1863 · Paris
by MARCELLO, Benedetto 1686-1739
Paris: G. Flaxland [PN G.F. 630], 1863. Large octavo. 19th century patterned paper boards. 1f. (recto title printed in brown, verso blank), 1f. ("Table des Psalumes ...," verso blank), 165, [i] (blank) pp. Engraved.
Binding very slightly worn. Minor internal wear and foxing. Rare. OCLC (one copy only, at the Bibliothèque nationale in Paris).
Marcello's psalms were first published in Venice in 1724-1726. "Marcello's intent in his Salmi ... was to restore dignity to devotional music by reviving musical practices of antiquity ... Marcello's legacy was greatest for those who lived between 1750 and 1875, when recognition of his Salmi led to their translation into many other languages ... and their performance, as liturgically generic sacred works, in a host of different liturgical contexts ... Differing national values coloured perceptions of Marcello's music: the English revered its 'harmony', the Germans its 'melody' and the Italians its 'counterpoint'. It was only in the 20th century that Marcello's name started to fall from grace in lists of important composers in the past. Even as this change occurred,however, the influence of his Salmi was regenerated in ethnomusicology: the materials Marcello quoted from Judaic and Hellenic traditions in the 1720s are frequently requoted (often without attribution) in studies of ancient and oriental music." Eleanor Selfridge-Field in Grove Music Online. (Inventory #: 36785)
Binding very slightly worn. Minor internal wear and foxing. Rare. OCLC (one copy only, at the Bibliothèque nationale in Paris).
Marcello's psalms were first published in Venice in 1724-1726. "Marcello's intent in his Salmi ... was to restore dignity to devotional music by reviving musical practices of antiquity ... Marcello's legacy was greatest for those who lived between 1750 and 1875, when recognition of his Salmi led to their translation into many other languages ... and their performance, as liturgically generic sacred works, in a host of different liturgical contexts ... Differing national values coloured perceptions of Marcello's music: the English revered its 'harmony', the Germans its 'melody' and the Italians its 'counterpoint'. It was only in the 20th century that Marcello's name started to fall from grace in lists of important composers in the past. Even as this change occurred,however, the influence of his Salmi was regenerated in ethnomusicology: the materials Marcello quoted from Judaic and Hellenic traditions in the 1720s are frequently requoted (often without attribution) in studies of ancient and oriental music." Eleanor Selfridge-Field in Grove Music Online. (Inventory #: 36785)