Grove's dictionary of music and musicians

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238 SCANDELLO SCANDELLO
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to make the progression more smooth and
regular. This is the succession of notes usually
given as the ascending minor scale, which with
the descending scale without accidentals is
usually called the melodic form of the minor
scale.
The first alteration—namely, the sharpening
of the leading note—is no doubt required if the
perfect modern tonality is to be preserved, for
no doubt an ascending passage, thus
•would give rather the impression of the key of
C or of F than that of A.
But the necessity for sharpening the sixth is
by no means so obvious ; it may no doubt be
smoother, but the interval of the augmented
second is one so familiar in modern music, as
to form no imperative reason for the change.
Hence the form marked No. 2 is very commonly
used, both for ascending and descending. It
is called the harm/mie form of the minor
scale. w. p.
SCANDELLO, SCANDELLIUS, or SCAN-
DELLI, Antonio, was born at Brescia in
1517. In 1553 he was already resident in
Dresden and a member of the Hofcapelle,
but he often returned to visit his native place
in 1567, on account of the plague, he and his
family left Dresden and spent four months
there. In 1555 six Italians are mentioned
as being members of the Dresden Hofcapelle :
'welsche Instrumentisten in der Musica,'
among them Anthonius Scaudellus, his brother
Angelus Scandellus, and Benedict Tola, the
painter, whose daughter Agnes became Scandello's
second wife in June 1568 (Monatshefte,
1877, p. 255). The Italians, receiving higher
pay than the Germans, were even then arousing
feelings of jealousy, which later, as their
numbers increased, and German music was
pushed more and more into the background,
resulted in open quarrels and opposition.
Their influence was to prove powerful enough
to oust a German capellmeister from his post,
although as is pathetically stated of Mathias
Weckmann, the organist in question, he had
learnt Italian mit ' Fleiss,' and was at first on
a friendly footing with the foreign musicians
(Fiirstenau, Znr Geschichte, i. 26). In 1555
Scandello, with 250 fl. 16 grs. 9 pf. a year,
was receiving a larger salary than the capellmeister,
Matthias Le Maistre, who had only
204 fi. 7 grs. 9 pf. It is also curious to note
that the Italian players were paid on a higher
scale than singers from the Netherlands, the
highest salary to the latter only amounting to
120 fl. (Fiirstenau, Archiv fiir die sacks. Geschichte,
iv. 1866). It is true that the player
was expected to showi fecility on a large variety
of instruments ; Scandello himself was a noted
zinke or cornetto player, besides being already
a composer of some repute.
In 1566 Scandello became assistant capellmeister
to the ageing Le Maistre, and on his
retirement was appointed capellmeister, Feb.
12, 1568, when his salary altogether amounted
to 400 fl. a year, a large sum for those days.
A letter addressed to the capellmeister on
Jan. 1 3, 1579, gives leave to his brother Angelo
to go to Venice for three months, to collect
some debts. He retained his post until his
death in Dresden on Jan. 18, 1680, at the age
of sixty-three. One of his sons, August, was
also a member of the Dresden Hofcapelle.
Three motets for six voices, dated 1551, in
a manuscript in the Dresden Library, are probably
Soandello's earliest compositions. Next
comes the mass for six voices, in commemoration
of the death of the Elector Moritz of
Saxony, July 9, 1553, at the battle of Sievershausen.
In the Inventarium ' ' of the capelle
music drawn up by the Dresden capellmeister,
Johann Walther, Oct. 16, 1554, for the use
of his successor, Matthias Le Maistre, this mass
is mentioned as being in six little printed partbooks
: VI kleine gedruckt Partes in pergament,'
'
darinnen das Epitaphiura Electoris Mauricii
AntoniiScandeUi'(W. Schafer, Sachsen-Ohronik,
1853, p. 320). At the present time only a
manuscript copy of it is known, made in Torgau,
in 1562, by one Moritz Bauerbaoh of Pima,
tenorist in the Dresden capelle ; very possibly
it was owing to the suggestion of Johann
Walther, then living in retirement at Torgau,
that Bauerbach wrote it. The manuscript was
formerly in the Pima Stadt-Bibliothek, but is
now in the Dresden Royal Library. A large
part of the mass was scored by Otto Kade and
published in Ambros's Geschichte der Mtisik,
1889, vol. V.
Especial mention must be made of the Passionmusic
and the story of the Resurrection, which
were in all probability composed before 1561
(see 0. Kade, Die dltere Passionskomposition,
1893, p. 191, a reprint of the Passion-music, pp.
306-44). Scandello some years later refers to
them in a documen.t dated July 15, 1573, they
were therefore in existence some fifty years
before Heinrich Sohiitz's great works were published,
his Auferstehung ' ' in 1623, and his
'Passionen naeh Johannis* not until 1664.
A manuscript copy of Scandello's work, dated
1593, formerly at Grimma, now in the Dresden
Royal' Library, is entitled, ' Passio et Resurrectio
Domini nostri Jesu Christi ab Antonio
Scandello compositae,' the scribe was Johann
Gengenbach of Colditz. It only gives the
tenor part of the choruses ;
the music is otherwise
complete. The manuscript of the tenor
part-book now in the same library, but formerly