Chapel master


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(Law) a director of music in a chapel; the director of a court or orchestra.

See also: Chapel

References in periodicals archive ?
th] century, a proliferation of sources is found in the 18th century, especially the legacy of Giacinto Calderara (17291803), the prolific chapel master at the Cathedral of Asti from 1749 until his death; the collection includes some three hundred of his autographs.
De Jerusalem (1710-1769) was born in Italy, but rose to prominence in Mexico City where he wrote complex choral masterpieces for the Cathedral, ultimately becoming chapel master in 1749.
Werrecore, chapel master at the cathedral during the second quarter of the century, appears at several points in the study.
He ended up as the chapel master of the Cathedral in Mexico City, and his Matins for the Virgin of Guadalupe, 1764 represents the zenith of his career.
The rich material is organized into five major sections: (1) the end of Venetian dominance and the period's most renowned chapel master, Benedict Pellizzari (1750-1789); (2) the first transitional period and the native-born chapel masters, Julije Bajamonti, Ante Alberti, Ivan Jelicic, and Augustin Galasso (1790-1817); (3) crises and setbacks (1818-86); (4) reforms of music and musical services (1887-1918); and (5) the second transitional period and Cecilianism (1919-40).
Extensive archival resources, and contemporary and per iodical literature provide the solid foundation for the detailed accounts whose thread is the unbroken line of twenty-six documented chapel masters from 1750 to the periodjust before Yugoslavia was engulfed by World War II.
a certain Ser Elia (735); and, invited to serve as chapel master, though he declined, the Flemish musician Gienero di Mauritio Luti, which may have been a lapsus calami, in the source, for Lupi (again Wolf; 737).
In the largest sense, it is a local study in the best sense of the term, analyzing the choices made in acquisition, copying, and performance by a series of chapel masters and musicians in one of the most important cathedrals of "global" Spain.
Useful Appendices document the Guardian Fathers (lay leaders), Father Correctors (from different Orders), Chapel Masters, Musical and Theatrical Performances, and Works of Art.
Rather than a study limited to an overview of the life and sacred music of the two chapel masters at Ferdinand II's imperial court, Giovanni Priuli (1575-1626) and Giovanni Valentini (1582-1649), Saunders has attempted to place these composers within the political and religious context of the early seventeenth-century Habsburg monarchy.