Benedetto Marcello (1686-1739) - Revision history

Craig: /* Credits */

2025-04-15T13:07:22Z

Credits

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	* Selfridge-Field, Eleanor. <i>The Music of Benedetto and Alessandro Marcello. A Thematic Catalogue, with Commentary on the Composers, Repertory and Sources</i>. Oxford: The Clarendon Press, 1990. ISBN 0-19-316126-5.		* Selfridge-Field, Eleanor. <i>The Music of Benedetto and Alessandro Marcello. A Thematic Catalogue, with Commentary on the Composers, Repertory and Sources</i>. Oxford: The Clarendon Press, 1990. ISBN 0-19-316126-5.

	=Credits=		= Link =

			Shortcut to this page: https://marcello.ccarh.org


			= Credits =
	<small>Copyright 2017 Center for Computer Assisted Research in the Humanities, an affiliate of the Packard Humanities Institute. Commentary by Eleanor Selfridge-Field, technical editor Craig Stuart Sapp.		<small>Copyright 2017 Center for Computer Assisted Research in the Humanities, an affiliate of the Packard Humanities Institute. Commentary by Eleanor Selfridge-Field, technical editor Craig Stuart Sapp.

Esfield: /* Cantatas */

2022-06-28T21:07:14Z

Cantatas

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	==Cantatas==		==Cantatas==
	~~The~~ <i>Cantate da camera</i> were published by Antonio Bortoli (Venice, 1708) under the composer's Arcadian pseudonym, Eterio Stinfalico. They form a core to which other works in manuscript can be added, for a total of 18 surviving cantatas. All but three are scored for soprano and basso continuo.		Alessandro Marcello's <i>Cantate da camera</i> were published by Antonio Bortoli (Venice, 1708) under the composer's Arcadian pseudonym, Eterio Stinfalico. They form a core to which other works in manuscript can be added, for a total of 18 surviving cantatas. All but three are scored for soprano and basso continuo.

	The most elaborate ones are these:		The most elaborate ones are these:

Esfield: /* Satirical cantata and intermezzi */

2022-06-28T21:06:35Z

Satirical cantata and intermezzi

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	When they reach the second syllable ("ah") of the word "beati", they find themselves lured into a musical maze from which they cannot escape.		When they reach the second syllable ("ah") of the word "beati", they find themselves lured into a musical maze from which they cannot escape.

	===Satirical ~~cantata~~ and intermezzi===		===Satirical cantatas and intermezzi===

	Letter cantatas were a minor sub-genre spun off from letter scenes in operas, where letters served to convey action that took place off-stage. Marcello's "Carissima figlia" is an entirely different species of work.		Letter cantatas were a minor sub-genre spun off from letter scenes in operas, where letters served to convey action that took place off-stage. Marcello's "Carissima figlia" is an entirely different species of work.

Esfield: /* Satirical Music */

2022-06-28T21:06:04Z

Satirical Music

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	==Satirical Music==		==Satirical Music==

	Marcello's satire on opera, <i>Il teatro alla moda</i> (1720), is a work that has not been out-of-print for 300 years. It is a slender volume that appeared at the start of the winter season 1720-21. To those involved in opera at the time, its targets were transparent. Succeeding generations have turned over and over Marcello's comments (now seen as generic) on composers, prime donne, violinists, stage mothers, and ~~the many~~ other ~~contributing entities~~ of ~~theatrical life~~.		Marcello's satire on opera, <i>Il teatro alla moda</i> (1720), is a work that has not been out-of-print for 300 years. It is a slender volume that appeared at the start of the winter season 1720-21. To those involved in opera at the time, its targets were transparent. Succeeding generations have turned over and over Marcello's comments (now seen as generic) on composers, <i>prime donne</i>, violinists, stage mothers, and other figures that populated theaters of his time.

	Marcello also composed musical satires, for which he likely wrote the text.		Marcello also composed musical satires, for which he likely wrote the text.

Esfield: /* Psalms of David */

2022-06-28T21:03:27Z

Psalms of David

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	Benedetto's brother Alessandro composed chamber music for voice, strings, and woodwinds. The D-Minor oboe concerto transcribed by Bach (sometimes shown or played in C Minor) for keyboard, which appeared in a 1717 anthology printed in Amsterdam, was by Alessandro.		Benedetto's brother Alessandro composed chamber music for voice, strings, and woodwinds. The D-Minor oboe concerto transcribed by Bach (sometimes shown or played in C Minor) for keyboard, which appeared in a 1717 anthology printed in Amsterdam, was by Alessandro.

	==Psalms of David==		==[https://wiki.ccarh.org/wiki/Marcello_Psalms#Renaissance_Counterpoint_in_the_Psalms Psalms of David]==
	Marcello's settings of the Psalms of David (1724-1726) were truly famous throughout Europe from about the time of their composer's death (1739) until the early twentieth century. They were translated, reprinted, arranged, and segmented into smaller forms (such as "motets" and "anthems") <i>ad infinitum</i>. See [http://wiki.ccarh.org/wiki/Marcello_Psalms#Renaissance_Counterpoint_in_the_Psalms principal coverage here.]		Marcello's settings of the Psalms of David (1724-1726) were truly famous throughout Europe from about the time of their composer's death (1739) until the early twentieth century. They were translated, reprinted, arranged, and segmented into smaller forms (such as "motets" and "anthems") <i>ad infinitum</i>. See [http://wiki.ccarh.org/wiki/Marcello_Psalms#Renaissance_Counterpoint_in_the_Psalms principal coverage here.]

