Antonio Scandello

from Wikipedia, the free encyclopedia
Antonio Scandello on a medal by Tobias Wolff, 1577.

Antonio Scandello (also Scandellus or Scandelli ; born January 17, 1517 in Bergamo , † January 18, 1580 in Dresden ) was an Italian composer and court conductor .

Life

Antonio Scandello, who comes from an old noble family of Northern Italy (de Rusticis), was probably active as a zinkenist and trombonist in Bergamo from 1530 . With his brother Angelo, he followed his father Hieronimus Scandello as town piper. In 1547 Scandello worked at the Church of Santa Maria Maggiore in Bergamo. Six years later he can be traced back to the chapel of the Trento Cardinal Cristoforo Madruzzo . During a trip to Italy in 1549, Elector Moritz von Sachsen hired him and five other "Welsche musicians" for the newly founded Dresden court orchestra . In doing so, the Saxon elector followed a fashion that emerged in the mid-16th century, namely the increased employment of Italian musicians at German courts.

Scandello converted to Protestantism in 1562 . This was in connection with the acquisition of the later Kapellmeister post and the citizenship of the city of Dresden. From 1566 he was vice conductor and as "assigned moderator" subordinate to the decrepit Mattheus Le Maistre . From 1568 until his death, Scandello was court conductor himself. His marriage to Agnes Tola can probably also be dated in the year of his appointment. The marriage produced three sons. Scandello was buried in Dresden's Frauenkirchhof after his sudden death . His successor in the office of Kapellmeister was Giovanni Battista Pinello di Ghirardi .

Catalog of works (selection)

measure up

  • Missa sex vocum super epitaphium illustrissimi principis Mauritii ducis et electoris Saxoniae, Nuremberg 1558.
  • Missa Deus qui sedes super thronum, Rostock University Library (D-ROu), Mus. Saec. XVI-49.
  • Missae sex, Munich 1576. Lost collection, probably printed by the Munich printer Adam Berg, with six five- and six-part masses, a copy of which has been preserved from Breslau. The collection contained the following fairs:
    1) Missa super Aveque vous
    2) Missa super Io mi son giovenetta
    3) Missa ad aequales
    5) Missa super Au premier jour
    6) Missa super O passi sparsi
  • Mauritius cedidit bellam Germania plange, Nuremberg 1553, missing.
  • Newe Teutsche Liedlein, Nuremberg 1568.
  • Nawe beautiful exquisite sacred German songs, Dresden 1575.
  • Resurrection History (composed around 1573), Breslau 1612 [other title: Gaudii paschalis Jesu Christi].
  • Passio das Leyden of our Lord Jesus Christ, after the H. Evangelist Iohanne (composed 1561), Breslau 1621.
  • Magnificat settings, motets, sacred songs.

Secular canzonets and songs

  • El primo libro delle canzone napolitane, 4v, Nuremberg 1566.
  • Il secondo libro dele canzone napolitane 4–5v., Munich 1577.
  • Nawe and funny secular German songs, Dresden 1570.

expenditure

  • Johannespassion , 1) in: Kade, Otto, The Elderly Passion Composition up to 1631 , Gütersloh 1893.

2) ed. by Klaus Beckmann, Neuhausen 1966, Stuttgart 2 1998.

  • Resurrection History , 1) in: Geistliche Chormusik , 2nd row, Issue 8, Stuttgart 1960.

2) Facsimile of the source in the Naumburg City Archives, ed. from the Standing Conference of Central German Baroque Music, Blankenburg 1998.

  • Missa super Epitaphium Mauritii. 6 votes , ed. by Lothar Hoffmann-Erbrecht (Das Chorwerk 65), Wolfenbüttel: Möseler 1958.

meaning

Antonio Scandello's work comprises at least eight masses, numerous Latin motets, two printed volumes of Italian canzons and three collections of sacred and secular songs. The song compositions, which were influenced by his predecessors at the court of Electoral Saxony, Walter and Le Maistre , play a central role . His canzonette style, however, is more indebted to Gaspard de Alberti. The Missa sex vocum super epitaphium Mauritii is a commemorative mass for the Elector Moritz von Sachsen, who died in the battle of Sievershausen in 1553 . It is probably based on a lost funeral epitaph. Like all of Scandello's masses, the Missa sex vocum super epitaphium Mauritii is conceived as a parody mass.

In the St. John Passion ("Passio das Leyden of our Lord Jesus Christ, according to the H. Evangelist Iohanne") from 1561 the transition to the motetic Passion can be traced. In his setting of the Passion, Scandello takes up the responsorial compositional style of Johann Walter . In his five-part St. John Passion , too, he seems to have been the first to reserve the lesson tone exclusively for the evangelist in the Protestant Passion , but to freely compose the other characters in changing casts and without reference to the Passion tone. The non-rhythmic lecture of the evangelist, notated in horseshoe-nail notation, is interrupted by insertions composed of several voices by acting persons. Scandello developed Walter's model further by setting the polyphonic insertions to music in changing ensembles.

