The War of the Spanish Succession Reflected in Works of Antonio Caldara

Author(s): Ursula Kirkendale

Source: Acta Musicologica , Oct. - Dec., 1964, Vol. 36, Fasc. 4 (Oct. - Dec., 1964), pp. 221-
233
Published by: International Musicological Society

Stable URL: http://www.jstor.com/stable/932400

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H. Husmann: Notre-Dame und Saint-Victor 221

Bei Corde voce pulsa celos benutzt Vc di

Laudes crucis, wihrend ND gleich mit dem D
und 11 fortfihrt. Die Melodien von lat. 1086
Sit 78 ist das jiingste der Sittener Prosare au
ilberliefert.
Bei Laus erumpat kommt die Fassung ND, Vc in einer verkiirzten Fassung auch im Kodex
Egerton 2601 (aus Poissy, siehe oben) vor. Die Melodien von lat. 1086, Arn und Sit weisen
unter sich gr6Bere Differenzen auf. Im lat. 1339 ist das Stilck auf ganze 4 Doppelversikel
gekilrzt.

Alle diese Tabellen zeigen, wie iltere Melodien durch neue ersetzt werden, wo-
bei man entweder neue Melodien komponiert oder besonders beliebte Melodien mit
entsprechenden Verainderungen adaptiert. Dabei ist es ein besonderer Ehrgeiz ver-
schiedener europiischer Gegenden einerseits wie einzelner religidser Orden anderer-
seits, selbst bei weitverbreiteten Melodien doch noch wieder eine eigene besondere
Melodie zu besitzen. Besonders auffallig sind hier die beiden Repertoire Arn und
Ass II, die je zu zwei Dritteln neue Melodien bringen, so daB man annehmen kann,
daB hier einzelne Persdnlichkeiten grB3ere Melodiezyklen anfertigten, - beim Arnol-
duskodex vielleicht auf besondere Bestellung ffir eine bestimmte Gelegenheit. Jeden-
falls aber sind die beiden Zentren der Neukomposition von Melodien die Kathedrale
Notre-Dame und das Augustinerkloster Saint-Victor in Paris, wobei es wahrschein-
lich ist, daB die Originalmelodien und damit auch die Texte des Grundkorpus der
gereimten Prosen aus Notre-Dame stammen, wdihrend die musikalische Kontrafak-
turtechnik eine Sch6pfung von Saint-Victor ist.

The War of the Spanish Succession

Reflected in Works of Antonio Caldara'
URSULA KIRKENDALE (LOS ANGELES)

On the first of November 1700 King Charles II of Spain died with

A few months later the quarrel over his succession became a world w
tradiction to the Second Treaty of Partition Louis XIV, husband
halfsister, now claimed Spain for his second grandson, Philip of Anj
named successor in Charles' lately drafted, much disputed testament
Leopold I, husband of Charles' younger sister, wished to maintain th

I An extract of this paper was read at the National Meeting of the American Musicol
Seattle, December 1963.
2 DE LA TORRE, Memoires et ingociations secrettes de diverses cours de l'Europe co
s'est passe depuis le premier traite de partage de la succession d'Espagne ...(La H
MARKUS LANDAU, RoMn, Wien, Neapel withrend des Spanischen Erbfolgekrieges (Leip
VON NOORDEN, Europiiische Geschidchte imi adtzehnten Jahrhuntdert. Erste Abtheilung
Erbfolgekrieg (Diusseldorf 1870).

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222 U. Kirkendale: The War of the Spanish Succession

