Draghi, Antonio

Draghi, Antonio
Rudolf Schnitzler and Herbert Seifert

https://doi.org/10.1093/gmo/9781561592630.article.47603
Published in print: 20 January 2001
Published online: 2001

(b Rimini, probably between Jan 17, 1634 and Jan 16, 1635; d Vienna, Jan 16, 1700). Austrian composer,
administrator and librettist of Italian birth, possibly a brother of Giovanni Battista Draghi. He was one of
the most prominent musicians in Vienna during the last third of the 17th century and an exceptionally
prolific composer of operas, oratorios and other theatre music.

1. Life.

Rimini is given as Draghi’s place of descent not only in the first known biographical sources at Padua, but
also in the marriage records of the Stephansdom, Vienna, in 1661. The death certificate dated 18 January
1700 gives his age as 65, so he seems to have been born in Rimini about 1634. In November 1645, aged
about 11, he entered the service of the basilica of S Antonio, Padua, as a soprano singer, together with his
uncle and probably music teacher Francesco Florido (a clergyman who seems to have been active at the
cathedral of Urbania as maestro and organist from 1642 to 1644), who was engaged as a player of string
instruments and the organ. Draghi was highly esteemed (‘più che necessaria per l’honorevolezza della
capella’): his salary was raised in 1646 to prevent his departure. In December 1647 he and his uncle were
fired for having left their duties without license; Draghi alone was re-engaged in August 1648 as a
contralto, and was paid from October 1649 to December 1651 as a bass singer. In the following year he
moved to the Accademia della Morte, Ferrara, again as a singer, receiving his last salary in October 1657.
During this time he also sang on a festive occasion in Padua in 1654, and in P.A. Ziani’s opera Le fortune di
Rodope e di Damira, performed in Carnival 1657 at the Teatro S Apollinare in Venice.

In 1658 Draghi began his long career at the imperial court in Vienna, first as a bass singer in the newly
founded Kapelle of the dowager Empress Eleonora, the widow of Ferdinand III. His creative output began
with the libretto for the opera L’Almonte, with music by Giuseppe Tricarico, which was performed in
Vienna on 9 June 1661. He continued to be active as a librettist during his early years in Vienna and
provided texts for dramatic works by such composers as Bertali and P.A. Ziani as well as for a number of his
own works. The first music that can be assigned to him without doubt, the opera La Mascherata, dates from
1666. Draghi’s gradual advance towards the highest musical posts at the Habsburg court indicates the
recognition he won as a composer and administrator. He continued to serve the dowager empress, and in
1668 he became assistant Kapellmeister and in 1669 Kapellmeister at her court. (Her first choice for
Kapellmeister was Legrenzi, but the Emperor Leopold I or his court persuaded her to accept Draghi.)
During this period he also provided a number of dramatic works for performance at the emperor’s court. In
recognition of these services and because of the continuing expansion of theatrical activities at the
imperial court, he was appointed director of dramatic music there in 1673. Despite his heavy duties in this
post, he continued as Kapellmeister to the dowager empress until, on 1 January 1682, he succeeded J.H.
Schmelzer as Kapellmeister of the imperial court, a position he held for the rest of his life.

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Draghi’s son Carlo Domenico (b Vienna, 21 May 1669; d Vienna, 14 May 1711) was accepted into the
Hofkapelle as a pupil of F.T. Richter in 1687. In recognition of his father’s service to the court, a special
stipend from the emperor enabled him to study in Italy from 1692 to 1693. From 1 October 1698 until his
death he was one of the large number of court organists. He wrote several arias for some late secular works
by his father, including the operas L’Arsace and La forza dell’amor filiale and the Terza accademia (all 1698),
and for the 1697 revival of Sulpitia (all are in A-Wn).

2. Operas and other secular works.

Of Draghi’s about 170 secular works, some 120 are operas or other stage works, and the remaining 50 are
vocal chamber works. In the stage works he collaborated especially with the court poet Nicolò Minato and
the court theatre architect and stage designer Burnacini; they provided most of the dramatic works, sacred
as well as secular, performed at the Habsburg court between 1668 and 1697 (for further illustration see
Burnacini, Ludovico Ottavio). The secular stage works range between one and four acts, but the vast
majority belong to one of two types: the three-act dramma per musica and the one-act entertainment.
There are 59 of the former, a few of which have other designations, such as componimento drammatico per
musica. They were mostly performed either on birthdays of the imperial family or during Carnival, but a
few were given on the emperor’s name day. All of them, except those for Carnival, have a declaration of
homage to the personage honoured, usually in the form of a licenza, occasionally in a prologue too. There
are 60 one-act works. Generally, those designated festa teatrale or musicale were given on the empress’s
birthday and name day, those marked introduttione per un balletto on name days, and trattenimenti per
musica during Carnival. The stage works include music for Italian, Spanish and Latin plays.

