Orazio Benevoli
Orazio Benevoli or Benevolo (19 April 1605 – 17 June 1672) was a Franco-Italian composer of large scaled polychoral sacred choral works (e.g, one work featured forty-eight vocal and instrumental lines) of the middle Baroque era.
Also recorded as Orazio Benevolo
Orazio Benevoli
- Born
- 1605 · Rome.
- Died
- 1672 · Rome.
- Nationality
- Papal States
- Occupation
- composer · choir director
- Movements
- Baroque music
- Teachers
- Vincenzo Ugolini
VALÉORINE Encyclopedia
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Documentary summary
Orazio Benevoli or Benevolo (19 April 1605 – 17 June 1672) was a Franco-Italian composer of large scaled polychoral sacred choral works (e.g, one work featured forty-eight vocal and instrumental lines) of the middle Baroque era.
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gnd · 1204095248 · wikidata · Q1228351 · wikipedia · Orazio Benevoli
In this article
Biography
He was born in Rome to a French baker and confectioner, Robert Venouot or Vénevot, whose name was Italianized to Benevolo. Benevoli was a choirboy at San Luigi dei Francesi in Rome (1617–23). He later assumed posts as maestro di cappella at Santa Maria in Trastevere (from 1624), Santo Spirito in Sassia (from 1630), and his old church San Luigi dei Francesi from 1638. Benevoli served as Kapellmeister in the court of Archduke Leopold Wilhelm of Austria from 1644 to 1646. Benevoli returned to Rome in 1646, where he remained for the rest of his life as choirmaster at both Santa Maria Maggiore and the Cappella Giulia of St. Peter's Basilica. He was made Guardiano of the Vatican's Congregazione di Santa Cecilia in the following three years of 1654, 1665 and 1667. His pupils included Ercole Bernabei, Antimo Liberati and Paolo Lorenzani. Benevoli composed Masses, motets, Magnificats, and other sacred vocal works. Much of his fame as a composer has rested largely on his supposed composition of the fifty-three part Missa Salisburgensis, which musicologists long believed was written by Benevoli in Salzburg Cathedral in 1628. Nevertheless, external and internal evidence subsequently demonstrated that the Mass is in fact the work of composer Heinrich Ignaz Biber, and that it dates not from 1628 but from 1682.
Works, editions and recordings
Benevoli's sacred compositions frequently make use of four or more choirs. Many of Benevoli's works are massive and in the Colossal Baroque style. Sixteen masses for 8 to 16 voices survive. Little of the music of Benevoli has been performed or recorded in modern times. However, the early music group I Fagiolini, under the direction of Robert Hollingworth, have released three recordings of Benevoli's multi-choir masses • Orazio Benevolo - Sacred Music - Missa Azzolina Magnificat Dixit Dominus, Le Concert Spirituel (Niquet). Naxos (1996) • Missa Tira Corda a 16, Tölzer Knabenchor (Gerhard Schmidt-Gaden) (2010) • Mass for Four Choirs, I Fagiolini (Coro, 2023 & 2024) • Missa Si Deus pro nobis a 16, RIAS Kammerchor (2024)
Primary material
Documents and archives
reference work
- Wikidata, structured authority record Q1228351: Orazio Benevoli
Reputable secondary · Wikidata
- “Orazio Benevoli”, English Wikipedia, consulted as further reading
Reputable secondary · Wikipedia
authority file
- Gemeinsame Normdatei 1204095248, Convegno internazionale di studi su Orazio Benevoli (2019 : Palestrina).
General reference · Deutsche Nationalbibliothek
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Robert Venouot era un pasticciere francese proveniente dalla Lorena.
- 2.Jean Lionnet, La musique à Saint-Louis des Français de Rome au XVIIe siècle, Venezia, Fondazione Levi, 1985-1986, vol. II, p. 67.
- 3.Arnaldo Morelli, Omaggio a un collega: una Messa a 16 voci di Orazio Benevoli in onore di Loreto Vittori, in Tra musica e storia. Saggi di varia umanità in ricordo di Saverio Franchi, a cura di Giancarlo Rostirolla ed Elena Zomparelli, Roma, Ibimus, 2017, pp. 197-212.
- 4.Musiciens de Rome de 1570 à 1750, informations recueillies par Jean Lionnet, réunies et publiées par Livia Lionnet
- 5.Orazio Benevoli, Missa in Angustia Pestilentiae a 16 voci (1656), edizione critica a cura di Paola Ronchetti, Roma, Ibimus, 2017. Cfr. anche le note di Paola Ronchetti al CD Orazio Benevoli, Missa in angustia pestilentiae a 16 voci (1656) , Cappella musicale di Santa Maria in Campitelli, dir. Vincenzo Di Betta (Tactus 600201)
- 6.Luca Della Libera, La musica a S. Ivo alla Sapienza nel XVII secolo, in L'Università di Roma "La Sapienza" e le Università italiane, a cura di Bartolomeo Azzaro, Roma, Gangemi, 2008, pp. 102-105.
- 7.Orazio Benevoli, Messe a otto voci. "Pastoralis", "Purpura et byssum", "In lectulo meo", a cura di Roberto Giannotti con un saggio di Giulia Gabrielli, Lucca, LIM, 2018
- 8.Il testo è pubblicato nei Dialoghi sacri e morali (Roma, F. Moneta, 1652) di Loreto Vittori. Cfr. Arnaldo Morelli, Il Theatro spirituale ed altre raccolte di testi per oratorio romani del Seicento, in Rivista italiana di musicologia, XXI (1986), pp. 112, 125.
- 9.Federico Vizzaccaro, Una sconosciuta opera in musica allestita a Roma nel 1662: “La forza del destino” di Orazio Benevoli e Paolo Olivieri, abstract in Diciassettesimo Colloquio di Musicologia del «Saggiatore musicale» (Bologna, 22-24 novembre 2013).
References
Citations
References
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authority file
Gemeinsame Normdatei 1204095248, Convegno internazionale di studi su Orazio Benevoli (2019 : Palestrina).Deutsche Nationalbibliothek
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Secondary witnessreference work
Secondary witness
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