https://www.youtube.com/watch?v=ZwpPQYVb248
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Benedetto Marcello (1686-1739) had a special predilection for the sound of the violoncello, as borne out by the parts he assigned to that instrument in his vocal works. Primarily a composer for the human voice, he naturally favored the instrument which approximated its range and expressiveness. The sonatas follow the same basic outline: four short movements, with an Adagio or Largo in the opening and third movements, and Allegros in the other two. There is nothing revolutionary in this music. Marcello's writing for strings did not possess the virtuoso elements found in Vivaldi and Tartini, but displayed a great deal of melodic originality. The slow movements unfold with noble dignity; the allegros, in binary form, are characterized by vigorous dance rhythms. Marcello often used melodies of Oriental and Hebrew derivation in his compositions. The third movement of the F major sonata offers an interesting example.
The six sonatas have fared better in the repertory than other Marcello works, and have appeared in many different editions. The second movement of the C major sonata was transcribed for orchestra by Sir John Barbirolli, and presented in this form by the New York Philharmonic in 1940. There have been several versions for violoncello and piano. In this recording, however, Janos Scholz plays the fore-runner of the cello: the somewhat smaller, six-stringed viola da gamba, the instrument of Marcello's time in an edition revised and realized by the harpsichordist of the recording, Egida Giordani Sartori.