As was normal at the time, the subject matter of the operas is from Greek and Roman history and
mythology; only Gundeberga treats events from German history. The usual love intrigue, involving many
disguises, abounds. There are also comic scenes, and the acts end with ballets, for which other composers,
notably Schmelzer and his son Andreas Anton, wrote the music. The Emperor Leopold I wrote arias and
scenes for many of the operas. The style of the music is predominantly that of Venetian opera of the second
half of the 17th century, though the arias contain extensive virtuoso coloratura passages. The ensembles
and the choruses are carefully composed. Two stylistic developments can be seen: the increasing use in
recitatives of the closing formula involving a falling 4th or 3rd in the vocal part and a cadence for continuo
alone; and the replacement of strophic arias, including some with a brief da capo of a line or two, with
single-strophe arias with full-scale da capos.

The chamber works, to texts which are almost without exception either mythological or allegorical, bear
various designations. Some are serenatas. Others, marked (compositione per) musica di camera, were
written for the Archduke Joseph’s birthday. The other two categories are the same as the last two of the
one-act stage works (see above); it is noteworthy that between Carnival 1682 and Carnival 1692, a time of
war, Draghi’s output consisted almost exclusively of one-act stage pieces and chamber works. His
chamber works are different from the operas in that arias are at least as frequent as recitatives and are all
in two strophes, separated by a ritornello. Some of the serenatas for outdoor performance have unusually
full instrumental accompaniment.

The popular style of Draghi’s own librettos seems to have been influenced by the commedia dell’arte.
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3. Sacred works.

Draghi's 41 sacred dramatic works, many produced in collaboration with the poet Minato and the designer
Burnacini (see §2 above), are not only the largest number of such works by a single composer in the later
17th century but can also be considered representative of the repertory of sacred dramatic music at the
court of Leopold I. According to the manner of performance, the nature of the texts, and the musical
treatment, these works can be divided into two groups, oratorios and sepolcri. Oratorios, presented during
Lent before Maundy Thursday, were executed in the traditional manner, i.e. without scenery, costumes or
acting. Sepolcri were presented either on Maundy Thursday in the Kapelle of the dowager empress, with a
costumed cast acting around a replica of the holy sepulchre, or on Good Friday in the Hofkapelle, with
additional painted scenery, designed by Burnacini, as a backdrop. The selection of sources and themes for
the texts also shows a marked difference between the two types. Only a minority of works by Draghi, all
oratorios, draw on popular sources such as hagiography and dramatic episodes from the Old and New
Testaments which are presented in a clearly defined chronology of events, emphasizing a conflict between
the forces of good and evil. Most of the works, including all the sepolcri, treat one aspect of the Passion of
Christ – the period between the burial and the Resurrection – and emphasize the laments of the followers
of Christ as well as the relationship of the Passion to events related in the Old Testament. To some degree
the contrast between the two types can also be seen in elements in the style of the music. Most of the
oratorios, in two sections, are scored for two violins and continuo and have a relatively wide melodic
range, with much coloratura writing. On the other hand, in the sepolcri, which are in a single section,
Draghi favoured the low sonorities of violas and gambas (often in the archaic four- or five-part grouping),
affective, syllabic melodies and short aria-like and arioso sections.

The general style of Draghi's sacred dramatic music, like that of his secular works, clearly derives from
that of the Venetian school of the mid-17th century. A special notable feature is the frequent use, as in the
works of Cavalli and Cesti, of arioso sections within and following recitatives. The frequency, placing and
melodic and harmonic style of these sections ensure that Draghi is seen at his best in his handling of
recitative. Further Venetian traits can be seen in the instrumental pieces, choruses and slow arias: in the
first two, chordal and imitative sections regularly alternate, and the last include laments (though there are
very few chaconne basses). Distinct differences from the Venetian style can be seen in the absence of
dance-like rhythms, especially in the fast movements of overtures and in arias, and in the small number of
da capo arias.

Except for a gradual change in the structure of overtures, and the increasingly frequent use of
instrumentally accompanied arias and more fully scored ritornellos – which may have been prompted by
the greater resources available to him at Leopold's court compared with Eleonora's, and/or by the greater
importance of Good Friday rather than Maundy Thursday celebrations – there is little stylistic
development in Draghi's sacred dramatic output. This may have been owing to the fact that he had no
contact with composers outside the Viennese circle, that his vast output did not leave him time for
experiments and that he was aware of the emperor's preference for, and satisfaction with, the style of his
music.