territories for his second son Charles. While Philip took po

Philip V, Leopold armed to encounter the French troops th
frontiers of the Empire, in the Spanish Netherlands, and i
the Duchy of Milan, the Spanish territory closest to him, a
On May 30, 1701, his generalissimo Prince Eugene c
Archduke Charles started his expedition against Philip i
headquarters in October 1705, and was proclaimed King
ber 24, now rival king to Philip until 1711, when he un
his brother Joseph as Emperor Charles VI.
The Elector of Bavaria and his brother, the Elector of Col
of Philip, their nephew; the Emperor and the maritim
Alliance. In vain Pope Clement XI had urged the Ita
exact neutrality: the Dukes of Guastalla and Mode
Austrians, the Duke of Mantua with the French, likewi
soon shifted to the Emperor's party. In 1708 Clement h
the Austrian troops. The theaters of operation extended
to Gibraltar, from Naples to the upper Danube; the poli
cussions were felt even in Canada and South America.
These great waves also moved the history of music and musicians. We know that
Charles III made Barcelona a center of Italian opera, inviting hither Gasparini,
Ariosti, Fiori, Caldara, Astorga, Porsile, Zeno, Ferdinando Galli-Bibiena;3 that Handel,
the Scarlattis, perhaps Corelli left Rome for Naples in May 1708, when Imperial
forces threatened the city with a second sacco; 4 that dall'Abaco and other members
of the court chapel of Munich followed their patron Max Emanuel, Elector of Bavaria,
to the Spanish Netherlands and in his exile to France.5s Dent rightly assumed that
for Alessandro Scarlatti "the political disturbances of the kingdom of Naples may
very well have been an additional reason" to leave in June 1702.6 The Spanish
Viceroy's actions of revenge against Austrian-minded Neapolitan princes, the
public executions, banishment of families, and destruction of city palaces had driven
the people to despair, and Philip V himself, having arrived there on May 17, 1702,
already by June 2 preferred to leave the city to escape the public discontent.7
The alternate victories resounded many times a year in the Te deum. Above the
mass of anonymous settings recorded in gazettes and chapel books 8 tower the famous
Te deum by Bernier that after 1700 was much repeated in France9 and Handel's Te
deum for the Peace of Utrecht (1713). In that year Delalande wrote his Ballet de la

3 Cf. JosEF RAFAEL CARRERAS Y BULBENA, Carlos d'Austria y Elisabeth de Brunswich Wolfenbiittel a
Barcelona y Girona (Barcelona 1902).
' EMILIA ZANETTI, Haendel in Italia, in: L'Approdo musicale 12/III (Oct.-Dec. 1960) p. 13.
5 MGG 1, 10.
6 EDWARD DENT, Alessandro Scarlatti. His life and works (London 1905) p. 69.
7 DE LA TORRE, III, 333, and IV, 69.
8 Wiener Diarium, 1701ff; Le Mercure galant, 1701ff; Gazetta di Mantova, 1704ff; MICHEL
BRENET, Les Musiciens de la Sainte-Chapelle du Palais (Paris 1910) p. 267-275.
9 BRENET, p. 375 f.

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U. Kirkendale: The War of the Spanish-Succession 223

paix for the king of exhausted France.1' The Peace of

alluded to in Alessandro Scarlatti's serenata Pace, Amor
But there are musical events, operas and oratorios, th
tical and human intricacies behind the facades of victo
the affairs of state by circumstances of their perform
style, show the influence of a foreign garrison, a partisan
in their texts to political events or even have a political m
is mocked; a prince in his exile dreams of lost splendor
presented; the hope of reconciliation is expressed; flattery
Thus history is both made and recorded in works of
employed successively by several sovereigns involved in
Comparatively well known is Caldara's activity in V
death in 1736, as vice chapel master of Emperor Charl
his Italian period, before 1716, 12 the first forty-six year
who wrote the wedding operas for three emperors and on
teenth century was highly esteemed by composers and th
in Venice in 1670 or 1671, member of a family that p
cians; very probably he studied with Legrenzi, perhaps
and Corelli. After attracting attention with the well kn
II, the solo cantatas Op. III, and, in Venice, not only w
oratorios, he was chapel master of the last Duke of Mantu
1707- an occupation still doubted by Bernhard Paumgartne
by an autograph remark and at least six libretti. For C
Ziani before him 15 this position served as the stepping-st
Since very little archive material and even less music
last chapter of the music history of the Gonzagas in M
obscure.16 It proves, however, to be still worthy of th
although the public affairs of the duchy had already r
state. During the winters 1707/08 and 1708/09 Caldar
San Giovanni Grisostomo in Venice, shifting during Len
in Rome-a brilliant stagione when Caldara Handel,
Scarlatti, Cesarini, and Corelli joined forces. In July h
compose and conduct King Charles' wedding opera. Fi
May 24, 1716, he was chapel master of Prince Ruspoli,

10 ROBERT EITNER, QuelleIntexikon (Leipzig 1900-16) VI, 19.

11 DENT, p. 131.
12 I have dealt especially with this period in my dissertation An
zianisch-rTimische Oratorien (Bonn 1961) which is in course of pu
schaftliche BeitrAge, ed. Erich Schenk (Graz and Vienna). The pres
biographical information communicated there.
13 Cf. ibid. the wedding operas for Charles VI, Charles Albert
August III of Saxony; and chapter "Nachruhm."
14 2, 645.
15 It is still uncertain whether Ziani was Caldara's immediate pr
remarks on his Mantuan employment in Grove's Dictionary, 195
16 Cf. CLAUDIO SARTORI, Mantua, in: MGG 8, 604.

