https://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&feed=atom&action=historyBenedetto Marcello (1686-1739) - Revision history2024-03-28T12:13:12ZRevision history for this page on the wikiMediaWiki 1.33.0https://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=11553&oldid=prevEsfield: /* Cantatas */2022-06-28T21:07:14Z<p><span dir="auto"><span class="autocomment">Cantatas</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Cantatas==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Cantatas==</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">The </del><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. </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Alessandro Marcello's </ins><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. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The most elaborate ones are these:</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The most elaborate ones are these:</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=11552&oldid=prevEsfield: /* Satirical cantata and intermezzi */2022-06-28T21:06:35Z<p><span dir="auto"><span class="autocomment">Satirical cantata and intermezzi</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When they reach the second syllable ("ah") of the word "beati", they find themselves lured into a musical maze from which they cannot escape.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When they reach the second syllable ("ah") of the word "beati", they find themselves lured into a musical maze from which they cannot escape.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>===Satirical <del class="diffchange diffchange-inline">cantata </del>and intermezzi===</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>===Satirical <ins class="diffchange diffchange-inline">cantatas </ins>and intermezzi===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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. </div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=11551&oldid=prevEsfield: /* Satirical Music */2022-06-28T21:06:04Z<p><span dir="auto"><span class="autocomment">Satirical Music</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Satirical Music==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Satirical Music==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>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 <del class="diffchange diffchange-inline">the many </del>other <del class="diffchange diffchange-inline">contributing entities </del>of <del class="diffchange diffchange-inline">theatrical life</del>. </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>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, <ins class="diffchange diffchange-inline"><i></ins>prime donne<ins class="diffchange diffchange-inline"></i></ins>, violinists, stage mothers, and other <ins class="diffchange diffchange-inline">figures that populated theaters </ins>of <ins class="diffchange diffchange-inline">his time</ins>. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Marcello also composed musical satires, for which he likely wrote the text. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Marcello also composed musical satires, for which he likely wrote the text. </div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=11550&oldid=prevEsfield: /* Psalms of David */2022-06-28T21:03:27Z<p><span dir="auto"><span class="autocomment">Psalms of David</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>==Psalms of David==</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>==<ins class="diffchange diffchange-inline">[https://wiki.ccarh.org/wiki/Marcello_Psalms#Renaissance_Counterpoint_in_the_Psalms </ins>Psalms of David<ins class="diffchange diffchange-inline">]</ins>==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.]</div></td></tr>
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</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=11549&oldid=prevEsfield: /* Instrumental Music */2022-06-28T21:02:40Z<p><span dir="auto"><span class="autocomment">Instrumental Music</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Instrumental Music==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Instrumental Music==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>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. <del class="diffchange diffchange-inline">It </del>is <del class="diffchange diffchange-inline">clear that the pieces were well known </del>and <del class="diffchange diffchange-inline">widely circulated in the year after their publication</del>. 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. <del class="diffchange diffchange-inline">However, </del>the <del class="diffchange diffchange-inline">Violino Principale part is missing for all but Op. 1, No. 2, </del>and <del class="diffchange diffchange-inline">one movement of Op. 1, No 8</del>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>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 <ins class="diffchange diffchange-inline">for most of the opus</ins>. <ins class="diffchange diffchange-inline">A Violino Principale part </ins>is <ins class="diffchange diffchange-inline">available for Op. 1, No. 2, </ins>and <ins class="diffchange diffchange-inline">one movement of Op. 1, No 8</ins>. 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. <ins class="diffchange diffchange-inline"> It is clear that </ins>the <ins class="diffchange diffchange-inline">pieces were well known </ins>and <ins class="diffchange diffchange-inline">widely circulated in the years immediately following their publication</ins>. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Marcello's instrumental works otherwise consist of more than 40 sonatas for harpsichord <ins class="diffchange diffchange-inline">(</ins>circulated only in manuscript<ins class="diffchange diffchange-inline">)</ins>; 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.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Benedetto's brother Alessandro composed chamber music for voice, strings, and woodwinds. The <ins class="diffchange diffchange-inline">D-Minor </ins>oboe concerto transcribed by Bach <ins class="diffchange diffchange-inline">(sometimes shown or played in C Minor) </ins>for keyboard, which appeared in a 1717 anthology printed in Amsterdam, was by Alessandro.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Psalms of David==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Psalms of David==</div></td></tr>