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Works

Edition

A. Draghi: Kirchenwerke, ed. G. Adler, DTÖ, xlvi, Jg.xxiii/1 (1916/R) [A]

Stage
librettos by N. Minato, works performed in Vienna, Hofburg, and MSS in A-Wn, unless otherwise stated

dm dramma per musica

La mascherata (compositione drammatica, 3, A. Draghi), Kleines Hof, 1 or 4 March 1666, Act 3 lost, 5 numbers ed. in
Neuhaus, contribs. by Leopold I

Vero amor fà soave ogni fatica (introduzione a un ballo, 1, Draghi), 6 Feb 1667, music lost, lib Wn

Comedia ridicula (3, anon.), 11 or 13 Feb 1668, Act 3 lost

Gl'amori di Cefalo e Procri (rappresentazione drammatica, 1, Draghi), 9 June 1668

Achille riconosciuto (F. Ximenes), 12 June 1668, 7 numbers ed. in Neuhaus

Il Ciro vendicatore di se stesso (dm, 1, Ximenes), Amalienburg, 18 Nov 1668, pt 1 lost

Chi più sa manco l'intende, overo Gli amori di Clodio, e Pompea (dm, 3, Ximenes), Emperor's rooms, 21 Feb 1669, contribs.
by Leopold I

Il Perseo (drama musicale 3, A. Amalteo), 15 July 1669, Act 2 lost

Atalanta (dm, 3), 18 Nov 1669, Acts 1 and 3 lost

Le rise di Democrito (trattenimento per musica, 3), 17 Feb 1670, Wn (1673 version), lib CZ-Pu; contribs. by Leopold I

Leonida in Tegea (dm, prol, 3), 9 June 1670, Act 3 lost

arr. M.A. Ziani, Venice, S Moisè, 9 Feb 1676

with rev. of Act 3, 11 Feb 1694, facs. in IOB, lxiv (1982), contribs. by Leopold I

Iphide Greca (dm, 3), 12 June 1670, music lost, lib A-Wgm; ?rev. version, 12 Jan 1696, Act 1 lost, contribs. by Leopold I

Penelope [La casta Penelope] (dm, 3), 18 Nov 1670

L'avidità di Mida (trattenimento per musica, 3), Ritterstube, 8 Feb 1671

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La prosperità di Elia Sejano (dm, 3), 9 June 1671, contribs. by Leopold I

La gara dei genii (festa teatrale, 1), 14 July 1671, contribs. by Leopold I

Cidippe (dm, 3), 18 Nov 1671, Act 2 lost, contribs. by Leopold I

Gl'atomi d'Epicuro (dm, prol, 3), 9 June 1672

Gundeberga (dm, 3), 12 July 1672, Acts 1 and 3 lost, contribs. by Leopold I

Sulpitia (dm, 3), 21 Nov 1672, Act 1 lost, contribs. by Leopold I; with addns by C.D. Draghi, 27 Nov 1697, Act 1 lost

Il gioir della speranza (introduzione ad un balletto, 1), Emperor's rooms, 9 Feb 1673

Batto convertito in sasso (musica di camera, 1), Favorita, 9 June 1673

Provare per non recitare (composizione per musica, 1), Favorita, 15 Oct 1673, music lost, lib I-Rvat, Vnm

Gl'incantesimi disciolti (introduzione d'un balletto, 1), Karlau bei Graz, 17 Oct 1673, contribs. by Leopold I

La Tessalonica (dm, 3), rooms of Archduchess Maria Anna, 18 Nov 1673, music lost, lib D-W, I-Vnm

La lanterna di Diogene (dm, 3), 30 Jan 1674, Act 1 lost, contribs. by Leopold I

Le staggioni ossequiose (introduzione d'un balletto, 1), Stallburg, 12 April 1674

Il ratto delle Sabine (dm, 3), Cortina, 9–10 June 1674, Act 1 lost, contribs. by Leopold I

Il trionfatore de' centauri (festa musicale, 1), Schönbrunn, zoo, 13 Aug 1674

Il fuoco eterno custodito dalle Vestali (dm, 3), Cortina, 30 Oct 1674, contribs. by Leopold I