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224 U. Kirkendale: The War of the Spanish Succession

Arcadia in Rome. Ruspoli's household documents17 rev

a leave of absence from Ruspoli in May 1711 with the oblig
compositions. He stayed in Milan with King Charles who ha
lona, and he possibly accompanied him to the coronation
les' entry into Vienna Caldara is soon found at the Impe
most honorable commissions. He returned to Ruspoli in
of his compositions for this prince is precisely noted
copyists, and most of the scores are still extant in the S
The Austrian pretender in Spain had been a prime mover
Mantua, as we shall see, more or less a victim. Francesco
only behind the scenes-but with no little power-as a f
from the literature on Handel that he had supported Po
a large contingent of militia and for this was made Prince
1709. The cantata a 3 "O come chiare e belle" by h
"Olinto"-this was Ruspoli's Arcadian name-as assist
restore her ancient splendor on the banks of "il Tebro," un
Clemente"; 18 the warrior's laurel will then miraculous
olive tree, announcing peace. It is mentioned by Ruspoli
Angelini in a bill receipted September 10, 1708,19 and
feverish months of mobilization. Another entry in the acc
way into our theme, from the battlefield to the stage:
e Soldati della Compagnia Colonnella Ruspoli" were pai
Caldara's opera L'Anagilda,20 probably as mute supernu
Along with the preparations for the Italian campaign
interest of both parties had become directed towards the f
principales Clefs de l'Italie, & un Rempart tres-fort, p
Milan." 21 In vain Leopold reminded the Duke of his ob
Emperor; the Duke even put his capital at the disposal
April 7, 1701, Count Tesse entered Mantua with six tho
Bourgogne he declared:

<<... et c'est le meilleur succes pour les affaires des Rois, vot
que l'on pouvoit esperer; c'est meme quasi la seule chose qui
projets et la colere, pour ne pas dire fureur, de Sa Majeste Impe

Leopold reacted most sharply: he immediately accused

banned him, and liberated all subjects from their duties to

17 Those of Caldara's years are published in KIRKENDALE, "Anhang.

11 Hiindel-Gesellschaft edition, LII/2, no. 19. Cf. footnote 77, and P.
(London 1908) p. 173.
19 To be published in a study on Handel's Roman cantatas.
20 KIRKENDALE, document no. 100.
21 DE LA TORRE, III, 218.
22 [MANS JEAN BAPTISTE RENE DE FROULAY, COMTE] DE TESSE, Lett
la Duchesse de Bourgogne, Madame la Princesse des Ursins, Mada
Pontchartrin, etc. Publides par le Comte de Rambuteau (Paris 1888)

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U. Kirkendale: The War of the Spanish-Succession 225

this moment the Duke's chances depended upon the success of the
With their defeat in 1706 his fate was sealed.
Ferdinando Carlo Gonzaga, born in 1652 and since 1669 tenth D
and eighth of Monferrato, was mocked as one of the most infamou
time. 23 His early creditors, including Venice, had refused for many y
further credit-all but France. Louis XIV had indefatigably sup
enormous sums and now promised him a monthly pension of 30

pouvoir continuer de vivre dans ses Plaisirs, & ses Debauches."'24

accounts are unanimous that these pleasures meant ladies, opera,
carnival. 25 We do not know whether Ferdinando Carlo's passion fo
founded on a thorough musical education or, what seems more lik
was just one part of his addiction to the whole theatrical comple
evidence that he demanded the highest quality. Muratori tells in h
that the Dukes of Mantua and Modena were the leading Italian pri
of-war for the virtuosos.26 Indeed, the most celebrated singers
to 1707 were employed by the Duke, in Mantua, Venice, and elsew
called "virtuosi del Serenissimo di Mantova" in many libretti:" 27 Diam
Alessandra Scaccia; Margherita Raimondi detta la Salarina; Maria
the wife of Francesco Conti; Santa Stella, later the wife of Antonio
Vanini who had her greatest triumphs with Handel in London, the
famous Giuseppe Boschi: Valentino Urbani who also was praised b
celebrated Domenico Cecchi detto Cortona-to name only those who
international.