Esfield: /* Instrumental Music */

2022-06-28T21:02:40Z

Instrumental Music

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	==Instrumental Music==		==Instrumental Music==

	Marcello's best known instrumental pieces come from Op. 1, a set of 12 concertos for violin, strings, and harpsichord (Venice: Sala, 1708); no part for <i>Violino Principale</i> survives. It is ~~clear that the pieces were well known~~ and ~~widely circulated in the year after their publication~~. Op. 1, No. 2, is especially well known for its fugal subject, which finds an analogue in Vivaldi's violin concerto Op. 3, No. 11 (1711). The same theme also appeared in J. S. Bach's keyboard transcription of a "concerto by Marcello," which is preserved in a Berlin manuscript associated with J. G. Walther. ~~However,~~ the ~~Violino Principale part is missing for all but Op. 1, No. 2,~~ and ~~one movement of Op. 1, No 8~~.		Marcello's best known instrumental pieces come from Op. 1, a set of 12 concertos for violin, strings, and harpsichord (Venice: Sala, 1708); no part for <i>Violino Principale</i> survives for most of the opus. A Violino Principale part is available for Op. 1, No. 2, and one movement of Op. 1, No 8. Op. 1, No. 2, is especially well known for its fugal subject, which finds an analogue in Vivaldi's violin concerto Op. 3, No. 11 (1711). The same theme also appeared in J. S. Bach's keyboard transcription of a "concerto by Marcello," which is preserved in a Berlin manuscript associated with J. G. Walther. It is clear that the pieces were well known and widely circulated in the years immediately following their publication.

	Marcello's instrumental works otherwise consist of more than 40 sonatas for harpsichord circulated only in manuscript; a set of six cello sonatas (Amsterdam: Witvogel, 1732); a further set of six sonatas for two cellos (Amsterdam: Witvogel, 1734); and a dozen sonatas for recorder and basso continuo (Venice: Sala, 1712, as Op. 2; reprinted in Amsterdam, 1715, and London, 1732). A handful of sinfonias, probably composed to introduce longer vocal works, can also be found in manuscript.		Marcello's instrumental works otherwise consist of more than 40 sonatas for harpsichord (circulated only in manuscript); a set of six cello sonatas (Amsterdam: Witvogel, 1732); a further set of six sonatas for two cellos (Amsterdam: Witvogel, 1734); and a dozen sonatas for recorder and basso continuo (Venice: Sala, 1712, as Op. 2; reprinted in Amsterdam, 1715, and London, 1732). A handful of sinfonias, probably composed to introduce longer vocal works, can also be found in manuscript.

	Benedetto's brother Alessandro composed chamber music for voice, strings, and woodwinds. The oboe concerto transcribed by Bach for keyboard, which appeared in a 1717 anthology printed in Amsterdam, was by Alessandro.		Benedetto's brother Alessandro composed chamber music for voice, strings, and woodwinds. The D-Minor oboe concerto transcribed by Bach (sometimes shown or played in C Minor) for keyboard, which appeared in a 1717 anthology printed in Amsterdam, was by Alessandro.

	==Psalms of David==		==Psalms of David==

Edc: /* Cantatas */

2021-03-23T12:32:44Z

Cantatas

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	The most elaborate ones are these:		The most elaborate ones are these:

	* <i>Gli amanti fedeli</i>, a pastoral for Irene, Fileno, and choruses of nymphs and shepherds (~~none~~ only from an undated libretto).		* <i>Gli amanti fedeli</i>, a pastoral for Irene, Fileno, and choruses of nymphs and shepherds (one only from an undated libretto).

	* <i>Lontananza, crudel lontananza</i>, for soprano, alto, strings, wind trio, and harpsichord. In the manuscript, cues indicate the singers to have been Checchino and Pasqualino, two <i>castrati</i>, the first of which would have been Francesco de Grandis, who was active until 1717.		* <i>Lontananza, crudel lontananza</i>, for soprano, alto, strings, wind trio, and harpsichord. In the manuscript, cues indicate the singers to have been Checchino and Pasqualino, two <i>castrati</i>, the first of which would have been Francesco de Grandis, who was active until 1717.

Edc: /* Sonatas and Concertos */

2021-03-23T12:32:09Z

Sonatas and Concertos

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	Alessandro was clearly an accomplished violinist with a strong attraction to French dotted rhythms and triple stops. These features are repeatedly exhibited in the collection of 12 sonatas for violin and basso continuo published in Augsburg in 1738. A manuscript version of the final work in A Major gives some sense of the liberties taken elsewhere. Several sonatas preserved in manuscript in Dresden particularly emphasize virtuoso skills.		Alessandro was clearly an accomplished violinist with a strong attraction to French dotted rhythms and triple stops. These features are repeatedly exhibited in the collection of 12 sonatas for violin and basso continuo published in Augsburg in 1738. A manuscript version of the final work in A Major gives some sense of the liberties taken elsewhere. Several sonatas preserved in manuscript in Dresden particularly emphasize virtuoso skills.

