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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.

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  • contents
    • Title page
    • Table of contents
    • Introduction
    • 1) Contextualisation
    • 1.1 Antonio Caldara
    • 1.2 The oratorio as a genre
    • 1.3 The Habsburg dinasty and the Viennese Hofmusikkapelle
    • 2) Caldara's Viennese oratorios
    • 2.1 Arias with Obbligato Instruments
    • 2.2 Obbligato instruments and affects
    • Professional application of my research
    • Conclusion
    • Acknowledgements
    • Appendices
    • Bibliography
    • Maud Haering
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  • abstract
    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.
  • Maud Haering - 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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Introduction

1) Contextualisation

1.1 Antonio Caldara

1.2 The oratorio as a genre

1.3 The Habsburg dinasty and the Viennese Hofmusikkapelle

2) Caldara's Viennese oratorios

 2.1 Arias with obbligato instruments

2.1.1 Table of the arias with obbligato instrument

2.1.2 Reflection about these arias

2.1.3 Singers in Caldara's oratorios

2.1.4 Obbligato instruments

2.2 Obbligato instruments and affects

2.2.1 Brief introduction about affects

2.2.2 My categories of affects

2.2.3 The expression of pain

2.2.4 The expression of warlike feelings

2.2.5 The expression of religious feelings

2.2.6 Links between obbligato instruments, texts and affects

Professional application of my research

Conclusions

Acknowledgements

Appendices

Bibliography

TABLE OF CONTENTS

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