Grove's dictionary of music and musicians

—
'
Hd
—
QABBATINI, Galeazzo, of Pesaro, was probably
maestro di cappella there for some
years before 1626 ; this is indicated at any rate
in the preface'to the Sacrae Laudes,' Venice,
'
1626 (Parisini, Catalogo, ii. 492). On the
title-pages of his works he is called maestro di
cappella di camera to the Duke of Mirandola
in 1630 and again in 1636. The dates of his
publications range from 1625 to 1640. In
G. B. Doni's Annotazioni, published in 1640,
the ' Disoorso primo dell' inutile osservanza de
tuoni '
(p. 234), is dedicated to Signer Galeazzo
'
Sabbatini a Bergamo.' Sabbatini is highly
commended by Kircher, Mtisurgia universalis,
Rome, 1650, torn. i. p. 460, for his scientific
knowledge of music, h, rams musicus, qui tria
'
genera novo ausu ad arithmeticas leges revocans,
multo plura sane invenit, quorum diversis in
locis huius operis mentio fiet, et inter coetera
abacum novum ordinavit exactissime quicquid
in musica desiderari potest referentem, omnibus
harmoniis exibendis perfeotissimum,' etc.
Sabbatini
published one theoretical work, on the
thorough-bMS or basso continuo, which Burney
(Hist, of Music, iii. p. 538) criticises as inadequate
because it only treate of common chords
given to every note of the scale. The title
is : Begola facile e breve per smmre sopra il
basso amiinuo, nelV organo, manacordo, b altro
simile stromento. Composta da Galeazzo Sabbatini.
Dalla quale in questa prima parte
ciascuno da se stesso potrk imparare da i primi
principii quello che sara necessario per simi-
1' effetto. Venetia per il Salvatori, 1628, 4to.
The second edition, dated 1644, is in the British
Museum, and a third edition was published in
Rome in 1669. No 'seconda parte' of the
work is known. Sabbatini's published compositions
were as follows :
1. n primo libro de' madrigali di Galeazzo de Sabbatini da Peaaro.
Concertat] a due, tre, e quai;tro voci. Opera prima. No\iamen1»
composta, e data iji luce. Venetia, Aleas. Vincenti. 1625, 4to. A
second edition was issued in 1627, and a third in 163fl.
2. nsecondolibrode' madrigali di 6. S..concertatia2,3, et4voci.
Con la risposta a quattro Toci e due violini ad alcuni versi cbe
incominciano quando la Donna si dimostra altiera, posti nel terao
de" madrigali a 6 del Sig. Steffano Bemardi, etc. Opera seconda.
Nouamente composta et data in luce. Venetia, Aless. Vincenti,
1626, 4to. Second edition in 1636.
3. Sacrae Laudes musicis concentibus a G. S. contextae, 2, 3. 4,
et 5 TocibuB concinendae. Una cum bassus continuua pro organo,
etc. Opus tertium, liber primus. Venetiis, A. Vincentium, 1626,
4to. Second edition. 1637 ; another edition, Antwerp, 1642.
4. Hadrigali concertati a cinque voci con alcune canzoni concertate
anc' esse diuersaniente con sinfonie, e ritornelli, e nel fine una
canzonetta con voci, e instromenti, cbe si concerta in tempo imperfetto,
a in proportione minor perfetta, cioi fl in mimero binario, d
in numero temario. Di 6. S. Opera quarta, de' madrigali libro
Kouamente composti e dati in luce. Venetia, Aless. Vincenti,
teizo.
i627, 4to. Second edition in 1634.
5. Madrigali concertati a 2, 3, 4. e 5 voci. Con alcune canzoni
concertate, e tramezzate diuersaniente con sinfonie e ritornelli.
Di G. S. maestro di cappella di camera dell' eccell. sig. duea della
Mirandola. Opeiaquinta.de' madrigali libro quarto. Nouamente
compost! e dati in luce. Venetia, A. Vincenti, 1630, 4to. Second
edition. 1637.
6. Madrigali concertati a 2. 3, e 4 voci, con alcune canzonette
concertate con instromenti, di G. S. maatro di capella di caineia
dell' eccell. sig. duca della Mirandola, etc. Opera sesta. de' madrigali
libro quinto. Nouamente composti e dati in luce, et a sua eccellenza
illustrissiroa dedicati. Veneti. A. Vincenti, 1636, 4to.