La nascita di Minerva (festa musicale, 1), 18 Nov 1674, music lost, lib A-Wn

I pazzi Abderiti (dm, 3), Emperor's rooms, 23 Feb 1675, contribs. by Leopold I

Pirro (dm, 3), Laxenburg, zoo, 30 May 1675, Act 1 lost

Zaleuco [Seleuco] (dm, 3), ? 17 June 1675, music lost, lib Wn

Turia Lucretia (dm, 3), 18 Nov 1675, Act 3 lost

Sciegliere non potendo adoprare (prol, 1), 18 Nov 1676

Hercole acquistatore dell'immortalità (dm, 3), Linz, Landhaus, 7 Jan 1677

Chilonida (dm, 3), hall of Archduchess Maria Anna, 20 Feb 1677, contribs. by Leopold I

Il silentio di Harpocrate (dm, 3), 27 Feb 1677, music lost, lib Wn; ?rev. version, 22 Nov 1688, Act 3 lost

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Adriano sul Monte Casio (dm, 3), 27 June 1677, contribs. by Leopold I

Le maghe di Tessaglia (festa musicale, 1), Schönbrunn, park, 22 July 1677

Rodogone (dm, 3), Amalienburg, 18 Nov 1677, Act 2 lost

La fortuna delle corti (introduzione d'un balletto, 1, anon.), Stallburg, 1677

La conquista del vello d'oro (festa teatrale, 3), Wiener Neustadt, palace great hall, 8 Feb 1678, Act 1 lost

Leucippe Phestia (dm, 3), 14 June 1678, contribs. by Leopold I

Il tempio di Diana in Taurica (festa musicale, 1), Schönbrunn, park, 1 Sept 1678

La monarchia latina trionfante (festa musicale, 1), Cortina, 8 Oct 1678, music lost, lib Wn

Enea in Italia (dm, 3), Wiener Neustadt, palace great hall, 29 Oct 1678, Act 2 lost, contribs. by Leopold I

Li favoriti dalla fortuna (festa musicale, 1), 22 Nov 1678

Baldracca (dm, 3), 22 Jan 1679, Act 1 lost

L'ossequio di Flora (introduzione a un balletto di giardinieri, 1), carn. 1679

La svogliata (trattenimento musicale, 1), carn. 1679

Curzio (dm, 3), intended for 10 Aug 1679, Acts 2 and 3 lost, contribs. by Leopold I

I vaticini di Tiresia Tebano (festa musicale, 1), Prague, royal ballroom, 11 Jan 1680, contribs. by Leopold I

La patienza di Socrate con due mogli (scherzo dramatico per musica, 3), Prague, royal ballroom, 29 Feb 1680, 1 scene ed. in
GMB, contribs. by Leopold I

La forza dell'amicitia (dm, 3), Linz, palace, 13 Feb 1681, Act 1 lost

?rev. version, 13 Jan 1694, lost, lib Wn

Temistocle in Persia (dm, 3), Wiener Neustadt, 30 June 1681, Acts 1 and 3 lost, contribs. by Leopold I

La rivalità nell'ossequio (trattenimento musicale, 1), Schloss Frohsdorf, park, 22 July 1681, music lost, lib Wn

Achille in Tessaglia (trattenimento musicale, 1, librettist not known), Mannersdorf, 26 July 1681, music lost, lib Wn

L'albero del ramo d'oro (introduzione d'un ballo, 1), Ödenburg, 15 Nov 1681, ov. ed. in H. Botstiber: Geschichte der
Ouvertüre (Leipzig, 1913)

Gli stratagemi di Biante (dm, 3), 15 Jan 1682, contribs. by Leopold I

La Chimera (drama fantastico musicale, 3), 7 Feb 1682

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rev. version, 14 Feb 1692, Act 2 lost

Il tempio d'Apollo in Delfo (introduzione d'un balletto, 1), Laxenburg, 14 July 1682

Il giardino della Virtù (1), Emperor's rooms, 7 Jan 1683

Lo smemorato (trattenimento musicale, 1), Emperor's rooms, 28 Feb 1683

La lira d'Orfeo (trattenimento musicale, 1), Laxenburg, park, 9 June 1683

Gl'elogii (1), Linz, palace, 16 Jan 1684, contribs. by Leopold I

Tullio Hostilio, aprendo il tempio di Giano (festa musicale, 1), Linz, 9 June 1684, music lost, lib Wn

I varii effetti d'amore (introduzione ad un balletto, 1), 16 Jan 1685, music lost, lib Wn

La più generosa Spartana (introduzione ad un balletto, 1), ? 10 June 1685

Il Palladio in Roma (dm, 3), 17 Sept 1685, contribs. by Leopold I

Il rissarcimento della ruota della Fortuna (introduzione ad un balletto, 1), ? 15 Nov 1685