Ferdinando Carlo adhered to his blissful way of life even durin

years. Operas accompany all stages of his exit, throwing uncanny l
they partly cause it. La Partenope, performed in the carnival 1701,
musical event in prewar Mantua. The famous libretto names the po
poser, and tells us that the work was previously performed at Napl
dedicated to the Vice-queen, now to the Duchess of Mantua.28 Pa
the mythic foundress, the personified city of Naples. 29 At a time wh
already involved in negotiations with both of the hostile powers, t

23 GIUSEPPE FOCHESSATI, I Gonzaga di Mantova e l'ultimo Duca Milano (19302) p

24 DE LA TORRE, III, 219 and 241.
5 Ibid., p. 219 f. Cf. FOCHESSATI, p. 194 ff.
28 LODOVICO ANTONIO MURATORI, Annali d'Italia dal principio dell'era volgar
(Milano 1749) XI, 392.
27 Cf. the abstracts given by TADDEO WIEL, I teatri musicali Veneziani del Settec
28 I-Bc 6904 (here and in subsequent footnotes the RISM-code is used for loca
piglia's text may have been set to music in Naples by Alessandro Scarlatti, two ye
by Caldara whose name is the first to appear in the many libretti dating from diffe
(cf. KIRKENDALE, chapter "Kapellmeister des Herzogs von Mantua," for a list
further argumentation).
29 "Fui Partenope Figlia d'Eumelo Re di Fera in Tessaglia, la quale partisse d
d'Euboa, oggi Negroponte, seguendo I'augurio d'una bianca Colomba, e fece ed
appresso le sponde del Mar Tirreno, che fh detta Partenope, e poi fu chiamata Nap

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226 U. Kirkendale: The War of the Spanish Succession

of Naples on the stage of Mantua strongly demonstrated

Spaniards.
The Opera Pastorale, extant in Caldara's autograph score with his note "Musica
di Ant.o Caldara Maestro di Cap.a di S.A.S Ferdinando Carlo Duca di Mantova
nell'anno 1701," 30 marks the first stage of the Mantuan war. Was it planned for the
carnival 1701/02? This would explain why there is no printed libretto extant. From
December 1701 to July 1702 Prince Eugene blockaded the French inside Mantua's
walls, among them Tesse and the Duke. Hunger and inflation raged,3' and even
the optimistic reports to the French court mention only modest amusements; 32 there
was probably no carnival that year and no performance of opera.33
Prince Eugene gave up the siege in July 1702, and the Duke hastened to move
to a safer place. He went to Casale, the strongly fortified capital of his Duchy Mon-
ferrato, close to the friendly borders of France and Savoy, and remained there for
three years. He left his wife Anna Isabella at home, but took his whole court with
him,34 and a French observer notes especially the inclusion of "une partie de sa
musique masculine et feminine avec son po&te pour lui preparer un opera."35 This
opera, Gli equivoci del sembiante, was composed by "Sig. Antonio Caldara Mastro
di Cappella di S.A.S." and performed in the new theater of Casale during the carnival
of 1703 with the grand ensemble of singers mentioned above. 36 The contrast between
the boundless splendor of the stage and the desperate historical situation is grotes-
que: the Duke pursued and escaping, lavishing incredible sums, sustained by the
inexhaustible King of France, who still needs the lord of Mantua.
A tragicomic episode is reflected in the libretti of two operas which were perfor-
med the following year far from Casale, on the stage of Mantua: II trionfo d'amore37
and Paride sull'Ida, ovvero gli amori di Paride con Enone,38 the first composed by
Quintavalle, the second "parte del sig. Antonio Caldara Primo Mastro di Capella
di S.A.S. di Mant., parte del sig. Antonio Quintavalle Primo Organista di S.A.S.
di Mantova." 39 Anna Isabella, Duchess of Mantua, had died on November 19, 1703,

A. Scarlatti wrote a serenata II Genio di Partenope, la Gloria del Sebeto, il Piacere di Mergellina
in 1696 (cf. DENT, p. 68 and 211); and an undated cantata Partenope, Teti, Nettuno, Proteo, e Glauco
(Ms. US-Wc M 1490 S 28) "celebrating a naval expedition of the Emperor Charles VI against the
Turcs" (EDWIN HANLEY, Alessandro Scarlatti's Cantate da Camera. A Bibliographical Study, Diss.
Yale 1963, Ms., p. 64).
so A-Wgm 37/16124.
31 [FEDERIGO AMADEI], 11 Fioretto delle Croniche di Mantova raccolto gid da Stefano Gionta, ed in
quest'ultima edizione ampliato colle cose pii notabili di essa citta succedute fino al presente anno
MDCCXLI (Mantova [1741]) p. 15o.
32 TEssi, p. 79 ff.
33 On January 27, 1711, the Opera Pastorale appears in Ruspoli's private theater, probably now per-
formed for the first time (cf. KIRKENDALE, chapter "Kapellmeister... Ruspoli").
s4 AMADEI, p. 151.
35 Cf. FOCHESSATI, p. 230.
s6 Libretti I-Bc 732 and US-Wc ML 48, A 5 v. 12. The score seems to be lost.
s7 Libretto US-Wc ML 50. 2. T 81 Q 3 (cf. OSCAR G. T. SONNECK, Catalogue of Opera Librettos prin-
ted before 1800 [Washington 1914] I, 1095).
38 Libretto I-Bc 733. The score seems to be lost.
3' Libretto, p. 7.

