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Benedetto Marcello 16861739 Concerti a Cinque Op 1
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00:00 Concerto No. 1 in D major: Grave e staccato - Allegro - Largo - Presto • 07:40 Concerto No. 2 in E minor: Adagio e staccato - Allegro assai - Adagio e staccato - Prestissimo • 18:40 Concerto No. 4 in F major: Largo - Allegro - Adagio - Prestissimo • 26:54 Concerto No. 5 in B minor: Adagio - Allegro - Adagio e staccato - Allegro *+ • 35:52 Concerto No. 6 in B-flat major: Allegro assai-Largo e staccato-Allegro-Largo e staccato-Allegro vivace *+ • 44:34 Concerto No 12 in G major: Allegro assai - Largo - Allegro vivace - Adagio staccato - Presto * • I Solisti di Milano - Angelo Ephrikian, conductor • Franco Fantini, Tino Bacchetta*, solo violinists • Genunzio Ghetti, Ennio Miori+, violoncello concertante • Mariella Sorelli, harpsichord • Benedetto Marcello was born of an old noble family of Venetian Doges on July 24, 1686. The fine arts were cultivated in the Marcello household: his father, Agostino, excelled as a violinist; his mother, Paolina Cappeilo, was talented in drawing and showed a literary aptitude; the older son, Alessandro, a pupil of Tartini, was a magnificent violinist and a composer of the first rank; the second-born, Gerolamo, lacked neither musical nor literary talent. Only Benedetto seemed indifferent to the artistic atmosphere of the family, so much so that (as Berlioz relates) a grand lady said of him that he was not capable of carrying his brothers’ violin cases. The boy suddenly reacted against his inertia: from 1703 to 1705 he never left the house, applying himself furiously to the study of music: and he worked with such intensity as to cause serious worry for his health, which had always been precarious, so that his father decided to send him for a rest to one of his country villas, forbidding anyone from furnishing the invalid with music paper. But the youth, under the pretext of writing letters, procured paper, pen and ink and, ruling the paper himself, succeeded in composing an entire Mass. • His stringent study of music nevertheless did not prevent him from acceding to public office, which the tradition of the Venetian Republic imposed upon young nobles. In 1711 he assumed the robes of a lawyer and for five years served the Serenissima in various public offices, until, in 1716, he began to participate in the Council of Forty: there he remained until 1730, when he assumed the post of Provveditore” of the Republic at Pola. • In 1738 he was named Camerlengo” at Brescia, where the climate did not help him recover from a serious case of malaria which he had contracted at Pola. After nine days of agony, he died July 24, 1739. • His activity as a composer began with the publication in 1708 of the Concerti a Cinque, con violino solo e violoncello obbligato, Op. 1. Opus 2, Sonate di cembalo, followed in 1710; and subsequently opus 3, Sonate per flauto, all published by Sala in Venice. Opus 4, Canzoni Madrigalesche ed Arie da camera a due, a tre, a quattro voci was published by Silvani in Bologna in 1717. From this point on the chronology of his works becomes confused, beginning probably with the composition of the Psalms, translated by his friend, G. Ascanio Giustiniani, published in Venice between 1724 and 1727. In the religious category belong two oratorios: Juditha and Gioas and two Masses. In the operatic category belong Arianna, a musical-scenic play, and a Serenata ad uso di scena composed in 1725 for the Imperial Court in Vienna. His vocal chamber music consists of about two hundred cantatas, arias, duets, trios, etc. In a miscellaneous collection in the library of St. Mark’s in Venice may be found the Treni di Geremia (Lamentations of Jeremiah), a Benedictus, a Te Deum, three Miserere and three additional Masses. • Benedetto Marcello’s literary activity is also significant: the Rime varie, numerous sonnets on various subjects; a tragedy, Lucio Commodo; a Fantasia ditirambica eroicomica, and finally a poem to the composition of which he dedicated himself until the very last days of his life: L´Universale Redenzione. It seems that his poem marked the resolution of a mystical crisis, the origin of which was connected with an unusual episode: in 1728, while walking one day along the center aisle of the church of the SS. Apostoli, a subterranean tomb caved in beneath his feet and he fell into it. The episode was interpreted by Marcello as a divine warning and had profound repercussions within his soul. It seems that he went so far as to repudiate openly everything of a secular nature in his musical output.
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