Lo studio d'amore (introduzione ad un balletto, 1), Emperor's rooms, 13 Jan 1686, contribs. by Leopold I

Le scioccaggini degli Psilli (trattenimento musicale, 1), ? 24 Feb 1686

Il nodo gordiano (festa teatrale, 1), 11 June 1686, contribs. by Leopold I

Le ninfe ritrose (introduzione d'un balletto, 1), Hofburg, park, 22 July 1686, contribs. by Leopold I

Il ritorno di Teseo dal labirinto di Creta (introduzione d'un balletto, 1), ?7 Oct 1686

La grotta di Vulcano (introduzione d'un balletto, 1), ? 15 Nov 1686

La vendetta dell'Honestà (rappresentazione musicale, 1), 9 June 1687, music lost, lib Wn

La gemma Ceraunia d'Ulissipone hora Lisbona (dramma musicale, 3), Heidelberg, Elector's palace, 1 and 3 July 1687, music
lost, lib BR-Rn, US-Wc

La vittoria della Fortezza (introduzione d'un balletto, 1), Bellaria, 22 July 1687, contribs. by Leopold I

La fama addormentata e risvegliata (introduzione d'un balletto, 1), Pressburg, ?19 Nov 1687

Il marito ama più (festa musicale, 1), Pressburg, Count Pálffy's palace, 17 Jan 1688, contribs. by Leopold I

Tanisia (dm, 3), 26 Feb 1688, contribs. by Leopold I

La moglie ama meglio (festa musicale, 1), 10 June 1688, contribs. by Leopold I

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Pigmaleone in Cipro (festa musicale, 1), 13 Jan 1689, contribs. by Leopold I

La Rosaura, overo Amore, figlio della Gratitudine (dm, 3, O. Malvezzi), 19 Feb 1689, Act 3 lost, contribs. by Leopold I

Il Telemaco, overo Il valore coronato (composizione per musica, 1, Malvezzi), Augsburg, Fuggers' house, 21 Nov 1689, pt 1
1ost, 23 arias D-Mbs

La regina de' Volsci (dm, 3), Augsburg, Fuggers' house, 12 Jan 1690, 32 arias Mbs, contribs. by Leopold I

Scipione preservatore di Roma (trattenimento musicale, 1), ? 26 July 1690, music lost, lib A-Wn

La chioma di Berenice (festa musicale, 1), intended for 28 Aug 1690, contribs. by Leopold I; rev. version, Favorita park, 4 Aug
1695, pt 2 lost, contribs. by Leopold I

Li tre stati del tempo

passato, presente, e venturo (introduzione d'un balletto, 1), Neuburg, ?June 1691, music lost, lib I-Fn, Vnm

Il ringiovenito (festa musicale, 1), Favorita, 18 June 1691, contribs. by Leopold I

Il pellegrinaggio delle Gratie all'Oracolo Dodoneo (invenzione per una serenata, 1), Favorita park, 23 July 1691

Le attioni fortunate di Perseo (festa, 4), 28 Nov 1691, music lost, lib A-Wn

Fedeltà e Generosità (festa teatrale, 1), 12 Jan 1692, contribs. by Leopold I

Le varietà di fortuna in Lucio Iunio Bruto, l'autore della libertà romana (festa per musica, 3), Favorita, 18 June 1692, Acts 1
and 3 lost, contribs. by Leopold I

Il merito uniforma i genii (introduzione d'un balletto, 1, ?Minato), Favorita park, 22 July 1692, music lost, lib Wn

Il vincitor magnanimo Tito Quintio Flaminio (dm, 3), 27 Nov 1692, contribs. by Leopold I

L'amore in sogno, overo Le nozze d'Odati, e Zoriadre (dm, 3), Favorita, 29 June 1693, Acts 1 and 3 lost, contribs. by Leopold
I

La madre degli dei (festa musicale, 1), Favorita park, 22 July 1693

L'imprese dell'Achille di Roma (festa per musica, 4, anon.), 22 Nov 1693, music lost, lib Wn

Pelopida Tebano in Tessaglia (festa teatrale, 1), 25 Nov 1694, pt 1 lost

L'industrie amorose in Filli di Tracia (dm, 3), 16 Jan 1695, contribs. by Leopold I

Amore dà senno, overo Le sciocchezze d'Hippoclide (dm, 3, D. Cupeda), 6–12 Feb 1695, Acts 1 and 2 lost, contribs. by
Leopold I

