E quando mai potro cessar di piangere ? : an exploration of the links between arias with obbligato instruments and musical affects in Antonio Caldara’s oratorios composed between 1716 and 1736 for the Habsburg’s Hofmusikkapelle in Vienna

Maud Haering

Exposition

E quando mai potro cessar di piangere ? : an exploration of the links between arias with obbligato instruments and musical affects in Antonio Caldara’s oratorios composed between 1716 and 1736 for the Habsburg’s Hofmusikkapelle in Vienna (2021)

Maud Haering

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Student Number 3262561 Supervisor Inês de Avena Braga Title E quando mai potrò cessar di piangere ? An exploration of the links between arias with obbligato instruments and musical affects in Antonio Caldara’s oratorios composed between 1716 and 1736 for the Habsburg’s Hofmusikkapelle in Vienna Research Question What is the link between obbligato instruments, text and affects in Antonio Caldara’s oratorios composed for the Vienna’s Hofmusikkapelle between 1716 and 1736? Sub-questions How can the creation of a descriptive catalogue of Caldara’s oratorios help uncover his choices for instrumentation in relation to the libretti and religious context? How does Caldara’s choice of obbligato instrument emphasize the affects already present in the text? Summary The aim of this research is to rediscover music that has been forgotten for centuries. Through the topic of making links between obbligato instruments and affects in the texts from the libretti in Caldara's oratorios written when he was a composer at the Vienna Hofmusikkapelle, I would like to shine a light on new arias for voice and obbligato instruments which are, in my point of view, very beautiful and which deserve to be highlighted. Antonio Caldara needed to adapt to the imperial court music taste and also to its available instrumentarium, and from the day he started to compose for Charles VI, he began to use different instruments in his way of writing arias in his oratorios. In order to keep the focus of the research on his oratorios composed in Vienna, I purposefully will not discuss the considerable number of operas he composed in the same period, and I will contextualize these works thanks to a descriptive catalogue of each of the oratorios, to the translations of the texts of the arias, and by paying attention to the Habsburg dinasty in Vienna. Short biography Maud Haering is a French soprano. After studying Medieval Music at the Sorbonne University of Paris (France), she decided to continue her specialization in the Early Music repertoire in singing more Baroque and Renaissance music. With several ensembles, she performed different baroques styles (Italian, German, English and French) of different periods (17th and 18th centuries) either secular or sacred. Always looking for new repertoire to discover and sing, she really enjoys going into libraries to see manuscripts or to explore the thousands of resources available online to find new pieces. This research about Caldara is one of her explorations.

type	research exposition
keywords	singing, Oratorio, Psalterium, Cymbalum, Trombone, Bassoon, Antonio Caldara, Aesthetics & Cultural Discourse
date	10/11/2020
published	02/07/2021
last modified	02/07/2021
status	published
share status	private
copyright	Maud Haering
license	All rights reserved
language	English
url	https://www.researchcatalogue.net/view/771208/1042197
doi	https://doi.org/10.22501/koncon.771208
published in	KC Research Portal
portal issue	1. Master Research Projects

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name	Oratorios tab - Il trionfo della Religione
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name	Oratorios tab - Le profezie evangeliche di Isaia
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name	Oratorios tab - Gioseffo che interpreta i sogni
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name	Giovanni(Passione)-trombone-dovunque il guardo giro
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name	Santa Ferma-chalumeau-soffriro pene e tormenti
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name	Psalterio - Eliacim (Profezie)p9
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name	Psalterio - Eliacim (Profezie)p10
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name	Psalterio - Eliacim (Profezie)p11
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name	Psalterio - Eliacim (Profezie)p15
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name	Psalterio - Eliacim (Profezie)p16
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name	Psalterio - Eliacim (Profezie)p23
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name	Gamba - Geremia (Sedecia) p1
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name	Onor 21
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license	All rights reserved
usages	pdf

name	David(umiliato)-salterio-ti daro laude iddio
copyright	Elisabeth Seitz - Salterio obligato, Valer Sabadus - countertenor, Michael Dücker - ensemble director Nuovo Aspetto, recording SONY CLASSICAL 2015
license	All rights reserved
usages	audio

name	David 1-30
copyright	Maud Haering
license	All rights reserved
usages	pdf

name	Geremia(Sedecia)-Salterio-ahi come quella un tempo citta
copyright	Elisabeth Seitz - Salterio obligato, Valer Sabadus - countertenor, Michael Dücker - ensemble director Nuovo Aspetto, recording SONY CLASSICAL 2015
license	All rights reserved
usages	audio

name	Alto - salterio
copyright	Maud Haering
license	All rights reserved
usages	pdf

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E quando mai potro cessar di piangere ? : an exploration of the links between arias with obbligato instruments and musical affects in Antonio Caldara’s oratorios composed between 1716 and 1736 for the Habsburg’s Hofmusikkapelle in Vienna (2021)

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