Antonio Scandello

• Born: January 17, 1517
• Died: January 18, 1580
• Genres: Classical

Biography

In Scandello's early career he was a prominent instrumental musician noted for his ability to play the cornett and the sackbut. He was one of many fine Italian musicians employed at the Dresden court becoming the Kapellmeister in 1568 upon the death of Le Maistre. Though he was able to travel to Italy on more than one occasion from Dresden, Scandello remained there for his entire life. Upon the death of his initial patron, the Elector Moritz of Saxony, Scandello composed his magnificent "Missa sex vocum super epitaphium illustrissimi principiis Mauritii." As the Kapellmeister at Dresden Scandello was able to keep order among the German and foreign musicians as well as develop the chapel choir and musicians into a leading force, second only to Lassus in Munich. As a composer Scandello began writing late in life. Most of the compositions were parody masses though he also composed a passion based on the gospel of John. He was the first to conjoin the forms of the motet with the chorale highlighted by polyphonic recitatives. Collections of numerous sacred and secular pieces by Scandello were often set with the cantus firmi in the tenor or descant. "Newe und lustige weltliche deudsche Liedlein" included elements of the German lied tradition with the Italian madrigal. The melodic character of these pieces by Scandello can only be described as flowing. ~ Keith Johnson, All Music Guide

(b Bergamo, 17 Jan 1517; d Dresden, 18 Jan 1580). Italian composer. He worked in Trent and in 1549 entered the service of the Elector of Saxony at Dresden. He became a Protestant and in 1568 was appointed Kapellmeister. He made several journeys to Italy, and with the chapel went to other German cities His reputation as a cornettist and sackbut player led musicians to travel great distances for tuition and his chapel was second only to Lassus's in Munich. His masses and motets use parody and cantus firmus techniques. His St John Passion (1561), influenced by the Lutheran-inspired tradition of Dresden, combines chorale and motet styles in Germany for the first time. He also composed many German and Italian secular songs, some synthesizing madrigal and villanella styles with German cantus firmus technique.

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