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La finta cecità di Antioco il grande (dm, 3, Cupeda), Favorita, 6 July 1695, Acts 2 and 3 lost, contribs. by Leopold I

La magnanimità di Marco Fabrizio (3, Cupeda), 22 Nov 1695, contribs. by Leopold I

Timone misantropo (dm, 3, anon.), carn. 1696, Act 1 lost, contribs. by Leopold I

Le piramidi d'Egitto (trattenimento musicale, 1), 6 Jan 1697

L'Adalberto, overo La forza dell’ astuzia femminile (dm, 3, Cupeda), 12 Feb 1697, contribs. by Leopold I

L'amare per virtù (dm, 3, Cupeda), Favorita, 30 June 1697, Act 2 lost, contribs. by Leopold I

La tirannide abbatuta dalla virtù (festa musicale, 1), Favorita park, 11 Aug 1697, contribs. by Leopold I

L'Arsace, fondatore dell'imperio de' Parthi (dm, 3, Cupeda), Favorita, 3 July 1698, Acts 1 and 2 lost, collab. C.D. Draghi

Il delizioso ritiro di Lucullo (festa musicale, 1, anon.), Favorita park, 7 Aug 1698, music lost, lib Wn

La forza dell'amor filiale (dm, 3, Cupeda), 27 Nov 1698, Act 3 lost, collab. C.D. Draghi, contribs. by Leopold I

Le finezze dell'amicizia, e dell'amore (festa musicale, 1, anon.), 1 Aug 1699, music lost, lib Wn

L'Alceste (dm, 3, Cupeda), 28 Jan 1700, music lost, lib Wn

Music in

Ipermestra, Venice, spr. 1671, lost

Vocal chamber
librettos by N. Minato, works performed in Vienna, and MSS in A-Wn, unless otherwise stated

Serenata, 1669

La Semiramide (trattenimento musico, anon.), 22 Dec 1673, music lost, pubd lib I-Ma, Rvat, Vnm

Trattenimento musicale, 1674

Li sogni regij (serenata), 30 Oct 1675

L'ore postmeridiane di Parnasso (servizio di camera), June 1676

Lo specchio (cant., anon), 22 Nov 1676

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L'oracolo d'Amore (anon.), 26 ?Nov 1676

Gli dei concorrenti (epitalamio musicale), Augsburg, 15 Dec 1676

I desiderij d'Echo, e di Narcisso (serenata), 1677

Amor vittorioso (applauso per musica), Wiener Neustadt, Feb 1678

Le pompe dell’Istro (applauso per musica, anon.), Wiener Neustadt, Feb 1678

L'ingegno à sorte (serenata), Linz, 22 July 1680

Introduzione ad un ballo di Teutoni (anon.), Linz, 24 Nov 1680

Espero festeggiante (introduzione per una serenata, anon.), 9 June 1681

Gli aborti della fretta (musica di camera), Ödenburg, 18 Nov 1681

Gli Argonauti in viaggio (musica di camera), Laxenburg, 9 June 1682

Il sogno delle Gratie (introduzione d'un balletto), Laxenburg, 9 June 1682

Gli emblemi (compositione per musica di camera), 15 Nov 1682

Le gare degl'amanti (musica di camera), Laxenburg, 1682

Il trionfo del carnevale, carn. 1683

Il sagrificio d'Amore (serenata), 16 July 1685

Le recreazioni di Tempe (trattenimento musicale), 22 July 1685

Concerto musicale, 1685

Pische cercando Amore (serenata), 22 July 1688

Specchio historico (musica di camera), 26 July 1688

Le corone trionfali (compositione per musica per servitio di camera, anon.), 9 June 1689, music lost, lib A-Wn

Il riposo nelli disturbi (serenata), 24 July 1689

I doni heroici (ossequio poetico musicale al servitio di camera), 26 July 1689

I pianeti benigni (epitalamio musicale), Neuburg, 28 Aug 1689

Non si può (capriccio poetico), 12 June 1690, music lost, pubd lib Wn

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L'ossequio delli sette rè di Roma alla maestà del nuovo rè de' romani Gioseffo I (compositione per musica), 26 July 1690,
music lost, pubd lib Wn

Il teatro delle passioni humane (compositione), 15 Nov 1690

Amore accademico (trattenimento di musica e di accademia, anon.), 6 Jan 1691, music lost, pubd lib Wn

Gli augurii veracemente interpretati (compositione per musica di camera, anon.), Nikolsburg, 9 June 1691, music lost, lib
Wn

