#benedetto marcello

[musicwithoutborders]

Benedetto Marcello/Roberto Loreggian , Harpsichord Sonata in A Minor, Op. 3 No. 7, SF C740: V. Minuet I Harpsichord Sonatas, 2001

[lesser-known-composers]

Benedetto Marcello (1686-1739) : Sonata No. 2 in E Minor ·

Richard Webb · Anthony Pleeth · Christopher Hogwood

[turangalila]

Benedetto Marcello (1686-1739) Salmo Cinquantesimo a Tre. Alto, Tenore, e Basso. Con Violette. Miserere mei Deus, &c. (vv. 16-18) O d'immensa pietà, (S.650) Estro poetico-armonico. Parafrasi sopra li secondi venticinque salmi. Tomo ottavo. [Venice: Domenico Lovisa, 1726]

Salmo XXXXX

Versetto 16 - (alto) Tu mi sciogli la lingua, e fia che annunzi Tue laudi al mondo intero eccelse e grandi.  

Versetto 17 - (coro) Se di vittime e sangui i sagrifici A te fosser graditi, e gli olocausti; E agnelli, ed irci, e buoi col loro sangue Le tue bagnate avriano are sacrate. 

Versetto 18 - (soli e coro) Ma dolente uno spirto un cor contrito E umiliato, il sagrificio sono Di Dio sol degno, e questi sempre accolto Da lui sarà con favorevol guardo.

[Girolamo Ascanio Giustiniani (1697-1749) after Psalm L]

_ Benedetto Marcello, – Der 50. Psalm - Aus "Estro Poetico-Armonico" (Venezia 1726). Schola Cantorum Basiliensis. René Jacobs. (1980, Deutsche Harmonia Mundi – 1C 065-99 899)

[tfblovesmusic]

The Anthem 'Give Ear Unto Me' Was ORIGINALLY WRITTEN By TWO TENORS!

Picture yourself in a church service, tuning in as two sopranos in the choir pipe out Give Ear Unto Me, Vincent Novello's arrangement of a duet from Benedetto Marcello's Estro poetico-armonico.

Now imagine you're in my shoes - you're a HUGE fan of early music.

After getting home from the service, you tried Googling what was the original version of that anthem. You'd probably began listening to some entire period instrument takes of I cieli immensi narrano, S.618, after hearing the organ play an arrangement of the first movement at a wedding.

I have been that person.

I have been an early music buff since 5th grade, upon watching the Classic Arts Showcase block on my public access channel; buying the book, Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works; and watching several documentaries on Ovation TV in the early 2000s.

I have tons of favorite sites: the Bach Cantatas Website, Medieval.org, and Suzuki Violin Pieces in their Original Forms.

That's right: Suzuki Violin Pieces in their Original Forms.

Composer, piano teacher, and musicologist Mark Polesky had gathered all the pieces in all 10 volumes of the Suzuki Violin School. He declared that the majority of pieces weren't originally written for violin and piano. And to cap it all off, most weren't originally violin pieces to begin with.

Take the Allegro by Joseph-Hector Fiocco, for instance. Like Marcello's opening movement of I cieli immensi narrano, S.618, that piece has been played for many a wedding ceremony. But delve further into the musicology-early music rabbit hole, and you'll find that it's actually the 10th movement from Fiocco's first suite written for harpsichord.

"By this measure then," Polesky remarked, "almost 90% of the series consists of transcriptions and arrangements �� and I assume that most Suzuki students have only heard a few (if any) of these pieces in their original form, and also that many students may have never seen an original score."

"This is unfortunate. A typical Book 2 student who dutifully listens to the violin and piano recordings (provided by the company), might still never experience the boisterous humor of the original Hunters’ Chorus from Der Freischütz, or the inspiring virtuosity of Paganini’s Le Streghe (the source of Witches’ Dance)."

"It may also come as a surprise to many students that 11 of the pieces were originally intended to be sung — and how many of us can even say what the Chorus from Judas Maccabaeus is really about? Unfortunately, the texts for many of these songs will be beyond the comprehension of most of the youngsters playing them (particularly The Two Grenadiers), but a good teacher could convey the gist of most of them."

