Marcello Psalms - Revision history

Craig: /* Credits */

2025-04-15T13:06:09Z

Credits

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	* Seroussi, Edwin. "In Search of Jewish Musical Antiquity in the 18th-Century Venetian Ghetto: Reconsidering the Hebrew Melodies in Benedetto Marcello's 'Estro Poetico-Armonico'," <i>The Jewish Quarterly Review</i>, new series, 93 (2002), No. 1/2, 149-199.		* Seroussi, Edwin. "In Search of Jewish Musical Antiquity in the 18th-Century Venetian Ghetto: Reconsidering the Hebrew Melodies in Benedetto Marcello's 'Estro Poetico-Armonico'," <i>The Jewish Quarterly Review</i>, new series, 93 (2002), No. 1/2, 149-199.

	==Credits==		== Link ==

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

			== Credits ==

	<small>Copyright 2017 Center for Computer Assisted Research in the Humanities, an affiliate of the Packard Humanities Institute. <i>Content</i>: Eleanor Selfridge-Field. <i>Typesetting of modern facsimiles from the originals prints</i>: Don Anthony. <i>Technical support</i>: Craig Sapp. <i>Editorial support</i>: Edmund Correia Jr. and Ilias Chrissochoidis. <i>Musicological advice</i>: Milada Jonášová		<small>Copyright 2017 Center for Computer Assisted Research in the Humanities, an affiliate of the Packard Humanities Institute. <i>Content</i>: Eleanor Selfridge-Field. <i>Typesetting of modern facsimiles from the originals prints</i>: Don Anthony. <i>Technical support</i>: Craig Sapp. <i>Editorial support</i>: Edmund Correia Jr. and Ilias Chrissochoidis. <i>Musicological advice</i>: Milada Jonášová
	and Marco Bizzarini. <i>Contextual advice on Jewish musical, literary, liturgical practices</i>: Edwin Seroussi and the late Don Harrán.</small>		and Marco Bizzarini. <i>Contextual advice on Jewish musical, literary, liturgical practices</i>: Edwin Seroussi and the late Don Harrán.</small>

Esfield: /* Texts for Marcello's Psalm settings */

2022-11-03T23:59:00Z

Texts for Marcello's Psalm settings

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	The musical settings are based on vernacular translations from the original Hebrew by Gerolamo Ascanio Giustiniani II, who, like Marcello came from a noble Venetian family. The Giustiniani family resided in a modest north-facing palazzo on Venice's Grand Canal in the parish of San Barnabà, and the first performances of Marcello's Psalms are thought to have been presented privately in their salon looking onto the water.		The musical settings are based on vernacular translations from the original Hebrew by Gerolamo Ascanio Giustiniani II, who, like Marcello came from a noble Venetian family. The Giustiniani family resided in a modest north-facing palazzo on Venice's Grand Canal in the parish of San Barnabà, and the first performances of Marcello's Psalms are thought to have been presented privately in their salon looking onto the water.

	Theologians divide the Psalms of David into several thematic categories including kingship, the holy city of Zion, songs of trust, songs of thanksgiving, laments, songs for royal feasts (e.g. weddings), meditations on life ("wisdom" songs), and commemorations of historical events. However, the order of works does not cluster works by topic. Instead, the Psalms are grouped into five unequal sections: 1-41, 42-72, 73-89, 90-106, and 107-150. Each closes with a doxology. This page follows the Roman Catholic (RC) numbering system used by Marcello. The complexities of Psalm numbering systems, which are explained [https://en.wikipedia.org/wiki/Psalms#King_David_and_the_Psalms here], vary from the Protestant system, in which No. 9 is separated into into Nos. 9 and 10, causing cascade of increments thereafter. For those concerned with the intricacies of the underlying Hebrew poetry, the division of No. 9 violates the architecture of the original. Additionally, many textual tropes had accrued to individual psalms by Marcello's time.		Theologians divide the Psalms of David into several thematic categories including kingship, the holy city of Zion, songs of trust, songs of thanksgiving, laments, songs for royal feasts (e.g. weddings), meditations on life ("wisdom" songs), and commemorations of historical events. However, the order of works does not cluster works by topic. Instead, the Psalms are grouped into five unequal sections: 1-41, 42-72, 73-89, 90-106, and 107-150. Each closes with a doxology. This page follows the Roman Catholic (RC) numbering system used by Marcello. The complexities of Psalm numbering systems, which are explained [https://en.wikipedia.org/wiki/Psalms#King_David_and_the_Psalms here], vary from the Protestant system, in which No. 9 is separated into into Nos. 9 and 10, causing a cascade of increments thereafter. For those concerned with the intricacies of the underlying Hebrew poetry, the division of No. 9 violates the architecture of the original. Additionally, many textual tropes had accrued to individual psalms by Marcello's time.

