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Antonio Caldara
    (C. 1671-1736)
•Born in
Venice, Italy
•Received
musical
training from
father, Giusep
pe, and
Giovanni
Legrenzi, who
was maestro
di cappella at
St. Mark’s.
Jobs
•Court of the Duke of Mantua
(during his twenties)
•1709: appointed maestro di
cappella at the court of Prince
Francesco Maria Ruspoli in Rome.
•Imperial Court of Charles VI in
Vienna
Output
•42 oratorios
•More than 100 masses and mass
movements
•200 motets and other sacred
pieces
•200 cantatas
•Additional secular vocal pieces
Style
Caldara’s general style represents aspects
of both:
•primma prattica (“first practice”- in line
with the style and practice of 16th century
polyphony) typical of most liturgical works
at the time
•seconda prattica (“second practice” –
allows the rules of 16th century
counterpoint to be broken to express
feelings of the text) more prevalent in
non-liturgical works at the time

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Caldara pp

  • 1. Antonio Caldara (C. 1671-1736)
  • 2. •Born in Venice, Italy •Received musical training from father, Giusep pe, and Giovanni Legrenzi, who was maestro di cappella at St. Mark’s.
  • 3. Jobs •Court of the Duke of Mantua (during his twenties) •1709: appointed maestro di cappella at the court of Prince Francesco Maria Ruspoli in Rome. •Imperial Court of Charles VI in Vienna
  • 4. Output •42 oratorios •More than 100 masses and mass movements •200 motets and other sacred pieces •200 cantatas •Additional secular vocal pieces
  • 5. Style Caldara’s general style represents aspects of both: •primma prattica (“first practice”- in line with the style and practice of 16th century polyphony) typical of most liturgical works at the time •seconda prattica (“second practice” – allows the rules of 16th century counterpoint to be broken to express feelings of the text) more prevalent in non-liturgical works at the time