Kraljevska kapela u Napulju

Kraljevska kapela u Napulju (talijanski: Cappella Palatina ili Cappella Reale dell'Assunta ) bila je sveta glazbena ustanova španjolskog dvora u Napulju koja je započela s Aragonskim dvorom u Napulju^[1] i nastavila se pod Habsburgovcima^[2] Burboncima, i Joseph Napoleon.^[3]

Maestri di cappella, vicemajstori i orguljaši[uredi | uredi kôd]

Majstori kapele uključivali su:

Prvi maestro Diego Ortiz stigao je u pratnji potkralja Pedra de Toleda (1558.-1570.),
Francisco Martínez de Loscos (1570-? ),
flamanski maestro,
zatim drugi Flamanac Giovanni de Macque (1599–1614),
prvi Talijan Giovanni Maria Trabaci (1614–46),
Napolitanci Andrea Falconieri (1647–56), i
Filippo Coppola (1658–80),
zatim Venecijanac Pietro Andrea Ziani (1680–84),
slijedi Alessandro Scarlatti (1684.-1702., zatim ponovno 1708.-1725.),
u odsutnosti ga je mijenjao Francesco Mancini (1702.-1708., zatim ponovno 1725.-1737.),^[4]
Domenico Sarro (1737. – 1744.),
Leonardo Leo (1744.),
zatim Giuseppe de Majo (1745.–1771.),
Pasquale Cafaro (1771.–1787.),
Paisiello (1787.-)^[5]

Zamjenici majstora su bili Domenico Sarro (-1707., zatim ponovno 1725. do 1734.). I u trećem postu Pro-Vice Maestra iz 1725. Leonardo Vinci . Francesco Provenzale bio je samo maestro onorario.^[6]

Među orguljašima je bio i barokni skladatelj Leonardo Leo.

Izvori[uredi | uredi kôd]

↑ 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, njegov život kao operni skladatelj Leland Hunt - 1975. "Pasquale Cafaro je do svoje smrti 25. listopada 1787. istovremeno služio kao maestro di cappella i maestro di camera. Odmah nakon Cafarove smrti, Paisiello je zatražio od kralja imenovanje kao novi maestro di cappella."
↑ Six Concerti Grossi -"Provenzale je u potpunosti očekivao da će naslijediti Zianija kao maestro di cappella, i bio je toliko razbješnjen Alessandrovim imenovanjem da je dao ostavku i poveo šest pjevača sa sobom."

Povezani članci[uredi | uredi kôd]

[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, njegov život kao operni skladatelj Leland Hunt - 1975. "Pasquale Cafaro je do svoje smrti 25. listopada 1787. istovremeno služio kao maestro di cappella i maestro di camera. Odmah nakon Cafarove smrti, Paisiello je zatražio od kralja imenovanje kao novi maestro di cappella."

[6] Six Concerti Grossi -"Provenzale je u potpunosti očekivao da će naslijediti Zianija kao maestro di cappella, i bio je toliko razbješnjen Alessandrovim imenovanjem da je dao ostavku i poveo šest pjevača sa sobom."

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