	Why Giustiniani and Marcello decided to present only 50 of the Psalms is unknown, but the choice may derive from the Torah. Five (the number of books in the Pentateuch) and its multiple 50 figured prominently in the organization of Jewish and Christian liturgy. In the latter the celebratory feast of Easter was framed by two periods of 50 days, the first being Lent, the last the feast of Pentecost. The later celebrated the descent of the Holy Spirit, which completed the formation of the Trinity.		Why Giustiniani and Marcello decided to present only 50 of the Psalms is unknown, but the choice may derive from the Torah. Five (the number of books in the Pentateuch) and its multiple 50 figured prominently in the organization of Jewish and Christian liturgy. In the latter the celebratory feast of Easter was framed by two periods of 50 days, the first being Lent, the last the feast of Pentecost. The later celebrated the descent of the Holy Spirit, which completed the formation of the Trinity.

Esfield: /* Psalm 15: Signor, dall’empia gente (Lord, reserve me from the ungodly) */

2022-05-03T22:38:05Z

Psalm 15: Signor, dall’empia gente (Lord, reserve me from the ungodly)

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	[[File:Ps14-ostinato.PNG\|450px\|thumb\|center\|<small>Verse 4 of Psalm 14, in which an ostinato bass underscores the idea of a faithful heart</small>.]]		[[File:Ps14-ostinato.PNG\|450px\|thumb\|center\|<small>Verse 4 of Psalm 14, in which an ostinato bass underscores the idea of a faithful heart</small>.]]

	====Psalm 15: Signor, dall’empia gente (Lord, ~~reserve~~ me from the ungodly)====		====Psalm 15: Signor, dall’empia gente (Lord, preserve me from the ungodly)====

	[[File:PS15-intonTedeschi.PNG\|400\|thumb\|left\|<small>Ps. 15. The Ashkenazic "Ma'oz tzur yeshu'ati" is the most widely known of Marcello's borrowings.</small>]]		[[File:PS15-intonTedeschi.PNG\|400\|thumb\|left\|<small>Ps. 15. The Ashkenazic "Ma'oz tzur yeshu'ati" is the most widely known of Marcello's borrowings.</small>]]

Esfield: /* Credits */

2020-11-30T20:26:40Z

Credits

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	==Credits==		==Credits==
	<small>Copyright 2017 Center for Computer Assisted Research in the Humanities, an affiliate of the Packard Humanities Institute. <i>Content</i>: Eleanor Selfridge-Field. <i>Typesetting of modern facsimiles from the originals prints</i>: Don Anthony. <i>Technical support</i>: Craig Sapp. <i>Editorial support</i>: Edmund Correia Jr. and Ilias Chrissochoidis. <i>Musicological advice</i>: Milada Jonášová		<small>Copyright 2017 Center for Computer Assisted Research in the Humanities, an affiliate of the Packard Humanities Institute. <i>Content</i>: Eleanor Selfridge-Field. <i>Typesetting of modern facsimiles from the originals prints</i>: Don Anthony. <i>Technical support</i>: Craig Sapp. <i>Editorial support</i>: Edmund Correia Jr. and Ilias Chrissochoidis. <i>Musicological advice</i>: Milada Jonášová
	and Marco ~~Bizzzarini~~. <i>Contextual advice on Jewish musical, literary, liturgical practices</i>: Edwin Seroussi and the late Don Harrán.</small>		and Marco Bizzarini. <i>Contextual advice on Jewish musical, literary, liturgical practices</i>: Edwin Seroussi and the late Don Harrán.</small>

Esfield: /* Psalm 18: I Cieli immensi narrano* (The Heavens are telling) */

2019-12-31T00:17:32Z

Psalm 18: I Cieli immensi narrano* (The Heavens are telling)