7. Sacramm laudum musicis conceptibus a Galeatio Sabbatino
contextarum 2, 3. 4, et 5 vocibuB ad organum concinendarum. Liber
secundus. Opus septimum, etc. Venetiis. A. Vincentium, 1637,
4to. Another edition was published at Antwerp in 1641.
s
8. Deiparae Virginis Laudes a G. S. musicis conceptibus cum
3, 4, 5, et 6 vocibus contextae, etc. Opus octavum. Venetiis, A.
Vincentium. 1633. 4to.
9. Sacre lodi concerto a voce sola, C.A.T.B. Con la parte continua
da sonare di G. S. Opera nona. Venetia, A. Vincenti, 1640, 4to.
These are the Motetti '
a voce sola di 6. S. Lib. primo.'
10. Libro de' madrigali di G. S. concertati a 2| 3, e 4 voci, con la
risposta a quattro voci. e due violini ad alcuni versi che incominciano
quando la donna si dimostra altiera. Posti nel terzo
de' madrigali a 6 del sig. Steffano Semardi. Con il basso continuo.
Nouamente riatampati. In Aiiveisa preflso i heredi di Pietro Phalesio
al Ke David. 1640, obi. 4to. A reprint of the second volume of
madrigals published in 1626.
Compositions in other publications:
A motet and amass 'dal sig. Galeazzo Sabbatini. maestro dell'antoro,'
in Baniero Bcarselli's Sacrarum modulationum, Venice. 1637.
' Laudate pueri ' for three voices, in Marcello Jlinozzi's Salmi,
Venice, 1638. Minozzl in the preface mentions that Sabbatini was
his teacher,' huomo di quel grido che particolarmente 6 uoto a gli
intendenti dell' arte.' (Parisini. ii. 275.)
'O nomen Jesu' for three voices, in Ambr. ProHus's Ander Theil
geistlicher Concerten. Leipzig. 1641 ; 'Jesu Domine' for two voices,
in the Dritter Theil, 1642; 'Laudate pueri,' 'Omnes sancti,' and a
Missa, all for four voices, in the Vierdter und letzter Theil, 1646.
One motet in Proflus's Cunis solennib. Jeauli recens-nati. 1646.
'
Nos auteiu gloriari ' for three voices, in Benedetto Pace's Motetti
d' autori eccellentissimi, Loreto, 1646.
perso il mio core,' in Florido conceiito di madrigali, Bome,
1653.
MSS, In the Berlin Kouigl. Bibliothek: MS.1100,' Amaredesidero.'
In the TJpeala Uuiv.-Bibliothek: 'lu amo,' one of the Madrigali
concertati a cinque voci, published 1627.
In the Westminster Abbey Library : 'Amor porta ' for voice with
basso continuo, in a 17th.century folio manuscript. q g^
SABBATINI, LuiGi Antonio, was born in
1732 at Albano Laziale, near Rome. He was
educated at Bologna in the Franciscan monastery
of minori conventuali, where he studied music
under padre G. B. Martini. There is a manuscript
in Sabbatini's handwriting in the Bologna
Liceo Musicale, which contains the ' Regole per
accompagnare del pre. G. B. Martini, min. conle.
maestro di cappella di San Francesco in Bologna,
1761. Per uso di Fra Luigi Ant. Sabbatini,
min. conle.' (Parisini, Catalogo, i. 282). He
remained there eight years according to a long
and interesting letter which he ^vrote to Martini
from Albano on Nov. 2, 1766, now preserved
in the library of the Accademia filarmonica,
Bologna (Succi, Mostra intemazkmale, Bologna,
1888). He was afterwards in the Franciscan
monastery at Padua, where Valletta gave him
lessons in composition. Eventually he was
appointed maestro di cappella at the church of
the SS. Apostoli in Rome, a letter in the
Bologna collection, written to Martini from
Rome, is dated July 17, 1776 (Masseangeli,
Catalogo della collezione de' autografi, Bologna,
191
1881).
Before Vallotti, maestro di cappella of S.
Antonio, Padua, died in January 1780, he
expressed a wish that Sabbatini should be his
successor. Sabbatini was offered the post, but,
unwilling to leave Rome, he suggested that
Agostino Ricci would be a suitable candidate,
Ricci was therefore appointed on April 26,
1780, and remained in Padua for six years,
but when he left for Assisi, Sabbatini was
persuaded to reconsider his decision and was
finally appointed to the post on April 22, 1786,
which he held until his death on January 29,
1809, in Padua. During these twenty-three
years of his life, he enriched the archives of S.
Antonio with many compositions, writes Gonzati