Polesky also mentioned the kicker - the website could as well introduce early music to violin students AND their parents and carers. By having them compare the original manuscripts to what is written in the Suzuki method books, they would ask questions like:

Why is the soloist playing something different from what’s in the score?

Can I add embellishments too? When and how? Why is everything tuned flat?

Where is the harpsichordist getting all those notes from?

Why are there so few dynamics, articulations, etc. in the original score?

Do I have to play it the way it’s written in my score?

"It should be mentioned at some point that many of the pieces in the Suzuki series are labeled too simply, with singular names such as Gavotte or Largo," Polesky explained.

"Anyone who wishes to research the original sources is faced with a particular challenge. For example, how many of Rameau’s 30 or so operas must one sift through before finding the Book 6 Gavotte buried in Act III of the obscure 1745 opera Le temple de la gloire? Hopefully in future editions, the publishers will include better identification of the sources."

"Also, several of the names that are listed as composers are simply incorrect. For example, most scholars now agree that at least two of the Minuets attributed to J. S. Bach in Volume 1 were not written by him. And the Lully Gavotte in Book 2 is actually a Rondeau by Marin Marais."

Don't you wish there SHOULD be the same analysis of some English-language arrangements of sacred Baroque vocal works sung at churches?

That brings us to Give Ear Unto Me. Before joining TalkClassical in early June 2024, I tried Googling in vain for the original source, listening to countless recordings of Marcello psalms, AND going as far as contacting Howard Goodall (who presented several classical music documentaries on Ovation TV) on X for answers. Nothing turned up.

Upon joining the forum, I aired my desperate, futile attempts to track down the original scoring of Give Ear Unto Me. Happily, RobertJTh pointed me to the direction of the good old IMSLP. Novello arranged the second movement of Salmo XVI, Tu che sai quanto sia giusta, S.616. Marcello composed it for two tenors.

Let that sink in...

TWO. TENORS.

I started reading Damián H. Zanette's modern adaptation of the manuscript and tuned into one rendition of Give Ear Unto Me. The vocal lines, not the lyrics, of Section A are between measures 26-72. Those in Section B are between measures 197-208. As I read the corresponding ones, THEY MATCHED!

While listening and reading, I thought, "Can you imagine two tenors singing Give Ear Unto Me without Novello's intro - basso continuo played by cello and chamber organ, per historically informed performance, and pitch at least 2 semitones lower - at a Sunday Mass?"

Short answer: HECK YES.

No recordings of Salmo XVI, Tu che sai quanto sia giusta, S.616 exist, but I would LOVE to hear some early music tenor duos ham it up for YouTube with full bassi continui!

[sarahtheflutist]

Benedetto Marcello

Sonata in F Major

Working on getting the second movement up to tempo

[beautifulvenezia]

Venezia, Italy

[musicollage]

Vivaldi; A.Marcello; Platti + Frans Bruggen — Oboe Concertos. 1979 : RCA Red Seal.

! acquire the album ★ attach a coffee !

[journalofanobody]

Benedetto Marcello - Sonata Op 2/II (Adagio - Allegro)

[poirott]

More filming on location for A Haunting in Venice

Kenneth Branagh, Tina Fey and Riccardo Scamarcio were spotted January 8 - 9 2023 on location in Venice, Italy, while shooting the 3rd Hercule Poirot film.

They've been filming at Campo San Samuele, the Clock Tower and the island of San Giorgio, for the past few days. A night-time scene had Branagh's Poirot cruising on a gondola driven by gondoliers wearing white Venetian masks. Another scene was a market in the churchyard of the island of San Giorgio, with stalls, straw baskets, milk cans, vegetable baskets, crates of soft drinks, and wine flasks. Despite the cold and drizzly weather, the set attracted curious onlookers visiting an art exhibition nearby.

