Chapel Royal of Naples

The Chapel Royal of Naples (Italian: Cappella Reale di Napoli) was the sacred musical establishment of the Spanish court in Naples which began with the Aragonese Court of Naples,[1] and continued under the Habsburgs[2] the Bourbons, and Joseph Napoleon.[3]

The chapel.

Maestri di cappella, vice masters and organists

Masters of the chapel included:

The first maestro Diego Ortiz arrived in the entourage of Viceroy Pedro de Toledo (1558-1570),
Francisco Martínez de Loscos (1570-?),
a Flemish maestro,
then another Fleming Giovanni de Macque (1599–1614),
the first Italian Giovanni Maria Trabaci (1614–46),
the Neapolitans Andrea Falconieri (1647–56), and
Filippo Coppola (1658–80),
then the Venetian Pietro Andrea Ziani (1680–84),
followed by Alessandro Scarlatti (1684-1702, then again 1708-25),
alternating in his absences with Francesco Mancini (1702-1708, then again 1725-1737),[4]
Domenico Sarro (1737–1744),
Leonardo Leo (1744),
then Giuseppe de Majo (1745–1771),
Pasquale Cafaro (1771–1787),
Paisiello (1787-)[5]

Vice masters included Domenico Sarro (-1707, then again 1725 to 1734). And in the third post of Pro-Vice Maestro from 1725 Leonardo Vinci. Francesco Provenzale was only maestro onorario.[6]

Organists included Leonardo Leo.

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gollark: Well, this is extremely. Let's go to the stream room?

gollark: Try talking or something?

gollark: Well, this is mysterious. You can't hear me and I can't hear the music octahedron.

gollark: Can you hear it?

References

Music at the Aragonese Court of Naples -p33 Allan W. Atlas - 2008 "Thus at precisely the midpoint of the fifteenth century, Naples could boast one of the largest chapels in the musical mainstream. "
The Royal Chapel in the time of the Habsburgs: music and ceremony p162 Juan José Carreras López, Bernardo José García García, Tess Knighton - 2005 chapter 13 The Royal Chapel in the Etiquettes of the Viceregal Court of Naples during the Eighteenth Century Dinko Fabris "The structure of the most prestigious musical institution in Naples, remained almost unaltered over two centuries of Spanish rule as regards the model created during the period of the Aragonese court. From the end of the fifteenth century, its musical resources consisted of both singers and musicians ... ..."
The Harmonicon: 214 1823 The family of the Bourbons being compelled to quit Naples, King Joseph Napoleon, who ascended the throne, confirmed Paisiello in his situation of Master of the Chapel Royal, of Composer and Director of Music to the Household and Chapel, ..."
Journal of the American Musicological Society: Volumes 24-25 American Musicological Society - 1971 "1725 Francesco Mancini, pm Domenico Sarri, vm. ; 1737 Domenico Sarri, pm Leonardo Leo, vm. ; 1744 Leonardo Leo, pm Giuseppe de Majo, vm. ; 1745 Giuseppe de Majo, pm Giuseppe Marchitti, vm. ; In 1771 this tradition was broken for the first time. Giuseppe Marchitti was denied succession and the promotion given to Pasquale Cafaro. maestro soprannumerario and maestro di musica della regina, instead. December 2 1 Primo maestro: "
Giovanni Paisiello, his life as an opera composer Leland Hunt - 1975 "Pasquale Cafaro, until his death on October 25, 1787, had served simultaneously as the maestro di cappella and maestro di camera. Immediately after Cafaro's death Paisiello petitioned the king for the appointment as the new maestro di cappella."
Six Concerti Grossi - Page x Francesco Scarlatti "Provenzale fully expected to succeed Ziani as maestro di cappella, and he was so enraged by Alessandro's appointment that he resigned and took six singers with him."

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[1] Music at the Aragonese Court of Naples -p33 Allan W. Atlas - 2008 "Thus at precisely the midpoint of the fifteenth century, Naples could boast one of the largest chapels in the musical mainstream. "

[2] The Royal Chapel in the time of the Habsburgs: music and ceremony p162 Juan José Carreras López, Bernardo José García García, Tess Knighton - 2005 chapter 13 The Royal Chapel in the Etiquettes of the Viceregal Court of Naples during the Eighteenth Century Dinko Fabris "The structure of the most prestigious musical institution in Naples, remained almost unaltered over two centuries of Spanish rule as regards the model created during the period of the Aragonese court. From the end of the fifteenth century, its musical resources consisted of both singers and musicians ... ..."

[3] The Harmonicon: 214 1823 The family of the Bourbons being compelled to quit Naples, King Joseph Napoleon, who ascended the throne, confirmed Paisiello in his situation of Master of the Chapel Royal, of Composer and Director of Music to the Household and Chapel, ..."

[4] Journal of the American Musicological Society: Volumes 24-25 American Musicological Society - 1971 "1725 Francesco Mancini, pm Domenico Sarri, vm. ; 1737 Domenico Sarri, pm Leonardo Leo, vm. ; 1744 Leonardo Leo, pm Giuseppe de Majo, vm. ; 1745 Giuseppe de Majo, pm Giuseppe Marchitti, vm. ; In 1771 this tradition was broken for the first time. Giuseppe Marchitti was denied succession and the promotion given to Pasquale Cafaro. maestro soprannumerario and maestro di musica della regina, instead. December 2 1 Primo maestro: "

[5] Giovanni Paisiello, his life as an opera composer Leland Hunt - 1975 "Pasquale Cafaro, until his death on October 25, 1787, had served simultaneously as the maestro di cappella and maestro di camera. Immediately after Cafaro's death Paisiello petitioned the king for the appointment as the new maestro di cappella."

[6] Six Concerti Grossi - Page x Francesco Scarlatti "Provenzale fully expected to succeed Ziani as maestro di cappella, and he was so enraged by Alessandro's appointment that he resigned and took six singers with him."