As part of the discovery and research which for many years has focused on Neapolitan music, particular attention has been paid to Leonardo Leo. This musician from Puglia, like a great many of his contemporaries, received his training at the conservatories of the capital of the Kingdom of Naples, and became one of the protagonists of the often cited—and widely debated—“Neapolitan school”. This renewed interest in a composer who in his own day was considered a point of reference within circumscribed chronological and stylistic circles is not coincidental. Appointed to the post of first organist at the Royal Chapel upon the death of Alessandro Scarlatti, Leo was in numerous ways the link between the grand master from Palermo and his Neapolitan heirs. Thanks to the many positions held at those same institutions where he himself was educated (he was employed as “secondo maestro” and subsequently as “primo maestro” at the Conservatories of S. Onofrio and La Pietà dei Turchini), Leo was able to pass on this tradition to his pupils, among whom were the “reformers” Jommelli and Piccinni.