JAMIE DORNAN, JUDE HILL, KELLY REILLY, ARRIVING SOON Italian media (via Italy24 and la Nuova Venezia) is reporting that "filming will continue in the next few days with the arrival of the other cast members, including Riccardo Scamarcio, Jamie Dornan (formerly Mr. Gray in 'Fifty Shades of Gray'), the French actress Camille Cottin, Tina Fey, Jude Hill, Ali Khan, Emma Laird, Kelly Reilly."

UPCOMING FILMING LOCATIONS include Palazzo Pisani, now home of the "Benedetto Marcello" Conservatory of Music, Scala del Bovolo, the most impressive spiral staircase in Venice, the church of Miracoli and the area of ​​the canals between campiello Widmann and Rio dei Mendicanti in campo dei Santi Giovanni e Paolo, and Palazzo Malipiero which also overlooks the Grand Canal.

Il Gazzettino reports group scenes will be filmed featuring "young protagonists: seven gondolas with about twenty extras are mobilized for the scenes, passing from the Miracles to the Rio which overlooks the back of the Malibran Theater."

Shooting in Venice will continue until January 13 2023.

Source: Italy24, SiViaggia, Corriere del Veneto, DM, GettyImages.com (photographer Stefano Mazzola)

[landrysg]

Happy birthday, Benedetto Marcello, born on this day in 1686

Via The Hammock Papers: https://thehammockpapers.blogspot.com/2023/06/happy-birthday-marcello.html

Benedetto Marcello (1686-1739), Requiem, nicely performed by Capella Concertata

[bauerntanz]

Igor Cognolato

Das 99. Hauskonzert bei Familie Löning in der #Emsphilharmonie #Lingen: Igor Cognolato spielt Werke von Beethoven, Schumann und Liszt. Sa, 9. November 19 Uhr. Kein Eintritt, Spende erbeten Anmeldung notwendig

99. Hauskonzert bei Familie Löning Igor Cognolato Klavier Lingen (Ems) – Emsphilharmonie, Falkenstraße 17 Samstag, 9. November – 19 Uhr Kein Eintritt, Spende erbeten Anmeldung notwendig via hauskonzerte(at)emsphilharmonie.de 1965 in Treviso geboren arbeitet der Pianist Igor Cognolato als Professor für Klavierspiel am Konservatorium “Benedetto Marcello” in Venedig, wo er auch bei Vincenzo Pertile…

[lesser-known-composers]

Benedetto Marcello (1686-1739) - Arianna abbandonata: III. Aria, Largo: "Come mai puoi lasciarmi" ·

Camerata Accademica · Paolo Faldi · Lucia Cortese ·

[turangalila]

Benedetto Marcello (1686-1739) Salmo Cinquantesimo a Tre. Alto, Tenore, e Basso. Con Violette. Miserere mei Deus, &c. (vv 10-15) O d'immensa pietà, (S.650) Estro poetico-armonico. Parafrasi sopra li secondi venticinque salmi. Tomo ottavo. [Venice: Domenico Lovisa, 1726]

Salmo XXXXX

Versetto 10 - (soli) Torci la faccia tua da’ falli miei E le mie iniquità tutte cancella.

Versetto 11 - (soli) Forma un cor che sia puro entro’l mio petto Iddio pietoso, e rinnovar ti degna Nelle viscere mie retto uno spirto.

Versetto 12 Non scacciarmi, Signor, dalla divina Presenza tua, né mi privar del Santo Spirto, di tua pietà sì raro dono.

Versetto 13 Rendi quel gaudio a me, che dalla speme Di salute promessa ha la sorgente; E nel retto operar dammi fortezza Con tuo spirto di forza e ogn’or mi reggi.

Versetto 14 - (tenore) All’or io mostrerò le sante vie di tua clemenza agl’empi, e questi allora Sul diritto sentier che a te conduce, Torneranno seguendo i passi miei.

Versetto 15 - (soli e coro) Clemente Iddio di mia salute autore Deh mi monda da quello, ond’io son reo, Sangue innocente, e allor la tua bontade Risuonerà sul labbro mio festoso.

