| Benedetto Marcello |
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| CATEGORIES ABOUT BENEDETTO MARCELLO | |
| baroque composers | |
| italian opera composers | |
| italian composers | |
| people from the veneto | |
| 1686 births | |
| 1739 deaths | |
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LIFE Benedetto Marcello was a member of a Venetian noble family and, in his compositions, is frequently referred to as ''Patrizio Veneto''. Although he was a music student of Lotti and Francesco Gasparini , Benedetto Marcello was intended by his father to devote himself to the law. Indeed, he combined a life in the law and public service with one in music. In 1711 he was a member of the Council of Forty (in Venice's central government), and in 1730 he went to Pola as '' Provveditore '' (district governor). His health having been "impaired by the climate" of Istria , he retired after eight years to Brescia in the capacity of ''Camerlengo'' and there he died. Benedetto Marcello was the brother of Alessandro Marcello (1669 -1747), also a composer of some note. MUSIC Benedetto Marcello composed a diversity of music including considerable church music, Oratorio s, hundreds of solo Cantata s, Duet s, Sonata s, Concerto s and Sinfonia s. Marcello was a younger contemporary of Antonio Vivaldi in Venice and his music enjoys a Vivaldian flavor. As a composer, Marcello was best known in his lifetime and is nown still best remembered for his ''Estro poetico-armonico'' ( Venice , 1724-1727), a musical setting for voices and Figured_bass (a continuo notation) of the first fifty Psalms, as paraphrased in Italian by G. Giustiniani. They were much admired by Charles Avison , who with John Garth brought out an edition with English words (London, 1757 ). 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). WRITING Marcello vented his opinions on the state of musical drama at the time in the satirical pamphlet ''Teatro alia moda'', published anonymously in Venice in 1720 . This little work, which was frequently reprinted, is not only extremely amusing, but is also most valuable as a contribution to the history of opera. SOURCES
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