The Adagio is notable, apart from its general ambience, for its upwardly-spiralling oboe theme, enhanced by distinctive ornamentation. Marcello maintains a ‘single affection’ within each movement, where contrasts of texture and volume are wrought, but not of sentiment. His D minor Oboe Concerto reflects the familiar and civilized language of the Baroque and thus provides an interesting comparison to the contrasting moods of the later style of Bellini. His instrumental works reflect a knowledge and understanding of the differences in French, Italian, and German music of the time, including choices of instruments for both the solo and continuo parts and use of ornamentation. His cantatas dealt primarily with pastoral subjects and contained topical references, and, befitting his station in society, were clearly intended for Venice's and Rome's best singers, including Farinelli, Checchino, Laura and Virginia Predieri, and Benedetto's student, Faustina Bordoni. Marcello's compositional output is small, consisting of not much more than a dozen each of chamber cantatas, violin sonatas, and concertos. After returning to Venice, he took on a series of judiciary positions while dabbling in a number of creative endeavors. Antonio, then joined the Venetian Arcadian society, the Accademia degli Animosi in 1698, and served the city as a diplomat in the Levant and the Peloponnese in 17. ![]() Alessandro was educated at the Collegio di S. Alessandro worked variously as a judge, court officer, and merchant, while composing, painting, and writing poetry on the side.Īlessandro Marcello's (1669, Venice - 1747, Padua) studied law and were members of the city-state's high council. Instead, they wrote skillful and inventive music for the enjoyment of their friends, who gathered in aristocratic salons around Venice. The two brothers were both amateurs and didn’t make their living through their art, as Vivaldi and others did. They were issued under the pseudonym of Eterio Stinfalico, probably to disguise his noble background. Alessandro's largest collected body of works is a set of concertos published under the title 'La Cetra' sometime between 17. It is likely that a substantial body of manuscript works by both brothers has been lost. Possibly for this reason, neither Alessandro nor his brother published a substantial amount of music, but both were entirely serious musicians of considerable capability. ![]() Like Albinoni, they were dilettante musicians who were able to choose a freelance career rather than regular employment. Bach saw this as an opportunity to learn about the Italian style, and proceeded to arrange sixteen of these concerti for solo harpsichord.Īlessandro Marcello was the elder of two bothers, born to a noble Venetian family. The musical library of the ducal court was rich with orchestral works by Vivaldi, Corelli, Torelli, Frescobaldi and of course Marcello (both Benedetto and Alessandro). Bach discovered this concerto and other works by Italian masters while under the employment of Duke Wilhelm Ernst in Weimar. It is Bach’s arrangement on which this duo version for guitar is heavily based. This arrangement, dating from 1713-1714, is part of a collection of works entitled '16 Konzerte nach verschiedenen Meistern', BWV 972–987 (16 concerts according to different masters). The earliest known surviving manuscript of Alessandro Marcello’s Oboe concerto in D minor exists not as a score from the composer’s own hand, but as an arrangement for solo keyboard by contemporary J.S. ![]() The vigorous finale, Presto, resembles the “rage” arias of Baroque operatic heroes. ![]() The first movement, Andante e spiccato, could be a mid-tempo aria, while the Adagio is lyrical and mournful. Its earliest champions included Antonio Vivaldi and Alessandro Marcello, who quickly established the three-movement form still standard for concertos today.Īll three movements of the Oboe Concerto show genesis in song. Alessandro Marcello’s Oboe Concerto in D Minor is an early example of a solo concerto (distinct from the older, ensemble-based concerto grosso), born from the realization that the style of an operatic aria could be adapted for an instrument with orchestral accompaniment.
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