Benedetto Marcello

Training under Francesco Gasparini and Antonio Lotti is recorded. Baldassare Galuppi is recorded as having studied under Benedetto Marcello. The recorded working language is Italian. The field of work recorded is chamber music, Baroque music and classical music. Work by Benedetto Marcello is recorded in the collections of Procuratoria di San Marco musical archive.

Born in Venice, Benedetto Marcello was a member of the noble Marcello family and in his compositions, he is frequently referred to anonymously as Patrizio Veneto (Venetian patrician, i.e. aristocrat). 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; after his 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, seeking financial support.[1]

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 flavour. 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.[2] Perhaps the best known of these melodies is an Ashkenazic melody for Ma'oz Tzur.[4][5] 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".. 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.

• La Giuditta (premiered in Venice 1709?) • Joaz (premiered in Venice 1727?, Florence 1729) • Il pianto e il riso delle quattro stagioni dell’anno per la morte, esultazione e coronazione di Maria Assunta in Cielo (premiered in Macerata 1731) • Il trionfo della poesia e della musica nel celebrarsi la morte, e la esultazione, e la incoronazione di Maria sempre Vergine Assunta in Cielo (1733, production unknown)

• Estro poetico-armonico: parafrasi sopra li primi [e secondi] venticinque salmi (translation: G.A. Giustiniani), 8 volumes (Venice 1724–26) • 9 Masses for 3–8 voices, including a Requiem in G minor • 30 religious works: 4 Antiphons, 3 Graduals, 1 Hymn, 1 setting of the Lamentations of Jeremiah the Prophet (lost), 1 Lesson for the Holy Week (lost), 2 Magnificats for 3–4 voices, 5 Misereres, 8 motets, 3 Offertories, 2 vespers

• La morte d’Adone (Serenata, premiered in Venice 1710 or 1729) • La gara amorosa (Serenata, premiered in Venice ca. 1710–12?) • Psiché (intreccio scenico musicale, Libretto: Vincenzo Cassani, premiered in Venice 1711/12?) • Spago e Filetta (Intermezzi for the tragedy Lucio Commodo, premiered in Venice 1719?) • Le nozze di Giove e Giunone (Serenata), 2 versions: Nasce per viver (premiered in Vienna 1725 for Charles VI, Holy Roman Emperor), Questo é ’l giorno (shortened version, premiered in Vienna 1716?) • Calisto in orsa (Pastorale, Libretto: Carminati?, premiered in 1725?) • Arianna (intreccio scenico musicale, Libretto: Cassani, premiered in Venice ca. 1727)

• Canzoni madrigalesche et arie per camera for 2–4 voices op. 4 (Bologna 1717) • 380 Cantatas (with Texte often by Marcello himself) for 1 voice and basso continuo, 22 with strings (including Carissima figlia, Didone, Gran tiranno è l’amore, Percorelle che pascete, Senza gran pena) • 81 duets for 2 voices and basso continuo, 2 with strings (including Timoteo, Clori e Daliso, Clori e Tirsi) • 7 Trios for 3 voices and basso continuo • 5 Madrigals for 4–5 voices

• 12 Concerti a cinque op. 1 (Venice 1708) • 5 Concerti for violins, strings and basso continuo (D major, D major, D major, E-flat major, F major) • Concerto in F major for 2 violins, strings and harpsichord (1716/17) • Concerto in D major for flute, strings and harpsichord • 7 sinfonias (D major, F major, G major, G major, A major, A major, B-flat major)

• 12 Sonatas for flute and basso continuo op. 2 (Venice 1712); incomplete reprint as op. 1 (London 1732) • 6 sonatas for cello and basso continuo „op. 1“ (Amsterdam ca. 1732); also as op. 2 (London 1732) • 6 sonatas for 2 cellos or viole da gamba and basso continuo „op. 2“ (Amsterdam ca. 1734) • Sonata in G minor for violin and basso continuo • Sonata in B-flat major for cello and basso continuo • 4 sonatas for flautino (soprano recorder) and basso continuo (C major, G major, G major, G minor; authenticity questioned)

• 12 sonatas for harpsichord op. 3? (Venice ca. 1712–17) • 35 sonatas and sonata movements for harpsichord • 4 minuets; Suite with 30 Minuets

The authorities additionally record the heading Benedetto Giacomo Marcello. His recorded language was Italian. He married Rosanna Scalfi Marcello.

Benedetto Marcello worked in chamber music, Baroque music, classical music and opera. His work is associated with Baroque music. He belonged to Arcadian Academy.

Benedetto Marcello is recorded as composer, poet, writer and teacher.