Chapel master

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

See also: Chapel

Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
References in classic literature ?
It languished a little when the present Duke in his youth insisted upon having his own operas played there, and it is said one day, in a fury, from his place in the orchestra, when he attended a rehearsal, broke a bassoon on the head of the Chapel Master, who was conducting, and led too slow; and during which time the Duchess Sophia wrote domestic comedies, which must have been very dreary to witness.
Busnois is the composer best represented beside the chapel master of the French kings, Johannes Ockeghem, in the so-called Loire valley chansonniers, all of which were created during the 1470s.
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.
In 1711, he became "Chappell-Master" at Trinity College and then, from 1716, "Master of the Musick Attending His Majesty's State in Ireland"--in other words, the court chapel master at Dublin Castle, seat of the viceroy, the deputy of the English king in Ireland.
In conformity with my own interests (and in the book's gold mine of information there is material for scholars working on almost all topics relevant to early music and its practice) I discovered, among the musicians, a number whom I suspect to be Jewish converts: the singer Daniello Danielli (734); the "Flemish" contralto Daniello di Simone Lupi (from the "Wolf" family; ibid.); 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).
Cappella Sistina 15 and of the arms of Julius II's protege Antonio Ferreri, chapel master in 1504-5.
The principal collections of music of the entire province are concentrated in this town: after an empty period between the Renaissance and the [] 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.
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).
At Mass, the prefatory sentences, Lord's Prayer, offertory, post-communion, Credo and Gloria should be sung, the chapel master ensuring that the organ [music] and polyphonic motets [motetes de arte] are arranged in advance.
This volume surveys musical life in 16th-century Venice in the context of broader developments in society and institutions, through 18 essays on musical institutions like the San Marco chapel, the confraternities, the academies, and parish, monastic, and nunnery churches; music in the public and private sphere, including ceremonial life and salons and ridotti; musical actors like chapel masters, professional singers, instrumentalists and instrument makers, music printers and publishers, and music theorists; and genres, styles, and cross-cultural traditions like double-choir music, the frottola, instrumental music, polyphony, Jewish art music, and musical ties to Istria and Dalmatia.