- Agostino Steffani
Agostino Steffani (
July 25 ,1653 -February 12 ,1728 ) was an Italianecclesiastic ,diplomat andcomposer .Biography
Steffani was born at
Castelfranco Veneto .At a very early age he was admitted as a
chorister atSan Marco ,Venice . In 1667 the beauty of his voice attracted the attention ofCount Tattenbach , by whom he was taken toMunich , where his education was completed at the expense ofFerdinand Maria , Elector ofBavaria , who appointed him "Churfurstlicher Kammer- und Hofmusikus" and granted him a liberal salary. After receiving instruction fromJohann Kaspar Kerll , in whose charge he lived, he was sent in 1673 to study inRome , whereErcole Bernabei was his master, and among other works he composed six motets, the original manuscripts of which are now in theFitzwilliam Museum atCambridge . On his return to Munich in 1674 he published his first work, "Psalmodia vespertina", a part of which was reprinted inGiovanni Battista Martini 's "Saggio di contrappunto" in 1774. In 1675 he was appointed court organist. The date when he was ordained priest, with the title of Abbate of Lepsing, is not precisely known. His ecclesiastical status did not prevent him from turning his attention to the stage, for which, at different periods of his life, he composed work which undoubtedly exercised a potent influence upon the dramatic music of the period. Of his first opera, "Marco Aurelio", written for the carnival and produced at Munich in 1681, the only copy known to exist is a manuscript score preserved in the royal library atBuckingham Palace . It was followed by "Solone" in 1685, by "Audacia e rispetto", "Prerogative d'amore" and "Servio Tullio" in 1686, by "Alarico" in 1687, and by "Niobe" in 1688; but of these works no trace can now be discovered. Notwithstanding the favor shown to him by the ElectorMaximilian Emanuel , he accepted in 1688 the appointment ofKapellmeister at the court ofHanover , where he speedily improved an acquaintance dating from 1681 with Ernst Augustus, Duke ofBrunswick-Luneburg (afterwards Elector of Hanover), winning also a pleasant footing with the Elector's daughterSophia Charlotte (afterwards Electress ofBrandenburg and Queen ofPrussia ), the philosopherLeibniz , the AbbateOrtensio Mauro , and many men of letters and intelligence, and where, in 1710, he showed great kindness toHandel , who was then just entering upon his glorious career. He inaugurated a long series of triumphs in Hanover by composing, for the opening of the new opera house in 1689, an opera called "Enrico il Leone", which was produced with extraordinary splendour and achieved an immense reputation. For the same theatre be composed "La Lolta d'Ercole con Achilleo" in 1689, "La Superbia d'Alessandro" in 1690, "Orlando generoso" in 1691, "Le Rivali concordi" in 1692, "La Liberia contenta" in 1693, "I Trionfi del Job" and "I Baccanali" in 1695, and "Briseide" in 1696. The libretto of "Briseide" is byPalmieri . Those of most, if not all the others are by the Abbate Mauro. The scores are preserved at Buckingham Palace, where, in company with five volumes of songs and three of duets, they form part of the collection brought toEngland by the Elector of Hanover in 1714. But it was not only as a musician that Steffani distinguished himself in his new home. The elevation of Ernst Augustus to the electorate in 1692 led to difficulties, for the arrangement of which it was necessary that an ambassador should visit the various German courts, armed with a considerable amount of diplomatic power. The accomplished abbate was sent on this delicate mission in 1696, with the title ofenvoy extraordinary , and he fulfilled his difficult task so well thatPope Innocent XI , in recognition of certain privileges he had secured for the Hanoverian Catholics, consecrated him bishop ofSpiga in theSpanish West Indies .In 1698 he was sent as ambassador to
Brussels , and after the death of Ernst Augustus in the same year he entered the service of the Elector Palatine,Johann Wilhelm , atDüsseldorf , where he held the offices ofprivy councillor andprotonotary of theHoly See . Invested with these high honours, Steffani could scarcely continue to produce dramatic compositions in public without grievous breach of etiquette. But his genius was too importunate to submit to repression; and in 1709 be ingeniously avoided the difficulty by producing two new operas: "Enea" at Hanover and "Tassilone" at Dusseldorf in the name of his secretary and amanuensisGregorio Piva , whose signature is attached to the scores preserved at Buckingham Palace. Another score, that of "Arminio" in the same collection, dated Dusseldorf, 1707, and evidently the work of Steffani, bears no composers name.Steffani did not accompany the elector George to England; but in 1724 the
Academy of Antient Musick in London elected him its honorary president for life; and in return for the compliment he sent the association a magnificentStabat Mater , for six voices and orchestra, and three fine madrigals. The manuscripts of these are still in existence, and theBritish Museum possesses a very fineConfitebor , for three voices and orchestra, of about the same period. All these compositions are very much in advance of the age in which they were written; and in his operas Steffani shows an appreciation of the demands of the stage very remarkable indeed at a period at which the musical drama was gradually approaching the character of a merely formal concert, with scenery and dresses. But for the manuscripts at Buckingham Palace these operas would be utterly unknown; but Steffani will never cease to be remembered by his beautiful chamber-duets, which, like those of his contemporaryCarlo Maria Clari (1669-1745), are chiefly written in the form of cantatas for two voices, accompanied by afigured bass . The British Museum (Add. MSS. 5055 seq.) possesses more than a hundred of these charming compositions, some of which were published at Munich in 1679. Steffani visited Italy for the last time in 1727, in which year Handel, who always gratefully remembered the kindness he had received from him at Hanover, once more met him at the palace ofCardinal Ottoboni in Rome. This was the last time the two composers were destined to meet. Steffani returned soon afterwards to Hanover, and died onFebruary 12 1728 while engaged in the transaction of some diplomatic business atFrankfurt .Steffani stands somewhat apart from contemporary Italian composers (e.g.
Alessandro Scarlatti ) in his mastery of instrumental forms. His opera overtures, etc., show a remarkable combination of Italian suavity with a logical conciseness of construction which is due to French influence. In vocal music he is often considered inferior to Scarlatti, and none of his famous duets, despite their charm, can compare for seriousness of intention with the Sicilian masters chamber-cantatas. His instrumental music, however, is historically important as a factor in the artistic development of Handel.References
*1911
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