Every art form has its indisputable masters as well as its also-rans. There are some composers who deserve to be forgotten and others who were talented but just slipped under the radar. And then there are those who were famous in their own time but eventually slipped out of favor and into obscurity. These are the composers you need to know and we will be looking at some of them in coming weeks.
Consider the case of Antonio Caldara (1670-1736). Dr. Charles Burney, the 18th century’s great music historian, called him “one of the greatest professors [composers] both for church and stage that Italy can boast.” Bach admired Caldara, as did Telemann, Haydn and Mozart. Despite this, Caldara has become a footnote. Perhaps 19th century musicologists, who seemed to be the tastemakers in these affairs, only had time for Bach and Handel? It should be remembered that the now popular Antonio Vivaldi was also something of a footnote until the mid 20th century, so perhaps Caldara’s time will come.
His musical pedigree was impeccable. A student of the Venetian master Giovanni Legrenzi, Caldara was a singer and instrumentalist at the famed Basilica di San Marco. His operas were produced at the chief Venetian houses and collections of his instrumental works were widely published. Like many composers of his day he didn’t stay in one place though. Caldara served at the Mantuan court and had a brief stint in Barcelona, but it was the time he spent in Rome that was most significant.
Caldara succeeded Handel as maestro di cappella to the extravagant Prince Ruspoli, one of Rome’s greatest patrons of the arts. Caldara composed operas, cantatas, motets and oratorios for Ruspoli and they showcase the composer’s melodic gifts and dramatic savvy. Eventually Caldara moved to Vienna where he served as the imperial court composer, a position he held until his death. Caldara’s Viennese music, especially the oratorios, feature virtuoso vocal writing and rich instrumental colors that blend the best of the Italian and German styles, it’s music moving in a new direction.
Our featured recording is Caldara’s oratorio La Conversione di Clodoveo, Ré di Francia. It’s from his Roman period and is packed with dramatic arias that make great demands of the singers. It takes a stellar group of performers to make this music work and this new ATMA Classique recording features Le Nouvel Opéra, an ideal ensemble. Headed by soprano Suzie LeBlanc, these Canadian and American performers are all Baroque music specialists who deliver a passionate performance.
Do you have a composer you think we should know about? Please let us know.
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by Craig Zeichner
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