The Fenaroli

two of the early Neapolitan n m asters of the gallants le, Francesco Durante and Leonardo Leo, were viewed by later generations of Italian musicians as having established important artistic lineages. Conservatory lore in Naples described two camps— the Durantisti and Leisti 1—with different approaches to the art of composition. Modern scholars, however, have found it difficult to substantiate this divide.2 Perhaps the relevant eighteenth-century distinctions were contingent on very specific contexts. That is, perhaps they represented conflicting preferences for how to handle the details of a given schema.

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