[Sidenote: =The Small Influence of the really great Composers=] On the other hand, the names of those most honoured in the art of composition appear seldom or never upon the operatic play-bill. The great contrapuntist, Bach, wrote no music for the stage; Haydn, the so-called “father” of the sonata, the string quartet, and the symphony, only composed a number of unimportant light operas; Beethoven, the perfecter of form and design, one solitary, though notable, example; Schubert, the unrivalled composer of songs, a few early works; Mendelssohn, the calm and classic writer of the oratorio, and of the beautiful orchestral overtures, a few boyish pieces; Schumann, the daring inventor of so many harmonic and rhythmic designs, and the composer of many a masterpiece of pianoforte and chamber music, again a solitary and little known specimen. Brahms, the great apostle of absolute music, and of the classical school, followed Bach in leaving the stage severely alone. Mozart stands out as the one great composer who rose to the highest point of eminence, not only as a creator of sonata, quartet, symphony, and choral work, but also as a consistently great and successful master of opera. All honour to the great versatility of his immeasurable genius! CHAPTER VII. SOME LESSER STARS IN THE OPERATIC FIRMAMENT. (_a_) THE ITALIAN SCHOOL (CIMAROSA TO VERDI). The Italian school—Opera Buffa—The Neapolitan school—Piccini—A notable contest—Cimarosa—Rossini: his _Barber of Seville_—Recitative and its significance—_William Tell_—Bellini and Donizetti—Verdi: his early and later operas. [Sidenote: =The Italian School=] Italy was the birthplace of modern opera, and for generations the language of opera was Italian, irrespective of the nationality of the composer. Thus a large number of the operatic works of Gluck and of Mozart, both of whom rank as German masters, were to libretti in Italian. On the contrary, many Italian-born musicians, such as Cherubini and Spontini, devoted their best efforts to Grand Opera in France. When speaking of the Italian school, therefore, it must be understood that the language of the libretto and the class of opera are taken into account, rather than the nationality of the composer. [Sidenote: =Opera Buffa=] Side by side with Grand Opera, as typified by Gluck, there grew up a lighter and less serious form of musical play known as “Opera Buffa.” At first designed as an interlude or intermezzo between the acts of a serious drama, this new and bright art form was so fascinating as to quickly justify for itself a separate existence. It was mostly harmonious in character, and the music was, appropriately, of slighter texture. It flourished most luxuriantly in Naples, from which fact the composers of these charming little operas are generally classed as the “Neapolitan school.” [Sidenote: =The Neapolitan School=] [Sidenote: =Piccini, 1728-1800=] [Sidenote: =A Notable Contest=]