Benedetto Marcello


Il teatro alla modaJoaz, S.692La Giuditta


12 Cantatas, I-Vnm Mss.It.IV.95947 Cantatas, I-Vnm Mss.It.IV.966A voi prati felici, S.4Ad onta del timore, S.6Ah ch'io sento in lontananza, S.8Ah Tirsi iniquo e traditore infido, S.10Allor che al nocchiero minaccia tempeste, S.16Alma d'amore non ti fidar, S.17Altre non amerò benché credessi, S.19Amor d'intorno mi sta scherzando, S.26Amor, barbaro amore, S.25Amore mi lusinga in due vezzosi rai, S.28Api che raccogliete, S.29Arianna abbandonata, S.98Arresta, arresta il piè, S.31Aure voi che leggiere da me partendo, S.39aCalisto in Orsa, S.245Cantan lieti nei boschetti, S.48Cantan lieti nei boschetti, S.48aCassandra, S.240bChiuse in placida quiete, S.61aCleopatra, Cleopatra infelice!, S.62Colombe innamorate il so che sospirate, S.67a-bCostanza in lontananza è pace del mio cor, S.75Cresci col pianto mio, S.77Da voi parto amati rai, S.79Deh vanne al mar più lento, S.84aDeh vanne del mio cor sospiro ardente, S.85Deh volate all'idol mio, S.86Del bel Tamigi in riva, S.88Dimando a voi pietà, S.93Dorme Clori, aure tacete, S.96Dove trovar poss'io, S.99E ti parti e mi lasci e m'abbandoni?, S.105Ecco il prato, ecco la fonte, S.111aFilli quant'io t'amai, S.123Filli, tu sol lasciasti, SF 124Freme di rabbia Erode, S.129Fulminatemi, laceratemi, S.132Già che fortuna rea, S.133bIl maggior de' miei mali, S.141In due pupille nere, S.147In soccorso del core, S.148Ingratissima Clori, S.151Io fui tradita dalla speranza, S.154Io non posso lasciar d'adorarvi, S.155bLa bianca agnella, S.162bLa fonte del mio ciglio, S.163La pastorella sul primo albore, S.164Lasciato avea l'adultero, S.169Lassa ch'io sento amor, S.170Lassa passato è il giorno, S.171Le fresche erbette, S.173Legato da un bel crin, S.174Lieve zefiro si stende, S.177bLontananza e gelosia, S.179aLumi dolenti, tempo è di piangere, S.180L'usignolo ch'il suo duolo, S.161aMie pecorelle l'erbe novelle, S.188Miro la tortorella, S.189Miro la tortorella, S.189aNel primo momento, S.198Ninfe quel Tirsi, quel pastor sì caro, S.203Non andar così ratto correndo, S.205Non creder già ch'io più di te mi dolga, S.206Non ho cor, non ho spirto, S.208aNon so dirvi, o luci amate, S.212bNon vantar cotanto altero, S.215Non vengon le mie pene, S.216O ch'io viva, o ch'io mora, S.221bO d'un sasso umido figlio, S.222O gentil quanto bella leggiadra pastorella, S.228O tu limpido fonte nato dal sen, S.234Onda d'amaro pianto, S.242Pecorelle che pascete, S.248Piante amiche, ombre care, SF 257Qual mai fato inumano, S.265Quando Amor mi vuol felice, S.270aQuella Fileno, quella ch'un tempo, S.285Quest'alma incenerita, S.286Ritorna, ah sì, ritorna, S.293Ruscelletto arresta il corso, S.298Saria pur dolce amor, S.301Se franger non potete, S.305Se i mesti miei sospiri, S.307aSe nel mondo vi è mai, SF 311Sentite il mio dolore, S.318Senza gran pena, S.321Senza il caro e dolce sguardo, S.322Sfortunati miei sospiri, S.323Son sì care le catene, S.329Sopra d'un verde prato, S.331Sprezzata mi credei ma non tradita, S.338Stagion bella e lusinghiera, S.339Ti sento amor, ti sento, S.350aTimoteo, SF 396Tirsi e Fileno, S.475Tra vivi il più infelice son io, S.354Trabboccando quel torrente, S.355Un guardo solo, S.358bUn tormentoso affanno, SF 360Va che tu sei felice, SF A361Vi giuro, o mia Dorinda, SF 365Vi raccolgo in questo seno, SF 366Vidi un giorno il ruscelletto, S.386
Benedetto Giacomo Marcello (Italian: [beneˈdetto marˈtʃɛllo]; 31 July or 1 August 1686 – 24 July 1739) was an Italian composer, writer, advocate, magistrate, and teacher.
