Caldara - In dolce amore | Deutsche Harmonia Mundi (DHM) 88843011692

Caldara - In dolce amore

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Label: Deutsche Harmonia Mundi (DHM)

Cat No: 88843011692

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 26th May 2014

Contents

Works

Caldara, Antonio

Adriano in Siria
» Numi, se giusti siete
Cantata: Begl'occhi adorati
Cantata: Credea Niso
Cantata: Rotte l'aspre catene
Demofoonte
» Se tutti i mali miei
I disingannati
» Una donna
Scipione Africano
» Figlia a Roma
» In dolce amore
Scipione nelle Spagne
» Pensieri di amante
Temistocle
» Chi mai d'iniqua stella

Artists

Robin Johannsen (soprano)
Academia Montis Regalis

Conductor

Alessandro De Marchi

Works

Caldara, Antonio

Adriano in Siria
» Numi, se giusti siete
Cantata: Begl'occhi adorati
Cantata: Credea Niso
Cantata: Rotte l'aspre catene
Demofoonte
» Se tutti i mali miei
I disingannati
» Una donna
Scipione Africano
» Figlia a Roma
» In dolce amore
Scipione nelle Spagne
» Pensieri di amante
Temistocle
» Chi mai d'iniqua stella

Artists

Robin Johannsen (soprano)
Academia Montis Regalis

Conductor

Alessandro De Marchi

About

Cantatas and Operas – the twin pillars of secular vocal music of the baroque period. Few composers (though there are some notable exceptions) eschewed these genres, if only because a set of cantatas, engraved or copied professionally and strategically dedicated, could be a comparatively inexpensive starting point for a career, while opera lured with prospects of fame and fortune.

The Venetian-born Antonio Caldara (1670–1736) certainly was no exception. His set of twelve cantatas (Op.3) appeared in 1699, and his operas had been staged in theatres in Venice before his move to the court at Mantua in 1700. But with his appointment as maestro da cappella to Francesco Maria Ruspoli, prince of Cerveteri, in Rome from mid-1709 and then as vice-Kapellmeister to the imperial court at Vienna from June 1716, he encountered environments that required intense concentration on the cantata in one and on opera in the other.

In the seven years up to his departure for Vienna, Caldara supplied Ruspoli with some 200 cantatas – but no more than three operas. The explanation lies in the ‘conversazioni’ that Ruspoli held in his palazzo on most Sundays throughout the year. At these, eminent clergy and diplomats, cognoscenti of the arts and friends of Ruspoli would hear their host’s small instrumental ensemble and some of his singers in new cantatas from his immensely prolific maestro.

Nearly all of these are for soprano or contralto voice and most have a sequence of recitative – aria – recitative – aria. Many begin with an ‘introduzione’ comprising of two well-contrasted allegro movements. ‘Introduzioni’ and arias alike are scored for 3 strings (two violins and a bass line) or unison violins and continuo.

Six arias of these three cantatas are intimate rather than grandiose, whether in their overall dimensions, slender accompaniments or small-scale musical ideas - above all in their texts that deal with personal experiences of love: cruel, unrequited, possessive, delightfully painful or sweet.

All the arias and cantatas on this album are world premiere recordings.

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