Composers

Benedetto Marcello

Voice
Soprano
Alto
Bass
Tenor
Harpsichord
String ensemble
Recorder
Violin
Cello
Secular cantatas
Cantatas
Religious music
Psalms
Sonata
Duet
Concerto
Arias
Serenatas
Operas
by popularity

#

12 Cantatas, I-Vnm Mss.It.IV.95912 Concerti à 5, Op.112 Recorder Sonatas, Op.215 Cantatas, I-Fc B 284947 Cantatas, I-Vnm Mss.It.IV.9665 Piano Transcriptions6 Cello Sonatas, Op.16 Sonatas for 2 Cellos, Op.2

A

A te Signor che mio sostegno sei, S.627A voi donna volando, S.380A voi prati felici, S.4Ad onta del timore, S.6Ah ch'io sento in lontananza, S.8Ah Tirsi iniquo e traditore infido, S.10Ahi che in sentirlo io moro, S.384aAhi che in sentirlo io moro, S.384bAl Signor in ogni tempo, S.633Allor che al nocchiero minaccia tempeste, S.16Alma d'amore non ti fidar, S.17Alme giuste alme innocenti, S.632Altre non amerò benché credessi, S.19Altro non bramo, S.20Amor 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.98Arianna, S.493Arresta, arresta il piè, S.31Aure voi che leggiere da me partendo, S.39a

B

Beato l'uom che dietro a'rei consigli, S.601Bevo dai tuoi lumi, S.393

C

Calisto in Orsa, S.245Cantan lieti nei boschetti, S.48Cantan lieti nei boschetti, S.48aCanzoni madrigalesche et arie per camera, Op.4Cassandra, S.240bCello Sonata in A minor, Op.19 No.1Che volete di più care pupille, S.401Chiuse in placida quiete, S.61aCleopatra, Cleopatra infelice!, S.62Colombe innamorate il so che sospirate, S.67a-bConcerto a cinque in D major, S.784Concerto for 2 Violins in F major, S.797Costanza in lontananza è pace del mio cor, S.75Cresci col pianto mio, S.77

D

Da voi parto amati rai, S.79Dal cor ripieno di celeste fiamma, S.644Dal tribunal'augusto, S.642Deh fino a quando o Dio, S.612Deh quando afflitti lumi, S.413Deh 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.88Della terra e di quanto in sè contiene, S.623Dimando a voi pietà, S.93Donde cotanto fremito, S.602Dorme Clori, aure tacete, S.96Dove trovar poss'io, S.99D'un'infelice pietà vi muova, S.477

E

E ti parti e mi lasci e m'abbandoni?, S.105Ecco il prato, ecco la fonte, S.111aEstro poetico-armonico

F

Felice chi vi mira, S.420aFilli quant'io t'amai, S.123Filli, tu sol lasciasti, SF 124Freme di rabbia Erode, S.129Fugue in G minor, S.735Fulminatemi, laceratemi, S.132

G

Già che fortuna rea, S.133bGiù ne' tartarei regni, S.423

H

Harpsichord Sonata in A major, S.739aHarpsichord Sonata in A minor, S.740Harpsichord Sonata in B-flat major, S.741Harpsichord Sonata in B-flat major, S.742Harpsichord Sonata in C major, S.704Harpsichord Sonata in C major, S.705Harpsichord Sonata in C minor, S.712aHarpsichord Sonata in D major, S.717aHarpsichord Sonata in D major, S.717bHarpsichord Sonata in D major, SF 717aHarpsichord Sonata in D minor, S.720Harpsichord Sonata in D minor, S.721bHarpsichord Sonata in D minor, S.721cHarpsichord Sonata in F major, S.724aHarpsichord Sonata in F major, S.724cHarpsichord Sonata in G majorHarpsichord Sonata in G major, S.731Harpsichord Sonata in G major, S.732aHarpsichord Sonata in G minor, S.736aHarpsichord Sonata in G minor, S.736bHarpsichord Sonata in G minor, S.737aHor che m'assale da ogni lato, S.607

I

I cieli immensi narrano, S.618Il grande Iddio che l'universo regge, S.649Il maggior de' miei mali, S.141Il Signor s'è la mia luce, S.626Il teatro alla modaIl toscanismo e la cruscaIn due pupille nere, S.147In mezzo a' tristi affanni, S.624In mezzo alle miserie, S.638In omnem terram exivit, S.651In quel sol che trabocca nell'onde, S.429In soccorso del core, S.148Ingratissima Clori, S.151Io fui tradita dalla speranza, S.154Io non posso lasciar d'adorarvi, S.155bIo sempre t'amerò, S.617

