"Per l'allusione alle correnti cose d'Italia" : Antonio Caldaras römische Weihnachtskantaten für Papst und Fürst

The present study examines the three preserved Christmas cantatas (Vaticini di pace, Vo' piangendo e sospirando and Amarilli vezzosa), which Antonio Caldara composed during his time in Rome between 1709 and 1716. Two of them were written per request of his patron, Principe Francesco Maria Ruspoli and one was composed for the Christmas festivities at the Pontifical court of Pope Clement XI. The study discusses the performance context of both the Apostolic Palace and the Ruspoli court. It also brings into perspective the problems which arose around the dating of the musical sources mentioned in this study. A text analysis of the works highlights references to contemporary political situations as well as dramaturgical and content-related connections between the texts. The analysis has shown, that the politically desired image of the Pope as a facilitator for peace in the War of the Spanish Succession plays a central role in Caldara's cantata for the Apostolic Palace, Vo' piangendo e sospirando (1713), as well as in Vaticini di pace (1712). An analysis of the music shows a orrelation between Vo' piangendo e sospirando and Amarilli vezzosa (1713 and 1714 respectively), a cantata which has been preserved in two different versions. An intentional borrowing seems plausible, since the meaningful connection between the two cantatas shows Ruspoli's close relation and gratitude towards the Pontifical court, as well as his important social status as the patron of the Amarilli vezzosa

Musica transalpina : Text- und Musiktransfer am Beispiel des römischen Kantaten- und Serenatenrepertoires von Antonio Caldara

On November 16th, 1726, a Pastoral Opera by Antonio Caldara was performed in Dublin, which, according to the libretto, was written in Rome. At the time of the performance, Caldara has already served as vice-chapel master in the service of the imperial court in Vienna and during his Roman period (1709–1716), he never had composed a work with this title. Nevertheless, a glance at the libretto leads to the Eternal City: Musgrave Heighington, himself a composer, pretends to be the translator of the work, but in fact, he has to be regarded as its editor. As the analysis shows, Heighington combined several compositions to a pasticcio, of which the main part can be attributed to the cantata Grato bosco, composed by Caldara in 1714 for his Roman patron, Francesco Maria Ruspoli. This example is particularly noteworthy, as Caldara's Roman cantata repertoire, unlike that of Alessandro Scarlatti, had hardly any distribution outside Rome. The aim of the present study is to investigate the text and music transfer using the example of the cantata and serenata oeuvre by Caldara, exposing strategies of takeover and transformation practices

Musica transaplina : text and music transfer in Antonio Caldara's Cantata and Serenata repertoire

On November 16th, 1726, a Pastoral Opera by Antonio Caldara was performed in Dublin, which, according to the libretto, was written in Rome. At the time of the performance, Caldara has already served as vice-chapel master in the service of the imperial court in Vienna and during his Roman period (1709–1716), he never had composed a work with this title. Nevertheless, a glance at the libretto leads to the Eternal City: Musgrave Heighington, himself a composer, pretends to be the translator of the work, but in fact, he has to be regarded as its editor. As the analysis shows, Heighington combined several compositions to a pasticcio, of which the main part can be attributed to the cantata Grato bosco, composed by Caldara in 1714 for his Roman patron, Francesco Maria Ruspoli. This example is particularly noteworthy, as Caldara's Roman cantata repertoire, unlike that of Alessandro Scarlatti, had hardly any distribution outside Rome. The aim of the present study is to investigate the text and music transfer using the example of the cantata and serenata oeuvre by Caldara, exposing strategies of takeover and transformation practices.On November 16th, 1726, a Pastoral Opera by Antonio Caldara was performed in Dublin, which, according to the libretto, was written in Rome. At the time of the performance, Caldara has already served as vice-chapel master in the service of the imperial court in Vienna and during his Roman period (1709–1716), he never had composed a work with this title. Nevertheless, a glance at the libretto leads to the Eternal City: Musgrave Heighington, himself a composer, pretends to be the translator of the work, but in fact, he has to be regarded as its editor. As the analysis shows, Heighington combined several compositions to a pasticcio, of which the main part can be attributed to the cantata Grato bosco, composed by Caldara in 1714 for his Roman patron, Francesco Maria Ruspoli. This example is particularly noteworthy, as Caldara's Roman cantata repertoire, unlike that of Alessandro Scarlatti, had hardly any distribution outside Rome. The aim of the present study is to investigate the text and music transfer using the example of the cantata and serenata oeuvre by Caldara, exposing strategies of takeover and transformation practices