[Girolamo Ascanio Giustiniani (1697-1749) after Psalm L]

_ Benedetto Marcello, – Der 50. Psalm - Aus "Estro Poetico-Armonico" (Venezia 1726). Schola Cantorum Basiliensis. René Jacobs (1980, Deutsche Harmonia Mundi – 1C 065-99 899)

[tfblovesmusic]

Maligayang Pask-OH SHIP! Mixtape 2, Listening Guide 2

Section 15: Happy Golden Days of Yore

The Mexican barrio morphs into a rural, snowy English town in the early 18th century. The Gesualdo Six’s Guy James, Joseph Wicks, Josh Cooter, Michael Craddock, Samuel Mitchell, and Owain Park stand outside a church, singing Michael Praetorius’s “Es ist ein Ros’ entsprungen.” The listener stops by the pub, and Heather Dale serenades one with “This Endris Night.” Sara Stowe stops by to serve the listener a cup of “The Gloucestershire Wassail.”

Refreshed, the listener enters the said church, in which one finds peasant clothing-clad James Bowman and Michael Chance pray Francois Couperin’s setting of the Magnificat. Dame Emma Kirkby appears also in peasant clothing, her singing the final movement of Alessandro Scarlatti’s Non so qual più m'ingombra – “Nacque, col Gran Messia” – with the London Baroque under Charles Medlam.

Section 16: Nochebuena Spread

Festive scents inundate a dining room as Sophie Retaux’s charming organ transcription of the Dance of the Mirlitons from The Nutcracker wafts.

Collin Paul welcomes the listener in the kitchen, declaring that “It’s a Marshmallow World.” Jody Dee and the Starliters cook up a storm with “The Peppermint Twist.” Lesley Gore helps one whip up Christmas “Sunshine, Lollipops, and Rainbows.” The listener helps Chance mix mulled wine, brew the nonalcoholic hot cocoa, and heat up toddies as he sings Purcell’s “If Music Be the Food of Love.”

All the dancing and cooking makes the listener hungry, and the cast of Promises, Promises help one set the tables to ensure that everyone has a “Turkey Lurkey Time.” The guests are in fact the King’s Singers, who join you in a “Banquet Fugue.” One of the Kidsongs Kids tells the listener at the jovial table, “All I Want for Christmas Is My Two Front Teeth.”

Section 17: The 1740s Menorah Lighting Hour

The listener once again heads to the 18th century, this time in a Jewish neighborhood. Matthias Maute’s Ensemble Caprice’s “Fa Nye Mama” fill the air, and so do the scent of laktes frying in oil.

As Sydney Fixman lights the candle on a silver menorah, the Pro Cantione Antiqua sing Salamone Rossi’s Elohim Hashivenu. The Maulbronn Chamber Choir, accompanied by Musica Florita and conducted by Jurgen Budday, sing “See the Conquering Hero Comes” from Handel’s seasonal oratorio, Judas Maccabaeus. Il Gardellino – under Marcel Ponseele – signifies another Hanukkah night illuminated with the 3rd movement of Alessandro Marcello’s Oboe Concerto in D minor, S D935.

Ensemble Il Continuo lends a festive air with the opening chorus of Benedetto Marcello’s I cieli immensi narrano, S.618. Helmut Lotti leads everyone in a rousing hora to his cover of “Shalom Alechem.”

Section 18: Give Love on Christmas Day

Seasonal romance intertwines with the festive atmosphere as the segment starts with Jose Mari Chan’s “A Perfect Christmas.” The listener waltzes with a friend (or significant other) as Peabo Bryson and Roberta Flack sing “As Long as There’s Christmas.” The Cambridge Singers and Farnham Youth Choir croon, “I Wish You Christmas.” The Jackson 5, aptly, advises the listener, “Give Love on Christmas Day.”

The Carpenters reminisce about “Those Good Old Dreams” while Susan Ashton and Collin Raye share “The Gift” with each other. Chan tells the listener, “Give Me Your Heart for Christmas.” Sandi Patty and the kids remind one, “The Gift Goes On.” Mariah Carey affirms that the listener’s love is the best gift of all, as evidenced by her greatest seasonal banger, “All I Want for Christmas Is You.” And Barry Manilow says, “I’ve Got My Love to Keep You Warm.”

Best listened with Spotify Premium.