J

Joaz, S.692

L

La bianca agnella, S.162bLa fonte del mio ciglio, S.163La gara amorosa, S.498La GiudittaLa 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.173Le voci querule del labbro supplice, S.605Legato da un bel crin, S.174Lieve zefiro si stende, S.177bLontan dall'idol mio in F major, S.437Lontananza e gelosia, S.179aLontananza per me troppo acerba, S.438Lumi dolenti, tempo è di piangere, S.180L'uomo coll'opre sue, S.635L'uomo cui cieca passion estinse, S.613L'usignolo ch'il suo duolo, S.161a

M

Mentre io tutta ripongo in Dio, S.610Messa canonicaMie pecorelle l'erbe novelle, S.188Minuets for Maria Venier, S.702Minuetto con variazioni, S.702Miro la tortorella, S.189Miro la tortorella, S.189aMiserere in G major, S.682

N

Nel primo momento, S.198Nel tuo potere alto Signore, S.620Nell'invocarti o mio Signor, S.604Ninfe quel Tirsi, quel pastor sì caro, S.203No che lassù nei cori, S.489Non 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 ti contristi e non ti muova, S.636Non vantar cotanto altero, S.215Non vengon le mie pene, S.216

O

O beati color cui l'opre inique, S.631O beato chi pietoso, S.640O ch'io viva, o ch'io mora, S.221bO di che lode di che stupore, S.608O d'immensa pietà, S.650O Dio perchè cotanto, S.603O d'un sasso umido figlio, S.222O fortunato quel fiumicelloO genti tutte festose e liete, S.646O genti tutte voi che il vasto giro del mondo, S.648O gentil quanto bella leggiadra pastorella, S.228O prole nobile di magni principi, S.628O Signor chi sarà mai, S.614O tu limpido fonte nato dal sen, S.234Onda d'amaro pianto, S.242Or che condannami falsa calunnia, S.625

P

Pecorelle che pascete, S.248Per saettarmi non ha più strali, S.444Piante amiche, ombre care, SF 257Placido e chiaro rio, SF 449Porto lungi le piante, SF 450Porto negl'occhi un mare, SF 451

Q

Qual mai fato inumano, S.265Qual'anelante cervo che fugge, S.641Quando Amor mi vuol felice, S.270aQuando d'ogni più grave e duro affanno, S.639Quando o rè cinto sarai dagl'affanni, S.619Quanto di spirto abbiam nel petto accolto, S.609Quella Fileno, quella ch'un tempo, S.285Questa che al ciel s'innalza, S.647Quest'alma incenerita, S.286

R

Raddoppiate o cari sguardi, SF 460Recorder Sonata in B-flat major, S.775Recorder Sonata in C major, S.759Recorder Sonata in D minor, S.762Recorder Sonata in E minor, S.764Recorder Sonata in F major, S.765Recorder Sonata in G major, S.768Recorder Sonata in G minor, S.771Recorder Sonata in G minor, S.772Rifiuta l'armi il cor le straggi abborre, S.462Ritorna, ah sì, ritorna, S.293Ruscelletto arresta il corso, S.298

S

Saria pur dolce amor, S.301Se franger non potete, S.305Se i mesti miei sospiri, S.307aS'è il Signore mio pastore, S.622Se nel mondo vi è mai, SF 311Se non volete la morte mia, SF 464Sentite il mio dolore, S.318Senza gran pena, S.321Senza il caro e dolce sguardo, S.322Sfortunati miei sospiri, S.323Signor dall'empia gente, S.615Signor poichè ti piacque, S.629Signor quando arde il foco, S.606Signor quando la fiamma del giusto tuo furor, S.637Signor se fosti ogn'ora, S.630Signor tu dammi aita e ponmi in salvo, S.611Son sì care le catene, S.329Sopra d'un verde prato, S.331Sopra i nemici miei, S.634Spiegasti troppo alto, S.466Sprezzata mi credei ma non tradita, S.338Stagion bella e lusinghiera, S.339

T

Tacete amanti addormentato, S.467Ti sento amor, ti sento, S.350aTimoteo, SF 396Tirsi e Fileno, S.475Tra l'aspre e rie miserie, S.645Tra vivi il più infelice son io, S.354Trabboccando quel torrente, S.355Tu che sai quanto sia giusta, S.616

U

Udir le orecchie nostre, S.643Un guardo solo, S.358bUn guardo solo, S.472Un tormentoso affanno, SF 360

V

Va che tu sei felice, SF A361Vi giuro, o mia Dorinda, SF 365Vi raccolgo in questo seno, SF 366Vidi un giorno il ruscelletto, S.386Violin Concerto in D major, SF 784Violin Concerto in E minor, S.C788Volgi mio Dio, S.621

È

È pur dolce è pur soave, S.415
Wikipedia
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.