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do handel's cantatas matter? - BOLbusiness

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5] «Cantate, que me veux-tu?», or: Do Handel’s <strong>cantatas</strong> <strong>matter</strong>? 217<br />

missioned for that purpose. But this is conjecture. In fact, trying<br />

to connect Handel’s introduction to Rome with a single<br />

patron is simplistic, and probably futile, as Handel was quickly<br />

drawn into a network of patronage.<br />

A copying bill for music by Handel appears in the accounts<br />

of the Marquis Ruspoli by May 1707, and Ursula Kirkendale<br />

suggests a still earlier relationship in her hypothesis that a<br />

copying bill in the Ruspoli accounts of the previous December<br />

for «una cantata nuova» (no title or composer is given)<br />

refers to Handel’s Arresta il passo12 . Sometime in the spring<br />

of 1707, Handel also must have been commissioned by Cardinal<br />

Carlo Colonna for the psalms and motets that were composed<br />

for the Festival of Our Lady of Mount Carmel on 16<br />

July. The patron who plays the biggest role in Mainwaring’s<br />

account of Handel’s Roman tenure, however, is none of these<br />

but rather Cardinal Pietro Ottoboni, about whose relationship<br />

with Handel little can be said definitively. Colonna and<br />

Pamphili are mentioned by Mainwaring more briefly, Ruspoli<br />

not at all. Mainwaring identifies Ottoboni as one of Handel’s<br />

«greatest admirers» and specifically mentions the importance<br />

of the cardinal’s «large library of Music» and the «excellent<br />

band of performers», which included «the illustrious Corelli»<br />

13 . It seems increasingly clear that in Rome, if not in Italy<br />

more broadly, one must speak of a complex system of artistic<br />

patronage.<br />

Regular gatherings at the houses of patrons or musicians<br />

and more formal concerts both in private homes or churches<br />

supported a shared culture of intellectual thought and values.<br />

A description of Handel in Rome, published in 1737 (by an<br />

anonymous author reporting on the memoirs of a friend),<br />

ing (although later, p. 337, she depends on handwriting analysis as evidence<br />

for her otherwise unsupported claim that Rodrigo and Agrippina were both<br />

composed before 1707).<br />

12<br />

KIRKENDALE, Handel with Ruspoli, pp. 305-306.<br />

13<br />

MAINWARING, Handel, pp. 54-55.

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