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U. Kirkendale: The War of the Spanish-Succession 227

in Mantua. The Duke did not come home for her obsequies. II
dedicated to the general of the French troops in Mantua Gasto
this dedication is signed only one month after Anna Isabella's
was surely planned immediately after the funeral. Paride appe
It is striking that so little consideration for the sad event is show
doubt that these operas were commissioned by the French off
regarded the ducal theater as their own. In both operas the s
class.42

Where was the Duke? According to Amadei, later secretary o

minister and compiler of the famous Cronistoria of Mantua,
the funeral because he was on the point of going to France. F
Casale on March 8, 1704, arrived in Versailles on May 10, and w
King.43 We know that at least six proposals for a new marriage w
and that three of them were considered seriously: Susanna-En
Elbeuf, Maria-Enrichetta di Carretto, Duchess of Aremberg, a
Duchess of Lesdiguieres.45
The titles of the Mantuan operas, especially the love affairs
Ida fit these events all too well! And indeed, there was a c
de Tesse, whose brilliant letters from Northern Italy to Ver
sources for Mantuan history, writes to the Marquis de Torcy on J

< C'en est un que la conduite de notre Ser6nissime, des engagement

la peine de m'en mander assez pour devoire croire que Mademoisell
la pomme. Mais d'un tel Paris permettez-moi de vous r6peter que la p
... plus certain que l'amour, et que si ce mariage se fait, je croirai q
Roi l'aura agre6 et permis. I1 n'est pas question de quatre pieds trois
mettre a la taille favorite de ses Dulcinkes, il est question de lui dire: (J
femme de Jupiter, sur le mont Ida, avoit parl6 du ton de maitresse,
vouloit avoir la pr6ference, non seulement elle se seroit 6pargn6 la h
derriere, mais elle auroit 6vit6 peut-etre de mettre l'Asie en cendres

Tesse had recommended the Duke to the French court in ter

<< Le Duc de Mantoue est le seul fiddle, mais il est impuissant; il vous
reste que trois cent trente e sept demoiselles; son pays est abime, il
bons traitements >. 47

His letter of December 28, 1703, makes clear that the French we
the Duke's new marriage plans immediately after Anna Isabe

40 "Dicembre 19, 1703."

41 "Da rappresentarsi nella Primavera dell'Anno 1704" (title page).
42 Cf. KIRKENDALE, chapter "Kapellmeister... Mantua." They were obviously
in Mantua, in the service of Anna Isabella.
43 AMADEI, p. 152 f.
44 FOCHESSATI, p. 234.
45 TEssI, p. 175, editor's note. These persons are discussed by Tess6 at diffe
46 Ibid., p. 191.
47 Ibid., p. 102.

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228 U. Kirkendale: The War of the Spanish Succession

v Ce prince voluptueux est capable de tout faire par les prin

dont la possession le degouite dans le moment. Immediatemen
Mantoue, il desira passionnement Mademoiselle d'Elbeuf sur
etoit grande.. .48,

There is no doubt that the French officers in Mantua we

Mantoue with Paride sull'Ida. They were very gallant
dedicate it to the "most distinguished ladies of the Min
encircles the city of Mantua. The nymph Enone herself
Kebren, may have inspired this gesture. As we know from
Paris fell in love with her on Mount Ida before he m
requested his judgment.50 The Duke's Mount Ida was V
the opera disguise a real person? Two of the aspiring la
M.11e d'Elbeuf and the Duchess of Aremberg. Enone ma
pastoral plot offers no further clues. The Duke's fate i
first words:

,KCare selve, amiche piante,

A voi viene esule un Re.
Ha prefisso il mio destino
Che vagante, e pellegrino
Qui fra voi raggiri il pie.

Quel Paride, che in fasce

Prov6 il rigor della contraria sorte,
Quel Paride, che guerra
Minacci6 al suo natal notturna face
Cerca tra vol una tranquilla pace.

