at Naples, studying under Cafaro and Sala, and succeeding them both as an influential teacher. His about 50 operas extended through a full half-century (1764-1815), and he also wrote extensively for the church. Late in life (1821-3) he published theoretical works.