</table>Esfieldhttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=10415&oldid=prevEdc: /* Cantatas */2021-03-23T12:32:44Z<p><span dir="auto"><span class="autocomment">Cantatas</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 12:32, 23 March 2021</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The most elaborate ones are these:</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The most elaborate ones are these:</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* <i>Gli amanti fedeli</i>, a pastoral for Irene, Fileno, and choruses of nymphs and shepherds (<del class="diffchange diffchange-inline">none </del>only from an undated libretto).</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* <i>Gli amanti fedeli</i>, a pastoral for Irene, Fileno, and choruses of nymphs and shepherds (<ins class="diffchange diffchange-inline">one </ins>only from an undated libretto).</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* <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. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* <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. </div></td></tr>
</table>Edchttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=10414&oldid=prevEdc: /* Sonatas and Concertos */2021-03-23T12:32:09Z<p><span dir="auto"><span class="autocomment">Sonatas and Concertos</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 12:32, 23 March 2021</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l141" >Line 141:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>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 <del class="diffchange diffchange-inline">compliments </del>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 <del class="diffchange diffchange-inline">sever </del>recorders and muted strings <del class="diffchange diffchange-inline">has </del>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.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>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 <ins class="diffchange diffchange-inline">complements </ins>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 <ins class="diffchange diffchange-inline">seven </ins>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.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Footnotes=</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=Footnotes=</div></td></tr>
</table>Edchttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=10413&oldid=prevEdc: /* Il Teatro alla Moda (1720) */2021-03-23T12:16:23Z<p><span dir="auto"><span class="autocomment">Il Teatro alla Moda (1720)</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===<i>Il Teatro alla Moda</i> (1720)===</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===<i>Il Teatro alla Moda</i> (1720)===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[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 <del class="diffchange diffchange-inline">helm</del></small>.]]</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[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 <ins class="diffchange diffchange-inline">prow</ins></small>.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>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.</div></td></tr>
</table>Edchttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=10412&oldid=prevEdc: /* Satirical Music */2021-03-23T12:15:35Z<p><span dir="auto"><span class="autocomment">Satirical Music</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Satirical Music==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Satirical Music==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>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<del class="diffchange diffchange-inline">-</del>mothers, and the many other contributing entities of theatrical life. </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>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. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Marcello also composed musical satires, for which he likely wrote the text. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Marcello also composed musical satires, for which he likely wrote the text. </div></td></tr>
</table>Edchttps://wiki.ccarh.org/index.php?title=Benedetto_Marcello_(1686-1739)&diff=10411&oldid=prevEdc: /* Poetry and other writings */2021-03-23T12:08:03Z<p><span dir="auto"><span class="autocomment">Poetry and other writings</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 12:08, 23 March 2021</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Poetry and other writings==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Poetry and other writings==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The three Marcello brothers--Alessandro, Gerolamo, and Benedetto--<del class="diffchange diffchange-inline">are </del>wrote poetry and essays on abstract subjects. Almost certainly their motivation was presentation in an academic setting. Some of their works have been digitized by Google Books. </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The three Marcello brothers--Alessandro, Gerolamo, and Benedetto--<ins class="diffchange diffchange-inline">all </ins>wrote poetry and essays on abstract subjects. Almost certainly their motivation was presentation in an academic setting. Some of their works have been digitized by Google Books. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* Benedetto's first book of [https://books.google.com/books?id=wsKxguEOAGcC&pg=PT75&dq=Benedetto+Marcello+Marcelloni&hl=en&sa=X&ved=0ahUKEwjUxsGU_93ZAhUm6IMKHboVB1EQ6AEILTAA#v=onepage&q&f=false <i>Sonetti</i>] (Venice, 1718) were said <del class="diffchange diffchange-inline">my </del>the author to have been products of the "argent passions" of his youth.<ref>This copy survives in the Biblioteca Lucchesi-Palli (C.III.15 G.L.44.X.18).</ref> </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* Benedetto's first book of [https://books.google.com/books?id=wsKxguEOAGcC&pg=PT75&dq=Benedetto+Marcello+Marcelloni&hl=en&sa=X&ved=0ahUKEwjUxsGU_93ZAhUm6IMKHboVB1EQ6AEILTAA#v=onepage&q&f=false <i>Sonetti</i>] (Venice, 1718) were said <ins class="diffchange diffchange-inline">by </ins>the author to have been products of the "argent passions" of his youth.<ref>This copy survives in the Biblioteca Lucchesi-Palli (C.III.15 G.L.44.X.18).</ref> </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*In more sober middle age, Benedetto offered another series of sonnets called [https://books.google.com/books?id=Dx2ZqYXof1AC&pg=RA1-PR3&dq=Benedetto+Marcello+Marcelloni&hl=en&sa=X&ved=0ahUKEwjUxsGU_93ZAhUm6IMKHboVB1EQ6AEIMjAB#v=onepage&q&f=false <i>A Dio</i>] (Venice, 1732). Preserved in the National Library in Rome, it includes "other rhymes as well as sacred and moral arguments." </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*In more sober middle age, Benedetto offered another series of sonnets called [https://books.google.com/books?id=Dx2ZqYXof1AC&pg=RA1-PR3&dq=Benedetto+Marcello+Marcelloni&hl=en&sa=X&ved=0ahUKEwjUxsGU_93ZAhUm6IMKHboVB1EQ6AEIMjAB#v=onepage&q&f=false <i>A Dio</i>] (Venice, 1732). Preserved in the National Library in Rome, it includes "other rhymes as well as sacred and moral arguments." </div></td></tr>
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