The resurrection history ( Easter joy of the victorious and triumphant resurrection ), which was composed around 1573, is designed in a similar way to the St. John Passion. It is one of the early forms of this type and was performed until the 1770s. The song compositions by Scandello take up the greater part of the surviving work. Some collections appeared in multiple editions, which is an indicator of its popularity. In his songs, Scandello combines the traditional German tenor song with the newly established canzonette style.

Antonio Scandello was the first Italian musician to hold the post of conductor in the Holy Roman Empire in the 16th century. The canzone print, published in Nuremberg in 1566, is the first collection published in Germany that exclusively contains Italian-language music. Scandello's work is characterized by its double function: As a representative of Lutheran church music, it stood in the tradition of Johann Walter and was at the same time a representative of Italian music.

literature

  • Balsano, Maria Antonella, “Et a Dresda Martin diventò Ianni. Le canzoni napolitane di Antonio Scandello ”, in: From Isaac to Bach. Studies on older German music history. Festschrift Martin Just for his 60th birthday , ed. by Frank Heidlberger u. a., Kassel 1991, pp. 139-153.
  • Blume, Friedrich, History of Protestant Church Music , Second, revised edition, Kassel 2 1965.
  • Albrecht Classen, Lukas Richter: Song and songbook in the early modern period (=  folk song studies . Volume 10 ). Waxmann Verlag, Münster 2010, ISBN 978-3-8309-7257-0 , p. 185 f . ( limited preview in Google Book search).
  • Eitner, Robert:  Scandello, Antonio . In: Allgemeine Deutsche Biographie (ADB). Volume 30, Duncker & Humblot, Leipzig 1890, p. 475 f.
  • Härtwig, Dieter, "Scandello, Antonio", in: The music in past and present , ed. by Friedrich Blume, Vol. 11, Kassel a. a. 1989, col. 1472-1480.
  • Heuchemer, Dane Owen, Italian musicians in Dresden in the second half of the sixteenth century. with an emphasis on the lives and works of Antonio Scandello and Giovanni Battista Pinello di Ghirardi (microfiche edition) 1997.
  • Ders., "Scandello, Antonio", in: The New Grove Dicotionary of Music and Musicians , Second Edition, ed. by Stanley Sadie and John Tyrrell, Vol. 22, New York et al. a. 2001, pp. 369-370.
  • Kade, Reinhard, “Antonio Scandellus, 1517–1580. a contribution to the history of the Dresdener Hofkantorei ”, SIMG , xv (1913–1914), pp. 535–565.
  • Pezzi, Francesco:  Scandello, Antonio. In: Raffaele Romanelli (ed.): Dizionario Biografico degli Italiani (DBI). Volume 91:  Savoia-Semeria. Istituto della Enciclopedia Italiana, Rome 2018.
  • Schmitz, Peter, “Considerations on Antonio Scandello's Memorial Mass for Elector Moritz von Sachsen”, in: Polyphonic Masses in the 15th and 16th Centuries. Function, context, symbol , ed. from Ammendola, Andrea; Glowotz, Daniel; Heidrich, Jürgen, Göttingen 2012, pp. 251–265 ( limited preview in the Google book search).
  • Smallman, Basil, “Scandello, Antonio”, in: The Oxford Companion to Music , Oxford 2011. https://login.emedia1.bsb-muenchen.de/login/login
  • Steindorf, Eberhard, Die Sächsische Staatskapelle Dresden , Berlin 1997.
  • Waczkat, Andreas, “Scandello, Antonio”, in: Music in the past and present. Second, revised edition , Person Part 14, ed. by Ludwig Finscher, Kassel a. a. 2005, col. 1064-1066.

