ABSTRACT
The divine nature of an accident during a public concert is a topos in Neapolitan literature: other similar cases can be found in literature and art. Salvatore's surviving vocal compositions were played for a long time and lovingly recopied after his death. There are, for example, copies belonging to Gaetano Veneziano, the favourite pupil of Francesco Provenzale and continuer of the chain of Neapolitan maestri till the first decades of the eighteenth century. The biography of Ignazio Provenzale is particularly interesting, not least because of his association with a hitherto unknown Neapolitan Provenzale family: the Dukes of S. Agapito. Giovan Maria, Antonino and Francesco Sabino seem perfectly integrated into the highest Neapolitan sacred music production in the first half of the seventeenth century. Manuscript sources in the Oratorio dei Girolamini in Naples that hand down a variety of motets and polychoral compositions include alongside their names those of colleagues active in the most prestigious chapels.