I1 trionfo d'amore, again a "Reigen-Liebe" of shepherds, could well contain some

of the first gossip after the obsequies. Its hero Endi'mione debates "Partire, o non
partire.. ."; but we have no better proof.
It is improbable that Caldara, the Duke's chapel master, helped to compose the
Paris satire against his patron. (Yet we do not necessarily have to assume that the
Duke was not flattered.) The passage concerning the composers suggests that the
organist Quintavalle, who had stayed et home, composed the recitatives and took
the arias from successful works of Caldara.51
Enrichetta d'Elbeuf carried the apple home. Two months after the wedding cere-
monies, on November 19, 1704, the opera L'Arminio was performed close by in
Genoa. 52 In the libretto Caldara, the composer, is again called "Maestro di Cappella

48 Ibid., p. 176.
49 "Alle nobilissime dame del Mincio" (title page). The poet is Giovanni Fantini.
50 Cf. Oinone, in: Paulys Real-Encyclopdidie der classischen Altertumswissenschaft, XXXIV (Stuttgart
1937) col. 2251. It is noteworthy for Mantuan tradition that Ferdinando II Gonzaga, first Duke of
Guastalla, had won Tasso's enthusiastic praise for his "favola pastorale" Enone - cf. ALESSANDRO
D'ANCONA, Origini del teatro Italiano (Torino 18912) II, 410. Oinone had her most prominent role
in Cesti's II pomo d'oro. Apostolo Zeno's Enone was composed by Caldara in 1734.
51 This procedure, common at the time, is often used with Caldara's arias.
52 Libretto I-Bc 734. The score seems to be lost.

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 U. Kirkendale: The War of the Spanish-Succession 229

di S.A.S. di Mantova." Also the presence of all the famous Ma

cates that it was the Duke who had ordered the performance. Ant
had originally been composed for Prince Ferdinando de'Medici
Pratolino in September 1703.53 This date leaves little doubt that th
after the startling circumstances of the Italian war that had resul
part of that year. Present and past history are geographically rev
who invaded Arminio's German country reflect the Imperial troop
like the Duke, is frightened out of his native castle. Varus ma
gene. The German prince Segeste who collaborates with the R
daughter is married to Arminio, corresponds to the powerful
of Savoy, father of both the Duchess of Bourgogne and the n
At the beginning of 1703 he had left no more doubt that he was g
his troops from the French to the Imperial party54 "-certainly to
of Ferdinando Carlo, who now saw himself threatened in Cas
Leopold had promised Victor Amed~e the Duchy of Monferrat
was, of course, the first to be attracted by the glorification of A
was his own except for the victorious end that he could only long
He returned to Mantua on December 22, 1705. A Kyrie sign
Mantua on December 14, 1705, and a Gloria signed on December 16
voices in a-minor, are probably fragments of the church musi
sovereign's return. The new Duchess arrived in pomp on Mar
was the last festival of the Gonzagas in Mantua. The French, a
at Turin and Ramillies, began negotiations with the Emperor to
January 21, 1707, Ferdinando Carlo fled to Venice, taking his
again leaving the Duchess at home. A few days later countless
by his order to Venice, including more than nine hundred p
important-his library.56 By the treaty of Milan, on March 13
over the sovereignty of Mantua. The inhabitants of the dislo
worst, and sent a deputation to the Emperor to beg for merc
greatest distress His Serene Highness in Venice enjoyed two operas
own virtuosos at the "famosissimo teatro di San Giovann
Partenope57 and II selvaggio eroe.5s
In the libretto of La Partenope the printer says that the old
changed, has been restaged by high command. This leads to the
Duke brought the score with him from Mantua, together with
books, and that in this way Caldara's Mantuan works may ha
to Venice. With La Partenope Ferdinando Carlo recalled once

53 MARIO FABBRI, Alessandro Scarlatti e il Principe Ferdinando de' Medici (

54 DE LA TORRE, IV, 38 and 118 ff.
55 A-Wn S A 67 B 100oo, copy by Kiesewetter from the now lost autograph
autograph.
56 FOCHESSATI, p. 274 ff.
57 Libretti I-Bc 6907, and US-Wc ML 48 S 1495. The score seems to be lost.
58 Libretti D-Bds, I-Bc 735, and US-Wc ML 48 S 1497.

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230 U. Kirkendale: The War of the Spanish Succession