La galeria della fortuna (compositione per musica di camera, anon.), 26 July 1691

Il tributo de' Savii (compositione per musica di camera), intended for 26 July 1692

Introduttione per musica e conclusione for Seconda accademia, 3 Feb 1693

Le piante della virtù, e della fortuna (capriccio per musica a servitio di camera), 26 July 1693, music lost, pubd lib Wn

Le sere dell'Aventino (musica di camera), 9 June 1694 (pt i), 22 July 1694 (pt ii), music lost, pubd lib Wn

L'ossequio della Poesia, e dell’Istoria alla maestà di Gioseffo (componimento per musica di camera) (?Cupeda), 26 July
1694, music lost, pubd lib Wn

Le virtù regie (trattenimento poetico per musica), 26 July 1695

L'ossequio nel fuggir l'otio (compositione per musica), 15 Nov 1696

Le più ricche gemme, e le più belle pietre delle corone (ossequio per musica di camera), 26 July 1697, music lost, pubd lib
Wn

Intramezzo di musica e applauso musicale alla decisione in una accademia di dame, 15 Nov 1697

Introduzione per musica e conclusione for Terza accademia (anon.), 11 Feb 1698, collab. C.D. Draghi

Introduzione ad un balletto (anon.), 30 Dec, between ?1665 and 1677

L'ossequio fra gli amori (serenata, anon.), 26 July, between 1667 and 1672

Le veglie di Tempe (serenata), 9 June, between 1669 and 1697

Veglia di Parnasso, 9 June, between 1669 and 1697

Forza d'un bel volto (dialogo à 5 voci, anon.)

‘Era l'Aurora’ (cant. à 3 per camera, anon.)

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Doubtful

Muzio Scevola (anon.), 1665, lost

Introduzione dramatica al gioco delle sorti (anon.), 1666, lost, pubd lib Wn; Prelude, sung sections, epilogue to Primero es
la honra (A. Moreto), 18 Jan 1673

Per l'accademia (anon.), 10 Feb 1677

Flaminio (anon.), 1679, lost

Gli oblighi dell'universo (cant., anon.), Pardubice, 9 June 1680

Accademia (?Minato); Introduzione per l’accademia (anon.); Floridea (?G. Pancieri)

Oratorios
performed in Vienna and MSS in A-Wn, unless otherwise stated

Oratorio di Giuditta, ?1668

La vedova generosa, 1668/9, music lost, pubd lib D-HEu

La potenza della croce (I. Savini), 6 March 1674, music lost, pubd lib I-Vnm

Il cuore appassionato (Savini), 19 March 1674, music lost, pubd lib A-Wn

La caduta di Salomone (D. Federici), 1674, music lost, pubd lib I-Vnm

S Agata (A. Ficieni), 1675

Debora e Jaele (G.B. de Santis), 1676, music lost, pubd lib Vnm

Il figlio prodigo (G.B. Rocca), 1678, music lost, pubd lib Vnm

Jephte (G.F. Apolloni), Prague, 1680

S Cecilia, Prague, 1680

S Wenceslao (N. Minato), Prague, 1680

All'ingresso di Christo nel deserto (?H. da Pergine), 1683

Entrata di Christo nel deserto (?Da Pergine), 15 Feb 1687

L'uscita di Christo dal deserto (?Da Pergine), 1688

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Le cinque vergini prudenti, 1689

Il crocifisso per gratia, overo S Gaetano, 1691

Sepolcri
librettos by N. Minato, works performed in Vienna, and MSS in A-Wn, unless otherwise stated

L'humanità redenta (A. Draghi), 18 April 1669

Li sette dolori di Maria Vergine (G. Ferri), 3 April 1670

Epitafii sopra il sepolcro di Christo, 26 March 1671

Il limbo aperto (Ferri), 14 April 1672

La pietà contrastata (anon.), 30 March 1673

La corona di spine, 11 April 1675

Il sole ecclissato, 2 April 1676

Le cinque piaghe di Christo, 15 April 1677

Li trè chiodi di Christo, 7 April 1678

Il titolo posto sù la croce di Christo, 30 March 1679

La sacra lancia, Prague, 18 April 1680

Il terremoto, 26 March 1682

L'eternità sogetta al tempo, 16 April 1683

Il segno dell'humana salute, 31 March 1684

Il prezzo dell'humana redentione, 20 April 1685, music lost, pubd lib Wn

Il dono della vita eterna, 12 April 1686

ed. P.J. Halverson (diss., Stanford U., 1988)