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	[[File:Ps18-Gr-HomerHymnCeres.PNG\|250px\|thumb\|right\|<small>Ps. 18. The Greek hymn "Demetr' eykomon semnen thean archom' aeidein'."</small>]]		[[File:Ps18-Gr-HomerHymnCeres.PNG\|250px\|thumb\|right\|<small>Ps. 18. The Greek hymn "Demetr' eykomon semnen thean archom' aeidein'."</small>]]

	Marcello's setting of Psalm 18 was widely circulated throughout the nineteenth century. It incorporated three verses inspired from examples thought to be ancient. The English title is the same as that of jubilant chorus in Haydn's oratorio <i>The Creation</i>.		Marcello's setting of Psalm 18 was widely circulated throughout the nineteenth century. It incorporated three verses inspired from examples thought to be ancient. The English title is the same as that of the jubilant chorus in Haydn's oratorio <i>The Creation</i>.

	The music of Verse 15 was derived, according to Marcello, on "the Greek hymn of Homer to Ceres." The text, taken from Gaudentius, was addressed to Demeter and "her beautiful daughter" Persephone.		The music of Verse 15 was derived, according to Marcello, on "the Greek hymn of Homer to Ceres." The text, taken from Gaudentius, was addressed to Demeter and "her beautiful daughter" Persephone.

Esfield: /* Downloadable Scores */

2019-12-30T22:17:49Z

Downloadable Scores

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	== Downloadable Scores ==		== Downloadable Scores ==
	These scores were edited by Don Anthony, who typeset the music together with its non-Western models, in collaboration with Eleanor Selfridge-Field (2009-2010). The aim was to retain in facsimile as many trappings of the original Lovisa prints as possible.		These scores were edited by Don Anthony, who typeset the music together with its non-Western models, in collaboration with Eleanor Selfridge-Field (2009-2010). The aim was to retain in facsimile as many trappings of the original Lovisa prints as possible. What we call Psalm 18b is the three-voice canon that should follow Psalm 18. In the original print it was printed without a number after Psalm 50.

	{{MarcelloPsalmsPdfTable}}		{{MarcelloPsalmsPdfTable}}

Esfield: /* Downloadable Scores */

2019-12-30T21:59:52Z

Downloadable Scores

← Older revision		Revision as of 21:59, 30 December 2019
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	== Downloadable Scores ==		== Downloadable Scores ==
	These scores were edited by Don Anthony, who typeset the music, in collaboration with Eleanor Selfridge-Field.		These scores were edited by Don Anthony, who typeset the music together with its non-Western models, in collaboration with Eleanor Selfridge-Field (2009-2010). The aim was to retain in facsimile as many trappings of the original Lovisa prints as possible.

	{{MarcelloPsalmsPdfTable}}		{{MarcelloPsalmsPdfTable}}

Esfield: /* The Intellectual Network of Psalm Admirers */

2018-03-12T23:31:12Z

The Intellectual Network of Psalm Admirers

← Older revision		Revision as of 23:31, 12 March 2018
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	Benedetto and Alessandro Marcello were avid participants in the [https://en.wikipedia.org/wiki/Republic_of_Letters Republic of Letters], which in a general sense anticipated today's social networks. They were rigorous intellectuals eager to exchange ideas with peers elsewhere. To this end Marcello sent provisional copies of each volume of his Psalms to learned musicians elsewhere. He reproduced their replies as prefaces to each volume. The grounding of his quest in the circles of Italy's [https://en.wikipedia.org/wiki/Accademia_degli_Arcadi Arcadian Academy], a network of noblemen and women committed to certain ideals of ancient Greece, helped to publicize his work.		Benedetto and Alessandro Marcello were avid participants in the [https://en.wikipedia.org/wiki/Republic_of_Letters Republic of Letters], which in a general sense anticipated today's social networks. They were rigorous intellectuals eager to exchange ideas with peers elsewhere. To this end Marcello sent provisional copies of each volume of his Psalms to learned musicians elsewhere. He reproduced their replies as prefaces to each volume. The grounding of his quest in the circles of Italy's [https://en.wikipedia.org/wiki/Accademia_degli_Arcadi Arcadian Academy], a network of noblemen and women committed to certain ideals of ancient Greece, helped to publicize his work.

