Antonio Caldara (1670-1736)

1929 ◽  
Vol 70 (1033) ◽  
pp. 212
Author(s):  
Cecil Gray
Keyword(s):  
Antonio Caldara

The War of the Spanish Succession Reflected in Works of Antonio Caldara

1964 ◽  
Vol 36 (4) ◽  
pp. 221 ◽  
Author(s):  
Ursula Kirkendale
Keyword(s):  
Antonio Caldara

Antonio Caldara

1968 ◽  
Vol 54 (1) ◽  
pp. 119
Author(s):  
Bernard Bardet ◽  
Ursula Kirkendale
Keyword(s):  
Antonio Caldara

Antonio Caldara

2001 ◽  
pp. 109-112
Author(s):  
Barbara Wiermann
Keyword(s):  
Antonio Caldara

THE MOCK HEROIC, AN INTRUDER IN ARCADIA: GIROLAMO GIGLI, ANTONIO CALDARA AND L'ANAGILDA (ROME, 1711)

2010 ◽  
Vol 7 (1) ◽  
pp. 35-62
Author(s):  
AYANA SMITH
Keyword(s):  
Greek Tragedy ◽  
Italian Renaissance ◽  
Central Question ◽  
Ancient Greek ◽  
Structural Requirements ◽  
Basic Goal ◽  
Classical Models ◽  
Antonio Caldara ◽  
Arcadian Academy ◽  
Papal States

ABSTRACTIn 1711 the opera L'Anagilda was performed in the private theatre of Francesco Maria Ruspoli, an important Roman patron of the Arcadian Academy. L'Anagilda's librettist (Girolamo Gigli) and composer (Antonio Caldara) were both associated with this society, but the opera contrasts with the basic goal of Arcadian aesthetics – namely, to reform literature and opera by imitating the structure of ancient Greek tragedy and the stylistic purity of Italian renaissance poets. Rather, Gigli and Caldara created an opera infused with comedy, interspersed with fantastic intermezzos and formulated according to a genre not endorsed by Arcadian literary critics, the mock heroic. This article explores topics related to one central question: why would Gigli and Caldara openly flout the literary precepts of Arcadia? Gigli was a career satirist whose works eventually caused him to be exiled from his native Siena, all of Tuscany and the Papal States, and to be expelled from three major literary academies, the Intronati, the Cruscanti and the Arcadians. Since he continually criticized the organizations to which he belonged for their narrow-mindedness, prejudice and hypocrisy, I contend that L'Anagilda represents a critique of Arcadia. Yet in the process, Gigli also shows the Arcadians that there is more than one path to verisimilitude and the imitation of classical models. Despite the mock-heroic characteristics of the libretto, Gigli adheres to some Arcadian structural requirements, and Caldara's score heightens the characterizations and the overall verisimilitude of the opera.

The Minstrelsy of Heaven

2020 ◽  
pp. 25-59
Author(s):  
Harry White
Keyword(s):  
Liturgical Music ◽  
Corporate Entity ◽  
Regulated Expression ◽  
Musical Discourse ◽  
Compositional Practice ◽  
Antonio Caldara ◽  
Individual Talent

This chapter examines music as the embodiment of authority in Habsburg Vienna during the reign of Charles VI (1711–40). It explores the structure, liturgical regimen, and stylistic governances of the imperial Kapelle (“music chapel”) as a corporate entity which systematically promoted music as a carefully regulated expression of dynastic authority. It contextualizes this authority through an appraisal of the emperor’s own conception of musical discourse (in which Italian compositional practice was pre-eminent) and of the composers, poets, singers, and instrumentalists who gave it expression. It characterizes the imperial Kapelle as an “imperial noise factory” in which industrious compliance was of far greater account than imaginative freedom. It also countenances the “dynastic style” of Viennese liturgical music as a preoccupation which supervened the agency of individual talent. Lastly, the chapter introduces Fux and his deputy Antonio Caldara in a reading which (not uncritically) privileges Fux as the “truer servant” of the dynastic style.

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