Born in Venice, Benedetto Marcello was a member of a noble family and in his compositions he is frequently referred to anonymously as Patrizio Veneto (A Noble of Venice). Although he was a music student of Antonio Lotti and Francesco Gasparini, his father wanted Benedetto to devote himself to law. Benedetto managed to combine a life in law and public service with one in music. In 1711 he was appointed a member of the Council of Forty (in Venice's central government), and in 1730 he went to Pola as Provveditore (district governor). Due to his health having been "impaired by the climate" of Istria, Marcello retired after eight years in the capacity of Camerlengo (chamberlain) to Brescia where he died of tuberculosis in 1739.
Benedetto Marcello was the brother of Alessandro Marcello, also a notable composer. On 20 May 1728 Benedetto Marcello married his singing student Rosanna Scalfi in a secret ceremony. However, as a nobleman his marriage to a commoner was unlawful and after Marcello's death the marriage was declared null by the state. Rosanna was unable to inherit his estate, and filed suit in 1742 against Benedetto's brother Alessandro Marcello, seeking financial support.
Marcello composed a variety of music including considerable church music, oratorios, hundreds of solo cantatas, duets, sonatas, concertos and sinfonias. Marcello was a younger contemporary of Antonio Vivaldi in Venice and his instrumental music enjoys a Vivaldian flavor.
As a composer, Marcello was best known in his lifetime and is now still best remembered for his Estro poetico-armonico (Venice, 1724–27), a musical setting for voices, figured bass (a continuo notation), and occasional solo instruments, of the first fifty Psalms, as paraphrased in Italian by his friend G. Giustiniani. They were much admired by Charles Avison, who with John Garth brought out an edition with English words (London, 1757). Estro poetico-armonico also represents an important contribution to the history of Jewish liturgical music. Eleven of the Psalms are set to melodies that Marcello apparently transcribed while attending services at several Venetian synagogues. The eleven melodies – six from the Ashkenazic tradition, and five from the Sephardic tradition – are among the earliest notated sources of Jewish liturgy, preceded only by Salamone Rossi's Hashirim Asher L’Shlomo. Perhaps the best known of these melodies is an Ashkenazic melody for Ma'oz Tzur.
The library of the Brussels Conservatoire possesses some interesting volumes of chamber cantatas composed by Marcello for his mistress. Although Benedetto Marcello wrote an opera called La Fede riconosciuta and produced it in Vicenza in 1702, he had little sympathy with this form of composition, as evidenced in his writings (see below).
Benedetto Marcello's music is "characterized by imagination and a fine technique and includes both counterpoint and progressive, galant features" (Grove 1994).
With the poet Antonio Schinella Conti he wrote a series of experimental long cantatas – a duet, Il Timoteo, then five monologues, Cantone, Lucrezia, Andromaca, Arianna abandonnata, and finally Cassandra.
Marcello vented his opinions on the state of musical drama at the time in the satirical pamphlet Il teatro alla moda, published anonymously in Venice in 1720. This little work, which was frequently reprinted, is not only extremely amusing, but is most valuable as a contribution to the history of opera.
... he directed his satire not against the opera as such but only against the slovenly routine and the abuse that had crept into opera production. He spared nobody and attacked composers, singers, directors alike, down to the last stage hand. The vivid picture he draws would in many ways apply also to the modern operatic "tradition" which according to Gustav Mahler is identical with "Schlamperei" (sloppiness). Marcello presented his vitriolic suggestions in an ostensibly serious tone and revealed by implication more about the musical and social aspects of opera than other authors did by factual reports. The bitterest attacks were leveled against the castrati who visibly embodied the most abusive side of opera. Their singing was derisively called "capon's laughter". Outside of Italy they were sometimes beaten up in the streets, not because of their singing but because of economic jealousy and the social injustices for which they stood.
The composer Joachim Raff wrote an opera entitled Benedetto Marcello, based loosely on the life of Marcello and Scalfi.
The Conservatorio di Musica Benedetto Marcello di Venezia was named after him.
A street in Rome, Largo Benedetto Marcello, is named after him.