Description
Book SynopsisThe cantata became a form of elite entertainment composed to amuse listeners during banquets or pay homage to members of the royal family during special occasions.
Trade ReviewThis is an important book. It deserves to be warmly welcomed not only by scholars but also by performers of Baroque vocal chamber music, who will find many interesting avenues to explore.
* Early Music *
[T]his book is to be recommended as shedding light on an important yet seldom-discussed repertory, written by someone whose expertise is unquestionable.
* Music and Letters *
By taking multiple analytical approaches, Bennett establishes an overall understanding while also demonstrating how individual composers approached the genre. . . . Recommended.
* Choice *
The book is of great use in providing a panorama of vocal chamber music during the age of Leopold I and Joseph I, identifying the characteristics of their patronage, and giving an important overview of musical entertainments at the imperial court. . . . With this book, Professor Bennett provides scholars with an important tool for understanding the context in which cantatas were composed and performed, and in which the Hapsburgs' important music collection . . . was created.
* Notes *
Table of ContentsPreface
List of Bibliographical Abbreviations
List of RISM Sigla
1. Introduction
The Role of Music in the Daily Lives of the Habsburgs
The Scope of the Book
The Secondary Literature
The Cantata Terminology
Forerunners of the Cantata in Vienna
Part I: The Cantata in Vienna, 1658-1700
2. The Political and Cultural Milieu
Historical Background
Leopold I as Patron and Composer
Habsburg Music Chapels, 1658-1700
Occasions, Places of Performance, and Performers
Librettists
3. The Composers
Composers Who May Have Written Cantatas for Vienna During the Early
Reign of Leopold I
Antonio and Carlo Draghi
Filippo Vismarri
Carlo Cappellini
Giovanni Battista Pederzuoli
Antonio Maria and Giovanni Buonaventura Viviani
German-Speaking Composers
4. Repertoire and Sources
The Repertoire
The Sources
5. Text and Music
Antonio Maria Viviani
Antonio Bertali
Filippo Vismarri
Carlo Cappellini
Giovanni Battista Pederzuoli
Antonio and Carlo Draghi
Part II: The Cantata in Vienna, 1700-1711
6. The Political and Cultural Milieu
Historical Background
Joseph I as Patron and Composer
Cultural Growth
Habsburg Music Chapels, 1700-1711
Genre Designations
Occasions, Places of Performance, and Performers
Librettists and Librettos
7. The Composers
Carlo Agostino Badia
Giovanni Bononcini
Marc'Antonio Ziani
Attilio Ariosti
Antonio Maria Bononcini
Composers Who May Have Written Cantatas for Vienna
8. Repertoire and Sources
New Interest in the Cantata
The Repertoire of Cantatas by Habsburg Composers
Sources
9. Style Overview
The Style Transition
Broad Structural Plans
Selection of Voices
Instrumentation
Dynamics
Recitative and Arioso
Aria Keys
Continuum (Tempo/Meter)
The Use of Devisen
Aria Designs
10. Aspects of Form
The Conventional Da Capo Design
Variants from the Conventional Design
Articulation of Form
11. Melody, Harmony, and Rhythm
Melody
Harmony
Surface Rhythm
Changes in Timbre
12. The Relationship of Text and Music
The Text and Its Influence upon the Musical Design
The Interactions of the Text with Melody and Rhythm
Tone Color and Dynamics
Descriptive Treatment of the Text
Affective Treatment of the Text
13. Conclusion: The Interregnum and Its Aftermath
The End of the War of the Spanish Succession
The Fate of the Cantata Composers and Librettists Who Served Joseph I
The Cantatas by Composers Residing in Vienna During the Interregum
Appendix A: Index of Cantata Text Incipits and Sources
Appendix B: Catalogue Raisonné of Viennese Cantata Sources
Appendix C: Texts of Arias Analyzed in Chapters 10-12
Notes
Bibliography
