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Moravské prameny mešní tvorby Antonia Caldary: problém autenticity

100%
Spáčilová J.
Hudební věda (Musicology)
|
2012
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vol. 49
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issue 1-2
45-80
EN
This article is dedicated to the problem of the erroneous attribution of authorship of Masses to Antonio Caldara in Moravian collections of church music. It contains information about extant records of Masses by Caldara and methodological discussion concerning the reliability of sources with respect to authorship. Also included is an overview of Caldara sources of Moravian provenience, including both extant music and entries in period inventories. Attention is dedicated both to compositions by others regarded in Moravia as works by Antonio Caldara, and to works by Caldara under the names of other composers. Works identified as having been written by other composers are presented in the form of tables, including signatures of all concordant sources found so far in European libraries. The purpose of the article is to give an idea of the standing of Caldara’s works in the repertoire of Moravian church music and to prepare material for a future thematic catalog of Moravian sources of Masses by Caldara.
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Nová zjištění k latinské karnevalové opeře Facetum musicum / Musicalisches Kurtzweil-Spiel (Osek 1738)

63%
Spáčilová J., Macek O.
Hudební věda (Musicology)
|
2011
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vol. 48
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issue 2-3
143-160
EN
This article presents new findings concerning a Latin carnival opera preserved in the collection from the Osek Cistercian monastery now held by the Czech Museum of Music in Prague under shelfmark XXXIV A 191. The opera has no title page, but in the manuscript librettos (shelfmark B 7478 and B 7479) it is called a ‘musical piece for passing the time’ (Facetum musicum / Musicalisches Kurtzweil-Spiel). The music is preserved in manuscript performing parts dated 1738. When the opera was performed in 2004 it was discovered that this is not a work by an unknown Czech composer but rather a retexted pasticcio of Italian operatic arias. Identified so far are the overture (sinfonia) and six arias, coming from the following operas: G. F. Handel’s Agrippina, Antonio Lotti’s Isacio tiranno (identified based on the score of Carmine Giordani’s La Vittoria d’Amor coniugale, which is an arrangement of that opera), Lotti’s Il tradimento traditor di se stesso, and Antonio Vivaldi’s Orlando finto pazzo. It has not yet been determined who arranged the work. The present article includes a thematic catalogue of arias, as well as a comparison of the texts of the identified arias in their adaptations as opposed to their original forms.
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