	Few of his musical correspondents are widely known today, but all were highly respected in their time. Among them the best remembered are [https://en.wikipedia.org/wiki/Johann_Mattheson Johann Mattheson] (1681-1764), the Hamburg <i>Kapellmeister</i> who was also a prolific writer on music, and [https://en.wikipedia.org/wiki/Georg_Philipp_Telemann Georg Philip Telemann] (1681-1767), whose commitment in Hamburg was of short duration. Eminent Italian composers included [https://en.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini] (1661-1727), the <i>maestro di cappella</i> of Santa Maria Maggiore in Rome; [https://en.wikipedia.org/wiki/Geminiano_Giacomelli Geminiano Giacomelli] (1692-1740), an organist in Piacenza; Domenico Sarri, a composer in Naples; Antonio (1677-1726, Modena) and [https://en.wikipedia.org/wiki/Giovanni_Bononcini Giovanni Bononcini] (1670-1747, then in London); and the Italian emigrant composers Francesco ~~Antonio~~ Conti (~~now in Vienna~~) and Stefano Andrea Fiorè (in Turin and elsewhere). Others associated with the enterprise, such as Domenico Lazzarini and Girolamo Ascanio Giustiniani were poets and dramatists committed to the same ideals as Marcello. They also had strong ties to Padua. Part of the response to Marcello's Psalms focused on one or another of these testimonial letters. Marcello built an extensive network of contacts to bring his works to public attention. In this effort he was gratifyingly successful. We can appreciate the wide esteem that these Psalms brought to both Marcello and Giustiniani in ~~the~~ congratulatory letter (Volume IV) ~~of Francesco Conti~~, "It gives me great pleasure to add my voice to the common acclaim for your impressive work ... with these echoes of reverence."		Few of his musical correspondents are widely known today, but all were highly respected in their time. Among them the best remembered are [https://en.wikipedia.org/wiki/Johann_Mattheson Johann Mattheson] (1681-1764), the Hamburg <i>Kapellmeister</i> who was also a prolific writer on music, and [https://en.wikipedia.org/wiki/Georg_Philipp_Telemann Georg Philip Telemann] (1681-1767), whose commitment in Hamburg was of short duration. Eminent Italian composers included [https://en.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini] (1661-1727), the <i>maestro di cappella</i> of Santa Maria Maggiore in Rome; [https://en.wikipedia.org/wiki/Geminiano_Giacomelli Geminiano Giacomelli] (1692-1740), an organist in Piacenza; Domenico Sarri, a composer in Naples; Antonio (1677-1726, Modena) and [https://en.wikipedia.org/wiki/Giovanni_Bononcini Giovanni Bononcini] (1670-1747, then in London); and the Italian emigrant composers [https://en.wikipedia.org/wiki/Francesco_Bartolomeo_Conti Francesco Conti] (1681-1732) and Stefano Andrea Fiorè (in Turin and elsewhere). Others associated with the enterprise, such as Domenico Lazzarini and Girolamo Ascanio Giustiniani were poets and dramatists committed to the same ideals as Marcello. They also had strong ties to Padua. Part of the response to Marcello's Psalms focused on one or another of these testimonial letters. Marcello built an extensive network of contacts to bring his works to public attention. In this effort he was gratifyingly successful. We can appreciate the wide esteem that these Psalms brought to both Marcello and Giustiniani in Conti's congratulatory letter (Volume IV), "It gives me great pleasure to add my voice to the common acclaim for your impressive work ... with these echoes of reverence."

	Separate from the musical response, there was also a literary one to the Psalms. In the <i>Giornale de' letterati d'Italia</i>, [https://en.wikipedia.org/wiki/Apostolo_Zeno Apostolo Zeno] (1669-1750) praised both the music and, more particularly, the intricacy of interleaving ancient scripts and non-Western notation into modern print. Zeno duplicated this feat by quoting from one book in his review. To remind us that the poet was more important than the composer, Zeno titled his piece "Psalms paraphrased and dressed in music by Benedetto Marcello." He listed it in the index under G (Giustiniani), which reminds us that the poet was regularly considered more important than the composer.		Separate from the musical response, there was also a literary one to the Psalms. In the <i>Giornale de' letterati d'Italia</i>, [https://en.wikipedia.org/wiki/Apostolo_Zeno Apostolo Zeno] (1669-1750) praised both the music and, more particularly, the intricacy of interleaving ancient scripts and non-Western notation into modern print. Zeno duplicated this feat by quoting from one book in his review. To remind us that the poet was more important than the composer, Zeno titled his piece "Psalms paraphrased and dressed in music by Benedetto Marcello." He listed it in the index under G (Giustiniani), which reminds us that the poet was regularly considered more important than the composer.

