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Scan 226
The violin and its music, 1881
4 lines. Read by computer on 3 September 2026. Printed page 200. See the scan on archive.org.
1ment a distinct part to perform as an accompaniment to the voice. His orchestra was composed of Violins, Tenors, Violoncellos, Double Basses, two Hautboys, and two Horns, a combination before unknown. It is unnecessary to make here other than passing reference to the changes effected by Scarlatti in operatic compositions; they were of a character and solidity sufficient to make the School of Naples the foremost in Italy, and served in a great measure to give to the works of the immortal Handel that melodious richness which is at once bold and pathetic.
3Leaving Scarlatti, we will notice his famous pupil, Porpora: although like his master, a prolific composer of operas, he is associated with the history of the music of the Violin. Had he alone written the Sonata selected by David, in "Die Hohe Schule," he would have achieved lasting fame among Violinists; he left, however, other compositions of the kind, interesting, if not so good. It was Porpora who came to England in the year 1733, to conduct the opera in opposition to that of Handel, and remained here some few years. Frederick, Prince of Wales, for some time was in this opposition camp; and thus we find Porpora's six Sinfonia da Camera, for two Violins and a Bass, dedicated to his Royal Highness in 1736. These trios, Burney says, "like the instrumental music of vocal composers–except that of Handel and J. C. Bach—are fanciless, and no more fit for one instrument than
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