La vita nella morte, 16 April 1688

L'esclamar à gran voce, 8 April 1689

I frutti dell'albero della croce, 13 April 1691, music lost, pubd lib Wn

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Il sagrificio non impedito, 4 April 1692

Il sangue e l'acqua, 20 March 1693, music lost, pubd lib Wn

Il libro con sette sigilli, 9 April 1694

La trasfiguratione sù'l Calvario, 1 April 1695, music lost, pubd lib Wn

La passione di Christo, 20 April 1696, music lost, pubd lib Wn

La virtù della croce, 5 April 1697

Il secondo Adamo (?Cupeda), 17 April 1699, music lost, pubd lib Wn

Other sacred vocal

Missa a 9, 5vv, 2 vn, 2 va, bc, 1684, A-KR; A

Missa assumptionis, 5vv, 2 tpt, 4 trbn, 2 vn, 4 va, bc, 1684, KR; A

Stabat mater, 4vv, Wn; A

3 pss, 1, 4vv, bc, CZ-KRa; 2 hymns, 3vv, 2 vn, bc, A-Wn; hymns in A

Librettos
for other composers, performed in Vienna, published and in A-Wn, unless otherwise stated

L'Almonte (componimento drammatico), G. Tricarico, 1661

Oronisbe, P.A. Ziani, 1663

L'Invidia conculcata dalla Virtù, Merito, Valore della S. C. Mta di Leopoldo imperatore, Ziani, 1664, lib lost, score Wn; Cloridea,
Ziani, 1665

L'Alcindo, A. Bertali, 1665

La Galatea, Ziani, 1667

Apollo deluso (dm), G.F. Sances and Leopold I, 1669

La fede trionfante (orat), Tricarico, 1662, pubd lib I-Lg; Maria Maddalena (orat), Bertali, 1663, lib lost

La morte debellata (sepolchri), Sances, 1669, pubd lib A-Gu, Wst

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Bibliography
KöchelKHM

A. von Weilen: Zur Wiener Theatergeschichte: die vom Jahre 1629 bis zum Jahre 1740 am Wiener Hofe zur Aufführung
gelangten Werke theatralischen Charakters und Oratorien (Vienna, 1901)

M. Neuhaus: ‘Antonio Draghi’, SMw, 1 (1913), 104–92

F. Hadamowsky: ‘Barocktheater am Wiener Kaiserhof, mit einem Spielplan (1625–1740)’, Jb der Gesellschaft für Wiener
Theaterforschung 1951–2, 7–117; pubd separately (Vienna, 1955)

H. Knaus: Die Musiker im Archivbestand des kaiserlichen Obersthofmeisteramtes (1637–1705) (Vienna, 1967–9)

R. Schnitzler: The Sacred–Dramatic Music of Antonio Draghi (diss., U. of North Carolina, 1971)

N. Hiltl: Die Oper am Hofe Kaiser Leopolds I. mit besonderer Berücksichtigung der Tätigkeit von Minato und Draghi (diss.,
U. of Vienna, 1973)

G.P. Calessi: ‘Ricerche sull'Accademia della Morte di Ferrara’, Quadrivium, 16/2 (1975), 29–30

U. Hofmann: Die Serenata am Hofe Kaiser Leopold I. (1658–1705) (diss., U. of Vienna,1975)

H. Seifert: Die Oper am Wiener Kaiserhof im 17. Jahrhundert (Tutzing, 1985)

M. Hager: ‘La funzione del linguaggio poetica nelle opere comiche di Amalteo, Draghi e Minato’, L'opera italiana a
Vienna prima di Metastasio, ed. M.T. Muraro (Florence, 1989), 17–30

N. Pirrotta: ‘Note su Minato’, L'opera italiana a Vienna prima di Metastasio, ed. M.T. Muraro (Florence, 1989), 127–63

J. Herczog: ‘Tendenze letterarie e sviluppo musicale dell'oratorio italiano nel Settecento tra Vienna e il paese
d'origine’, NRMI, 25 (1991), 216–29

N. Billio: ‘Contributo sugli inizi di carriera di Agostino Steffani, Antonio Draghi e Carlo Pallavicino, musicisti al Santo di
Padova’, Musica, scienza e idee nella serenissima durante il Seicento, ed. F. Pasadore and F. Rossi (Venice, 1996), 53–61

S. Monaldini: L’Orto dell’Esperidi: musici, attori e artisti nel patrocinio della famiglia Bentivoglio (1646–1685) (Lucca,
forthcoming)

See also

Vienna, §3: The Baroque era

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More on this topic

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