Individual evidence

  1. ↑ a b Albrecht Classen and Lukas Richter: Song and songbook in the early modern times. Verlag Waxman, 2009, ISBN 3-8309-2257-4 ( limited preview in Google Book Search).
  2. ↑ See Waczkat, “Scandello”, in: MGG2 , Person Teil 14, Kassel a. a. 2005, Col. 1064. Heuchemer, “Scandello”, in: New Grove 2 , Vol. 22, New York a. a. 2001, p. 369.
  3. ↑ See Härtwig, "Scandello", in: MGG , Vol. 11, Kassel a. a. 1989, column 1472. Scandello gave up this title of nobility in Germany.
  4. ↑ The other musicians were Cerbonio Besozzi, Matthias Besozzi (nephew), Benedikt and Gabriel Tola and Quirin Tola. See Härtwig, “Scandello”, in: MGG , vol. 11, Kassel a. a. 1989, Sp. 1472. Steindorf, Sächsische Staatskapelle Dresden , Berlin 1997, p. 15.
  5. ↑ Angelo Scandello followed his brother Antonio two years later when he also entered the chapel.
  6. ↑ Härtwig, “Scandello”, in: MGG , Vol. 11, Kassel a. a. 1989, col. 1473. Robert Eitner:  Scandello, Antonio . In: Allgemeine Deutsche Biographie (ADB). Volume 30, Duncker & Humblot, Leipzig 1890, p. 475 f.
  7. ↑ See Waczkat, "Scandello", in: MGG 2 , Person Teil 14, Kassel a. a. 2005, Col. 1064. Heuchemer, “Scandello”, in: New Grove 2 , Vol. 22, New York a. a. 2001, p. 369. His position as Kapellmeister was endowed with 400 guilders.
  8. ↑ See Härtwig, "Scandello", in: MGG , Vol. 11, Kassel a. a. 1989, col. 1472. Scandello married Agnes Tola in their second marriage, who was a daughter of Benedikt Tola (see note 4).
  9. ^ Johann Gottfried Michaelis : Dreßdnische Inscriptiones und Epitaphia . Self-published by the author, Dresden 1714, p. 169 ( online in Google Book Search).
  10. ↑ See Waczkat, "Scandello", in: MGG 2 , Person Teil 14, Kassel a. a. 2005, Col. 1064. Heuchemer, “Scandello”, in: New Grove 2 , Vol. 22, New York a. a. 2001, p. 369. Originally, either Orlando di Lasso or Jacob Regnart was supposed to become the new Kapellmeister, but the talks on this point have failed.
  11. ↑ After Heuchemer, “Scandello”, in: New Grove 2 , Vol. 22, New York a. a. 2001, p. 369. Waczkat, “Scandello”, in: MGG 2 , Person Teil 14, Kassel a. a. 2005, Sp. 1064. For a comprehensive overview of the catalog raisonné, see Heuchemer, Dane Owen, Italian musicians in Dresden in the second half of the sixteenth century. with an emphasis on the lives and works of Antonio Scandello and Giovanni Battista Pinello di Ghirardi (microfiche edition) 1997.
  12. ↑ According to Waczkat, "Scandello", in: MGG 2 , Person Teil 14, Kassel a. a. 2005, col. 1064.
  13. ↑ See Scandello, Antonio, Missa super Epitaphium Mauritii. 6 votes , ed. by Lothar Hoffmann-Erbrecht (Das Chorwerk 65), Wolfenbüttel: Möseler 1958, p. II. Waczkat, “Scandello”, in: MGG2, person part 14, Kassel a. a. 2005, col. 1065.
  14. ↑ See Scandello, Antonio, Missa super Epitaphium Mauritii. 6 votes , ed. by Lothar Hoffmann-Erbrecht (Das Chorwerk 65), Wolfenbüttel: Möseler 1958, p. II. Härtwig, “Scandello”, in: MGG, vol. 11, Kassel a. a. 1989, Col. 1473. Waczkat, “Scandello”, in: MGG 2 , Person Teil 14, Kassel a. a. 2005, col. 1064.
  15. ↑ Friedrich Blume: History of Protestant Church Music , Kassel 1965, p. 118
  16. ↑ Waczkat, "Scandello", in: MGG 2 , Person Teil 14, Kassel a. a. 2005, Col. 1065. The words of Jesus in a full-part sentence are contrasted with five-part turbae sections. In addition, the St. John Passion combines conventional ways of composing with the canzonette style. The canzonette style was most likely influenced by de Albertis.
  17. ↑ Friedrich Blume : History of Protestant Church Music , Kassel 1965, p. 119
  18. ↑ Waczkat, "Scandello", in: MGG 2 , Person Teil 14, Kassel a. a. 2005, col. 1065. Robert Eitner:  Scandello, Antonio . In: Allgemeine Deutsche Biographie (ADB). Volume 30, Duncker & Humblot, Leipzig 1890, p. 475 f.
  19. ↑ Magnificat, motets, individual lieder 1564 2 , 1568 21 , 1569 1 , 1571 17 , 1572 12 , 1575 17 , 1578 1 , 1583 22 , 1585 37 , 1590 5 , Corollarium cantionum sacrarum, Nuremberg 1591, 1597 7 , 1607 12a , 1609 28 , 1619 16 El primo libro delle canzone napolitane, 4v, Nuremberg 2157 2 , 3158 3 .
  20. ↑ Waczkat, "Scandello", in: MGG 2 , Person Teil 14, Kassel a. a. 2005, col. 1065. Robert Eitner:  Scandello, Antonio . In: Allgemeine Deutsche Biographie (ADB). Volume 30, Duncker & Humblot, Leipzig 1890, p. 475 f.
  21. ↑ See Robert Eitner:  Scandello, Antonio . In: Allgemeine Deutsche Biographie (ADB). Volume 30, Duncker & Humblot, Leipzig 1890, p. 475 f.

Web links

Commons : Antonio Scandello  - Collection of images, videos and audio files

biography

Music
personal data
SURNAME Scandello, Antonio
ALTERNATIVE NAMES Scandellus, Antonius; Scandelli Antonio; Schandel, Anton
BRIEF DESCRIPTION Italian composer and conductor
DATE OF BIRTH January 17, 1517
PLACE OF BIRTH Bergamo
DATE OF DEATH January 18, 1580
Place of death Dresden