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

Variant title
Musica transaplina : text and music transfer in Antonio Caldara's Cantata and Serenata repertoire
Source document: Musicologica Brunensia. 2018, vol. 53, iss. Supplementum, pp. 57-71
Extent
57-71
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type
Article
Language
German
License: Not specified license
Abstract(s)
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.
Document
References:
[1] BOSCHUNG, Magdalena. Antonio Caldaras Serenata Il trionfo d'amore. Frankreichrezeption im Dienste adeliger Selbstdarstellung . In La Fortuna di Roma. Italienische Kantaten und römische Aristokratie um 1700. Berthold Over (Hrsg.). Kassel: Merseburger 2016, S. 295–326.

[2] BOSCHUNG, Magdalena. Die Kantaten Antonio Caldaras für Principe Francesco Maria Ruspoli – Form und Funktion . Berlin: Merseburger, (M.A.R.S. – Musik und Aristokratie im Rom des Sei-/Settecento, 5) (in Vorbereitung).

[3] BUONACCORSI, Giacomo [FEZZONEO, Astilio (=arkadisches Pseudonym)]. Chi s'arma di virtù vince ogn'affetto. Serenata a tre voci [...]. Rom: Francesco Chracas, 1709.

[4] CUDWORTH, Charles. Art. Heighington, Musgrave In Grove Music Online [online]. 2001, [cit. 2018-301-30]. URL: http://www-1oxfordmusiconline-1com-1000008tn04c1.han.kug.ac.at/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012678.

[5] DIXON, Susan M. Between the real and the ideal. The Accademia degli Arcadi and its garden in eighteenth-century Rome . Newark: University of Delaware Press, 2006.

[6] DORRIS, George E. Paolo Rolli and the Italian Circle in London, 1715–1744 , Den Haag: Mouton & Co, 1967.

[7] GRIFFIN, Thomas. Antonio Caldara's Il Più bel Nome. Concerning its Date and Place of Performance . In Antonio Caldara nel suo tempo. Milada Jonášová – Tomislav Volek (Hrsg.). Prag & Český Krumlov: Società Mozartiana della Repubblica Ceca, 2017, S. 41–49.

[8] HEIGHINGTON, Musgrave. A pastoral opera, compos'd by seignior Antonio Caldara at Rome [...] Tranlated form the Italian into English, by Dr. Heighington . [Dublin] 1726.

[9] JAHN, Bernhard. Borrowings in Händel's operas . In Händels Opern. Arnold Jacobshagen – Panja Mücke (Hrsg.). Laaber: Laaber-Verlag, 2009 (Das Händel Handbuch 2.1). S. 208–220.

[10] JONES, Andrew V. (Hrsg.). Rodelinda, Regina de' Longobardi. Dramma per Musica in tre atti, HWV 19 (Hallische Händel-Ausgabe, Serie II, Opern, Bd. 16). Kassel u.a: Bärenreiter, 2002.

[11] KIRKENDALE, Ursula. Antonio Caldara. Life and Venetian-Roman Oratorios , 2. durchgesehene und übersetzte Aufl. Florenz: Leo S. Olschki Editore, 2007.

[12] MCLAUCHLAN, Fiona (Hrsg.). Ottone. Opera in tre atti, UWV 15. Band 1: Fassung der Uraufführung 1723 (Hallische Händel-Ausgabe, Serie II, Opern, Bd. 12.1). Kassel u.a.: Bärenreiter, 2008.

[13] MORELLI, Arnaldo. "Perché non vanno per le mani di molti…". La cantata romana del pieno Seicento. Questioni di trasmissione e di funzione . In Musica e drammaturgia a Roma al tempo di Giacomo Carissimi. Paolo Russo (Hrsg.). Venedig & Parma: Marsilio 2006 (Musica in atto 2). S. 21–40.

[14] OVER, Berthold. "E le passioni colla ragione si temperino". The cantata da camera as a Means to Control the Passions . In Revisiting Baroque. Renata Ago (Hrsg.). [online]. 2014, [cit. 2018-01-30]. URL: http://enbach.eu/en/essays/revisiting-baroque/over.aspx.

[15] RAINER, Werner. Fürsterzbischof Harrach und Antonio Caldara – ein Fernbeziehung . In Antonio Caldara nel suo tempo. Milada Jonášová – Tomislav Volek (Hrsg.). Prag & Český Krumlov: Società Mozartiana della Repubblica Ceca, 2017, S. 235–270.

[16] ROMAGNOLI, Angela. Kantaten HWV 77–177 . In Händels Kirchenmusik und vokale Kammermusik. Hans Joachim Marx – Michele Calella (Hrsg.). Laaber: Laaber-Verlag, 2012 (Das Händel Handbuch 4). S. 397–496.

[17] SETTON, Kenneth M. Venice, Austria, and the Turks in the seventeenth century . Philadelphia: American Philosophical Society, 1991 (Memoirs of the American Philosophical Society 192), S. 426–461.

[18] SOMMER-MATHIS, Andrea. Da Barcellona a Vienna. Il personale teatrale e musicale alla corte dell'Imperatore Carlo VI . In I Percorsi della Scena. Cultura e communicazione del teatro nell'Europa del Settecento. Franco Carmelo Greco (Hrsg.). Neapel: Luciano Editore, 2001, S. 343–358.

[19] ZEDLER, Andrea. Antonio Caldaras Kantatenschaffen. Ein Vergleich der Kantatenkompositionen für Principe Francesco Maria Ruspoli und Kaiser Karl VI. , Diss. masch., Universität Graz 2017.

[20] ZEDLER, Andrea. "Il debol tributo delle annesse cantate". Antonio Caldaras Kantatenkompositionen für Kurprinz Friedrich August (1719) (in Vorbereitung).

[21] ZEDLER, Andrea – BOSCHUNG, Magdalena. "Per l'allusione alle correnti cose d'Italia". Antonio Caldaras Kantatenkompositionen für Papst und Fürst . In Musicologica Brunensia, 2014, Bd. 49, Nr. 1, S. 89–120.