days of Mantua which he had now lost forever. A Fren

trouve si charm6 de n' tre plus A Mantoue, qu'il en goi
les plaisirs du Carnoval." 59
In the libretto of Il selvaggio eroe the composer Cald
Cappella del Ser. di Mantova" for the last time.60 He res
ber 1707, when the members of the court retired one
the Emperor's warning to abandon Ferdinando Carlo or
cation. 61 The Prime Minister left Venice by night, fearin
Caldara seems to have gone now to Rome, where he tur
Ferdinando Carlo was banned and outlawed by the Diet of
1708. Five days later his sudden, mysterious death "solv
in a natural way" (Noorden). After four hundred years
end of the house of Gonzaga in Mantua that had shelter
Romano, Torquato Tasso, Peter Paul Rubens, and Claudio
French Mantua has left traces in Caldara's musical st
none of the Mantuan operas identified by libretti has
Opera Pastorale we have the score but no libretto; and
church music only a few fragments have survived. But
La frode della Castita, Le gelosie d'un amore utilmente
dell'innocenza,62 extant in the Santini Library in manu
Roman scribes from February to April 1711, can be da
the early Mantuan years because of their French charac
ted physiognomy as compared to works from 1708 to
themes in dotted rhythmn, so familiar from Lully's music
referring to a violent death (for example, "Pensa ch'il
dipende" and "Vanne a morir"63). Later too, Caldara emp
rarely, but still consciously. Of his seventeen oratorios
one begins with a French overture. It appropriately announ
La conversione di Clodoveo Re di Francia.64
On August 2, 1708, Caldara turns up in Barcelona as the composer and conductor
of King Charles' wedding opera Componimento da camera per musica: il piu bel
nome nel festeggiarsi il nome felicissimo di Sua Maesta Cattolica Elisabetha Cristina
Regina delle Spagne." Pietro Pariati's libretto gives Ercole an important
part among Giunone, Venere, Paride, il Fato, a "Coro di Seguaci della Bellezza" and
another "della Virtui." Plots dealing with Hercules' tenth, Spanish labor are found

59 FOCHESSATI, p. 244.
so Libretto, p. 11.
61 FOCHESSATI, p. 249.
62 D-Mts Hss 743, 744, and 745. Chronology and style are discussed in KIRKENDALE, chapter "Ora-
torien fiir Mantua?" The earlier date is supported by the news of a Florentine performance of II
trionfo dell'innocenza in 1704.
B3 La frode della Castita, aria of Clearco (no. 12); and II trionfo dell'innocenza, aria of Melantia
(no. 21).
64 D-MUls Hs. 741. First performed April 14, 1715, in Palazzo Ruspoli, Via del Corso.
65 Cf. CARRERAS, p. 116 ff. Score B-Bc 584.

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U. Kirkendale: The War of the Spanish-Succession 231

in several operas written for Charles, and it has been assume

thing to do with the pretensions to Spain.66 Of course th
peninsula from the Pyrenees to the pillars of Hercules-bu
gorical figure. Charles had taken the two columns into h
the inscription Constantia et Fortitudine.67 He officially
mythic hero. The two columns in front of the church o
have been proven to be a translation of this idea into ar
opera Costanza e Fortezza in 1723, ten years after the ret
echoes the old pretensions.69
In 1707 the war was finished in southern as well as in
quest of the Kingdom of Naples was celebrated in Vienna
ritornata a' Romani on King Charles' birthday, October
hostilities flamed up once more. Emperor Joseph had sen
territories to force Pope Clement XI to acknowledge his
on January 15, 1709, under utmost pressure, Clement si
him to demobilize his troops and recognize Charles as th
The French ambassador left Rome in uproarious protest.71 (I
stration of sympathies for France when a few weeks later, d
mira Queen of Poland presented Domenico Scarlatti's or
Clodoveo Re di Francia in her Roman palace72). Reconcil
Charles was crowned Emperor Charles VI, on December 1
hasten to recognize him. It was not until February 1714
matio electionis.73
I find testimony of Charles' efforts to reconcile the P
di Santo Stefano Primo Re d'Ungheria, extant in score in
This work differs from the other sixteen oratorios which
171675 by its complete lack of action.'" Stefano, the first
court praise unanimously their happy relations with th
of Parte Seconda Stefano describes his gloomy vision of
sanguinary revolts and unbelief. Yet "nel gran soglio
mente" will restore peace and belief in this country. The Pop

66 J. H. VAN DER MEER, Johann Josef Fux als Opernkomponist (Bilth

67 GUSTAV HERAEUS, Inscriptiones et Symbola (Vienna 1723) p. 23.
68 GEORGE KUNOTH, Die Historische Architektur Fischers von Erlack
69 Charles VI never gave up his title "Hispaniae Rex."
70 LUDWIG RITTER VON K6CHEL, Johann Josef Fux (Wien 1872) Beila
71 LEOPOLD VON RANKE, Die r6mischen Piipste in den letzten vier J
n. d.) p. 732.
72 For the libretti, unknown to RALPH KIRKPATRICK (Domenico Scarlatti, Princeton 1953), cf. ULDE-
RICO ROLANDI, Opere, oratori e cantate di Domenico Scarlatti, in: ACCADEMIA MUSICALE CHIGIANA,
Gli Scarlatti (Siena 1940) p. 85.
73 LUDWIG FREIHERR VON PASTOR, Geschichte der Piipste im Zeitalter des ftirstlichen Absolutismus,
vol. XV (Freiburg 1930) p. 69.
74 Hs 736.
75 Bibliography and discussion of style in KIRKENDALE, part II and III.
76 This seems, in general, typical for occasional oratorios, cf. the Occasional Oratorio composed
by Handel in 1746.