	Alessandro is also the composer of a dozen concertos, of which six were published in Augsburg (1738) for two oboes, strings, and basso continuo. His unpublished concertos include the famous D-Minor one for oboe, strings, and continuo copied by J. S. Bach (BWV 974). Its slow movement is based on the tetrachord lament so common in Venetian operatic laments, but the triadic melody that ~~compliments~~ it draws most praise for the work. Several concertos in manuscript in Venice may have been intended to offer an extension to the printed set (they contain Roman numeral designations between XIII and XVIII). A concerto for ~~sever~~ recorders and muted strings ~~has~~ opens with a sprightly Presto. A concerto for harpsichord and double orchestra in a Swedish manuscript appears to have been elaborated from a trio sonata.		Alessandro is also the composer of a dozen concertos, of which six were published in Augsburg (1738) for two oboes, strings, and basso continuo. His unpublished concertos include the famous D-Minor one for oboe, strings, and continuo copied by J. S. Bach (BWV 974). Its slow movement is based on the tetrachord lament so common in Venetian operatic laments, but the triadic melody that complements it draws most praise for the work. Several concertos in manuscript in Venice may have been intended to offer an extension to the printed set (they contain Roman numeral designations between XIII and XVIII). A concerto for seven recorders and muted strings opens with a sprightly Presto. A concerto for harpsichord and double orchestra in a Swedish manuscript appears to have been elaborated from a trio sonata.

	=Footnotes=		=Footnotes=

Edc: /* Il Teatro alla Moda (1720) */

2021-03-23T12:16:23Z

Il Teatro alla Moda (1720)

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	===<i>Il Teatro alla Moda</i> (1720)===		===<i>Il Teatro alla Moda</i> (1720)===

	[[File:teatro-moda.png\|thumb\|300px\|left\|<small>Pictorial satire of the violinist Antonio Vivaldi in a small boat with the impresario Giovanni Orsato at the ~~helm~~</small>.]]		[[File:teatro-moda.png\|thumb\|300px\|left\|<small>Pictorial satire of the violinist Antonio Vivaldi in a small boat with the impresario Giovanni Orsato at the prow</small>.]]

	Marcello's satirical treatise on opera (Venice 1720) has never been out of print since its first appearance at the end of 1720. Much of the satire could be described as superficial. Its focus is on categories of people who made up the world of opera--singers, composers, copyists, "stage mothers", theater managers, instrumentalists, scenery painters, and so forth. Its front-page depiction of "a bear in a boat" (<i>l'orso in peata</i>) made fun of Vivaldi in his priest's garb and an impresario named Giovanni Orsato (<i>orso</i> = bear), who is seen at the prow of the boat (<i>peata</i>). Subtitled "A Secure and Easy Method to compose and perform Good Operas in the Modern Style," Marcello's title page anagrams the names of several singers and one composer, although his ire was distributed broadly across many other colleagues who are identifiable from the content.		Marcello's satirical treatise on opera (Venice 1720) has never been out of print since its first appearance at the end of 1720. Much of the satire could be described as superficial. Its focus is on categories of people who made up the world of opera--singers, composers, copyists, "stage mothers", theater managers, instrumentalists, scenery painters, and so forth. Its front-page depiction of "a bear in a boat" (<i>l'orso in peata</i>) made fun of Vivaldi in his priest's garb and an impresario named Giovanni Orsato (<i>orso</i> = bear), who is seen at the prow of the boat (<i>peata</i>). Subtitled "A Secure and Easy Method to compose and perform Good Operas in the Modern Style," Marcello's title page anagrams the names of several singers and one composer, although his ire was distributed broadly across many other colleagues who are identifiable from the content.

Edc: /* Satirical Music */

2021-03-23T12:15:35Z

Satirical Music

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	==Satirical Music==		==Satirical Music==

	Marcello's satire on opera, <i>Il teatro alla moda</i> (1720), is a work that has not been out-of-print for 300 years. It is a slender volume that appeared at the start of the winter season 1720-21. To those involved in opera at the time, its targets were transparent. Succeeding generations have turned over and over Marcello's comments (now seen as generic) on composers, prime donne, violinists, stage-mothers, and the many other contributing entities of theatrical life.		Marcello's satire on opera, <i>Il teatro alla moda</i> (1720), is a work that has not been out-of-print for 300 years. It is a slender volume that appeared at the start of the winter season 1720-21. To those involved in opera at the time, its targets were transparent. Succeeding generations have turned over and over Marcello's comments (now seen as generic) on composers, prime donne, violinists, stage mothers, and the many other contributing entities of theatrical life.

	Marcello also composed musical satires, for which he likely wrote the text.		Marcello also composed musical satires, for which he likely wrote the text.