The oratorio “Morte e sepoltura di Cristo” (1724) and the “Missa dolorosa” (1735) were written in the period between 1716 and the year of Caldera’s death, a time in which the prolific composer was in the service of the Imperial Court in Vienna as Vice-Kappelmeister under J.J. Fux. These works constitute significant examples of Caldera’s expressive gifts: inspired by the literary text of the former (the Stabat Mater) and by the liturgical destination of the Mass (probably 15 September, Festum Septem dolorum Beatae Mariæ Virginis), Caldara once again efficaciously unites polyphonic-contrapuntal development with the expressive resources of tonal harmony. Through the music of Caldera, the pain and atrocious suffering of Mary at the foot of Christ’s cross is given a force which is truly theatrical rather than merely descriptive, and it involves the listener to the point of “projecting” him onto the scene alongside Mary, becoming a participant in her pain.