Esfield: /* The Intellectual Network of Psalm Admirers */

2018-03-12T23:21:02Z

The Intellectual Network of Psalm Admirers

← Older revision		Revision as of 23:21, 12 March 2018
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	Benedetto and Alessandro Marcello were avid participants in the [https://en.wikipedia.org/wiki/Republic_of_Letters Republic of Letters], which in a general sense anticipated today's social networks. They were rigorous intellectuals eager to exchange ideas with peers elsewhere. To this end Marcello sent provisional copies of each volume of his Psalms to learned musicians elsewhere. He reproduced their replies as prefaces to each volume. The grounding of his quest in the circles of Italy's [https://en.wikipedia.org/wiki/Accademia_degli_Arcadi Arcadian Academy], a network of noblemen and women committed to certain ideals of ancient Greece, helped to publicize his work.		Benedetto and Alessandro Marcello were avid participants in the [https://en.wikipedia.org/wiki/Republic_of_Letters Republic of Letters], which in a general sense anticipated today's social networks. They were rigorous intellectuals eager to exchange ideas with peers elsewhere. To this end Marcello sent provisional copies of each volume of his Psalms to learned musicians elsewhere. He reproduced their replies as prefaces to each volume. The grounding of his quest in the circles of Italy's [https://en.wikipedia.org/wiki/Accademia_degli_Arcadi Arcadian Academy], a network of noblemen and women committed to certain ideals of ancient Greece, helped to publicize his work.

	Few of his musical correspondents are widely known today, but all were highly respected in their time. Among them the best remembered are [https://en.wikipedia.org/wiki/Johann_Mattheson Johann Mattheson] (1681-1764), the Hamburg <i>Kapellmeister</i> who was also a prolific writer on music, and [https://en.wikipedia.org/wiki/Georg_Philipp_Telemann Georg Philip Telemann] (1681-1767), whose commitment in Hamburg was of short duration. Eminent Italian composers included [https://en.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini] (1661-1727), the <i>maestro di cappella</i> of Santa Maria Maggiore in Rome; [https://en.wikipedia.org/wiki/Geminiano_Giacomelli Geminiano Giacomelli] (1692-1740), an organist in Piacenza; Domenico Sarri, a composer in Naples; Antonio (1677-1726, Modena) and [https://en.wikipedia.org/wiki/Giovanni_Bononcini Giovanni Bononcini] (1670-1747, then in London); and the Italian emigrant composers Francesco Antonio Conti (now in Vienna) and Stefano Andrea Fiorè (in Turin and elsewhere). Others associated with the enterprise, such as Domenico Lazzarini and Girolamo Ascanio Giustiniani were poets and dramatists committed to the same ideals as Marcello. They also had strong ties to Padua. Part of the response to Marcello's Psalms focused on one or another of these testimonial letters. Marcello built an extensive network of contacts to bring his works to public attention. In this effort he was gratifyingly successful.		Few of his musical correspondents are widely known today, but all were highly respected in their time. Among them the best remembered are [https://en.wikipedia.org/wiki/Johann_Mattheson Johann Mattheson] (1681-1764), the Hamburg <i>Kapellmeister</i> who was also a prolific writer on music, and [https://en.wikipedia.org/wiki/Georg_Philipp_Telemann Georg Philip Telemann] (1681-1767), whose commitment in Hamburg was of short duration. Eminent Italian composers included [https://en.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini] (1661-1727), the <i>maestro di cappella</i> of Santa Maria Maggiore in Rome; [https://en.wikipedia.org/wiki/Geminiano_Giacomelli Geminiano Giacomelli] (1692-1740), an organist in Piacenza; Domenico Sarri, a composer in Naples; Antonio (1677-1726, Modena) and [https://en.wikipedia.org/wiki/Giovanni_Bononcini Giovanni Bononcini] (1670-1747, then in London); and the Italian emigrant composers Francesco Antonio Conti (now in Vienna) and Stefano Andrea Fiorè (in Turin and elsewhere). Others associated with the enterprise, such as Domenico Lazzarini and Girolamo Ascanio Giustiniani were poets and dramatists committed to the same ideals as Marcello. They also had strong ties to Padua. Part of the response to Marcello's Psalms focused on one or another of these testimonial letters. Marcello built an extensive network of contacts to bring his works to public attention. In this effort he was gratifyingly successful. We can appreciate the wide esteem that these Psalms brought to both Marcello and Giustiniani in the congratulatory letter (Volume IV) of Francesco Conti, "It gives me great pleasure to add my voice to the common acclaim for your impressive work ... with these echoes of reverence."

