Here, moreover, he at least inspired the teaching of the voice, for it was at this school, under Scarlatti's direction, that many of the most eminent singers of the first quarter of the eighteenth century were educated. Among the names mentioned in this connection are those of Farinelli, Senesimo, and Mme. Faustina Hasse. It is probable that Scarlatti himself taught singing, in support of which reasons will be mentioned later.
At this time Naples was in considerable disturbance of a political kind, and in 1703 the situation became insupportable to Scarlatti, who thereupon turned his steps once more towards Rome, where he was appointed assistant musical director of Santa Maria Maggiore, in 1703. Four years later, upon the death of the musical director, Antoine Foggia, he was made full director. He was also made the musical director at the palace of the distinguished and magnificent Cardinal Ottoboni.
He had now come to the full measure of his powers and popularity. One of his celebrated works, "Il Caduta de Decemviri," was played in 1706; another, "Il Trionfo della Liberta," was played at Venice in 1707. He composed with the greatest spontaneity. Burney, the musical historian, mentions seeing the manuscripts of thirty-five cantatas by Scarlatti, which he composed at Tivoli, in the month of October, 1704, while on a visit to his friend, André Adami, chaplain singer in the pontifical chapel. These works were dated, and the dates show that they were written at the rate of one a day. Quanz, the celebrated flute player, visited Naples in 1725, when Scarlatti was a very old man, and met him several times. He mentions a certain wealthy amateur who had collected four hundred manuscript compositions of Scarlatti.
It was during the Roman residence that the young Handel formed the acquaintance of the two Scarlattis, for the son Domenico was by this time the very first clavier virtuoso in Italy. Handel was so much interested that he accompanied the Scarlattis upon their return to Naples, where the master resumed his position as court musical director, in 1709. Handel remained in Naples, studying the cantata style of Scarlatti, until the spring of the following year.
In his later residence at Naples his activity continued, but the very names of many of his works are now lost. Among the most important of these may be mentioned the opera of "Tigrane," which was played in 1715. Another, "Griselda," was produced in 1721. In addition to the direction of the conservatory of San Onofrio, he appears to have taught musical composition at the two other conservatories, of Dei Poveri and Di Loreto. His activity as composer continued almost to the end of his long and honored life. He died Oct. 24, 1725.