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232 U. Kirkendale: The War of the Spanish Succession

to in several numbers ("a pie della Clemenza," "la Clem

The last four lines of the final recitative make Stefano
the reigning Clemency on the banks of the Tiber and to se
Augustus on the Capitol." Since this part, in the mann
relations between emperor and pope into the present,
Stefano to be the Emperor, who was also King of Hung
crown in his treasury.
Archival documents enable us to date the oratorio p
copied by Francesco Lanciani, Caldara's main scribe in
the parts, in the Ruspoli archives, is dated March 17, 1
was in Vienna, composing for the Emperor. Yet during
Ruspoli he continued to send works to Rome. Several co
dated in Milan and Vienna are mentioned a few weeks l
copyists.79 In Vienna, Caldara seems to have worked on
Charles had then been crowned only two months, and was
papal confirmation-we know of the obstinate negotiations
he probably became accustomed to waiting. There can be
was inspired and given to Caldara by a Viennese courtier, i
with the intention of winning the Pope for the Emper
of "sventurata Ungheria" and the flattering passage o
seem to refer to Clement's first benevolent gesture toward
a brief to the Primat of Hungary, on August 17, 1709
damned the Hungarian revolution.81
Why was the work sent to Ruspoli? We know that Ruspo
performance of Handel's Resurrezione, Easter 1708, pro
Roman concert of the year.82 After being made Prince
ambition to offer the most exquisite and lavish musica
garita Durastante, Maria di Piedz, Giuseppe Valenti
Castrucci were for many years among his virtuosos; F
Caldara's successor.83 The music expenses often equal an
for the whole household of eighty to ninety persons. I
that Ruspoli's concerts were then regarded as the best in R

7 Allusions to the name of Clemens XI in Roman compositions of t

the above-mentioned cantata O come chiare e belle by Handel, and
arme Thematik"), like those to his namesakes in earlier centuries.
7s8 KIRKENDALE, document no. 148.
79 Cf. ibid., chapter "Wien-Reise, ca. 10. Mai 1711 bis Ende Juli
autograph with the place and day of its completion.
so LANDAU, p. 450 ff.
81 Ibid., p. 438 f.
82 Ruspoli's household documents concerning this performance have
English translation by NEWMAN FLOWER (George Frideric Handel, Ne
quoted by O. E. DEUTSCH (Handel, A Documentary Biography, L
recently mentioned a few more details (Haendel in Italia, p
publication all the Ruspoli documents that refer to Handel and his
83 Cf. KIRKENDALE, chapter "Musiker bei Ruspoli."
14 EBERHARDT PREUSSNER, Die musikalischen Reisen des Herrn von

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U. Kirkendale: The War of the Spanish-Succession 233

resources guaranteed a regularity that those of Ottoboni and

after 1710.8s It was in Ruspoli's palace where the Roman
of the curia assembled every Sunday, and even travellers
introduction.86 At this marketplace of music and opinions th
would not have fallen on deaf ears. Ruspoli, however, did
strument of Viennese politics. Stefano was not performed in
when the tension had somewhat relaxed.
To Caldara the Emperor's commission surely meant much honor. Probably in the
fortifications of Barcelona Charles' extraordinary affection for Caldara had begun.
It lasted for more than thirty years, even after Caldara's death, as is shown in the
letter of Luca Antonio Predieri to Padre Martini, March 15, 1738. Predieri writes that
several composers had tried in vain to obtain the position of vice chapel master
during the fifteen months after Caldara's death. He, Predieri, who had submitted
works of Martini as his own, was the first who was able to please the Emperor to
some extent. His success "stupified everyone, since no one could believe that after
Caldara a composer would ever again please the Emperor."88

15 The extracts from Pamphilj's Giustificazioni given by LINA MONTALTO, Un Cardinale in Roma
barocca (Firenze 1955) p. 338 f., seem to indicate a negligence of the house music then. Ottoboni
is known to have been in consiberable financial difficulties.
11 Uffenbach's report is confirmed by continuous information from Ruspoli's Giustificazioni concern-
ing the weekly copies, refreshments, etc. for the "Conversazione." The names of the distinguished
guests are preserved in the lists of "mancia" paid to their servants.
87 KIRKENDALE, document no. 1.87.
ss The original published by ADELMO DAMERINI, Luca Antonio Predieri e il suo "Stabat," in: ACCA-
DEMIA MUSICALE CHIGIANA, Musicisti della Scuola Emiliana (Siena 1956) p. 36.

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