	Separate from the musical response, there was also a literary one to the Psalms. In the <i>Giornale de' letterati d'Italia</i>, [https://en.wikipedia.org/wiki/Apostolo_Zeno Apostolo Zeno] (1669-1750) praised both the music and, more particularly, the intricacy of interleaving ancient scripts and non-Western notation into modern print. Zeno duplicated this feat by quoting from one book in his review. To remind us that the poet was more important than the composer, Zeno titled his piece "Psalms paraphrased and dressed in music by Benedetto Marcello." He listed it in the index under G (Giustiniani), which reminds us that the poet was regularly considered more important than the composer.		Separate from the musical response, there was also a literary one to the Psalms. In the <i>Giornale de' letterati d'Italia</i>, [https://en.wikipedia.org/wiki/Apostolo_Zeno Apostolo Zeno] (1669-1750) praised both the music and, more particularly, the intricacy of interleaving ancient scripts and non-Western notation into modern print. Zeno duplicated this feat by quoting from one book in his review. To remind us that the poet was more important than the composer, Zeno titled his piece "Psalms paraphrased and dressed in music by Benedetto Marcello." He listed it in the index under G (Giustiniani), which reminds us that the poet was regularly considered more important than the composer.

Esfield: /* Bibliography */

2018-01-13T02:04:20Z

Bibliography

← Older revision		Revision as of 02:04, 13 January 2018
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	* Bizzarini, Marco. <i>Benedetto Marcello</i>. Palermo: L'Epos, 2006. ISBN 978-888-3022968.		* Bizzarini, Marco. <i>Benedetto Marcello</i>. Palermo: L'Epos, 2006. ISBN 978-888-3022968.

	* Harrán, Don. "Hebrew <i>exemplum</i> as a force of Renewal in 18th-century Musical Thought: The Case of Benedetto Marcello and his Collection of Psalms" in Andreas Giger and Thomas Matthiesen, <i>Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century</i>, Publications of the Center for the History of Music Theory and Literature,3, Lincoln: University of Nebraska Press, 2002), 143-194.		* Harrán, Don. "Hebrew <i>exemplum</i> as a force of Renewal in 18th-century Musical Thought: The Case of Benedetto Marcello and his Collection of Psalms" in Andreas Giger and Thomas Matthiesen, <i>Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century</i> (Publications of the Center for the History of Music Theory and Literature 3, Lincoln: University of Nebraska Press, 2002), 143-194.

	* Jonášová, Milada. " 'Intonazione degli Ebrei' from Benedetto Marcello's <i>Estro poetico-armonico</i> in Prague in 1729," <i>Etnologický ústav AV ČR</i>, v.v.i. (Prague, 2015), ~~pp.~~ 9-54).		* Jonášová, Milada. " 'Intonazione degli Ebrei' from Benedetto Marcello's <i>Estro poetico-armonico</i> in Prague in 1729," <i>Etnologický ústav AV ČR</i>, v.v.i. (Prague, 2015), 9-54).

	* Selfridge-Field, Eleanor. <i>The Works of Benedetto and Alessandro Marcello: A Thematic Catalogue with commentary on the Composer, Repertory, and ~~Soruces~~</i> (Oxford: Clarendon Press, 1990).		* Selfridge-Field, Eleanor. <i>The Works of Benedetto and Alessandro Marcello: A Thematic Catalogue with commentary on the Composer, Repertory, and Sources</i> (Oxford: Clarendon Press, 1990).

	* Selfridge-Field, Eleanor. "Marcello's orientalism" in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik, und Experiment</i>, ed. Helen Geyer and Brigit Johanna Wertenson (Cologne: Bohlau, 2014), 205-222.		* Selfridge-Field, Eleanor. "Marcello's orientalism" in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik, und Experiment</i>, ed. Helen Geyer and Brigit Johanna Wertenson (Cologne: Bohlau, 2014), 205-222.