Benedetto Marcello Sonata No2 in E Minor Double Bass Complete

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#BenedettoMarcello#SonatainEminor#TESEO#DoubleBass • Benedetto Giacomo Marcello (Venice, 24 July 1686 - Brescia, 24 July 1739) was an Italian composer, poet, writer, lawyer, magistrate and teacher. The Conservatory of Venice is dedicated to him. • He was born to the patricians Marcello of the Maddalena branch, the youngest son of Agostino and Paolina Cappello. The family, which in the past was very prestigious, had lost all relevance from a political point of view, but remained well-known at a cultural level: the father composed verses, played the violin and organized musical performances in his living room; her mother was devoted to poetry and drawing and the well-known Sant'Angelo theater belonged to her family. The two brothers of Benedetto, Alessandro and Girolamo, also distinguished themselves in the musical and literary fields. According to some sources, the father focused the training of the three children on Italian poetry and had them compose a dozen verses every morning. • For his part, Marcello was introduced to the study of the violin, but initially the results were very mediocre. According to an anecdote reported by some contemporaries, his interest in music was aroused by a specific episode: one day a princess of Brunswick visited the Marcellos to attend an execution of Alexander; noticing Benedetto, she asked what she was doing and Alessandro replied that, given his lack of talent, at most he could bring him the scores. The other, offended, swore to devote himself to musical studies with the utmost perseverance. • There is no precise evidence on the matter, but it is believed that Marcellus was initially trained with the Somascans of Sant'Antonio di Castello. Around the age of twenty he devoted himself to the study of music theory and composition with such alacrity as to endanger his own health. His teacher was Francesco Gasparini from Lucca, then choirmaster at the hospital of the Pietà. As for practice, he studied the harpsichord as well as the violin, while for theory he referred to the writings of Gioseffo Zarlino. His models were the compositions of musicians of the past, such as Giovanni Pierluigi da Palestrina, Carlo Gesualdo, Claudio Monteverdi Girolamo Frescobaldi and Giacomo Carissimi, but also more recent, such as Giovanni Legrenzi, Giovan Battista Lulli, Marc-Antoine Charpentier Henry Purcell, Bernardo Pasquini and Arcangelo Corelli. • Despite his now undisputed musical skills, Marcellus had to interrupt his studies to undertake the traditional cursus honorum reserved for young patricians. He worked as a lawyer from 1707 and, at the end of the same year, managed to enter the Maggior Consiglio thanks to the extraction of the gold bale. Later he held a series of public offices which, as he himself said in his Heroicomic Dithyrambic Fantasia, were not particularly prestigious, offering only an arid bureaucratic routine: officiale alla Messetteria (1711), judge at the Examinador (1714), officiale alla Ternaria vecchia (1715), member of the Quarantia civil vecchia (1717), administrator in Pola (1733), official at the old justice (1735), chamberlain in Brescia (1738), where he died on his fifty-third birthday. • Benedetto Marcello is often remembered for his poetic-harmonic inspiration (Venice, 1724-1727), a work that sets the first fifty Psalms to music for voices and basso continuo, in the Italian paraphrase version created by Girolamo Ascanio Giustiniani. These compositions were greatly admired by Charles Avison, who with John Garth edited an edition with texts in English (London, 1757). Among the admirers of the Psalms of Marcellus, who enjoyed great prestige and European fame throughout the eighteenth and nineteenth centuries, there are also Goethe, Rossini and Verdi. • The famous Adagio del Concerto for oboe, transcribed for keyboard instrument by Johann Sebastian Bach (BWV 974) and which has become popular today thanks to the film Anonimo Veneziano (1970), is actually attributable to his brother Alessandro Marcello. • He also composed more than three hundred cantatas, for one or more voices; four oratorios (including Joaz on a libretto by Apostolo Zeno for the imperial court of Vienna) and several serenades. The library of the Brussels Conservatory has some interesting volumes of chamber cantatas composed for his beloved woman. Although Marcello himself wrote the libretto of an opera in 1708, La Fede Recognized, in Vicenza, he had little sympathy for this form of composition, and he gave vent to his views on the state of musical drama at that time in the pamphlet Teatro alla moda, published anonymously in Venice in 1720; this little work, which has been reprinted several times, is not only very funny, but is also a valuable contribution to the history of the work. • His tomb is located in the church of San Giuseppe di Brescia, the burial place par excellence of the Brescian personalities in the musical field.

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