Benevoli, Orazio (EN)

Benevoli, Benevolo, Orazio, *19 April 1605 Rome, †17 June 1672 Rome, Italian composer. He was the son of a Lorraine confectioner (R. Venouot) living in Rome; he used the Italian version of his surname. Between 1617 and 1623, he sang as a chorister in the choir of the church of S. Luigi dei Francesi, where he also studied music with V. Ugolini until 1620. Between 1624 and 1644, he was choirmaster at various churches in Rome: until 1630 at S. Maria in Trastevere, until 1638 at S. Spirito in Saxia (also as organist), and until 1644 again at S. Luigi dei Francesi. In 1644–46, he stayed in Vienna as the bandmaster of Prince Leopold Wilhelm, son of Ferdinand III. After returning to Rome (1646), he took up the position of bandmaster at S. Maria Maggiore, and later bandmaster of the Cappella Giulia at S. Pietro, which he held until the end of his life. He was buried in S. Spirito in Saxia.

Benevoli’s work has not yet been studied or even thoroughly catalogued, and the authorship of many works previously considered to be his legacy is now being questioned. Until recently, Benevoli’s compositional technique was assessed primarily on the basis of his early composition, Missa Salisburgensis (for two 8-voice choirs, six instrumental ensembles – 35 voices, two organs and basso continuo), written for the consecration of Salzburg Cathedral. The frequent use of octave doublings was emphasized, drawing attention to the relatively limited independence of the voices, as the entire large ensemble can be reduced to eight voices. Benevoli’s traditional style in his masses was also pointed out; however, this only applies to the 4- and 6-voice masses, which are deliberately written in the prima pratica style. Despite the low ratings given to the Missa Salisburgensis, it already shows the compositional momentum that led to masterful solutions in later polychoral compositions. They are distinguished above all by their excellently arranged sound material (works intended for performance in huge interiors) and the gradually increasing independence not only of individual choirs, but also of voices, which is most evident in polyphonic passages. Today, it is believed that Benevoli was the first to rid polychoral music of octave doublings. In terms of tonality, he clearly moved towards the major-minor system. The energetic rhythm of the basso continuo provides a strong foundation for the entire sound mass (which G.F. Handel would later successfully use in his oratorios). Benevoli also set an unmatched standard for conducting four different bass lines as the basis for four four-part choirs. It was in 16-part works (for which he wrote the most) that he created patterns of cadences that sounded perfect and were characteristic of his technique. In his polychoral technique, he was far from schematic: he used both strict interchangeability between choirs and free alternation. He also introduced ripieno choirs, which played a dynamic role. Benevoli’s work is characterized by emotional saturation and freshness of text interpretation. Today, Benevoli is considered to be the first and only composer who gave the so-called colossal style its majestic grandeur. His followers were unable to achieve either the melodic nobility or the clarity of his harmony in their works. Benevoli enjoyed great fame during his lifetime, but he did not find a patron who would publish even one collection of his works. Individual works, however, were printed in over twenty anthologies of the time, starting with Sacrarum modulationum… by D. Blanci (Rome 1642) and ending with Sacri concerti a 2 e 3 voci… (Bologna 1675). Benevoli’s compositions have survived mainly in manuscripts (often as autographs), which are kept in various libraries, including those in Bologna, Rome, Dresden, Vienna, Berlin, and London. Many of Benevoli’s works have been lost, such as the 12-choir mass sung by a 150-voice ensemble in 1650 in the church of S. Maria sopra Minerva; a number of compositions were destroyed during World War II. Benevoli’s works (Opera omnia) are currently being published by L. Feingner.

Literature: L. Feininger Orazio Benevoli, in: Atti del congresso internazionale di musica sacra, Rome 1950, 1952; L. Feininger La scuola policorale romana del Sei e Settecento, “Collectanea Historiae Musicae” II, Florence 1965.